Author: Tish Farrell

When Henry James came to Wenlock

“If Gaskell asks you to Wenlock don’t for the world fail to go.”

Henry Adams in a letter to Henry James 1877

This is the house where Henry James stayed on his visits to Much Wenlock in 1877, 1878 and 1882. At the time it was known as The Abbey, but once it was the Abbot’s House, and part of a great medieval Cluniac priory whose ruins stand beside it. Only the house, and the town’s parish church survived Henry VIII’s great monastic dissolving campaign of 1540.

I’ve recently read, too, that the Dissolution did in fact involve actual structural ‘dissolving’. The first thing King Henry’s agents did in their bid to disempower the clergy and seize their estates was to rip the lead off the monastery roofs. The wear and tear of English weather then did the rest. Since Wenlock Priory was once one of the most imposingly large religious houses in all Europe, you can well see how efficiently the elements did their work.

The adjacent small town of Much Wenlock town dates from at least from Saxon times when St. Milburga, daughter of a Mercian king, founded the first religious house here. She was Abbess of Wenlock between 675-690 AD. The later priory was the work of the invading Normans, who liked to use looming architecture to cow the natives into submission. The monks were brought in from France, but it wasn’t until end of the 12th century when Bishop Odo, a former Cluniac monk, published his account of the discovery of St.Milburga’s bones (he describes them as “beautiful and luminous”) that this great house acquired the kind of saintly cachet that ensured serious pilgrim-appeal, and thus brought much prosperity to the town.

After the Dissolution, however, pragmatism ruled, and much of the fallen priory masonry was used to build or expand the town’s homes and businesses. Thereafter, Much Wenlock’s success was based on providing a small but busy mercantile and manufacturing centre for the local agricultural and quarrying community. It even had two Members of Parliament.

But back to Henry James (1843-1916). What on earth had brought this widely travelled writer to the little town of Much Wenlock? And not once, but three times.

In fact it was only the urging of a friend, Harvard history professor, Henry Brooke Adams, that brought James here at all on that first visit in 1877. He hardly knew his hosts, Charles and Lady Catherine Milnes Gaskell. Charles Milnes Gaskell, rich barrister and landowner, was a close friend of Adams, and it was Adams who indirectly secured the invitation for Henry James. He knew that James would love the Abbey. Hence the exhortation: “If Gaskell asks you to Wenlock don’t for the world fail to go.”

And so, further enticed by “a gracious note from Lady Catherine Gaskell” and armed with a copy of Murray’s Handbook of Shropshire, Cheshire and Lancashire, Henry James left London for deepest Shropshire, travelling by train to Much Wenlock. The details of how he spent his time on his five-day visit appear in a travel sketch called Abbeys and Castles, later published as part of Portraits of Places (1883).

At the station (now private houses) he was met by the Gaskell’s coachman, Crawley, driven into the town, passing in sight of Holy Trinity Church (today without the spire shown in the Frith photo). Here they turned left into the Bull Ring…

passing Priory Cottage on the left…

…the turning right into the Abbey’s winding drive…

…with the priory ruins on the left.

The carriage would then have swung hard into the open courtyard of the Abbey, and this would have been Henry James’ first view of his destination. Well-travelled as he was, I think he would have been astonished.

Adams’ certainty that his friend would love the place was spot on. In Portraits and Places (p278) Henry James says:

“It is not too much to say that after spending twenty four hours in a house that is six hundred years old, you seem yourself to have lived in it for six hundred years. You seem to have hollowed the flags with your tread, and to have polished the oak with your touch. You walk along the little stone gallery where the monks used to pace, looking out of the gothic window places at their beautiful church, and you pause at the big round, rugged doorway that now admits you to the drawing room. The massive step by which you ascend to the threshold is a trifle crooked, as it should be; the lintels are cracked and worn by a myriad-fingered years…it seems wonderfully old and queer. Then you turn into the drawing room, where you find modern conversation and late publications and the prospect of dinner. The new life and the old have melted together; there is no dividing-line.”

In letters James admits to being rather in love with Lady Catherine, whom he describes as a perfect English rose. She was only twenty years old at the time, and expecting her first child. She apparently put garden flowers in his room and made sure he had plenty of writing paper and pens. But when it came to entertainment, this was down to Charles Gaskell. Despite the rainy weather, he and James appear to have yomped all over the district looking at stately homes and other ruins. They also took the train to extend their excursions to Stokesay Castle and Ludlow. Henry James was clearly enchanted. Of Much Wenlock and its setting he says:

“There is a noiseless little railway running through the valley, and there is an ancient little town lying at the abbey-gates – a town, indeed, with no great din of vehicles, but with goodly brick houses, with a dozen ‘publics’, with tidy, whitewashed cottages, and with little girls…bobbing curtsies in the street. But even now, if one had wound one’s way into the valley by the railroad, it would be rather a surprise to find a small ornamental cathedral in a spot on the whole so natural and pastoral. How impressive then must the beautiful church have been in the days of its prosperity, when the pilgrim came down to it from the grassy hillside, and its bells made the stillness sensible.”

Things have changed of course, although we still have a fair few ‘publics’ for so small a town – five in fact. But there are no longer little girls who curtsey to gentleman, and sadly no railway, which means instead we do now have the inevitable din of vehicles..

An interesting aside to the Henry James’ Shropshire travelogue is that he is said to have been working on his disturbing ghost story The Turn of the Screw while staying at the Abbey. He certainly had the supernatural on his mind during that first visit.

“…there is of course a ghost – a gray friar who is seen in the dusky hours at the end of passages. Sometimes the servants see him; they afterwards go surreptitiously to sleep in the village. Then, when you take your chamber-candle and go wandering bedward by a short cut through empty rooms, you are conscious of a peculiar sentiment toward the gray friar which you hardly know whether to interpret as a hope or a reluctance.” (Portraits of Places)

And this does rather remind me of a passage in The Turn of the Screw where the governess narrator describes how her young charge, Flora, takes her on a guided tour through the rambling old mansion at Bly:

“Young as she was, I was struck, throughout our little tour, with her confidence and courage with the way, in empty chambers and dull corridors, on crooked staircases that made me pause and even on the summit of an old machicolated square tower that made me dizzy.”

But then Henry James seems to have made a life’s career of ‘staying’ in, or visiting large country houses. All the same, I like the idea of his brewing this grim tale in Wenlock. Certainly from across the old monastery parkland, the Abbey does have a more brooding and sinister air. And now I’ve sown that notion, I’ll leave you with some more views of undissolved monastic relicts:

References:

Cynthia Gamble John Ruskin, Henry James and the Shropshire Lads New European Publications Ltd 2008

Vivien Bellamy A History of Much Wenlock Shropshire Books 2001

Unexpected with bells, sticks and hankies at the Sweeps Festival

There is much that is unexpected about Rochester’s annual Sweeps Festival, held every May Day for the last thirty four years. It is of course a re-make of a much more ancient festival – one at least 400 years old, and that in turn was probably a re-make of various spring-time rites from distant antiquity. As you scan down the photos you may notice a plethora of cultural references, some of them wholly inexplicable, but all thrown in – in the name of jolly good English fun.

But first a bit of real history, at least to explain the ‘sweeps’ bit of the proceedings. In Britain chimney sweeping was once big business. Until the Climbing Boys’ Act 1868 which made it illegal, children as young as four were employed by Master Sweeps to clean inside the nation’s chimneys. This practice was even officially sanctioned. The Master was paid by parish officials to take on climbing boys (and sometimes girls) as indentured apprentices. They then underwent a 7-year training, after which, if they survived, they could become journeymen sweeps and work for a Master of their own choosing. The children were usually workhouse orphans and paupers, and the aim was to launch as many of them into the trade and up sooty flues so as to reduce their cost to the parish. It was a filthy, dangerous and vicious business, and you can read more about it HERE.

May Day was traditionally the only day of the year that chimney sweeps had as a holiday. Here in Kent the day’s festivities traditionally began on Blue Bell Hill, at Chatham just outside Rochester (a hill also known for its Neolithic chambered tombs). At dawn the merrymakers would awaken the giant Jack-in-the-Green who would then accompany them in the parade.

And here he is, recreated anew – the ‘tree’ between two ‘sweeps’:

There are of course obvious references here to the Green Man, the Green Knight and various symbols of tricksterism and fertility. There are also similar festivals involving tree-figures in Europe, particularly Switzerland, and it is possible that some of the notions associated with these carnivals go back to Stone Age times.

Welded onto all of this is the ancient English pastime of Morris Dancing, a form of folk dancing that has many regional expressions, and dates back to at least the 15th century. It had a great revival at the start of the 20th century when folklorists such as Cecil Sharp set about documenting traditional dancing and music. Below are some ‘traditional’ looking Morris Men. They are members of one of the sixty Morris bands that take part every year at the Sweeps’ Festival.

And then there are the black face Morris dancers, the Goths, the Fabulous Fezheads who sand dance, Morris dancers from the US, all women groups, clog and longsword dancers. There are even hints of S & M and nosferatu, or was that just my take on things. In any event, please enjoy the cultural concoction.

Ailsa’s Travel Theme: unexpected

Vulcanicity ~ Welcome to the hot zone

I have long had a fearful fascination with volcanoes – probably ever since, as a young child in the 1950s, I saw a newsreel item of Mount Etna erupting. It seemed like a living nightmare. I remember especially the unstoppable flows of boiling lava that rolled over everything in their path. Even in places where it had cooled I seem to remember people who walked on it found their shoes smouldering. It was perhaps my first apprehension of the fact that the earth could do things that mankind was incapable dealing with. I remember having a dream afterwards where the ground beneath my feet kept cracking open into ever widening fissures: my first anxiety dream perhaps.

With this in mind, you will understand how very deeply impressed I was when I first set eyes on Africa’s Great Rift Valley.

NASA non-copyright image

Here, on the surface of the earth, we have a 4,000 mile chain of connected fissures that extends from Lebanon in the Middle East to Mozambique in south east Africa. It comprises the Jordan Rift Valley, Red Sea Rift and the East African Rift, which itself divides into eastern and western arms with Lake Victoria Nyanza in between. The entire system has been described as a world wonder, the biggest rupture in the planet’s land surface, and the only geological feature that can be seen clearly from the moon. The East African Rift of course includes the great ice-topped volcanoes of Kilimanjaro and Mount Kenya that are mere remnants of their formerly gargantuan fiery selves.

So however you look at it, moon- or otherwise, the Great Rift is definitely a case of EXTREME geology. All that seismic shunt and shift. And it is still happening and at this very moment. One day the Horn of Africa and littoral East Africa will be an island.

The East African Rift is thought to have begun to pull apart around 40 million years ago. Scientists surmise that the environmental changes associated with fissuring may have had a significant impact on the evolution of humankind. So far, very many of the earliest fossils of (potential) human ancestors have been found in the Rift – Olduvai Gorge, and in the vicinity of Lakes Baringo, Turkana and Omo. On the other hand, this could simply be a reflection of the decades of systematic searching in these areas, instigated largely by the Leakey dynasty of palaeontologists. But whether a good case of careful looking or not, I’m still prepared to believe that humans could have evolved here.

The photograph at the start of this post is of the old volcano, Longonot. It lies in the Rift between Nairobi and Naivasha in Kenya. In the next shot you can see it from Lake Naivasha (hippo added for purposes of scale Smile ). Part of this lake is also formed within a submerged crater.

One key side effects of volcanic activity is highly fertile soil. In Kenya and Tanzania the Rift Valley floor supports the Serengeti grasslands that in turn are home to millions of herbivores, their following of big cat predators, and the whole wonderful species-rich eco-system. These plains also have long been the grazing grounds of the best known nomadic pastoralists on the planet, the Maasai.

Before the British invaded East Africa in the late nineteenth century (intent on setting up the Imperial British East Africa Company) and concluded that any land not occupied by people at that point in time was EMPTY and thus FREELY AVAILABLE, the Maasai ranged over vast tracts of the Rift grassland system. It is believed that their ancestors moved out from the Horn of Africa about four thousand years ago.

This means that the Maasai lived a life that suited them and apparently with little cost to the environment for 4,000 years before the British came along and herded them into a reserve where the land is least fertile and watered for human purposes, and otherwise known as the Maasai Mara. Europeans then set about destroying the plains’ wildlife on a breathtakingly ugly scale. The invaders, or their activities also became vectors for deadly disease – rinderpest that decimated native cattle, and smallpox and syphilis that took their toll on the human populations.

Smallholder farms at Escarpment just north of Nairobi. Mount Longonot beyond.

Once the British had staked their claim in British East Africa, the Bantu farming communities that inhabited the higher hillside zones of Kenya were also enclosed in Reserves. The occupants could only leave to work for Europeans. The justification for creating reserves with designated boundaries (and they were quite large areas) was to protect tribal land holdings from the incoming white settlers.

African farmers, being the successful cultivators they had been for several millennia, were naturally inhabiting the best and most covetable land. So in this sense, the British administration had a point. The early settlers were British aristocrats like Lord Delamere and the sons of the Earl of Enniskillen, and thus the kind of men who expected to own vast acreages and begin farming/ranching on an industrial/landed gentry scale.

Meanwhile from 1896-1902, and as a result of military paranoia of epic proportions, the British had built a very expensive 600-mile railway from Mombasa to Lake Victoria. It was called the Lunatic Line even at the time of its building. But as the strategic objective receded in importance during the early 20th century, so the Colonial Office needed settlers – well-heeled, gentlemen of means who would grow produce for export and so help pay for the railway.

First page of Lord Cranworth’s A Colony in the Making: Or Sport and Profit in British East Africa, Macmillan 1912. A guidebook and general sales pitch to attract gentleman settlers. (Out of copyright).

Thus, in the wake of the adventure-aristocrats came retired military men, among them individuals who were variously set on nation-building, knocking the natives into shape and, in the process, getting rich from flax, ostrich feathers and coffee. The country’s fine shooting and fishing were definite lures, and made much of in the publicity brochures sent out from British East Africa. Other attractions included the notion of plentiful cheap farm labour and house servants, and thus the preservation of social status that was already well on the wane for the middle classes back in Blighty.

But now we come to the rub. Or in fact two rubs. Firstly, when the monsoon winds are blowing in the right direction, Kenya has the most benign climate imaginable, providing two rainy seasons, and thus two and sometimes three growing seasons for some crops. The elevated plateau of Central Province in particular, and its Aberdares highlands are rarely too hot. The beauty of the great forests suggested Scotland or Wales rather than Africa to the newcomers. They set about building mini-baronial lodges and laying out English lawns and rose beds.

But then comes the other rub. The soil. As I’ve said, volcanic soils are very fertile, but they are also very fragile. Wholesale clearance of trees and bush will quickly create desert. The late, great Kenyan environmentalist, Wangari Maathai, has maintained that felling deeply rooting forest trees ultimately leads to desertification for a whole range of reasons.

The forests not only attract rain but the trees shelter, stabilize and feed the soil (many tropical species fix nitrogen). Most importantly, she pointed out, the deep roots open up underground aquifers to water the land.

Traditional farmers of course made gardens within the forest rather than large fields. They cleared trees certainly, but they did not clear all trees. Some had sacred meaning, like the wild fig, and were protected. Others were valued for cropping purposes – for animal fodder, medicine, bee forage etc.

When the old colonials set out for Africa on a cash-cropping spree, full of the notions that they knew best how to farm, they singularly failed to understand that indigenous peoples, far from being ‘undeveloped’, had very good reasons for doing things the way they did them. Their objectives were more about living well than getting rich.

Pre-colonial accounts by explorers and missionaries show that the Bantu peoples were very successful farmers. They planned their planting to take into account the possible vagaries of climate. For instance, drought resistant millet might be the mainstay crop, and cultivated on the drier soils in their territory. Squashes and beans would be grown near stream beds, and water-hungry maize would be the risk crop, planted on a river bank on the off chance that seasonal floods would be small enough not to wash the crop away, but good enough to provide a bonus to the annual harvest.

The other important contingency depended on kinship and clan ties. As the Bantu communities moved out across the African continent over many centuries, pioneering into new territories as population growth or failing soil fertility dictated, networks of clan relationships became extended over quite large territories. If drought, disease or invaders struck, people would take their possessions and seek refuge with distant relatives until the threat had passed.

Pastoralists like the Maasai also relied on being able to move over large distances to secure grazing for their herds in times of drought. But once people were confined to reserves, bound by European constructs of land ownership, they could not move. Land in the Native Reserves where people farmed thus became overcrowded, degraded and overgrazed. Under colonial rule Africans were not allowed to acquire fresh land. This was one of the chief reasons for the uprising in 1950s Kenya when the Land and Freedom Army (dubbed Mau Mau) went to war against British rule.

Then there were the colonial agriculture officers trying to dictate the way the people on the Reserves grew their crops, pressing for mono-culture rather than the traditional way of mixing crops which helps to fool insect pests and utilizes advantages of companion planting.

As we left Kenya in 2000 I was interested to learn that some European agricultural aid project was actually advocating that smallholder farmers (which means most Kenyans) should use ‘kitchen-garden’ planting techniques to reduce crop pest damage and/or the need for pesticides. It had only taken a hundred years for outsiders to teach Africans what they had known all along, but doubtless been told to forget in the interim because their methods were considered primitive.

Sometimes the hypocrisy of rich world tinkering is enough to make this particular writer’s blood boil up in seismic fury. Time to cool down with a view of snow-topped Kilimanjaro. Who’d have thought it: ice on a volcano. When in the 1840s German explorers and missionaries, Johann Ludwig Krapf and Johannes Rebmann, out exploring from their Mombasa mission, claimed to have seen snow-capped mountains at the Equator, no one back home believed them. Thought they were barking. There’s a lot, we outside Africa do not know about this vast, extraordinary continent even though its nations provide us with so many of our essential raw materials, fairly and otherwise; mostly otherwise…

Flickr Comments Tagged ‘V’

Lust to rust: is it a sign?

Is it a portent, a glimpse of the future where the ubiquitous mall/consumer-outoftown-outlet is no more. Gone. No more shops. For here we have a ‘fossilized’ supermarket trolley, aka shopping cart, its erstwhile frame decomposed in a muddy creek beside a Strood retail park. These sorry remains were caught in a happenstance moment – after shopping of course – and just as the tidal River Medway was on the ebb. Poor old trolley. No more two-for-one thrill; no more down-the-aisles rush to load up the sugar-laden cargo. And so, ex-trolley, may Mammon bless your squeaky, little wheels – now sadly dissolved in Kentish coastal effluent…

Cee’s Odd Ball Challenge

Daily Post Photo Challenge: Split-second story

Congo Super Highway

I’ve been on the raid again for these shots for Cee’s watery challenge. They’re from the Team Leader’s photo archive of his Africa overland trip, and were taken from the deck of one of the huge Congo ferries that ply the treacherously shifting waterway between DR Congo’s capital Kinshasa and the port town of Kisangani, a thousand kilometres inland.

This vast waterway is one of Africa’s super highways. In a land with few roads or other amenities, the Congo River not only provides the main means of travelling across the country, but is also a continuous marketing opportunity for local farmers, fishermen and traders who deal in just about every imaginable commodity.

The traders tie up their pirogues alongside the ferry. They come to trade with passengers and to hitch a ride. At times the ferry looks more like a floating city than a river craft.

The river of course means far more than transport and trade to the Congolese who live beside it. It provides fish to eat for one thing. More crucially, it is the main source of drinking, cooking and washing water: in every sense a river of life.

Cee’s Fun Foto Challenge: Water

Unveiling ‘Losing Kui’: the story of the story, or how writers need good editors

Cover: Kathleen Collins Howell

YOU CAN READ AN EXTRACT HERE

I am trusting that this is the final version of this novella. But then with stories you never do know. It’s both the pleasure and the pain of e-publishing: you can tinker with your text until the end of time, re-posting the updated versions. I anyway have a tendency to re-make earlier works: putting them into new forms, re-shaping them for different audiences and purposes. With this story, though, only length and title have changed, oh yes, and in this final version I have started at a different point from two earlier versions.

The first published version came out in 2008, in the Nov/Dec issue of Cicada, a US literary magazine for teens to adults. The title then was El Nino and the Bomb. For those of you writers who do not know about Carus Publishing/Cricket Magazine Group (founded by Marianne Carus in 1973 and “won more awards than any other children’s publisher”) you can find out more HERE. If you are learning your craft as a writer or illustrator, and have an interest in children’s and teen publishing, then you can learn a lot from these magazines. The general ethos is multicultural, and each title – Babybug, Ladybug, Spider, Cricket, Cicada caters for a specific age group, thus nurturing a life-time’s habit of good reading.

Cricket Feb 2001 vol 28 no 6; Art: Ann Strugnell

Cicada have published a number of my short stories over the years, works that started off as 5,000-word entries for adult short story competitions. This was how Losing Kui began, although back in the early 2000s the title was Material Days. In this form it was short-listed in Carve Magazine’s Raymond Carver Short Story Contest. The then editor, Melvin Sterne, sent me a very sweet email, saying he was sorry that it did not make it to that year’s anthology.

I still like the Material Days title, although it perhaps means more to me that to anyone else. When I was living in Kenya it was a phrase I read often in newspaper crime reports. At the time it chimed with my sense of indignation at the then government: the way it abused its people, and the poverty it so wilfully inflicted upon them.

And so, spurred on by Melvin Sterne’s email, and still nursing that sense of indignation over the state of things in East Africa (a situation that Great Britain and other donor nations have long had a hand in), I began an expanded version of the story with the idea of submitting it for Cicada’s novella slot. They accepted it too, although there was a wait of several years before it was actually published. In that long interval I was fortunate to work with Cicada’s then Senior Editor, Tracy C Schoenle, and Executive Editor, Deborah Vetter. I learned a lot from their thoughtful and respectful editing.

Cicada Nov/Dec 2008 vol 11 no: 2. Art: Home by Eamonn Donnelly

But there was a bigger lesson in store than seeing how best to trim excess words, or make meaning sharper. It was Marianne Carus, Editor in Chief, who was responsible for a major change in the story. She suggested, very delicately, that I had left the protagonist Kui in too bleak a place and wondered if I might consider a more positive ending. At first I huffed to myself: I liked my ending. But then once I was over my fit of writer’s pique, I knew she was right. The last third of the story was thus written in response to Ms Carus’s comment. I remember it flowed out at some speed, as if my subconscious had also known that I had not finished the story.

Time of course had passed by then, and I wasn’t quite so angry. Instead of hopelessness (relieved by elements of dark comedy) I saw possibilities for redemption; my characters began to take charge of their lives, and rise above their misfortunes. And that was the moment when I truly understood just how much writers can learn if they have the chance to work with a good editor.

More recently when I was working on cover ideas with my good friend, and illustrator Kathleen Collins Howell (Associate Professor of Art, Emeritus SUNY at Buffalo), I also began to see the story in quite a new way. I suddenly understood that the lost child Kui represents something far bigger than her own self. She is far from home, frightened and abused and yet…and yet…

Here’s the blurb:

Things are going from bad to worse in Ingigi village. No one knows why five-year old Kui has gone missing. Nor does Sergeant Njau want to find out. He has his own problems, pressing matters that are far from legal. Then there is the endless rain. Will it never stop? Some Ingigi folk think it means the end of the world. Old man, Winston Kiarie, has other ideas. He senses some man-made disaster, and when it happens, it is worse than his worst imaginings. The fierce storms are causing landslides and throwing up British bombs, unexploded for forty years. Their discovery is giving the Assistant Chief ideas: how to make himself very rich. And then there’s young Joseph Maina and the primary school drop-outs thinking they have found treasure, and about to do something very, very foolish. Meanwhile, is anyone looking for Kui?

READ AN EXTRACT HERE

Losing Kui by Tish Farrell

Out on Amazon Kindle

Available also on ePub Bud for Nook, iPod/iPhone etc HERE

Frizz’s tagged ‘U’ for more bloggers’ stories

Last Warrior Standing?

I have written about this magnificent Welsh sculpture in more detail in an earlier post, Warrior Wind-Singer of Llyn, but I thought he/she deserved another viewing. This brave Celtic guardian surveys Cardigan Bay from the cliff top above Plas Glyn-y-Weddw, Llanbedrog, on the Llyn Peninsula. It is the work of local craftsmen Berwyn Jones and Huw Jones and replaces two earlier figureheads that met there doom there by fire and corrosion. It is known as the Iron Man of Mynydd Tir y Cwmwd, but as I say, I think it could also be a woman. After all, the Celts had fierce women like Buddug, known more widely today as Boudicca. She was the warrior queen of the Iceni, who took on the invading Romans.

I find the figure very moving, the remnant twist of sinew and ligament after bone and flesh have been weathered away. In the spaces between, the steel armature gathers the sea winds and sings. A metaphor, perhaps, for Welsh culture – the bardic verses and sea-sounds of the language that outsiders find so hard to get their tongues round. And for those of you want to hear some Welsh being spoken and see some superlative Welsh drama produced by BBC Cymru Wales, then look out for Hinterland, (Y Gwyll in Welsh), the so-called Celtic Noir detective series. It is currently showing on the UK’s BBC, but it deserves to go world-wide.

The winding cliff path to the Iron Man

For more twist and metal follow the links:

Daily Post Weekly Photo Challenge: Twist

Ailsa’s Travel Challenge: Metal

Taking the slow road ~ tarrying not typing(#mywritingprocess)

On the road at #mywritingprocess with thanks to Tiny at tinylessonsblog.com

As others on this writerly blog tour have said, some writers are the bees’ knees at doing anything but write. I would be one of them. When the time comes to sit down at the desk there is the sudden compulsion to go somewhere else – anywhere else. This morning I left the computer to scrub the grout between the bathroom tiles. (So absorbing). Later I mooned over pots of recently sown runner beans, and what? Waited for them to grow? Of course. No writing skills needed in Beanstalk Land, only nifty footwork to elude man-eating giants. (Hm. And I could pick up a golden harp while I was there; learn to play, might inspire me to…) You get the picture.

So what is this doing something else all about? OCDD – obsessive compulsive displacement disorder? Why do we put ourselves through this? It was the first question I asked myself when Helen Kuusela aka Tiny at www.tinylessonsblog.com invited me to join this blog tour. I was so busy asking it, I forgot to thank her. So thank you again, Tiny, and hello to everyone on this fascinating writing safari. I forgive you, one and serially, for putting me on the spot.

As to the OCDD, I have a theory, one based on extensive personal observation. When procrastination sets in, and especially after an early full-of-promise burst, your inner truth-teller is trying to make contact with your writing brain. Something is not quite adding up. This is the moment for some pointed self-examination: are you writing yourself into a dead end? Have you started in the right place? Do the voice/situation/setting ring true? Is your plot/concept/premise sound, and does it truly have sufficient substance and energy to become the story/novel/poem you envisaged? Are you writing from within, or only from the surface?

These can be very painful questions and, rather than rolling them around your mind, I find asking them outright and OUT LOUD has better results. The inner truth-teller seems to respond better to vocalized interrogation. Also, the process of outlining the work to an audience, and by that I mean a willing listener who does not interrupt, can reveal both the intrinsic problems and the possible solutions. As you talk, the remedies to stuckness will likely pop out of your mouth. Listen out for them. A passive listening post is thus an essential aid. Your dog, cat or canary would be a good choice. Successful children’s writer, Michael Morpurgo, says he first outlines his stories to his sheep. And as I write this, I’m thinking that a Dictaphone could be a good idea too. If anyone has other notions on this, please tell me.

And now for THE questions:

1) What am I working on right now? In my head, filing cabinets and paper piles I have many works in various stages of creation: picture book scripts, teen novels, a grandiose scheme (possibly two novels for adults) set in colonial East Africa. This last project I’ve been working on for several years – stalled at various points by doubt; then by the annoying tick that says I need to do more research. (This can be another OCDD trap, so it’s wise to keep checking). I am heartened, though, when I hear writers such as Barbara Kingsolver say that it took her nearly thirty years to acquire the wisdom to write the magnificent Poisonwood Bible, or that Tolkein found himself stuck in the Mines of Moria for a whole year, wondering how to write his way out. Such admissions remind me (once I have checked back with myself AGAIN) that the time it takes to finish a piece of work, is the time it takes to finish it. Not everyone can write a book a year. And now I think of it, I’m sure I read that the marvellous short story writer, Alice Munro, takes eighteen months to write a single story. And when you read her, you know why. She distils whole novels into her short form.

For now, I’m recycling my ‘back catalogue’ of published short stories, creating new editions as Kindle e-books. I have just kindled Losing Kui, a novella originally published by Cicada Magazine in the U.S. a few years ago. On one level it is a tragi-comedic view of everyday life in a fictitious East African country during the late ‘90s. On another, you might call it an allegory, but I leave it to readers to decide what I mean by that.

2) How does my work differ from others of its genre? I am truly not a fan of categories, although I know marketing persons insist on them. What matters to me as a reader and writer is a well-crafted story, whether it is a 300-word picture book, Hilary Mantel’s Booker winning Wolf Hall or a Lee Child thriller. Most of my published work comprises short stories/novellas that are accessible to both adults and teens, and so I suppose you could call them crossover literature. Books for young people are anyway not so hide-bound, and may combine several so-called genres: real-life and historical narrative inter-threading with fantasy/magic realism. I find myself increasingly attracted to this combination.

3) Why do I write what I do? I had always meant to be a writer, but it was only when I went to live in Africa during the 1990s that I found a REASON to become one. In Kenya I was confronted with big landscapes and big human issues in which my own country had long played a questionable part. Suddenly I had a viewpoint and a focus and a territory. I was incensed too, by the wholesale imposition of western ‘values’ that left young Africans thinking it uncivilised that their forebears lived in mud and thatch homes. That’s one of the things that spurred me to write contemporary fiction for African young people. See (Latest books).

Some 14 years after returning to the UK, I’m still teasing out stories begun in Africa. I keep meaning to head for other lands, and one of my Ransom quick-reads for teens, Stone Robbers, is set in Guatemala. I suppose I am driven by the desire to tell stories about people who do not have a voice in the wider world, or who live in ways that are fast disappearing. In the margins between tradition and consumer modernity there are the kinds of drama and conflict that every story needs to make it work.

4) How does my writing process work? My people always arrive first. Even if I can’t clearly visualise them, I have a strong sense of them and their particular dilemma. After nearly 20 years of writing I have amassed quite a crowd, all waiting for their stories to happen/move on/finish. To discover what their stories may be, I always do a lot of research – too much probably. But without fail, the ‘what happens’ always emerges from this reading. In that sense, I do not make things up. How the works come together thereafter depends on finding some sort of imperative. This could be a writing competition deadline, or a publisher’s call for a certain kind of work. As Tiny says in her post, you do need deadlines. And perhaps, to come full circle, a lot of writer’s OCDD is also down to not knowing who will want to read/publish the work once it is done. While it remains unfinished, both failure and success are forever postponed. Keeping to your chosen path is hard to do, and I’ve written more on this HERE. But now please meet Celestine Nudana from Ghana, West Africa. She will be heading out on the next leg of the #mywritingprocess tour (26 May). She has been blogging at Reading Pleasure since 2012: http://readinpleasure.wordpress.com/ and believe me it is always a pleasure to visit her there.

Celestine is Senior Assistant Registrar at the University of Professional Studies, Accra, Ghana. She is married and has three boys. She attended the University of Ghana, Legon, where she read English and Theatre Arts, majoring in play writing. She also has a Masters in International Affairs. As well as being a passionate reader and book reviewer, she has also developed a special talent for writing haiku, although she says she is still at the learning stage. Even so, her work has been included in two recent anthologies: Western Haiku: A Collection, and Ballads, bothproduced by Dagda Publishing UK, an independent publisher who aims to show-case the freshest poetry and literature by new writers from around the world. The works are available as e-books. She has also had her flash fiction published in1 Photo 50 Authors 100 Words edited by Madison Woods.

She says of herself, “I am a romantic at heart, and love a good romance story, though I shy away from erotica. Almost all my poems focus on love, or aspects of it.” Celestine has written romantic fiction for serialization in several Ghanaian newspapers, and deployed her play writing skills to produce radio serial dramas that deal with topics including child health and female sexual reproductive health. So here is a woman who writes on many fronts. I’m looking forward to hearing what she has to say about her writing life.

Now here is my second writer introduction. She was a bit held up, so this is a last minute addition. I’ll let her speak for herself:

Hello! My name is Vashti Quiroz-Vega. I’m a writer of Suspense, Fantasy and Horror. I also enjoy mixing in some Humour and Romance into my stories. From the time I was a young kid, writing has been my passion. I’ve always been a writer; I just didn’t know it until much later. For me, it is easier to express my thoughts on paper than with the spoken word. I enjoy making people feel an array of emotions with my writing. I like my audience to laugh one moment, cry the next and clench their jaws after that. My love of animals and nature are often incorporated in my stories. You’ll read intriguing things about various animals, nature and natural disasters commingled with my character-driven novels. I love to read almost as much as I love to write. Some of my favourite authors are Stephen King, M. Night Shyamalan, Michael Crichton, Anne Rice, J. R. R. Tolkein, J. K. Rowling and Dan Brown.

http://vashtiqvega.wordpress.com

This fiction writer’s path: five things learned along the way

Writing tips: Knowing your place

Errant muse? There’s still life at the allotment

TO SEE OTHER WRITERS’ POSTS IN THIS TOUR, GO TO THE READER AND USE THE SEARCH TAG: #mywritingprocess

Life in a Wheelchair

This is such a heartfelt post about what it means to lose mobility. Something we could all do well to consider. Maverick09’s Blog is anyway worth a visit, not least because you can also find out how to make wonderful banjos there.

Maverick09's Blog

I’ve been using a wheelchair for three or four years now, on and off, mostly off. I don’t really enjoy the experience and I’ve pondered for some time as to the reason. Following an ‘outing’ today I think I’ve worked out why. During my able bodied years I would not have dreamt for one minute of thinking let alone penning the following because, along with millions of others, I hadn’t got a clue about personal mobility or, to be precise, lack of it.

Having difficulty walking, for myself anyway, apart from the physical pain associated with giving it a go, has many what you might call side issues created by the very people would you believe who are trying to assist.

Loss of or restricted mobility is in effect a loss of freedom. Freedom to go this way or that way, to turn round, to go back, to stop. You…

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Apple Blossom Time

I confess that I posted this photo the other day, along with several other shots taken up at the allotment. But then I thought it deserves to be seen again, and on its own, and without me blethering on. So here you have it: apple blossom ~ what could be more lovely?

Ailsa’s Travel Theme: blossom

Rooti-toot-toot ~ spring at the allotment up close and vegetal