At Christ Church for the Oxford Literary Festival.

Jason and I met like ships passing in the night three years ago, and met again this weekend, to offer brief talks on self publishing from the same platform. As we were competing with Hilary Mantel and Jack Straw we did not expect a large turn out but it was, in fact, fully booked. (All those who would rather have been in the Sheldonian!)

Had a solitary walk in the dark through familiar haunts, and a glass of wine before realizing I had been locked out of the bastion portal, but somehow the silly plastic swipe key that looked like a toy (for the over fives) managed to release the Tudor gate for entry. Granted I was relieved, ( the snow and a night walking about did not appeal) but it seemed all wrong that tradition could be defied by something so cheap and nasty.

Anyway here we are

But Oxford at night is always magic.

The Poetic Definition of Love?

I have missed Friday! Sorry. Proofing a book to a deadline somehow collapses the passing days. BUT how can anyone ignore the euphoria occasioned by this enquiry?

‘I absolutely love this sonnet. I thought it might be one of Shakespeare’s but it sounds too new. Please tell me who the author is.’

I posted it to a thread on Linked In that asked for ‘Your poetic definition of love?’

        Ergo…
If you bequeath me all your dreams unspent
that had their birth beneath the sheeted sky
Once dressed in music, they went penitent
Through gold and gorse, for you walk solitary.
If I can turn a page within your past
and my slow eye peruse your slow delight…
The landscape of your heart has found a mast
to lend perspective to its breadth and height.
I mapped your longing long before you thought
to give account of thirst, or dust or wine
I laid your blooms of hope amidst the grass of doubt
I spread your pasture, I reseeded time.
What can I know but what I recognise?
You are myself and yours are my own eyes.

Photo: Imagination of an ARTIST !!!!

http://www.facebook.com/doyouknowfacts

Claudia and Vernon

Claudia and VernonClaudia Forchacz. Counselling

Much as I would like to wait until the theatre has even half filled, my cast of two are getting restless. Waiting in the wings offers only so many distractions, and even dressing rooms bar smoking so Vernon has had enough. He is used to playing to empty houses, and just wants to get it over. (If you read beyond ‘more’ you are invited to visualise, and suggest…)

The book to date: It takes place in North Oxford in the early seventies. We have heard that there has been a suicide by drowning of a woman in her sixties. We have called, with the policeman, upon the husband and desolate daughter, who for three days have expected something catastrophic. The news has now reached Claudia through a free paper delivered with the milk. Claudia Forchacz is a member of the University’s Psychology Department who has a private practice as a counsellor. The news is not the sort of thing she would normally attend to but she realises that the suicide, Anna, is a client, who a week ago was, as she had been for three years, calmly sitting on her William Morris sofa. This scene takes place after a certain amount of resentment and soul searching. Claudia thinks that the counselling contract implies that a client who had taken up a great deal of her time, owed her the obligation to stay alive. It feels as though she had given a book all her attention only to find it lacks the last few pages.

Continues…

Urgently she felt the need of a friend, someone to clean the palate.
‘Vernon, It’s me.’’
‘Sweetie! Ages…’ Vernon’s deep voice comforted like good brandy.
‘I know. Mea culpa, maxima etc. Are you free this evening? Can we eat?’ Claudia always abbreviated with Vernon who never bothered with grammar. She liked the fact that Vernon could be caught without bait. It was the basis of their friendship.
‘Eating the least of it…talking sweetie, talking. So much to catch up. We’re in luck. Greg is on a bally rally, so I’ve got a loose end…Your place?’
‘For starters, eight-ish.’
‘Be there, spit and sanded. Treat you to flashing. New brocade waistcoat, very haute’

He hung up. Poor Vernon. The kindest creature malformed by trying to stay young, stay hip, stay with Greg who enjoyed tormenting him. Claudia had once caught sight of Greg, a brute on a Mitsubishi 500 whose kick start had the walls reverberating, as he roared up the Woodstock Road. She had never found it possible to admit this to Vernon. That sight of leather chaps and greasy pigtail would have polluted their friendship had he known of it. Vernon was naked from behind, but his front was the only thing up for discussion. His front was all and only Greg; Greg the outrageous, Greg the young God.

Luckily Vernon was a better listener, as avid as she was for small traumas, like potted plants to snip at and tie in.

***

Claudia ran a bath, took out a silk jersey dress, plugged in the hair dryer and turned on the radio. To the consolation of Debussy she covered her face in green mud. She realised she could afford to do this more often. If she wasn’t careful she would lose touch with her neat elegance and its power. Claudia’s knowledge of herself was almost objective; she knew the arch of her fine brows, and the precision of her nose and jaw, and regretted that on occasion her mouth betrayed her disapprovals so easily. Mouths were the great give-away.

She contemplated her hands ruefully; the folds of skin over the knuckles undermined the weekly manicure. Subterfuge was all that could be perfected really. The sight of her white knees above the bubbles suddenly evoked that body lost in the rocking surf, picked clean by fishes, polished off by sly crabs.

She sat up, her bath ruined.

***

When the sound of Vernon’s old MG spluttered to a death in her drive, Claudia went to the upstairs window. She liked watching people secretly, especially people she loved. Vernon paused with his freckled hands on the wheel and looked round her front garden, taking his own inventory. Then he glanced in the mirror and fingered his chin, inspecting himself with the thoughtful brown eyes of a spaniel. He licked a finger and smoothed an eyebrow. Abruptly he got out.
He reached over and took out two brown bags, a portable wine cooler and a small bunch of white freesias. He slammed the driver’s door with a flick of his hips.
He did not ring but strolled into her kitchen where she found him, snipping the ends off the flowers. He offered her his cheek.
‘Cheek hmm?  Done a number, sweetie. Cordon blue and cold, Stephan at the ‘Green Man’ not so much noblesse but espérance oblige. Thought we’d do it a deux to start with…’
‘I was going to take you out’
‘You have, you have. I’m out…’ He appealed, ‘Sweetie, my whole life sotto voce, jammed in the corner and paying the bill…tonight I mean to make the most of talking out loud and stretching my legs…Tell you what…You can give me a very expensive coffee in that fish bowl, liqueurs chez La Belle Époque, so you can show off that very sexy dress. Come and give your old bear a hug, and forgive me for wanting you all to myself.’

He poured the Chablis, and swiftly laid out the food. His fingers seemed to move independently of his slow appraising gaze. Claudia enjoyed being looked at and his sudden command of her kitchen.
‘So out with it. Never was your fair weather friend?’
‘No, you’re too important. I don’t know. Probably nothing. Time of life. Just blue’
‘Seem more black than blue…’ He pushed the olives and pimiento towards her, ‘…anything special or just existential despair?’
Claudia shrugged.
‘One of my clients topped herself, without a word of warning…’
‘Make her sound like a sliced thumb…was she a good client?’
‘What’s a good client? One who pays?’
Vernon looked reproachful.
‘Not fair sweetie. Not worthy. But it answered the question. You liked her.’

Claudia had forgotten his perception. She felt ashamed.
‘Sorry. But I’ve only just realised it…that I liked her…I liked her a lot…and I never made it clear and now its too late…’
‘Black as it gets and a right bugger.’
‘You wouldn’t have made that mistake…’
‘That’s why I wouldn’t do your job, much too dangerous…’
‘I thought you always said it was too safe…’
‘The two aren’t contradictory. Dangerous being safe. Liable to be whacked from behind. Least expected. So from the beginning… but first a plate of food, another drink, a comfortable backside, and I’ll be all ears and all attention…’

Claudia carried the plates, Vernon the wine and glasses, and they sat in the bay window darkened by the night. The subtle lamp light on her mahogany tables flooded across the Kelim rug and caught the edges of pictures and the generous shoulder of her balloon back chair. It had the quiet expectancy of a theatre set for a performance, almost as though she was a character already scripted. She could never remember an evening with Vernon at home, except with other guests. Whether it was just the disconcerting news, or being over-dressed, or having the truth winkled out with such clinical speed she did not know, but something had changed. Claudia felt she was meeting him for the first time, like Faust or a Monet landscape, known at a distance but never encountered.

‘All ears and all attention…’

Continue reading

The Sceptred Isle?

Since this is Friday and I am due to post I must revert to poetry and defer the discussion of names for another day and a wider group. I know what I think: what I hoped to engender was what anyone else who writes did, and although one contributor was creative (see comments on blog) a dialogue might prove rather divisive. Instead the poem below might bring violent disagreement which would be welcome. By all means shake up this blog! But don’t assume I am canvassing for UKIP, nostalgia lies much deeper than that,

‘Hath made a shameful conquest of itself’

Sworn Statement

I remember England before I ever came.
It held out not so much a hand
as a perfumed sheltering skirt.

Libraries of promises had told me it was so;
so kind, so empathetic… good laws kept
below the plimsoll line of progress, and never shook their fists.

Red-robed institutions and the wigs of learned men
in processions or procedures, stood up stoutly to defend
like a robin a single spade, abandoned to the rain.

Centuries had assumed much the same kind of thing.
Honour never easily perturbed by waved or shaking sticks,
shouting or enthusiasm, or new planted beds of change.

That picture merely skeletal like an architect’s token tree;
a profile of swinging twigs on which whole flocks might feed…
The glory came with foliage, later season, quiet street,

rows of modest gables, the certain corner-store.
The Pakistani, hollow eyed, exhausted and polite,
his jet-eyed child a clamour still at ten o’clock at night.

Inevitably Cathedrals, Warden Harding in the apse…
Overwhelmed by tearful vespers by half a few intoned
in a mediaeval choir with its candle cloistered lights,

its susurration of sandal, bowing tonsured pates…
Out into the winter fog hugging near the lamps,
the smoking billboard publican stamping frozen feet.

I fell in love with promises, smacked into full-tilt
round the corners of a heedless unintentional search, believed
England was for everyone, somewhere, Harry and St George

Or so for years it seemed.

Could I have been mistaken as little as thirty years back?
Could deception hold its nerve from Land’s End to John o’ Groats?
Grey matter finds it hard to shift something weightless as faith…

There was a certain…certainty?…Officer, I can’t tell you any more
I only notice now its gone, this Island has been robbed.

That oppresses like the Heft /Of Cathedral Tunes-

Mere English

'You may very well think that...'

I have always loved Queen Elizabeth’s description of herself as ‘mere English’. Never was a character less mere! Since last week’s invitation to thumbnail a portrait from two names failed to bring any volunteer out of the shadows, or put down his/her pint for long enough, I have decided to reverse the process. If this poem evokes a person (and it did describe one, originally) why not give him/her a name? If not, I hope you just enjoy this very un-Elizabethan character, who could well find a place in Trollope or Austen, or Henry James, but would be un-noticed by George Eliot!

Mere English                                    You want to watch those oars

You would not care for Africa, you say;
the narrowness of mind that travel brings…
No persuasion had you venture forth
from Dorset and her soft enclosing hills.

‘Why precipitate adventure when instead
monotony so benignly passes time?
Why think, when thought pricks restlessness
or worse, provokes an impulse to the day?’

The winds of soft-stirred longing which arose             No doubt the vulgar has its place
were raiment of an English tempered muse.
Metered music and the symmetry of stone…
The dim glimmer of a chancel, summoning…

Were all the pulse allowed the dying risk of age.

No oceans all engraved with serpent coils…
Terror incognita, (I know it well…)
The map but not the diction: Heavens, names and foreign foods!
the spaces better blank to seed with certain platitudes.

The Naming of Parts

The Naming of Parts

Last Friday I promised to introduce some characters (and I will) but something intervened which seemed a worthwhile detour; the question of names. What intervened was reading a guest blog from Linda Gillard on Roz Morris’s ‘Undercover Soundtrack’ (my unvarying Wednesday habit of the week). In amongst all the music featured by other writers this one was inspired by Philip Glass.

I realised that my belief that I disliked of the music of Philip Glass probably stemmed entirely from his name. Brittle, transparent, unyielding, surface, glitter, glass harmonica, self reflective, sharp, wintry, the voice that shatters…. All come to the mind in that small single word (even though we share a Christian name it does not ameliorate the power of ‘glass’.) I realised I hardly knew the music of Philip Glass and that was the likely reason. John Cage was not much better: imprisoned, restricted, stale, cruel, limed, in need of cleaning. Perhaps it is a poet’s mind, with unending echoes of association. We weave webs from words and find ourselves caught by them. Now that I have really listened to the Glass violin concerto as related and focussed by another’s response to it, I found it incredibly poignant and mesmerising.

So prejudice kept a mind closed.

How relevant might this be to the naming of character parts? How acute an attention ought we to give it?

Did anyone see ‘Enchanted April’ and resonate with Mrs Wilkins saying she hated ‘Wilkins’ with its ‘kins’, its diminutive piggy tail? I so did!

I have always liked my name, Philippa, (Philos, Hippos…a lover of horses) and wonder whether my absorption with horses all my life was caused by it? Of did my mother have prescience? It was very uncommon back then. I only ever met one other. If so, she did not know how many would massacre its ancient Greek beauty by spelling it incorrectly. How many people spell Philosopher with two ‘Ls’? Yet I could never give a character an over familiar name, it would imprison any freedom they might need, and once envisioned characters take on their own life.

The rushing power of names and the harness of them are, for me, almost un-brookable. Does any one else feel this way? When I read a book in which a place name is contrived, unlikely to be in the County in which it is set I immediately distrust the writer’s sensitivity to history or place. J.K. Rowling, a genius with names in Harry Potter, now chooses ‘Pagford’ (slag, hag, tinker, all overwhelm the ‘ford’) for a ‘pretty village’ It does not quite ring true and certainly does not (for me) convey a ‘pretty village’. Too plausible however (like ‘Midsomer’ Murders), becomes merely dull. How to strike the balance between what you as author ‘feel’ in the name and what your readers’ references to it may be? It may be quite the opposite of what we expect.

One of the reasons I love Trollope is because his names are creatively uncompromising, nothing is left unstated: Obadiah Slope is both revengeful Old Testament and yet slippery as an eel, his hypocrisy and self importance all in the name. Mrs Proudie all chins and heaving indignation. Dickens’s Bob Cratchit, scratches on his high stool forever. We can then get on to the nuances of their situation. One could not get away with it now …although I did once try with ‘Geoffrey Mentwell’ ( a benevolent but bumbling retired schoolmaster- managing always to step in it) in a rural TV comedy.

A Christmas Carol

Bent with Service

Conceit personified

I feel that names carry with them all the qualities of those who gave them life before. So much so that naming my daughters was an exercise in bequeathing them conscious associations, hoping their lives would be shaped by their names…all Shakespearean (I wanted them deep-rooted) but with modulated second names to correct extremes. ‘Juliet’ was destined to inspire passion, and retain delightful innocence but I did not want passion lethal so she needed ‘Emma’ (Woodhouse) to correct the balance. In a general way there is something in each that does resonate with their literary forbears. I still wonder how I allocated them and in the right order? Re-incarnation decided and I was just the mouthpiece?

I would be interested to hear the views of others on this, and how they arrive at the names for characters, and what goes into making their choices?

Last week I mentioned a character called Vernon. He is a major character in a novel and has a hot/cold platonic relationship with Claudia. Would anyone start the ball rolling by describing what those names convey to them? Before I flesh them out in interaction? Flash portraits would be great! It would be interesting to discover what degree of congruence there is, and whether the importance I give to it, is justified. I doubt it is a habit I could shed, whatever we might discover.