Sunday, May 29, 2011

A review missed and found

The internet is really amazing. The story 'Leaf Memory' is one of the very oldest in Balancing on the Edge of the World. It first appeared in an anthology published by Penguin, and I had no idea that the anthology had been reviewed in Punch until, years later, indeed this week, I came across the fact on the internet. Imagine how I felt when I read these words:
'[A short story] must emulate the swift, swallow or martlet. Most impressive in this respect is Elizabeth Baines' "Leaf Memory" which charts the fortunes of three generations in as many pages without any sense of strain or thinness.'
I guess nowadays, thanks to the internet, you wouldn't miss a review in that way!

Friday, May 27, 2011


Can't help identifying with these insects in my garden. In the poppies the bees are  not only frenziedly busy but seem utterly drunk, and when they fly out they are dusted all over and coloured purple from the dark pollen and seem hardly to be able to fly straight for a moment.  It does seem to replicate the state I've been in while writing recently...

Wednesday, May 25, 2011

Finishing a draft

On Monday I came to the end of the current draft of the wip (I've written on Fictionbitch about the all-consuming nature of the process), and this is the state my room was in after I printed the last page and walked away from it all. That's my old writing table to which I'm crazily, psychologically attached - I got it from a junk shop when I was a hard-up single parent and sat down then and wrote The Birth Machine on it. Everything I've written since - apart from what I've written in Wales -  has been written on that, so it feels really important to the writing process for me.

Scattered on the floor is the previous draft which I tore apart so radically, which is why it's all over the place, and the new draft - 40,000 words shorter! - is sitting on top of the printer. Under the table are the Pukka pads in which I hand wrote each day before typing up: I found I had to do that, cut right away from the previous printed draft, even when I kept the scenes, because I had a new overall perspective affecting the language, however subtly. So it was very much a rewrite...

On the desk are the notes I made last April, when I first started on it all, and the charts and timelines I drew for the characters and scenes, since I was changing the structure so radically (making it much more linear, in fact) with all their page references. In January, after a long break to promote The Birth Machine reissue, I abandoned that scheme and started again, having seen that I could make the book even simpler, but the charts with their page refs were still useful, and I used them right up to the end.

Notice the bits on the floor. But I won't be doing any cleaning in that room until I've done the editing...
It's never been decorated, either, and I'm not sure it ever will be...

Wednesday, May 18, 2011

Reading group: Blood Meridian by Cormac McCarthy.

Doug suggested this novel because, he said somewhat provocatively, he thought it was time we had a 'boys' book'.

In fact, it's a novel that sets out to subvert the conventions of the Western. It's based on real-life events that took place on the Texas-Mexico border in the 1850s and follows the fortunes of 'the kid', a fourteen-year-old boy who joins the infamous Glanton gang charged with running down Indians for their scalps but ultimately killing all in their way and turning in the end on each other.

Doug said he loved the novel, most especially for its stunning descriptions of the landscape, conveyed in a lyrical prose involving evocative verbal innovations/archaisms which we had already appreciated when we read McCarthy's The Road. He felt odd about this, however, loving the beauty of these descriptions, when at the same time the violence enacted by the gang and others was so graphically depicted and in such a sustained way. As for McCormac's message about the violence, he thought that, unlike that of conventional Westerns, it was that all parties were guilty of it, indigenous peoples and Europeans. (The book also subverts more recent views of the Indians as innocent and peaceful victims.) He was bowled over by McCormac's invention of the character of the white-gang member called the judge, a kind of superhuman being, huge and hairless and cultivated among illiterates yet the personification of violence. Doug reiterated that he felt odd about loving the lyrical aspect of the book, yet added only half-ironically that he'd have joined the Glanton gang, indicating, I think, that for him the book did not after all entirely succeed in subverting the boys'-wishfulfiment of traditional Westerns.

I said that while I'd had problems with the disjunction between the psyches of the characters and the descriptions of the landscape in Annie Proulx's Postcards (which we discussed last time), I felt that here the disjunction was authorially intentional and very interesting. I thought that what McCormac was consciously doing was placing the human figures and their violence as part of that landscape, no less a part of it than the animals and the geographic elements. Ann strongly agreed. Human violence, as a result, is an elemental force against which human morality and cultivation are impotent, and the judge is a kind of totem of this. He is supremely accomplished in all the human arts and civilised systems: he knows the law and legalese (hence his moniker) and several languages. He can play musical instruments and dance and draw beautifully; he knows Darwinian theory. But every natural thing he draws he must afterwards mutilate or erase. Nothing exists, he explains at one point, unless he owns it. Once he possesses them by drawing them, he can obliterate natural objects or the artefacts of ancient civiliations. Through the figure of the judge, even the human systems of cultivation are exposed as immoral and violent. The kid, as the motherless and illiterate son of a schoolmaster descended into drunkenness, is himself an icon of the precariousness of civilisation, and John said it was interesting that the novel began with echoes of David Copperfield, and then totally subverted that novel's theme of the making of a moral conscience. The kid is indeed the one member of the Glanton gang who tries, on several occasions, to act morally and to save others, but as the judge points out to him at the end of the novel, his apparently moral choices end in disaster, with death.  The most moving and symbolic instance is when, years after the Glanton gang has dispersed, or rather imploded, and he is travelling alone, the kid comes upon a massacred wagon train with just one old woman remaining, sitting upright in the sand. He kneels in front of her and delivers a long speech about how she must come with him, he will take her to safety, before she keels over, revealed as a mummified husk. Ann, Doug and Trevor agreed that this was a very moving moment. Ann said it had occurred to her that the judge represented all the seemingly cultivated dictators of our contemporary world who nevertheless indulge in barbarous practices, and I thought that was a very interesting point.

Trevor then spoke about some of the moments he'd found particularly vivid, such as when the Glanton gang are first invited as conquering heroes by the governor of a town to an elegant dinner, and end up trashing everything. Meanwhile, at some time during the discussion, Clare had said that she hadn't liked the novel at all, had hated the violence and had been unable to continue with it. Up to this point Jenny, a criminologist, hadn't spoken at all, and now she said that she too hated the book. She said that what she really objected to was the utter lack of engagement with the subjective experience of violence from the victims' point of view: the fear, and the loss, the psychological damage which is far, far worse than the physical violence.

I said that that was a feeling that I'd had too as I read the book. In fact, I had found the book a very difficult read, and the only way I'd managed to get it read was to set myself a certain number of pages to read each day and stick to it.  But when I got to the end I decided that that perspective - the emotional experience of the victim - was one that the author had deliberately eschewed, along with all interiority, in order to make his political point about the elemental nature of violence. Ann agreed: she said that she had found it difficult to read too; she had had to skip over the violence, and had wanted to dwell on the landscape descriptions but had found herself pushed on by the next (violent) episode, but when she got to the end, she'd had the same experience as me: she found the book an interesting political and artistic experiment.

For Jenny, though, this just didn't justify the omission. In any case, she said, historically at the time there were authorities sending people out to these frontiers to colonise the West, authorities who thus had a moral responsibility but were turning a blind eye, and this was a dimension totally overlooked by the book. I think she felt that fundamentally the book had abdicated a moral responsibility of literature, and in the end I and, I think, others were unsure...

Our archive discussions can be found here and a list of the books we have discussed, with links to the discussions, here

Saturday, May 14, 2011

Family likeness

Recently, the online bookstore Printsasia asked me to write a guest post about my recent books for their blog (you can read it here). It's funny, the insights you get into your own work when you're asked to do such a thing, given just a short number of words to sum it up. While I had always been clear that there are broad issues running through both The Birth Machine and Too Many Magpies - magic versus science, intuition versus logic etc - I'd always thought of them as two very separate sides of the thematic coin. And indeed they are (as I said at the Didsbury Arts Festival last year): The Birth Machine opposes intuition and true logic on the one hand and bad science on the other by locating them in separate characters, but Too Many Magpies places the two opposing forces - the longing for miracles and the need for rationality - in the one character, the narrator.

For this reason I have always seen the two books as two very separate creatures, but the blog post pushed me to sum up thus:
...the message of both novels is the same: we need to be rational, but we ignore at our peril the possibility of things we would never have guessed…
and all of a sudden a saw them as a pair!

I guess your books are like your children. From the inside you see the differences, and not the family likenesses, but I have the feeling I've said this here before...

Wednesday, May 11, 2011


I'm too immersed in my wip at the moment to cope with anything much else besides - I keep forgetting to pay bills and buy food, even. Just about the only thing I seem to be able to manage is taking the odd photo, and here are some from my garden, the iris above, cornflowers and some of the many and varied self-seeding columbines:

Thursday, May 05, 2011

Competition: chance to tour Faber archives

I've only just found out about this, and there's only until midnight on Sunday to do it, but I thought I'd draw your attention to this great Museums at Night competition - a draw in which the prize is a night being taken round the amazing archive of publisher Faber. Really, some of my favourite writing has been published by Faber, and I think this would be just a wonderful thing to do. Here are some of the details from the website:

Archivist Robert Brown will take five lucky winners on a journey through 80 years of treasures held in the publishing giant's London office at Bloomsbury House, which is not normally open to the public.

Faber and Faber's unique publishing archive ranges from its famous early twentieth century poetry collection including manuscripts of TS Eliot and WH Auden to books on farming, gardening, art and architecture.

The evening will conclude with an intimate poetry reading by one of Faber's most acclaimed poets, Jo Shapcott [recent winner of the Costa with her collection Of Mutability].
A photo of a woman staring into camera
Jo Shapcott 
The event will take place between 6.30pm and 7.30 pm on Friday May 13 at the Faber Archive in London.

To enter, click here.

The competition closes at midnight on Sunday May 8 2011.

Cross-posted with FictionBitch