Friday, January 26, 2018

Bill is Dead (RIP Mark E. Smith)

So in the end, Mark E. Smith wasn't one of the indestructibles, not an Iggy Pop or a Keith Richard, not someone who could escape the likely outcome of dissolute habits, and - more likely - those poor working class Salford genes. His passing this week, though not exactly a surprise, since he had been ill for some time, was still a shock, perhaps more so, because of the sense that he was indestructible. There were no compromises, no second acts with Mark E. Smith and the Fall, though that band went through so many line up changes ("if its me and your granny on bongos" he said, "it's the Fall), so many good times, bad times; there wasn't the solo career, or the forming of the jazz funk band or the cover versions album (though a Fall covers album would be a virtual alternate greatest hits, so good were some of their interpretations, whether obscurities like "Black Monk Theme" and "Mr. Pharmacist" or songs we were so familiar with like "Lost in Music" and "A Day in the Life"), or the writing of the novel (he wrote an autobiography, but it disapponted a little, as he seemed to grow bored with the very idea.)

There's some sadness here - that he didn't escape this particular destiny. The cause of death hasn't been announced yet - but he was a sixty year old who looked older, who had multiple health problems; no doubt intensified by the drink, the cigarettes, the amphetamine lifestyle that fuelled this particular generation of (punk) rockers. Some of the obituaries refer to him as "punk singer" Mark E. Smith - but that seems a category error from the very start. Only a very few, very early songs can be said to be using a punky yelp, his voice quickly matured into something else entirely, a kind spoken singing, as fused with Salford, as Lou Reed's tone was fused by New York. Having survived punk, and actually thrived as a band during the eighties and nineties (cue: psychedelic monster "US 80s 90s", for every occasion there's a Fall song), the first turn for the worse was when the stalwarts of Scanlon and Hanley were promptly sacked, and a new Fall, apparently dragged from local pubs and chip shops in North Manchester, replaced them. Hanging around the Manchester music scene as I have for at least half of the Fall's career, I've inevitably known a couple of his side(wo)men - carefully catalogued in the book "The Fallen" (a book he no doubted hated, or at least said he hated, but is a classic in its own way). That the Fall were a constant to the very end, and that the last incarnation, was one of the longest ones (excepting the departure of his 3rd wife Eleni), actually makes one question that myth of him hiring and firing like a particularly authoritarian football manager. He used the analogy himself once or twice, saying that you had to change the striker - but of course he never changed the real leader of the club, even as in more shambolic later period gigs he left the stage to the band, or even the audience, or sang from behind a speaker stack or backstage.

The audience is another thing entirely. I was wondering whether I should write this piece, as I know there will be endless pieces written about The Fall, by more obsessive fans than myself, by people who had met him or worked with him or been dissed by him. And yes, the majority of those will be written by middle aged white men, carrying a little bit too much weight. Later Fall albums documented this at times: "My Ex-Classmates' Kids", "50 Year Old Man", "Couples vs Jobless Mid 30s" - but then again, Smith has always written about what he can see, part street poet, part Anglo Saxon chronicler, part seer through the bottom of a pint glass. I know plenty of women who really like the Fall, but they are not the obsessives going to every gig or not caring whether Smith is on fire or a charicature of himself, or collecting endless live tapes and poorly recorded live albums. But have my say, I will, because, if not now, steeped in hearing his music and reading about him, then, when?

I'll try and keep the personal anecdote to a minimum. I did move to Manchester for the music - but it was more The Fall, than it was other favourites, the Smiths, A Certain Ratio, Joy Division. Though it was some time until I caught them play in their home city. I'd seen them in Birmingham, Lancaster, Blackburn and probably a few other places, before then. Listening to John Peel in the early 80s, they were unavoidable and it took a while to understand the cacophony - after all this must have been around 1981, when they were at their most wilfully strange - "Slates", "Hex Enduction Hour", "Room to Live." It was something more accessible than first pricked my ears, the Peel session with a song called "Eat Y'Self Fitter", a single repetitive rant, with a great sense of humour to it. "What's a computer? Eat Y'Self Fitter." My own origin story here is that I still wasn't that sure about them as a band, but I'd written a letter to the pop pages of the Daily Express (my parents' choice of newspaper) and though they didn't print my letter, they said I could have a "Top 100" album as a prize. I didn't know what was in the top 100 but had seen there was a new Fall album out - "Perverted by Language" - eventually it arrived. So the Daily Express got me into The Fall! I'm imagining a junior employee swearing under their breath as they head to Rough Trade or the Virgin Megastore to get hold of a copy to send to this spotty fifteen year old the Midlands.

At sixth form, word had got round about the Fall, and my friends had picked up some of their older albums. I taped the ones I hadn't got and looked forward to seeing them live. We stumped up for a shared taxi to Birmingham and saw them in late 1984, around the time of "Wonderful and Frightening World of The Fall." Our English teacher was amazed we were going to see them. "They still around?" he said. "I went to see them in 1979, two nights in a row, they played totally different songs each night."

The Fall began as a sort-of punk band, but even at the start had some other tendencies. The major record labels were slow to sign up a few of the early crop of bands. Whilst the Stranglers, the Damned, the Clash, the Sex Pistols, Wire and others found themselves on old imprints like United Artists and Harvest, some bands - Siouxsie and the Banshees, Adam and the Ants and the Fall, hung around like the last of the team to be picked. I wasn't old enough, but I imagine, that the implosion of the Pistols, and the sense that none of these bands were going to give the record industry a "Dark Side of the Moon" or "Frampton  omes Alive" left to the also-rans or latecomers signing to some of the new indie labels. Eventually signing to Step Forward, a sub label of Miles Copeland's "Illegal" records/IRS records, it was an odd home for them. That debut album has never been a favourite, though I like non-typical gothic song "Frightened" - its the only record where Smith would share billing, with Martin Bramagh. After that album, the Fall would be his fiefdom alone.

Though punk and post-punk created something of a market - the grimness of seventies England and the lack of resources behind the emerging independent labels meant that few bands sold that many records. The Fall's early albums were released by Step Forward, Rough Trade, Kamera, Rough Trade again (after the latter folded), before finding a relatively comfortable home with Beggars Banquet. In the years since a plethora of labels have taken on the Fall, from one offs, to chancers, to self released ("Cog Sinister"), to more recently finding a better place on reissue label Cherry Red.  One of the many untold stories of the Fall must be about their relationship with the industry - only once on a major - Fontana - and rarely staying on the same imprint for longer than a couple of albums, yet never being without a home (at least in the UK - US releases have been patchy over the years.) Add in the amount of promoters they must have worked with given their relentless endless gig schedule, the number of recording studios they frequented, and the number of festivals they performed at; their relationship with the "industry" is a vast and complex one. Through various managers, wives, and business relationships, the Fall have been sometimes the most chaotic of enterprises, but also an effective one.  Though Smith was always scathing about the obsessive fans who wanted only the old stuff, he was always smart enough to know that these fans were keeping him in fags and beer, and more importantly allowing or enabling the Fall to continue as a going concern throughout its many different incarnations.

The other key quote about the Fall - John Peel's saying "always different....always the same"  is both a truth and an untruth. It's sometimes hard to reconcile different "versions" of the Fall, yet the constant of Smith's lyrics, vocals and vision gives a unity where otherwise there might not be one. In truth, there musical palate has both been narrow and wide - narrow in the sense it usually pairs down to a love of simple noise, of warped rockabilly, or direct garage rock; but wide in the sense that this "template" is wide enough to include electro, techno, Krautrock, reggae, and various other dilutions. Working with numerous different musicians, at least since the late 1990s implosion of the band, has seen Smith being able to plunder the work of a much wider range of songsmiths, only really falling into a predictable pattern with the jobbing band of the last few years. At its best, this creates some great eclecticism, at its worst albums such as "Levitation" and "Reformation Post" are not amongst their finest.

For me, that other cliche, that your favourite Fall album is your first, holds true. It was "Perverted by Language" I pulled out - that original Daily Express provided vinyl - on hearing of Smith's death. It has "Smile", probably the most intense of their many intense pieces of guitar assaultery. (Never a punk band, the Fall were never really a rock band either, but on tracks like this are heavier and more intense than followers such as Sonic Youth). There's also "Hotel Bloedel", the first Brix E. Smith song that appears on a Fall record, a bit of strange psychedelia that is unlike anything else in the catalogue. "Eat Y'Self Fitter" remains a towering achievement - funny, yet repetitive, like John Cooper Clarke duetting with Steve Reich. Better still is the incomprehensibly ambitious "Garden" a piece of unparalleled art rock that could probably fuel a whole career. "Tempo House" recorded live at the Hacienda gives the album a freshness and excitement, Its an album of ambition - building on their last full length masterpiece "Hex Enduction Hour" but with the new tautness of this new (and soon to be relatively steady) line up of Mark and Brix, the two Hanleys, Scanlon and Burns.) The parts fuse together in a way that seems to me to be a career highpoint.

What happened next of course...the unlikely sight of The Fall becoming fashionable, belies the description of Smith as a "punk singer". It can be argued that the wealth of riches of the Beggars years - not just LPs, but E.P.s. Singles (some which charted  - a little), and even a ballet (the collaboration with Michael Clarke's company that led to "I am Kurious, Oranj.") I was at university during these years and seeing the Fall during this time was glorious. I even met them when they came to play at Lancaster. Mark scowled and read the college paper whilst I talked to Brix and Craig with the (later to be well known) journalist Amy Raphael. Brix had asked if I could get her a portable TV to watch Dynasty (it turned out it was on the wrong night), whilst they had mistakenly asked for a "fish and chip supper" as their rider. (The fish hut on campus was the worst fish and chips in the North of England.).

Other bands would come and go in my affections but the Fall would remain - mostly reliable, even if bewilderingly prolific. Later, buying a book called "The Fall: a Users Guide" I was amazed reading the discography how much stuff I had missed - b sides, extra tracks on cassette and CD versions, live recordings.  The Fall back catalogue was growing at exponential pace.

Most surprising perhaps was that even as the music industry passions changed - from punk, to post-punk, to new romantic, to goth, to indie, to Madchester, to Britpop - the Fall were never quite entirely in or out of fashion. Odd cultural things would happen as well such as an old track surfacing at the end of Jonathan Demme's modern horror "The Silence of the Lambs." In Madchester, though Smith was scathing of how his city had become an "idiot joy showland" he nonetheless duetted on a top 20 hit with the most trad of all the Manc bands, the Inspiral Carpets. As house and techno developed, quite a few DJs noticed the syncopated, Can/Krautrock nature of some of the Fall's material, and how an abrasive voice like Smith's could make a nice counterpoint to electronic beats. This would culminate a few years later in the worthwhile (if not quite the triumph we'd maybe hoped an electro-Fall album might be), collaboration with Mouse on Mars, an album under the Von Sudenfed name. Along the way, there were other surprises. A couple of reggae singles were surprisingly effective - "Kimble" and "Why are People Grudgeful?" - as surprising were the Top 30 cover of "There's a Ghost in My House", a Northern Soul classic, or the effective versions of the Kinks' "Victoria" (Dave Davies tweeted this week how much he liked the Fall version), or the driving disco of "Lost in Music." Despite his reputation, Smith was also an amenable collaborator when it came down to it. He seemed to enjoy the chance to be a bit of working class grit amongst the posh kids on the art shows, at least now and then - and for all his dismissal of much popular music, the Fall were inspired choices for the charity NME version of Sgt. Pepper, doing a wonderful version "A Day in the Life."

By the mid-1990s I think the potential of electronic music to add something to the Fall sound had been integrated - if not fully - particularly on albums like "Shiftwork." He would record a mundane techno track with D.O.S.E. at PWL studios, and in interview would mention how he liked Stock Aitken and Waterman's novelty track "I'd rather jack" by the Reynolds Girls. At some point, things came together into a top ten album - though chart placings were never really the issue. Around the corner though was a certain chaos - Smith at forty had left Brix, and the band soon went as well (though she came back as a band member briefly, inexplicably on the bright and excellent "Cerebral Caustic.") Fall albums were no longer events, and the changing line ups over the next few years, as well as changing labels, was matched with the release and reissue of a vast quantity of substandard compilations and live CDS. At some point a whole load of demos and outtakes were thrown out on three apparently random compilations "Sinister Waltz", "Oswald Defence Lawyer" and "Fiend with a violin." These tracks were often interesting, never crucial, and so random in terms of how they were compiled that it was seen as a cynical exercise aimed at fleecing the completist fans. For a band who were so often vital live, the number of gigs being cancelled, or where Smith was obviously drunk or a in a bad way, or came on late, or finished early, increased. I saw them at an outdoor concert at Castlefield Bowl and they were both chaotic and wonderful at the same time. It was the first time I feared for Smith's future. I'd always thought here was an artist who was uncompromising, doing things his own way, and different, rather than kowtowing to the record label or music industry, but it seemed like he was no longer in control of the narrative. "Levitate", "The Marshall Suite" and particularly the dreadful "Are you are missing winner?" saw a massive fall off in quality  though every album - even that last one - would have its standout moments.

It was quite a surprise that after a little gap there was a new Peel session that as good as anything they had done. Rumours of a new album. "Country on the Click", and a series of small gigs in Manchester. With a new band line up, new songs, and seemingly a whole new attitude, this Fall - eventually caught on record on "The Real New Fall LP" - were the best they'd been in decades. Songs like "Blindness" and "What About Us?" were classics that could hold their own with earlier favourites and live they were astonishing - ending as an old style review passing the mic round the audience who would sing the lyrics to "Big New Prinz" - "he is not appreciated" pointing at Smith.

For a while Smith even embraced the internet - making friends with the fan-obsessive Fall website and forum - until it became unofficial again after another falling out - and briefly agreeing some kind of amnesty on live tapes which began to appear as downloads for a few quid. For a band so extensively recorded live, their's not a truly satisfactory live album released - one wonders if whoever now looks after his estate might take a more measured view now the focus isn't just on new material and new recordings.

Of course, things couldn't last - in America Smith fell out with his band in mid-set and ended up in jail for a couple of nights - and would then play and record with an American pick-up band for a while .When 3rd wife Eleni joined the band on keyboards she was no Brix, but adding a little sparkle on stage, as well as the tinkly amateurishness of Fall keyboards, it gave a little bit of light to the band's now customary pub rock sludge. Over the year's the Fall "sound" has changed in subtle ways, and the last version was something dark and guttural, reminding one of pre-punk bands. Sometimes this was good - but the last time I saw them live - just before "Your Future, Our Clutter" came out, it was clear that the new Fall was a sound I wasn't quite so enamoured with - heavy, lacking in subtleties, with Smith's lyrics often reduced to a yowl. They were some way off their peak yet could occasionally still throw in a great track like "Bury" and live they would pull out a very few back catalogue songs - usually murky rockabilly numbers like "No Xmas for John Quays", "White Lightning" and "Mr. Pharmacist."

The touring remained relentless but sometimes Smith was hardly there, other times he was in a wheelchair or helped by a stick after a fall and breaking a hip. More recently, over the last year, signs have been ominous, with gigs and other appearances cancelled at short notice. His last album, "New Facts Emerge" was surprisingly his strongest in years, the somewhat sullen sound of his current band finally finding the right kind of groove, against which his mostly incomprehensible singing makes a kind of late period sense. Fall gigs over the years have been as much testing ground for new material as representations of whichever album has just been released.

Over the next days and months, we'll probably get plenty of new information about the last year of this great, unique, artist - at the same time, it seems fair to say that he remains in many ways unknowable in his drive and genius. A non musician who so much depended on the sounds around him - (his two spoken word solo albums are mostly just curiousities) - yet something of a genius in th way he could bring the best out of untried musicians. Nobody (except probably Bramagh) has really gone on to a good musical career after being part of The Fall. When the ex-Fall Hanley and Scanlon formed a new band they got the opposite of Smith into sing, an appalling long-haired rock singer. It was one of the worst bands I ever saw: yet made up of core components of one of the best. Lists of favourite Fall songs have been circulating all week - and though most have concentrated on early work, there's been enough on recent albums for even the jaundiced fan to feel that the Fall were still a thing not a nostalgia act. If Peel's death brought a shutter down on one important relationship - documented on the exemplary boxset that brings together all the BBC Peel sessions - the story still had some time to run; but now, to all intents and purposes it is over.

I was sad, very sad, not because it was so unexpected, but because I had hoped that Mark E. Smith might finally be taking a pause to get his health back in order; yet it was obviously too late. He didn't quite die on stage, but with gigs scheduled (or cancelled) up until the last, the idea that this ill man was going to leave us was still, we all hoped, some way off. Like Dylan, or James Brown, he seemed unable to stop doing this strange thing of performing as "The Fall". It could sometimes seem an act - a piece of art theatre more than music. At other times it was the finest rock and roll experience you could experience. The records had become adjuncts to the story - maybe they always were a little - there's not one you'll find in the nostalgia lists, as "you must buy this one" - though the ones that come closest to universal approval - "Hex Enduction Hour", "Perverted by Language" and "This Nation's Saving Grace" - are as good as place as any to start. Their Beggars Banquet A-sides compilation is as close to a "best of singles" as they ever did - though there's now a career spanning 3 CD (or 7 CD inc. b-sides) compilation from Cherry Red for a more vast listening experience. The number of books about the Fall has grown massively in last few years - Smith's autobiography joined by memoirs from Brix and Steve Hanley for instance. I sometimes think I feel I know too much, and yet also know next to nothing at all.

The bookish nature of auto-didact working class Grammar school kid who left school at sixteen, lived in a house full of sisters, stuck out against the prevailing winds of Manchester music business approval, through over 40 years of music making, over 30 albums, and hundreds upon hundreds of songs; named his band after a Camus novel, and namechecked H.P. Lovecraft, Nabokov and Ballard amongst others; wrote songs about eveything from nostalgia for seventies sweets, to poisoning by chemical companies; seemed to create a mythos that was grounded in a Manchester that is both real and a made up land of "city hobgoblins" - using a twisted beat poetry that only really works when combined with his narrowly effective vocal delivery, part shout, part scream, part growl. Somehow, off all the bands who started out in 1977, he was the only one who really believed totally in the ethos of outsider art, of being able to change things through creativity, and of being forever looking forward not backwards. In amongst the sad feelings this week, there's been something else, a crystal clear admiration for I know not what; for unlike other rock idols, Smith never wanted you to follow him, nor him to guide; rather it feels as if the example of being The Fall was enough, however irrational and unreplicable it might seem. I am the lesser for his being gone, and I am the greater for the many years that he has been in my life.

Thursday, January 18, 2018

The Whole of an Artist

I first became aware of Frank Zappa as a 14 year old poring over rock encyclopedias - and then seeing some of the strangely titled records in the record shops. I didn't hear any until much later, when, I think, Marc Almond, one of my heroes, included an extract from "Uncle Meat" on a show of his favourite albums. (He also included "Berlin" by Lou Reed which I quickly bought - Zappa would have to wait.) At university, a friend taped me "Hot Rats" which I sort of enjoyed, though it wasn't usually my kind of thing and at some point I picked up CDs of "Uncle Meat" (which I found a little disappointing) and "Cruising with Ruben and the Jets" (which I loved). An older friend was a fan, and when his back catalogue got picked up by Rykodisc I got the two "Cheep Thrills" compilations. All the Zappa I could possibly need....

...then on a trip to Newcastle I picked up the Uncut special on Zappa to read on the train. With a review of every single album, I quickly became aware of how little I had heard...of how much there was. A few albums later - "Bongo Fury", "Roxy and Elsewhere", "Mothers Live at Filmore" - I was surely sated. Then a reissue of his first three albums in a cheap box, oh go on then. At some point I have to admit that I have around 20 Zappa albums. The bits I like - the crazy psychedelia of the early cut up albums, the doo wop pastiches, the over the top guitar wig outs - and the bits I didn't - the frat boy humour, the overly precious jazzy instrumentals, the somewhat proggy tendency of the songs - at some point become merged, sometimes in a single album or single song. Okay, I'm a fan now, I guess. But there's not just these twenty albums, there's another twenty, and another, and another....

Zappa it seems is one of those artists who is a genre to himself. I'd add in Prince, Dylan, Neil Young, Eno, Bowie, George Clinton, Rundgren - probably a few more. Once you start buying them you can't stop. The bad becomes almost as important as the good....

I remember Malcolm Cowley on William Faulkner writing that his best work wasn't a particular novel but the "whole" of the saga, or individual scenes or stories - probably a necessary statement given his choosing of extracts for the "Portable Faulkner". Few writers are at a quality throughout their life - there is apprentice work, there are sidetracks, there is hack work. I recently hovered over an unmade F. Scott Fitzgerald film script in a secondhand bookshop before realising it wouldn't add anything to my knowledge of Fitzerald (I've two different versions of the "The Last Tycoon.") Whereas a novel tends to be a complete work its often not as simple as that. Early versions of "Lady Chatterley's Lover", "Sons and Lovers", and "A Portrait of an Artist as a Young Man" have been published for instance - there are two versions of two of my favourite novels, "Tender is the Night" and "A Clockwork Orange." The "best" novel of the 20th century according to one poll, "The Brief Wondrous Life of Oscar Wao" by Junot Diaz was initially a much shorter work published in a magazine. Are multiple volume books like "The Lord of the Rings" or the Patrick Melrose novels single or multiple works?

What I think is interesting is that even as we look for the "perfect" work - the Stone Roses debut, or "Blade Runner" or "The Life Times of Michael K" - the artist is only accidentally responsible for this. Artists like Neil Young, Frank Zappa and Prince didn't just record an "album" but compiled one from different tracks. Young's recent "Hitchhiker" was an album of acoustic demos from the early 1970s which has seen most of its tracks released over the years in different versions on different albums. There are tracks on the last album of Pixies' original incarnation which appeared on their original "purple tape" sent as a demo to 4AD records. Even David Bowie - who would often go into the studio with nothing written - would resurrect a 1973 song for the "Scary Monsters" track "Scream like a Baby" - and "Every Little Thing She Does is Magic", a number one for the Police, was from a Sting demo that had long lain unrecorded.

Going to an art gallery, I'm often interested in career retrospectives. Over the years some of my favourite shows have been like this - Basquiat, Hannah Hoch, Jackson Pollock, Tove Janssen have all been career spanning shows that have absolutely fascinated me with the progress of their work. Much as we can talk about art without talking about the artist and their life (and the times in which they live), the art is often enhanced by an understanding of the circumstance of its making.

Back to Zappa, I think he'd pretty much stopped releasing proper albums around the time I got into music (his hit single "Valley Girl" from "Ship Arriving Too Late to Save A Drowning Witch"), and what would come next would be a range of curated albums - taking old live tapes and manipulating in the studio. Since he died we've had one of the most comprehensive reissue programmes ever. Certainly collections like "Lather" (which was stripped apart for 3 albums in the late 70s) and the recent expanded "Uncle Meat" are worthwhile additions to the canon; they feel like the have the imprimatur of the artist, even though he has left.  Yet though we are all interested in posthumous releases by artists we love - such as Prince and Bowie and Amy Winehouse - the posthumous releases are rarely an embarassment of riches.

Now, where can I get a cheap copy of Zappa's "Jazz from Hell".....

Monday, January 15, 2018

The Dwarves of Death by Jonathan Coe

Jonathan Coe is a novelist whose fiction I've long intended to read, having only read his B.S. Johnson biography "Like a Fiery Elephant" in the past. Most well known for his fourth novel "What a Carve Up!" I plumped instead for the short novel that precedes it "The Dwarves of Death" partly because it adds to that interest micro-genre of novels about imaginary bands.

There are three imaginary bands in this 1990 satirical thriller, the Alaska Factory, the Unfortunates (after the B.S. Johnson novel) and the titular Dwarves of Death. Bill is the keyboard player in the first of these. He dropped out of Leeds University to follow his piano teacher to London, and has an admin job whilst moonlighting occasionally in a jazz bar, a place where he accidentally met his sort-of girlfriend Madeleine. "The Alaska Factory" are a mismatch and Bill's synth, which he lugs across London on the bus, isn't a good fit. His band's shadowy manager, Chester, suggests he leaves them and joins The Unfortunates, a darker band, whose sound needs filling out.

Bill is our genial narrator, but an unreliable one, in that he gets nearly everything wrong. Part dreamer, part innocent, he also is self-obsessed, not noticing what's around him. His old girlfriend from school, whom he has not been in touch with since coming to London, he realises seemed to see right through him - know before he did what he wanted to do. What he wants to do in London is vague. His relationship with Madeleine is one of bad dates and poor communications, and they never get further than a kiss. When she says she wants things to change, he misinterprets it as she wants him to marry her, when she's finally trying to bring the whole thing to a close. He shares a flat with Tina, sister-in-law of his piano teacher, on a grotty south London estate, but never sees her as she works shifts. They leave each other increasingly terse notes. Its obvious that Tina's boyfriend is abusing her, but not to Bill. The third woman he has an interest in is a Scottish barmaid at the pub that the band meet in.

This predictable life of late '80s London, is a recognisable but sterile one. A city in decline. Britpop hasn't yet happened - and there's no mention of the house music or other black formats which leading to warehouse parties around the M25. The Alaska Factory sound like they might be a Keane before their time - Bill's tastes run to the melodic, whilst The Unfortunates are much more intense, probably a late goth band of some sort. Yet the music is a bit of a red herring. For the story starts - and is flagged on the cover - with Bill's first meeting with the Unfortunates, in a house that their manager has provided for them. Left behind with the singer as they head to rehearsals, the singer waits in for a parcel from the shadowy man who lets them have the house. Its a mistake. Two assassins, hooded, come in to kill him. Bill hides in a corner and escapes - but is suddenly a fugitive. He never gets to join the now singerless and aptly named Unfortunates.

The novel then goes back to how it all begins and we get a comic tableau of his London life. He's like a Nick Hornby character, but without any pretension of success. The writing is often engaging and comic even as we cringe at Bill's description of situations - spending his money to taking the very ordinary (but beautiful) Madeleine to see an Andrew Lloyd Webber and spending all his time slagging off it and her love for it. Actually, as much as Hornby, its Ben Elton I recall, whose first novel "Stark" was a well read favourite from 1989. As a comedian Elton's novel was more a series of skits strung together with a bumbling hero - and in some ways "The Dwarves of Death" - its thin plot aside has a similar characteristic. An elongated piece about waiting for a bus in South London could almost be a piece of contemporary stand up.

For it turns out the Dwarves of Death were the most obscure of the obscure punk bands to come out of Scotland. Luckily Bill's friend from home is an obsessive collector and even sends him his impossible to find 2nd single. It turns out that there is a coded message in the b-side of the single - and Bill has unwittingly got involved in a revenge drama involving the barmaid and the owner of the recording studio they use.

The plot feels a red herring in many ways - Chester's getting Bill to join the Unfortunates is a pure plot device - and in what is a readable, satirical story, we realise that this is much more a dark coming of age story, with Bill having tried London, having got into all sorts of unexpected trouble, before finding what it is he really wants from his life.  Even though its set in 1988, it feels more dated in its style than its subject, the writing chatty but occasionally infuriating, as Bill, a likeable sort, proves to be a bit of a well meaning fool. That pre-internet world - where you would write a letter to old friends, or leave a message on an answerphone and not know if it had been picked up - is brought to live vividly.

Wednesday, January 03, 2018

The Power by Naomi Alderman

Includes some spoilers.

Naomi Alderman's prize winning novel "The Power" begins with a familiar framing device. There are emails from "Naomi" to "Neil". The latter has written a history - albeit a somewhat fictionalised one - and wants the former's opinion. He is an archeologist and historian, looking back on a period of (from their perspective) ancient history. The past though is in our future - and this is where the novel begins, in our present day. The "looking back" is from a perspective of several thousand years in the future.  I'll come back to that frame.

In the present of the novel - we begin at the necessary place, when "the power" first comes to the girls. Teenage girls are the first to discover they have it - its an electric shock they can use when they touch people and things, sometimes little more than a tickle, but if they learn to control it, enough to injure or kill or worse. Like the history that it purports to be, it takes us through several origin stories. The abused girl Allie, who uses it on her foster father; the British girl, child of a gangster, who discovers the power, when her mother is attacked, the Nigerian man - soon to be a journalist - who uploads the first video of the power in action to YouTube, and an American politician who discovers it is better to hide this skill. Over time these stories will converge. Allie is the most interesting of the four characters. She runs away and guided by a voice in her head, she comes to an isolated convent where the nuns take her in. This all woman environment is where she begins to develop a new personality, a new name, and a new religion. She begins to call herself Mother Eve, and as her power develops and the voice in her head gets stronger, she begins to be a leader amongst the women.

There's a fifth story. In Moldova, a male leader dies and is replaced by his wife - who quickly declares a new country, run purely by women. Meanwhile the British girl's father realises what an asset he has in the power of his daughter, and she begins to control his drug business. When she turns up in America on the run from a revenge attack, she turns up at the convent and Mother Eve realises she has a soldier.

The power is something that appears to have always have been there but dormant - or possibly not - as some kind of nerve agent added to the waters during and after the war like flouride, so that all women now have it within them. In some ways the origins of the power matter less than what it means. Some people immediately realise it means everything has changed. Men can no longer rape or hurt women without being hurt back. In small doses it can enhance sex games. Yet at the same time this affront to masculine power means there's a counter revolution. On 4Chan like websites men use aliases as they plot revenge and converse freely of their hatred for women. Alderman, who used to develop stories for interactive game environments, is one of the few writers who is not phased by writing about the internet, but does with total confidence. It is one of the book's strengths. Compare with Eggars' "The Circle" where you get the feeling that the digital side is something he's researched.

Alderman has always been an interesting and ambitious writer, and this book really plays to her strengths. There's a lot of cleverness to her vision of this new world, a lot of spirited invention. As the book continues we move into a less speculative realm - as the action speeds up. The women's power shows itself via a "skein" that appears around their collarbone. There are men who have it as well. In the background there is the sense that this change is happening so rapidly that laws and technology can hardly keep up. At the same time the fear of these women leads to theocratic regimes in particular clamping down on the new reality - in the new Moldova, there is a war going on. Tunde, the principal male character in the novel, is now a celebrity journalist sharing his stories via his internet channels - being asked to report on the latest outburst of the phenomenon.

The pace begins to hot up - centred on the new female republic where for various reasons all the main characters have now ended up. The plot is labrynthine and breathless. Having given us plenty of explanation about the new reality, we now accept it. Like in China Mieville's "Perdido Street Station" or Lauren Beukes' "Zoo City" the new reality is no longer seen as strange. It sometimes seems the women are now almost like superheroes and the power is their super power. Though it makes the book a thrilling page turner in this latter part, I felt the move out of America leads to us losing something of the everyday strangeness. In this lawless eastern country its like anything can happen without consequence. The politician is now a senator, having finally shown her power on the televised debate. She has set up training camps for the girls in a public-private partnership. Mother Eve can only feel safe by owning the whole world - the voice in her head tells her so. Whilst Roxy, the young British girl, is now queen of the drug runners, and a new drug "glitter" which enhances the power, is being shipped across Europe.

In between chapters we have some line drawings of artefacts - a reminder that this is a "history" being told from a distant future. We now understand why - for Alderman is providing us with a satirical parallel of the world we live in. Imagine: after five thousand years of a woman-led world, can you imagine a male-led one that may have existed before? I understand why she includes this - and it adds a philosophical layer to the novel but in some ways it seems awkward, unecessary. The women taking over will lead to a war - a mighty catastrophe as men, now the weaker sex, are subjugated under their female rulers.

The novel is a deserved prize winner - it adds a substantial imaginative offering to our lists of dystopian fiction, with a distinct twist to it - but though its immensely fun to read, it does at some point, move from a strange evocation of this new world into something more like a comic book or video game. By the end there's a feeling there's no real consequence - yet there is, as the major and minor characters discover - and an awkward love story adds to that sense of flippancy. It seems to lack the intense strangeness of Ben Marcus's not entirely dissimilar "The Flame Alphabet" for instance (here it is teenagers rather than girls who are different.) I think the creation of a new religion - led by Mother Eve - feels the main story in the first part of the novel, but then it just becomes one strand of several, and the least dynamic one. I guess in the desire to create a real page turning adventure and bring us to a place of satisfactory climax, we lose some of the the depth of thought and characterisation that I so loved earlier in the novel.

So, not quite a masterpiece, but certainly one of the most rewarding and readable novels I've read for some time. In an age of dystopias it seems  a particularly original one. At times its as dark as an HBO boxset and it does feel like a novel written in and for the Netflix age. The return to the framing device at the end makes explicit what we already know - that it is our known world that is the unbelievable one, not the one of the novel, where women have all the power.

Friday, December 29, 2017

A Working Class Writer is Something to Be

In the twenty or so years that I’ve been trying seriously to get published I’ve seen schemes for writers aimed at a range of different constituencies: women, BAME, LGBT, Scottish, Irish, Welsh, Northern, under-40s, over-40s… yet the reality of British fiction has always been how class-obsessed it is. If American society’s fault line is race, in Britain – and particularly now in post-Brexit Britain – its class. The achilles heel of British writing, fiction and poetry, has always been class; both in the subjects and characters that are written about and the industry itself – it’s publishers, agents and writers.

Somewhere I’ve a rejection letter or a reader’s note, from when I sent off my novel “Lineage” – which was shortlisted for the Lichfield Prize in 1995, a prize for unpublished fiction – to a London based agency. It basically says, “why should be interested in these characters?” My novel was set in the Midlands where I grew up, in the same working-cum-lower-middle-class milieu that I had grown up in. This was not the working class of Lowry’s smoke-belching factories or of Lawrence’s mining communities (the mine had been closed twenty years before I was born) or the inner city street novelist, but bland, suburban England, run down towns, where the only jobs after 1979 would be in retail and logistics, and where everyone’s dad that I knew worked in a small factory or warehouse, and everyone’s mum worked in the NHS or as a school cleaner or dinner lady. Normal, every day England, comprehensive schools, and indoor markets; WMCs and caravan holidays. Of the 120 kids on my year less than 20 went onto 6th form, and only a handful (including myself) went directly to University. 

There’s nothing to glory in this life – it’s recognisable to many of my friends, and only the location will be different. I find myself envious of those who lived nearer to towns (Birmingham was a good twenty miles away), or had a university nearby, or who had the option of a Grammar or other “special” school rather than the bog standard comp, or who lived in a seaside resort, or in the real countryside. Yet in many ways, “smalltown England”, to refer to the New Model Army song, was where I grew up, and where the locus of my writing comes from – however many years of urban and urbane life I’ve had since. What is worse now than then, in these places, is not so much the poverty of everyday life – more the poverty of ambition. It manifested itself in Brexit - and where I grew up is the heartland of Brexit England. A visit to the wonderful New Art Gallery in Walsall a few months ago reminded me of the limits of cultural regeneration - inside a thriving community glad for the opportunity - but outside, nothing had changed, if anything had gotten worse as recession and austerity had hit the town hard. 

English fiction rarely writes about such places – or rather rarely publishes them. LGBT writers like Alan Hollinghurst or Sara Walters set their novels in the upper classes or in a colourful urban past; BAME writers like Salman Rushdie are able to give us a global canvas; the traditionally middle class male writer gives us characters who are Professors or Lawyers or Colonels or Fashion Designers or Composers, not toolmakers, or factory workers, or clerks.

But of course, the idea that one should just write “what we know” when “what we know” is of so little interest to the London-based publishing trade is also an affront. The provincial writer – or at least this one – is fascinated by power structures, by the rich and successful, and by the hustle of the city. Yet even in my London-based novel “High Wire”, which I completed nearly twenty years ago, the urbane metropolitan scene of art openings, dot com companies, political crookedness, and the like, is interrupted at some point as my protagonist returns to the Midlands to see his dying grandfather in his nursing home. Moving forward to the present, and the last few stories I’ve had published have been about characters far removed from myself – yet, I feel there’s always a groundedness to what I want to write, not too far from the surface.

It’s great to hear that there's a new crowd-sourced initiative has been started by Kit de Waal, a book of new writing that looks to find new voices from working class communities – and will pair newer writers with writers who have come from those backgrounds. You can fund it here - though whether this is the right model for this sort of anthology we'll find out I guess  - surely it would have been good for one of those class-bound London publishing houses to commission such an initiative? Perhaps this became the only route. There are writers I know, such as Paul McVeigh and Lisa Blower, involved with it, and it will surely help shift the dial a little. 

Anyway, its got some way to go until it gets funding - but lets hope it has a galvanising effect on an industry that has been for far too long ambivalent about how many people in this country live. 

Let's also hope - since being "working class" isn't a static state, that it doesn't just become a platform for gritty urban voices, but can also reflect the sort of ordinary background that I came from (the 1930s semi I grew up in is on the left hand side of picture at the start of this article) and that those new voices don't have to just write autobiography - the BBC and the Northern writing agency seem particularly prone to want "northern" writers to write about "northern" subjects - but can write experimental fiction, genre fiction, literary fiction whatever they like. 

Wednesday, December 27, 2017

1974 by David Peace

Reading David Peace's debut novel "1974" in 2017 - after "The Damned United" book and film, after the "Red Riding Quartet" that this was the first part of was completed and filmed, after "GB1984", his novel about the Miner's strike - is interesting, because you think on the one hand that you know what to expect - Yorkshire noir, clipped verb-less sentences reminiscent of James Ellroy - but on the other hand, the novel has to be considered on its own merits.

Our narrator, Edward Dunford, is a crime reporter on the Yorkshire Post, recently returned to his hometown after a spell in London. Such airs and graces as the capital have given him are hard to shake off amongst the hard drinking journalists and policemen who are now his regular companions. Yet, he is in a hurry to get somewhere. His first front page byline has come too late - his father has just passed away - and besides the Post's main crime correspondent always seems to be given the bigger stories. Yet, there's a big story that has just landed, the only problem is he's only just coming to terms with his father's death. The abduction of a young girl brings a big story his way. At first there's the usual pleas from parents, but the cynical hacks and coppers think - know - she must be dead. When she is found, the brutality of the killing shocks them all. Some of this makes the front pages - but so much is kept away - held back and shared amongst the professionals. A good relationship between the local paper and the local cop shop is critical to both professions yet the Yorkshire police are a law unto themselves in 1974.  Like so many city forces in the early seventies getting a confession, by whatever means, and by whomsoever, is their main stock in trade. This is the Christmas of the IRA's Harrods bombing. The police hate the Irish, they hate the gypsies who are camped on the edge of Leeds and in a surreal piece of horror early in the novel Dunford is invited along to see the clearance of the camp - gypsies being beaten up, tents and caravans set alight. None of this makes the newspapers.

Trying to get his head in front of the existing Post crime correspondent, Dunford does background checks - links back the murder to other child abductions - goes to see those parents, to get some background. When the body is found, and a local simpleton confesses to the murder, the big story has gone - or so it seems. This is all in the week's leading up to Christmas, and the dark, cold weather is a strong feature of the novel. Peace shows early on how he can create an atmosphere that is more than just dropping period song titles. The choppy Ellroy-esque prose is perfect for this. After all, Ellroy's L.A. Noir books set in the febrile Hollywood fifties, do exactly the same thing. By transposing it to a gritty, grimy Yorkshire Peace shows a keen eye for a period of history that - in 1999 - was just receding into myth.

The plot itself is complex and frenetic, with a massive cast of characters - with everything being connected in a labrynthine way - so that local politicians and property developers will do anything to get approval for property deals - not caring who stands in their way - and in this moral cesspool, their own predilictions - child pornography, rent boys, violence - become as connected as everything else. Everyone has a secret. For Dunford, the chase of the story soon becomes personal - but the frenetic pace makes you wonder how exactly? He ends up fighting his own newspaper editors who only want so much scandal - not so much that it will break the bonds they have with the local cops and poltiicians.

Dunford is no angel - even as he keeps getting warned off and beaten up - he's quite happy to use the dubious methods of his profession to get access to witnesses, to get an angle. When he gets sexually involved with the mother of one of the missing children, its like he crosses a line - even though hes been, up to that point, seeing a girl on the paper. Untethered since his father's death he quickly loses sense of perspective as things spiral out of control. Its a breathless novel - and one horror and atrocity is soon replaced with another - as the moral turpitude seems to seep into everything.

The historical back story is given some space - reflecting on a real child murderer - the Cannock Chase murderer  - from a few years before, and hinting at the political machinations of this year with its two general elections and its strikes. But Peace is not fully committed to that just yet - in this book it's a larger than life, if somewhat generic crime story that is being spun out. In some ways this would have been a familiar book landing in 1999 - there had been Jake Arnott's "The Long Firm" series for a start, and British crime writing had recently got more brutal and grisly, having to compete with their American counterparts. Yet I also think the sheer nastiness of the book would have seemed less shocking then. The scene where Dunford has violent sex with his girlfriend seems over the top and visceral even as it contains some of the novel's most lurid writing. Peace doesn't skimp on describing the violence but he's also observant and sometimes lyrical

With its breakneck speed, period setting, and mix of the real with the fictional,"1974" seems an important debut. I know from the TV series that the Yorkshire Ripper becomes a subject of later volumes in the quartet. Perhaps the only telling omission, is that in this violent paedophiliac ring that he describes, it is politicians, policemen and property developers who are keeping the secrets - not the larger-than-life TV personalities of Operation Yewtree, which would soon become real-world news following the death of Saville. 

Thursday, December 21, 2017

Cat Person and Reality Fiction

I finally got around to reading "Cat Person" ,  the Kristen Roupenian story thats gone viral after appearing in the "New Yorker".  It's a good story. Suggest you read it first, before reading this.

Ok, where were we. The protagonist of the story is a student, 20 years old (this is an important plot point), who works at a concession stand at a cinema. A guy comes in - in his thirties - but we only get that later - and buys some liquorice.  She makes a witty comment. The story is self-aware. "Flirting with her customers was a habit she'd picked up back when she worked as a barista, and it helped with tips. She didn't earn tips at the movie theatre, but the job was boring otherwise, and she think that Robert was cute."  It's not first person, but it may as well be. The reader is told she is flirting though - the line wasnt that funny so it needed telling - and importantly "Robert was cute." This is almost old fashioned - pre-Tinder dating if you like. It's also contentious - of course the pretty young girl makes nice with the customers - but isn't it the older man's arrogance and entitlement that expects a nice remark to move on to something else? Robert makes the next move and gets her number - but the relationship is then a text one. (I get the feeling its an old story - or maybe the social media interactions of today wouldn't be so easy to create a tension about.) One thing leads to another, but of course the story has a twist or two - he's a bad kisser; and not put off by that; she finds out he's bad in bed as well - at the time they're having sex and she really doesn't want to do this anymore. He, on the other hand is not quite the slightly awkward older man (in his thirties, so not that old) he starts out as, but keeps going on about her breasts. Its part funny, part cringeworthy, but it reads like a missive from the dating frontline.

This, I think, is why its been so popular (Roupenian has now just inked a massive deal - good luck on her, its a rare talent to communicate to a mass audience via a short story.) Yet its also a very New Yorker story. It's not hard to think of Margot as being one of Lorrie Moore's small town heroine's from the eighties, lonely in a strange town. The relationship story is a commonplace - but ever more so with more celebrity writers. The breezy style is part Helen Fielding, part Candace Bushell. I've read similar in Molly Ringwald's collection, or with a weirder slant in May-Lan Tan's "Things to Make or Break." Those stories though, felt more fictional than this one. In some way's this story is being read as if it is non-fiction. This is perhaps David Shields' view in "Reality Hunger" - that fiction has had its day - breaking through.

Like I said, I liked the story. I'm impressed it got picked out for the New Yorker, though its not exactly an outlier for them, and presume that the writer had already some track record, or backing. It almost reads like its precision-tuned for the age, but like I said its kind of old fashioned as well. To British ears, Margot's naivety is what comes to mind. She doesn't seem to have friends - at least not whilst she's dating Robert - later, her friends steer her away from him, when he appears in the student bar. She imagines telling a future boyfriend about this "urgh" experience. Robert has two cats - but we don't see them on the one time she visits his place. That sexual experience comes out of them being turned away from a bar because she hasn't got an ID on her. One forgets the American weirdness around alcohol. (Don't think anyone at my university would have had sex,if there was no alcohol before 21.)

I've always felt the best stories have the ring of truth but may not be true. I'm sure this is more than just a diary item memorialised, but there is an bit of prurience about the story's popularity. It's been used as if - in the days of Harvey Weinstein et al - this, which is after all a story about consensual, but unsatisfactory sex, which the girl then chooses to use as an end to their relationship. I was reminded of a couple of stories I wrote a few years ago which were similar missives from the dating frontline. Maybe I should send them off again....

Tuesday, December 19, 2017

Literary decline

Its rare for Arts Council announcements to get everyone in a lather, but last week's report that they fewer writers have enough to live on, and that the decline in sales of literary fiction is to blame, seems to have caused a bit of a fuss. "Literary fiction in crisis as sales drop dramatically" is reported in the Guardian.  ACE's literature director is Sarah Crown, ex-of the Guardian, and so it seems like there's been a bit of a step change in the way that ACE looks at literature. It's always been the Cinderella of funded arts, as their was an understanding that the "market" looked after itself and that funded intervention went for poetry, or fiction in translation.

With over 1000 comments and 5000 shares, the article has clearly struck a chord - but I'm guessing, like when someone comments about faults in a story, its easy to see what's wrong, more difficult to see what needs fixing.

I've always found it annoying that here, in "the land of Dickens and Shakespeare", our arts funding goes so proportionately to other art forms that we act as mere receiving houses for. I've nothing against opera or the classical repertoire or dance, and recognise the high costs of staging such things; but amongst the small pot of money that subsidises the arts literature has always got crumbs off the table. In twenty years of trying seriously to be a writer, my public subsidy is probably in the hundreds of pounds, and then more accidental then anything.

But I'm not really that bothered about public subsidy for literature per se - for that needs to come out of some kind of coherent approach. Its forgotten now, but when Tony Blair established Nesta, as the National Endowment for Science Technology and the Arts it gave a yearly stipend to "fellows" - I think it was £25,000 a year for three years. It was a great ideal but of course those who received it, in the arts at least, were consummate insiders, primarily.

Poetry, always a marginal commodity, has thrived over the last few years as a kind of participatory art - fuelled by individual passions, small presses (some with subsidy), live readings, and a generational shift that has opened up the artform considerably. It ranges from the performance poets like George the Poet and Kate Tempest, to the mainstream literary festival favourites like Carol Ann Duffy and Simon Armitage, to a more interesting experimental side - now coming to the fore with editor-poets like Emily Berry. Something has gone right here - and oddly enough, I don't think its the "dumbed down" idea of themed poetry days, or Instagram poetry; but a slow inexorable building of a networked culture of individuals putting on their nights and running their own magazines. Even if the BBC and the main newspapers are still reluctant to feature anything that's not published by Cape or Picador, poetry seems in reasonably good health. (The sales of individual poetry volumes might be another issue entirely.)

What is "literary fiction?" I guess it has become a "genre" in its own right - but really it should just be referred to as "fiction". For as soon as you tie it down - individual novels, rather than series, (well what about the Melrose novels?); non-genre (well what about Hilary Mantel's historical fiction) the definition fails.  Yet, I actually guess we know what we mean - literature that might last, that has some kind of serious intent, and is not purely market driven.

When I started writing I'd have probably said the writers I most wanted to emulate were writers who were not really classed as either literary or not - but were certainly popular, and, importantly, good. Stephen King, Iain Banks, Douglas Adams. As I got a bit older I began to appreciate prose style as a prerequisite so Martin Amis, Angela Carter, Ian McEwan, Brett Easton Ellis, Jay McInerney, Douglas Copland and others became favourites. It's odd that some - all? - of these wouldn't necessarily have been classed as "literary fiction" in the past - they were all tyros of one form or another. Yet by the late 1990s, unashamedly commercial writers like Alex Garland, Nick Hornby and Helen Fielding, as well as children's writers like J.K.Rowling and Philip Pulman were repeatedly being referred to as "literary". That stretching of definition means that quite mainstream bestsellers are routinely touted as literary fiction.

The reality is that we are talking about two different things here. There's a desire for "literary fiction" to hold its own in the market place, but by including bestselling authors in the list, is it the equivalent of including Rupi Kaur, Pam Ayres and Spike Milligan in the poetry figures?

I'm thinking there are three sides to this - readership; publishing; and critical culture.

I have no doubt that appetite for literary fiction has gone down. But it's not so simple to say why that is. I suspect that the percentage of people buying books is not that different, but that the numbers of books we have time to read is coming down. I'm astonished by the diversity of things I find in my local charity shops - often unread. People are buying, but not reading. Over time, that "unnecessary" or additional purchase probably gets replaced. Books take space (despite the Kindles etc.) and the prime new audiences - college educated graduates, cultural engaged non-graduates - are, I suspect, space as well as time short. Looking for houses last year, hardly any new places looked as if "books furnish a room". The "habit" of book buying, reading, and keeping is one that can be hit at both ends - the recession no doubt reduced disposable incomes, and new audiences are increasingly not finding the habit. Our utilitarian schools and university system might be partly to blame. I work with a large number of bright, intelligent, articulate people in their twenties, thirties and forties, but their cultural consumption is largely blockbuster films and Netflix. A book becomes well known when it becomes a film - yet even though those book-to-film adaptions seem to get faster, I rarely hear a cultural conversation about it (whereas there would be for "Black Mirror" or "The Wire.")  Yet, it seems to me that in the UK we have a growing population. My generation are more literary than my parents thats for sure if only because more of us stayed on at school, or through the cultural exchanges between literature and pop music of the sixties, seventies and eighties. Are there books out there for us? You'd be hard pressed to find books aimed at male fifty somethings outside of non-fiction and old favourites, for instance. With a population of closing in on seventy million, there should be an ample appetite for good books - but here, the issue that Kit de Waal has recently raised about diverse voices comes into play - who are the poets and storytellers chronicling Brexit Britain?

But its a strange market that complains because people are no longer buying its product without looking closely at itself. One of the phenomenon of the last few years is that the publishers with money have given up on long term development, relying on an ever growing number of "indies" to take on the A&R role. The music industry should offer a cautionary tale here. In the early 90s the success of bands like the Smiths and New Order had made record labels more open to new talent. They started up "fake indie" labels (publishing is doing the same: Fiona Mozley's Booker shortlisted novel was a JM Original, part of the multinational Hachette group) like Blanco y Negro. Yet so many "indie" bands were signed and then given big budgets, or different producers, and few of them made back their investment, as the "product" had been changed to such an extent that its original audience drifted away, and the new "pop" audiences weren't convinced.  In publishing, there was a bit of a new writer goldrush in the nineties, where it seemed books were as likely to be launched in night clubs as in bookshops and I think one shop even had a shelf of titles endorsed by Irvine Welsh or Nick Hornby. The "chemical generation" writers mostly disappeared as quick as they appeared - either because they weren't very good, or were moonlighting from journalism or film or TV. Any survey of 21st century British fiction would need at least a chapter on the phenomenon that is Hilary Mantel's "Wolf Hall" and "Bring up the Bodies" - yet the former was 10 novels into a career that had begun a quarter century before. The "midlist" from which such writers could hope to appear sometimes seems to have disappeared. My own surprise at the publishing industry is that you're really only as good as your current thing, and that often might not fit the zeitgeist. That lack of career development is even more damaging in literature than it is in music. Drop Blur after their difficult second album and you don't get "Park  Life", drop that awkward short story writer George Saunders and you lose the rights to "Lincoln in the Bardo."

Of course the latter example shows that talent is often supported. I'm sure that writers like Gwendoline Riley, Jon McGregor, Sarah Hall and A.L. Kennedy aren't big sellers, or best sellers, but I suspect any list would want writers of that calibre on them. Yet, its a hard call. If Riley's latest hadn't made prize shortlists, or McGregor's debut hadn't been so successful...would they have had the opportunity? It's a myth that writers will write regardless - my own example is a good one, imperfect as it is - I wrote half a dozen novels between 1995 and 2002, and then none - the difficulty of fitting such a large complex piece of work into a working life was too self evident. The novel I'm finishing at the moment was started in 2015 I think; I've a decade of lost novels (not lost writing: there are stories, poems etc.).  Eimear McBride whose indie-published debut "A Girl is a Half Formed Thing" was such a phenomenal book, had put it in a drawer for a decade whilst she did other stuff.
So, writing is a long game, and the publishing industry used to recognise this. But of course, without an audience, even a low-advance book is a risk. With agents and editors changing jobs, imprints being bought out, its a bit like the Premiership - the "soul" of a club can easily be lost, with only the long suffering fans still caring; publishers are only as good as their list but would anyone outside the industry have any idea who a Random House author might be? Conglomerates have no institutional memory.  I guess its only fair to say that there are still plenty of good books published, but there are also far too many which are merely competent writers, doing something that fits in with the market as it is now. I don't pretend to be definitive on this - but I think you can tell from reading someone's work whether they have talent that needs nurturing, or are simply journeymen. Too many of the "talent spotters" in publishing rely on a very limited set of assumptions - about what a writer is, what a writer looks like, and worse still what a writer should write. The recession has no doubt not helped, and every publisher has writers they would like more people to read but simply haven't connected.

I guess this brings us to the third thing - the critical culture. Though I think Arts Council could and should do more about the first two above - there are many things that can be done to support and develop writers, and individual grants are no doubt one part of that; there are many good publishers out there who deserve some help in marketing and enabling them to develop a "critical mass"; the collapse in local government funding and subsequent loss of library sales is a national crime that the last administration wilfully perpetuated. But beyond that I can't help thinking that what we lack so much in the UK is a genuine critical culture. For if its no longer the "big boys" who are publishing literary work or getting it to the market place, then their privilege in terms of access to media, is one that seems increasingly worrying. We've all heard stories of how our major arts prizes are skewed in favour of large companies, through the "risk" involved in being shortlisted, or winning, sometimes beyond the resources of a small company; but there's also a horrifying conformity around our literary culture. The above article was in the Guardian, yet as the bastion of liberal media, it seems to have spent the last ten years or more ignoring the very indie scene that is now the main thing keeping literature alive. The BBC is even worse - with an absolute contempt for literature that you wouldn't find for any of the other art forms - everything populised, dumbed down, and without a whiff of innovation - and this an institution that relies on writing for so much of its successes over the years. Our universities are also to blame - the amount of creative writing graduates and postgraduates is a good thing in my mind - but how come this isn't also a keen audience for new literary work? Most university towns you'll struggle to find a single literary magazine on display near the campus and I doubt they are in the libraries either. In America, there still seems to be enough of an infrastructure - of critical magazines like Bookforum and N+1, short story magazines - from the New Yorker down to regional and college publication - to enable quality to rise. I'm sure they have their own problems. In Ireland, where literature is seen as a national treasure there remains a surprisingly strong pipeline of good - and often experimental - writers - who are somehow able to get published and sustain writing careers. I'm sure money is always an object - and as someone who has always worked, I'm not against writers having a day job.

Plenty that could be done: and I hope what is done is done with some imagination, rather than with just consultation, or a desire to "dumb things down". The dumbing, we have seen, rarely works.

Saturday, November 18, 2017

The Neglectful Poet

I am a neglectful poet. At the end of a busy week, after a busy month, I've collapsed this weekend, and staying in. I'm missing a poetry reading at the Whitworth this afternoon, and I realise I need to find some time to write up my own poetry. I've not stopped writing - far from it - snatched poems have been all the creativity I've managed in the last few weeks of travelling around the UK and Europe, but they're scribbled in my notebook - or in a few occasions direct to the computer. I'm not the sort of poet who write sequences so every poem is its own world, every blank page could turn into any kind of poem. Its only when I put them together, start looking at a number, that I maybe have an idea where I'm up to as a poet, what my concerns are, or how my style is developing. Every now and then over the last month or so Facebook has popped up to remind me of a few lines of poetry I wrote a few years ago, in most cases I don't remember the poem. It must be there on a computer file somewhere, I guess. A little poetry admin is required. Partly its because despite still going to a number of readings I don't think I've read poetry live this year - or wait, I read a single poem at a friends event impromptu - but certainly not a full set or group of poems. Neither have I been sending much off or having much published, so its easier to forget I'm sometimes a poet than not. Most poets I know have their neglectful periods, times when they stop writing or life gts in the way. I'm luckier than most in that I usually write poetry in an ad hoc way, and its rare that sees a full break. But I am a neglectful poet, and need to stop being, else the year will just fade out.

Monday, November 06, 2017

The Man in the High Castle by Philip K. Dick

Over the years, "The Man in the High Castle" has gone from being an obscure novel, to the book that people mention when discussing Dick's greatness. More recently, it has been the inspiration for an Amazon TV series of the same name - now on its third series.

Clearly, one small book needs to be changed a little to become a repeating series - but TV and film adaptions of Dick have long been known to dip into his ideas and his invented worlds and transpose their own casts and characters.

Written in 1962, barely a generation after the end of the second world war, and noticeably, at the time of the cold war's highest tensions, "The Man in the High Castle" reimagines a world where the Axis powers won the war - and as a result, Germany rules the world, but Japan is now in control of the Western United States even as the Reich has spread to New York and the Eastern seaboard. We learn that the terrible price that the Jews had to pay, continued, but spread further as the Germans exterminated most of Africa. At the same time, the old joke (probably a new joke in 1962), that the Americans won the space race because "our German scientists were better than their German scientists" is inverted in that the Nazis are colonising Mars, and that rocket propulsion allows privileged Germans to cross the Atlantic in less than an hour. These fantastical trappings are talked about matter-of-factedly, as Americans have gotten used to this new world. In California, where most of the novel takes place, the Japanese are reasonably benevolent conquerors, bringing with them a decorum and a sense of proper behaviour that even the brash Americans are beginning to take on board. The gradations of "favour" that an inscrutable Japanese businessman is aware of would take a lifetime for an American to learn, so of course, some follow the Japanese and become regular users of the i-Ching as a way of organising their life - the gnomic utterances of the oracle providing the wisdom of history rather than the rashness of individual decision.

Against this backdrop a more mundane tale is taking place. Bob Childan makes a living selling Americana to rich Japanese who are fascinated by the Old West. Frank Frink is a Jew who fled the East coast Reich and now works in a factory where they partially make fake Colt 45s made to look like genuine antiques. His ex-wife Juliana has disappeared into the unconquerable middle America which acts as a buffer zone between Japanese and German conquests, and he regrets losing her. In the Japanese areas there is a surprising new bestseller, an alternate history where the Germans lost the war.  The author of "The Grasshopper Lies Heavy", Hawthorne Abendsen lives in Wyoming in "the high castle" protected from potential marauders by its isolation. Amongst the Japanese, Tagomi is a high ranking trade official waiting for a visit from a "Swede" Baynes who is due in from Europe to talk business.

These somewhat unpromising plot points provide the "action" whilst a wider tableau takes place off screen. Hitler is alive, syphilitic and mad, with various factions of the Nazi high command still jostling for position - and part of that factionalism is at the heart of the story - with a plan being considered to wipe the Japanese off the planet, as also non-Aryans. When Juliana meets Joe, a truck driver, he suggest an adventure - to meet Abendsen. Nothing is quite as it seems. Joe is not the Italian he purports to be, but a German spy, and Baynes is also a German, passing on information about the planned destruction of Japan by certain Nazi factions. The antiquity market is a slightly strained metaphor for what is happening in America - for the "real" America that we know hasn't happened: the post-war boom, the American dream, are stunted, never happened. There's some similarities with Ayn Rand's "Atlas Shrugged", with Abendsen the equivalent of the mysterious John Gaunt, and the concentration on the American production line - Frink is manufacturing jewellery, but the Japanese suggest it could be better being mass-produced as trinkets for the poor.

In some ways its a clunky novel. The characters never seem much more than ciphers, and though there is some description of this alternate world, Dick doesn't go into many details - he talks briefly about the world as it now is, but this is no great feat of imagining a particular world; rather, both this world and the world depicted in "The Grasshopper...." are both fictions. The i-Ching is used throughout the book as being a guiding force - but for what? For chance and misfortune seem to be the actors in this new world. The characters own lives seem "small beer", hardly worthy of our attention. Yet the reason the book has endured, and won an award in 1963, are because, as ever with Dick, it is the potency as well as the elasticity of his ideas that inspires. On one level this could be seen as a pulp fiction, about the good and the bad, with the world situation as backdrop, but there's something much stranger - like in Ballard, for instance - in the way he sees the world - with the i-Ching as a central character. Abendsen is not the "man in the high castle" after all, but has moved to a suburban house with his wife; whilst we are left in all sorts of doubts as to which version of Nazism will triumph. In many ways the book has a circularity to it - so by the end we could just as easily believe this is the fake world, and that the world shown in Abendsen's book - a resurgence Britain, a new empire, is the real. And both have aspects of our own. What if all of them are true?

Wednesday, November 01, 2017

City of Literature, Get in!

Yesterday, during UNESCO's annual conference, Manchester was named as an UNESCO City of Literature. Get in! The hard work for this started best part of a year ago as far as I remember, with Manchester Literature Festival, University of Manchester, ManMet (aka MMU), and the city council agreeing a bid. Lots of legwork from Kate Feld, who went to pretty much every live literature night in Manchester (rather her, than me!) as well as speaking to writers, publishers and others with an interest in Manchester as a literary scene. Jewels in our crown are old buildings - namely our four great libraries, Chethams, John Rylands, Portico and Central (our local libraries, like Didsbury, are gems as well) - and places for dead writers, namely the very undead Anthony Burgess Foundation, and the lovingly restored Elizabeth Gaskell house; as well as publishers such as Carcanet and Comma press.

It's an honour rather than a pot of money, but its great that this not only sees our two universities working together (a shame we still can't mention the S-word to make it 3!) but puts literature at the heart of the Mancunian regeneration story, when its often been well behind sport, music, architecture and the like. Anyway, not any more. The considerable assets of the city are of course its writers, who are many and plentiful. Last night I was at The Other Room, where James Davies and Scott Thurston, made rare appearances at their own night. Other Manc-based writers of note in the room included Neil Campbell, John G. Hall, Tom Jenks, Matt Dalby, Amy McCauley, and my good self; not a bad subset for a cold Tuesday night competing with Man Utd v Benfica, Jeanette Winterson and Rebecca Solnit elsewhere in the city, and of course Halloween.

Manchester's writing scene has been very grass roots and thrived outside of much civic interest or involvement - that will hopefully now follow. We are definitely needing some kind of writers' development programme, as well as more opportunities for writers to work, perform and publish in the city. All of which myself and others fed into the submission to the City of Literature application.

The official press release is here and my previous thoughts on Manchester as a writing city are here.

As a civic bauble its a nice one to have, and I've long been an advocate of us joining the UNESCO creative cities network, as I'd seen what a brilliant thing City of Literature had been for Norwich, and also how music cities like Ghent and Bologna have benefited, but of course, the hard work starts here: taking Manchester's many literary assets and promoting them as something other than history, but as a key part of our radical, working class, multicultural, intellectually stimulating past, present and future.

Saturday, October 14, 2017

A Noble Prize for Ish

The Nobel Prize for literature is always a surprise. Though people still get surprised by it, wondering why, for instance, a slight, but popular novelist like Murakami hasn't won it. I don't know why Murakami keeps coming up, perhaps as a Japanese novelist with a worldwide audience, but if there's a British equivalent (there isn't really), then its certainly not Kazuo Ishiguro, who shares heritage and a Japanese name but little else.

Ishiguro is the first British recipient since the British-Zimbabwean-Iranian Doris Lessing. Unlike Lessing, Ish grew up in the UK, as well as coming of age in the early eighties and quickly becoming part of its literary establishment, albeit off in a side room somewhere, rather than front of house. A graduate of UEA, he was always mentioned as a second to McEwan as an outcrop of it's famous creative writing course; and a Nobel prize of course puts that to bed - and gives the UK's first city of literature its own Nobel laureate.

I recall reading "A Pale View of Hills", his debut, in the mid-eighties and enjoying it alot, though it did feel a somewhat slight, thin book, and I need to re-read it. "Remains of the Day", his third novel, didn't sound at all like my sort of thing - that default position of the English novel - a nostalgia for a country house past. I probably saw the film at the time but only read the book years later. Of course its much more than that. Ishiguro had found a perfect subject to match his interest in the unsaid, the understated, the dignity and otherwise of repressed feelings, yet one that was not set in Japan, but in England, albeit a version that was already much gone in the early eighties. It was of course a brilliant move, as it's a book that is both about the English establishment, and critical of it, and it is also a sad, human love story. Its fascinating that this would be the book that he would write. I've always wondered if McEwan, who actually comes from a very stratified British background, looked at the success of "Remains of the Day" (and later "Birdsong") and led to his own exploration of the upper class reticence that we find in "Atonement."

"The Unconsoled" - again a book I read along time ago - was my favourite of his at the time. It was another about turn. A sign that this novelist was wilful in his choice, not just of subjects, but of styles. Here we have the opposite of his Booker winner, instead of specific place and character, we have an unknown country, an unnamed protagonist. Ishiguro has never been a prolific novelist - the books seem to all come out as surprises, presumably after working on them for a few years. Perhaps this explains their diversity of theme and style. They have been popular around the world. I remember one interview where Ishiguro mentioned that he would make his language simpler, aware of the role of the translator; so he's not a writer unaware of his standing, but I was disappointed to hear this from a writer. In some ways this indicates his strengths and weaknesses. There are few writers able to build up such an accumulated atmosphere, from small moments, yet it isn't the prose that does the work so much as the accumulation. I always thought his next great success, the dystopian novel about children harvested for their genes, "Never Let Me Go", was a novella or a long story extended to novel length unecessarily. For me, the decision to set it in a fictional time place - a world that is deliberately anachronistic - was its real weakness; a sign of a novelist unable to quite deal with the contradictions of his ideas. The private school the characters are at is as if from the 1950s, and the echo of fifties Wyndham and other dystopian writers, is there, yet it is set in a notional seventies and eighties. Technology has gone on a different track, an alternate past, rather than alternate future. It makes for an odd read. Yet the humanism of the novel comes through in the end and what turns it into a great book; though I found so much of the set up unconvincing. With novels that also dabble in detective noir and fantasy history he's an impossible writer to characterise, certainly braver in his choices than McEwan or Amis for instance. Like Julian Barnes every book is different, and his lack of or avoidance of a signature style has made him convincing across the genres, whilst at the same time his books do share something - and I think this rather than prose style is what the Academy has praised - a certain atmosphere, a quietitude. His characters are almost always unknowing of their situation, accepting of their lot, until it is almost too late. It seems, in this instance, to be an update of more wilful writers like Beckett and Kafka; but there is no nihilism in Ishiguro, there is love,  and hope, and that humanism.

The Nobel, of all prizes is no judge of literary excellence, but it is it's own strange reading list; international in scope, adverse for whatever reason to the greats of American literature, and prone to like hyphenate writers - whether that is in their nationality, like with Ishiguro or Lessing, or in art form. His books, never frequent, have slipped to five year intervals, with the story collection "Nocturnes" splitting the decade between "Never Let Me Go" and the poorly received "The Buried Giant." At sixty-two this is hopefully no end of career prize though one wonders how this often garlanded, but similarly reticent writer, might be changed a little by the global status the Nobel gives him. An interesting, and worthwhile rather than worthy choice.

Saturday, October 07, 2017

The Sheltering Sky by Paul Bowles

Perhaps it was the idea of the film that had put me off reading this novel previously. In the 1980s there seemed to be a whole range of slick adaptions of 20th century literary classics – mostly from Merchant-Ivory though “The Sheltering Sky” was Bertolucci – and Bowles’ debut novel probably got tainted by it; though I’m pretty sure I’ve not seen the film either.

Port Moresby is with his wife Kit on an escape from a devastated post-war Europe. His father has died leaving him the money to do as he pleases – anything other than work – and he insists that he is a traveller rather than a tourist, though he always carries too much luggage, speaks only European languages, and insists on staying in the best hotel wherever he is. They are joined on this trip by the younger Tunner, an amiable adventurer who has fallen in love with Kit, but truthfully, is in love with them both in some way.

The style of the book shifts in terms of sympathies – written often as not in a localised internalised third person, only zooming out every now and then, a technique that creates the quiet claustrophobia that sets in from the very first page.

They are in Northern Algeria, but Port is unhappy there. His relationship with Kit is now sexless and they have adjoining rooms. He wants, more than anything it seems, to be away from everything, to be alone, but he can’t quite manage that true adventurer’s calling, and has dragged her and her luggage – and at the last minute, his friend Tunner – along for the ride. Port hates the world he has come from, hates Europe, America, and civilisation, but he also dislikes the colonial French, and more than that he loathes the Arabs and other indigenous populations, whilst being drawn into the potential excitement of an unmediated world. Kit, on the other hand, is there because she is scared of losing him – though in many ways he is already lost – and because her fear requires her to have someone to hang on to. Tunner’s puppy love asphyxiates her and she just wants time spent with Port, but when they are together they argue, or worse, fail to communicate. His very seriousness – his existential consideration of where he – they – are going is in itself something that Kit finds hard to take seriously; it as if the very emptiness of his life, and of his dreams, is now so obvious that she can only be drawn along with it. Her vibrancy is an affront in some ways to Port; who does as much as he can to hurt her, and in doing so, to double up on the hurt he feels himself.

He might be devastated to know she has been unfaithful to him, but before this happens, he thinks nothing of going off into the town and finding a young woman prostitute, who then steals his wallet. He is an American out of sorts in a world that is still in bits, and yet he is enough of an American to resent the theft, to want to use his money as more than currency – hating the haggling of the Arabs he meets, but at the same time wanting to always buy more than just a good or a service with his money. He at one point sees a blind woman dancing in a bordello, and is desperate to have her, but she is gone before he can make it happen. He is certain he has lost the chance of love.

The book is nevertheless one of stories told. The famous story of three girls who go to have tea in the Sahara, and are found with only sand in their cups. The great desert is always on the corner of the tale, until, as they head further south into it, it also becomes the tale, and in the third part of the book, becomes Kit’s very existence.

Along the way they keep bumping into an English con man and his mother/wife, who they try and avoid, except when it is expedient to take a lift with them. By separating himself from Kit and Tunner as he goes south with them – leaving them to take the train – Port seems to be willing the action to happen; yet he doesn’t find out about the betrayal (his betrayals of Kit are the greater.) There’s a compelling existentialism to all of this. The man who has no longer got a belief in anything, and the woman for whom there is still hope – but where the hope resides in her husband. Throughout, the prose is remarkable. The interior knowledge we have of each of the characters only makes more complex their motivations, rather than allowing us to understand them. The usual motivations – money, lust – are replaced by different ones; of living a meaningful life. A dark reading of the novel could see it as being a book about the devastation we all must feel, when we realise life is not leading to something, as much as away from something. Port’s illness manifests itself as he takes them further and further away from civilisation; where only Kit can see him suffer. In this she finds her own motivations to live – but then – unable to escape and lost in a desert where she could just as easily perish, she becomes herself another victim of circumstance; perhaps achieving the negation of personality that Port was looking for. 

Sunday, September 17, 2017

20 Years Ago

This weekend sees the students returning to Manchester and local kids giving up their summer jobs to head to other cities. It suddenly struck me that twenty years ago I was also starting at University of Manchester, for my M.A. in novel writing.

In truth, I'd been prompted to memory by the documentaries about Princess Diana's death. I'd left my job in Croydon the previous week, with a short break before starting at University. My dad had taken almost all my stuff back up, leaving me with just a suitcase for my final week in London in a now spartan bedsit. I'd woke up on the Sunday morning to be told that Princess Diana had died in a car crash in Paris. "Oh, really?" I probably said, and rolled over and back to sleep. Diana was only a vague presence to me in 1997 - she'd left royal life, and all the soap opera that came with her marriage breakdown. I'd never had much time for her, but had a vague respect that she'd done some good work recently around land mines and AIDS; but tabloid Diana, with the tacky boyfriends and paparazzi followers was something that had passed me by. I'd been living in London for a year, and I'm pretty sure she'd not been a presence in the city during that time - the dog days of John Major's failed minority government and the triumphalism of Tony Blair's electoral landslide. At the same time I was listening to an eclectic mix of music - the Britpop overflow of rubbish like Stereophonics etc. that came along in the wake of Oasis's regal success and overbloated third album "Be Here Now" only just giving way to the more cerebral pleasures of Belle and Sebastian, Spiritualized, the Verve and Radiohead. I'd write about a lot of this - music, politics, art - in the novel I was beginning to think about.

I went back to London for a week, and the indifference to Diana was hard to hold, given the hysteria that took hold of the country during that week. Alone in my bedsit I found myself drawn to the rolling coverage and even to some extent drawn in. On the morning of the funeral I meant to get up early and join the throngs on the Mall, but then I must have stayed up late, overslept, and watched it on television - or more likely saying my goodbyes to the city that had been my home for just less than a year, glad to be returning to Manchester.

Before I decided to go back to college I'd been seriously writing for several years. The old "bottom drawer" novel had been followed by one that I'd written in Manchester in 1994-5 in between the day job, called "Lineage" which got shortlisted for the Lichfield prize, the first time anyone outside of friends and family had given me any approval. Until then, I didn't know if what I was doing was "real" writing, or, like my music, I was just an enthusiastic amateur. Going down to London I'd at least met a few writers and other creatives. There were a group of poets who used to meet up in a pub in Brixton, scabbing drinks, and not, as far I could see, writing all that much. There was the odd journalist or novelist I'd meet at a party, either rich, drunk, debauched or more often than not a combination of the three. In London I'd tried to begin a literary life: I'd had a few things published, a few poems in little magazines, whose titles I noted down when I visited the poetry library. Who knew that Smiths Knoll, the Frogmore Papers, the Rialto, Other Poetry, Iota, Fire et al, were where the action was happening? At the same time I was visiting art fairs at Exmouth Market, foolishly failing to buy Tracey Emin postcards as the YBA ship began to sail. I attended a poetry group once or twice at the local library but the room - or the poets, it was hard to tell - smelt of wee, and I didn't go back.  I also started a quirky magazine called "Bananas from the Windward Islands". Quirky because I didn't put the poet's names on the pages of the poems, as I wanted them to speak for themselves. I got it photocopied at a local print shop. Somehow I also got involved in a letter exchange with a woman who asked for contributions which she'd then photocopy and then send round to the others in the exchange.

None of this was particularly satisfying, and I wrote another novel, and started a further one, in the long evenings, after a boring day at a hated job. At some point I applied to the UEA and had an interview where Andrew Motion, his painkillers wearing off after a long day interviewing me, didn't exactly show much interest in my prose (which I was there for) or my poetry (which I wasn't.) The other writers being interviewed that day were literally the first novelists I'd ever met - but several had already had their books published so I was "competing" if that's the right word, with a disadvantage. No matter, when I applied for the M.A. at Manchester with a short story, I was informed before I left "don't worry, you're on the course" - which was a good job since I'd already handed my notice in.

So twenty years ago I'd downsized to a student house - with three other post-grads, on the edge of the notorious Nell Lane estate in Chorlton - and was about to change my life. Whether it stayed changed is another matter, twenty years on, still working the 9-to-5 in a more interesting but none arty job; with a chequered history of publications and readings behind me; but with a good proportion of my friends now being creatives of one sort or another.

Though I was twenty thousand words into a noirish futurama called "Sleeping Next to God", I was advised to start something new. I thought I'd begun the novel which would become "High Wire" on the computer but a few years ago found a first few pages in a neat longhand. That novel was set in London - beginning on election night 1997, and ended several months later with the Thames Festival where the tightrope walkers Didier Paquette and Jade Kindar Martin crossed over the Thames in mid air. I'm guessing had it been published than any sequel could well have started with Princess Diana's death and funeral. That tightrope walk would at least give me novel its title.

Around this time I caught a taxi in for my first day at college, as I wasn't sure which buses went and I was running late. I queued up and met one or two of my future friends and fellow students. I must have met the tutors Michael Schmidt and Richard Francis (the latter having interviewed me) shortly afterwards. So everything had changed, and maybe if my life since then my life has bounced back into a more familiar shape; the life of letters never really presenting itself; then so be it; I'm still writing.