writing
TLC and I are off into the west this week. I don’t think they’ve heard of the Internet where we’re going, and phone signal is sporadic. So updates this week will be intermittent and tersely worded at best.
Instead, I will be settling down to some good old fashioned reading and writing, without the distractions of yer TwitTwoos and Facebonks and an RSS feed that don’t ever seem to quit.
Serenity or madness await.
Yes, I know, fourth post in a row about the end of the world. I can’t help but find the subject of a failed Rapture fascinating. The following story came out of the idea of a calling that worked, but not quite in the way that anyone expected.
X&HTeam-mate Rob May asked me one of those questions last night.
http://twitter.com/robwmay/status/70598204093235200
I replied with a flippant fob-off, but my blood ran cold. It was too closely related to one of The Big Two Questions That All Writers Hate. One of which is “Where do you get your ideas from?” (stock answer for that one – “there used to be a guy operating out of a lock up under the rail bridge by St James St station in Walthamstow, but now I just do what everyone else does and get them online, ideas4u.ru). The big one is “Why do you write?” And there is never an answer to that one that won’t make you sound like a self-absorbed arsehole. “I knew when I was a child.” “I had to find somewhere to put all the stories.” “It’s a calling.”
The swine of it is, all of these are true to a greater or lesser extent. I’ve written since I was a scrawny, speccy runt. I was always good at it, and I always enjoyed it. Even now, drifting into the fugue state where a tale just seems to present itself and all I have to do is write it down is one of my greatest pleasures. I must have been put on this earth to tell these stories. It’s my mission in life.
See. Told you. Cain’t hep masel. Self-absorbed arsehole.
Of course, understanding the grunt work that comes out of polishing and repolishing my words until they shine is another story, There is a world of difference between the first draft that can be banged out in a six-week period if you’re disciplined (braces for howls of outrage from the Nanowrimo crowd) and making something that people would actually want to read. A story without plot holes, clunky dialogue, cookie-cutter characters, screeds of needless exposition and the hundred thousand little details that can derail a tale if you don’t get them right. Changing eye colour is a good one. Or everyone having the same eye colour. I’ve had heroines that change their age from page to page. The basic misunderstanding of Newtonian physics that sends the engine of your plot off-track and into the trees. I’m writing this on a train, you can see where the metaphors are coming from.
None of which answers Rob’s question. Bear with me.
The thing with writing is that it’s a monstrous, time-eating task that will gobble years like a sugar-starved tween presented with a handful of Haribo. Blogging is very much the opposite. It’s a quick, sharp hit, an espresso instead of a venti moccochoccolattechino with extra whipped cream and sprinkles and three flakes. It’s first draft, front-lobe spillage. It’s 4-track demo, rough sketch, workshop level output. It’s also pragmatic. I can clear out brain cruft that needs to go somewhere, I can work up ideas, try things out. It’s a place to react, to rage, to vent, to roar. It’s the mouth of the gushing hose. Twitter’s great for a lot of things, but it doesn’t let me bend the language in the way that I like. I can’t roll out a run-on sentence in 140 characters. And I LOVE run-on sentences. Blogging is as close to I get to an honest, true immediate response to the world and everyone in it. (As close as I get? Well, take a look at the title of the blog you’re reading…) Broadcasting at the click of a trackpad.
And of course, it’s an exercise in vanity. How could it be otherwise? I’m labouring under the assumption that there are people out there that want to read my views on the AV referendum, on horror, on comics, on beer, on food, on every little thing that pops into my tiny head and gets me to fire up Marsedit. Writers are egoists. They have to be. How else could you blare your opinions at the world if you didn’t think they were worth the world’s attention? Why do it if you didn’t think someone was listening? The blogger that doesn’t check their stats after every post isn’t really a blogger at all.
Rob, I’m sorry, I’m still not sure that i’ve answered the question. X&HT is a huge part of my writing life. It’s a home, a platform, potentially a shop window, a shelter, a stage. It’s me, in some ways, and a weird simulacrum of me in others. It’s a distraction and a workspace. It’s me and the cartoon rabbit-eared, fluff-tailed version of me all at one. It’s an excuse, Rob. It’s a half-truth.
Why do I blog, Rob? Because I can. Because I must. Because.
Yesterday, we cycled down bridle paths, skirting jewel green fields and dozing livestock, to Mapledurham House in the heart of West Berkshire. It’s the home of the oldest working watermill in the country, and you can buy flour ground on the premises. It makes excellent loaves, and they will also sell you miller’s bran which adds a beautifully nutty crunch to your morning cereal. We bought herbs and ate good pork sausages and venison for lunch, washed down with a pint of Hoppit from the Loddon brewery, about ten miles away. Then we sat and ate ice cream, sitting amongst daisies by the side of the mill pond in the sunshine.
Today, we took the train to Oxford. It’s May Day, and traditionally the students are up all night carousing before gathering on Magdalen Bridge to hear the college choir sing at sunrise. There are morris dancers, and an air of springtime festivity spices the air. We had a pint of Lunchtime Bitter from the West Berkshire Brewery at the Turf Tavern, a well-kept secret tucked in a maze of alleyways. Deer cantered in the grounds of Magdalen, and the freshly refurbished quad at New College sparkled in the clean air.
I have never felt so proud and happy to be English this weekend, and it had nothing to do with the dog-and-pony show laid on for the tourists over That London way. This country is filled with delights that everyone can enjoy, regardless of your family connections or who you get to marry. My England is a long way from airless pomp and pageantry. In the fields of Mapledurham, on the bridges of Oxford, my England blooms.
TLC gives us two visions of The Greenman on her blog, which just keeps getting better. And an excellent choice of soundtrack, too!
In the catacombs that spread like cancer beneath the big house at the bottom of The Mall, the lizards stir. They are by nature nocturnal, but have trained themselves to emulate the primates they have learned to impersonate so convincingly. Night hunts are saved for very special occasions. After sunset tonight, the lizards will be at their dreadful sport in the streets of London, celebrating their final, long-sought victory.
I don’t know what drew me back to Blogger last night. I changed this place over to WordPress in 2007, pulling over most of the archive over in the process, and have had little cause for complaint. I barely even consider the early years. Nonetheless, I logged in, to find a surprise.
According to the Dashboard, I joined Blogger back in April 2001. Which makes this my tenth year of writing and publishing online. Good grief.
The problem is, I have no way of proving it. In a dick move that I could only ever pull on myself, The Ugly Truth is open to invited readers only. I am not on that select list. I’ve somehow managed to lock myself out of my own blog.
Of course, there’s no guarantee that I joined Blogger and began writing straight away. I have vague recollections of a couple of false starts, vague entreaties of impressive future content followed by months of silence. The Ugly Truth (named after a Matthew Sweet song, not the godawful Katherine Heigl/Gerard Butler romcom) was my first serious attempt at a blog, and was closer to a Tumblr than the polished new-content machine you enjoy today. There were a lot of links, and the occasional stab at something heartfelt. It was intermittently updated at best, and no different to a thousand other sites out there. It was, of all things, a post by Warren Ellis on the need for original content that inspired me to ditch that approach and, once Blogger no longer suited my needs, the move to WordPress under a new name.
I have no record of any of this. The earliest post in my archives dates to December 2004, which means my early attempts are lost to the aether. I’m content in this. It’s no great loss to the world of blogs.
But the Blogger years were a start, and they led me here. I think all I can say with any certainty is that April 2011 marks the ten-year anniversary of my intention to blog. And that’s got to be worth something. I suppose. Hasn’t it?
For the last fifteen years, a man called Gimpo has been on a journey. It’s a journey that for most people would have little point, and less meaning. But for those who enjoy the idea of simply getting in a car and driving, Gimpo’s trip is the perfect distillation of the joys of travelling without a set destination, going for the hell of it. Driving just to see the road disappear beneath your wheels.
Since 1996, Gimpo has spent a day each year driving around the M25. In fact, a day and a bit, as he takes 25 hours. He plans to do it until 2021. That’s a 25 year circumlocution of one of Britain’s most hated roads. Gimpo calls it the M25 Spin, and it’s quietly becoming one of the most intriguing art projects out there.
He has form with esoteric art. As an honorary member of The K Foundation, he was with Jimmy Cauty and Bill Drummond when they torched a million quid on the Isle of Jura in 1994. As manager of The Foundry, a bar and art venue in Shoreditch based in an old bank, he would set off army-issue thunderflashes in the vaults to feel the concussive thump in his chest, turning the thick concrete walls into a giant drum.
But the Spin is something else. It’s a mobile, participatory artwork. Anyone can join in, meeting up with Gimpo and his heavily decorated white van for a guest lap or two. Take a seat in the back, where there’s always a sofa, good music and something to drink. The Spin is part celebration of a mobile lifestyle, and the idea is to have fun.
Dom has been helping to document the work for three years now, and I tagged along for this year’s interview. We met Gimpo in his East London back garden on a glorious April afternoon. Over a couple of Red Stripes, some green ginger wine and a Lucozade shot, Gimpo took us through the history and future of the Spin.
When he was a boy, he told us, his dad would let him sit up front on long journeys. He would put his chin on the dashboard, and his entire field of vision would fill with the road unspooling beneath him. Soon, he would slip into a dream state, where he was the master of his own destiny.
Later, as a commercial driver, he would find that he was constantly pushed to meet deadlines, rushing and stressing to get deliveries to their final destination. The journey was no longer the point. He yearned to get back to the time when being behind the wheel of a car or van could become an excuse to simply be. The Spin was born out of those experiences.
Gimpo loves the M25. He believes that most people hate it because no-one travels for the hell of it anymore. We go out to get somewhere. We don’t go out just to go out. The Spin is about recapturing that feeling, the fugue state that long journeys can often induce. He records each Spin, upgrading his kit when the budget allows, moving ever closer to the dream of being able to gather a whole 25 hour session seamlessly, without changing tapes. For now, he captures one circuit at a time and bolts them together as best he can in post.
The Spin was featured at the Portobello Film Festival last year, and Gimpo insisted that anyone that wanted to look at the footage would have to sit through at least one circuit. He wants the road to hypnotise us in the same way that it does him, and that’s a process that takes a bit of time.
As commentary on modern travel, on the way we look at the London Orbital and as an inspired piece of performance art, the M25 Spin is fluid, wise and spiritual. It takes an experience that most of us find boring or repellent, and gives it a strange ungraspable beauty. The more I think about the Spin, the more I agree with psychogeographer Iain Sinclair, who has called Gimpo a visionary. He sees something in the London Orbital that we simply cannot.
For more info, your best first pitstop is Gimpo’s website. The Spin takes place on the weekend before Mother’s Day every year, mustering at Thurrock services.
World Book Day is a celebration of all things literary, a chance to put your hand up and say, “Hell yes, I’m a reader. Give me a book and I’ll read the living stuff right out of it!” It’s an important event that brings together writers and readers worldwide and unites them under a common, quarto-shaped banner.
But there’s a problem. Author Stephen Hunt watched the BBC’s coverage of the day, and noticed that there was something missing. Something big.
Apart from a brief mention of Philip Pullman’s Northern Lights as a YA crossover, SF, fantasy and horror were not represented. No Pratchett. No Rankin. No Tolkein or Lewis. No Iain M. Banks, no JK Rowling. No China Mieville or Joe Abercrombie. No Clive Barker, no Christopher Priest. Genres that between them take between 20 and 30% of the UK book market were roundly ignored.
I wish I could say I was shocked or surprised. The publishing world is more than happy to make money from the fantastic end of the market, but they’re not so keen on promoting it. You’ll hardly ever see SF or fantasy on the front-of-house deals at your local Waterstones unless your name happens to be Rowling or Meyer. As Hunt points out, it’s pure and simple snobbery. What’s more, it’s damaging.
The publishing industry always depicts the book as a gateway to a world of imagination, to a place of limitless possibility, of endless adventure. At the same time, the act of picking up and reading a novel is considered to be an act that is good for you, in the same way as running twice a week or eating a high-fibre cereal for breakfast. It’s an educational action, a pathway to moral improvement and good citizenship. In some ways, you can be defined by what, and how much, you read.
The perception amongst most mainstream critics is reading SF, fantasy and horror is not an improving activity. That these books are of low character, of dubious morality. That somehow you will put the book down, and not gain the insights into the world and it’s people that you would if you’d only pick up something by Margaret Atwood. Or Jeanette Winterson. Or Kazuo Ishigura. Something without spaceships or aliens, clones or creatures grown from genetic experiments gone wrong.
You can see where I’m going with this, can’t you? All the above authors have written SF. They simply choose not to identify the books as such for fear of hurting their profits.
It’s the same skewed thinking that forces Iain Banks to flag his Culture novels as written by Iain M. Banks. As if they were somehow written by a different person. He at least is pushing the envelope, however gently. His latest “mainstream” novel, Transition, was an SF book in all but name, and contains references to a culture that may be … well, The Culture. But the book is packaged and marketed in a very different way to his SF excursions. The back cover blurb calls it a “fable”.
Stephen describes SF, fantasy and horror as a “gateway drug” to the world of literature. I agree. What’s more, that’s proven to be true by one of the growth markets in the publishing sector – the young adult or YA book. This new stream is stuffed full of fantastik stories – and I’m not just talking about Potter or Twilight knockoffs. Cory Doctorow’s agit-punk books such as Little Brother and For The Win are politically driven and yet still filled with action and drama. Scott Westerfield’s Uglies postulates a world where it’s a crime to be ugly – a pointed and direct comment at the sort of world in which kids struggle with their self-image every day. YA is where a lot of the interesting stuff is happening right now.
Should I be bothered by the fact that the BBC ignored the fantastik? It’s fair to say that a lot of people do buy, read and enjoy genre fiction, and it seems to tick along quite happily without mainstream critical attention.
But a lot of truly great books, head and shoulders above the latest “contemporary” efforts in terms of literary merit, plot, character and inventiveness are marginalised purely because of their subject matter. It’s a stigma that prevents deserving authors from reaching their full potential readership. This is simply not on, and needs to be addressed.
It”s a real shame that genres need to be compartmentalised, but it’s a fact of the industry. However, the playing field should be fair. A good book is a good book regardless of where or when it’s set, irrespective of the species of the main character.
What next? Well, Stephen’s set up a Facebook page, and there’s a petition to sign. If you love SF, fantasy and horror and feel that it didn’t get a fair chance in the BBC’s coverage of World Book Day, you know what to do.
I’ve mentioned in the past how a long walk will often suggest characters or situations to me. It’s a process I’ve likened to having someone fall into step with me and start to tell their story as we go.
I had a hospital appointment this morning, and afterwards decided to take a stroll back through Southwark, across the river to St Pauls and up the Strand, revisiting a few old haunts. Damned if I didn’t get a companion, murmuring in my head as I strode up Carter Lane. She had a name which I’d heard before.
I wrote down the things she told me in a couple of caffeinated jolts in shops along the river. I haven’t told the half of it. The name Westinghouse is mentioned at one point. Astute members of The Readership might recall I’ve talked about her before.
Meet Cerise Sauvage. She has a soundtrack that you might find appropriate.
The producers and cast of most recent TV SF shows are at pains to point out that their programme isn’t actually science fiction at all. They tie themselves in semantic knots to make sure we don’t think that their show is anything to do with that woo-woo spacy stuff. This is as true as ever when we look at the press for the BBC’s new drama, Outcasts.
Set designer James North has said “This is futuristic drama with the focus on pioneering humans who, out of necessity, just happen to be living on a planet that isn’t Earth.” Showrunner Ben Richards elaborates, making it clear that the new world of Carpathia is “… an alien planet without scary monsters. Little green men and fearsome creatures isn’t what Outcasts is about at all.”
Which to my mind is a bit of a shame. A first contact show might be more interesting than the programme we’ve ended up with, a frontier drama with a simple message. We can’t ever make a fresh start, because wherever we go, we have to take ourselves along. It’s not a new theme for an SF show. Look at Battlestar Galactica. It’s clear Ben and James have.
When a producer, writer or actor disassociates themselves from SF, they’re really backing away from the furniture. Look out for phrases like “flying saucers,” “space aliens” “ray guns,” or indeed Ben’s own “little green men.” And of course, the dreaded “sci-fi”. But at the same time they’re happy to use the tropes and themes that have been part of the genre since Wells and Verne started marking out the territory.
I guess it’s the G-word that’s the problem. Somehow the idea that SF is either kid’s stuff or entertainment for the socially inept is still a belief that informs the way films and books are marketed and sold. For “genre” read “ghetto”, and if you can make a semantic little wiggle that ensures you don’t get stacked up in the racks at the back where all the pimply, friendless people go, then so be it. This is especially important for the literary types. It’s taken the best part of thirty years for Margaret Atwood to “out” herself as an SF writer. Jeanette Winterston still has problems with the terms, although her novel The Stone Gods is set on another planet in the future.
It seems crazy to me. You wouldn’t set a story in Arizona in the 1860’s, populate it with cowboys, chases on horsebacks and a climactic shootout and say “oh, but it’s not a Western.* It’s a ridiculous stance, and hopefully one that’s on the way out. Michael Chabon’s alternative history The Yiddish Policeman’s Union won a Pulitzer Prize, and Justin Cronin’s apocalyptic vampire story The Passage is a genuine hit on all levels. There’s a misunderstanding about the people that enjoy SF, fantasy and horror that seems at least 30 years out of date. It makes the attempts of creators like Ben Richards all the more silly. Why would you cut yourself off from an big potential audience that can prove itself to be loyal and supportive to the right show?
The thing is, at a deep core level, Ben and James are right. Strip away the silver foil and spandex, and SF transcends it’s often low-budget set dressing. (Not an accusation I can level at Outcasts, by the way. It looks great.) SF acts as a mirror on the times in which it was created. It becomes a pretty relevant document of the hopes and fears of the generation that made and consumed it.
In the 50’s, it was all about the fear of infiltration by a foreign power and nuclear destruction. I Married A Stalin From Outer Space. Invasion Of The Atomic Leech-Women.
In the 60’s, SF began to explore the inner spaces of the mind, and the implications of massive shifts in societal influence. The first inter-racial kiss on TV was on Emergency Ward 10 in 1964, but it’s the second one that everyone remembers – on the Star Trek episode “Plato’s Stepchildren.”
In the 70s, things went dark and creepy as the promise of the Age Of Aquarius melted away, and we were left with three day weeks, Vesta curries and The Generation Game. Sapphire And Steel was un-nerving and bleak. TV’s eternal optimist Gerry Anderson went live action, and in UFO and Space: 1999 crafted shows that were in equal measure silly and almost unbearably harsh. The latter show starts with the moon being blasted out of orbit, effectively ending all life on Earth and dooming the inhabitants of Moonbase Alpha to a nomadic life. Even Doctor Who went steampunk and gothy, and featured sequences that are still carved in my psyche today.
SF’s role as social and political commentary is often overlooked, which is a pity but in some ways a major strength. The deep stuff is in disguise, the way a concerned mum will sneak veggies into a pasta sauce for her fussy kid, giving the viewer something to chew on after the end credits have rolled. But ultimately, it doesn’t matter. Ben Richards can claim all he wants that his show isn’t SF. When the first shot has a spaceship gathering speed towards a strange new world, we all know what we’re looking at. What he’s trying to make clear is that there’s meat on the bones, that his show has substance and depth. Personally, I think audiences nowadays are sophisticated enough to make up their own minds about whether a show is worth watching or not without caring about the genre.
I’ll leave the last word to Jeanette Winterson, who I unfairly sneered at earlier. She nails the argument on her website, thusly:
People say to me, ‘so is the Stone Gods science fiction?’ Well, it is fiction, and it has science in it, and it is set (mostly) in the future, but the labels are meaningless. I can’t see the point of labelling a book like a pre-packed supermarket meal. There are books worth reading and books not worth reading. That’s all.
(The quotes from James North and Ben Richards come via a Daily Mail piece on January 29th – an article I picked up via Ansible, I hasten to add.)
*Unless you’re Cormac Macarthy, I guess.
