Sunday Supplement – 3

Last year I wrote a post about how the Christmas season made sense to me when I thought of it as the old festival of Yule and all that entails. About nature, renewal and hope. Of course, I also wrote about my own hopes for the coming year, and the less said about that, the better! But I also wrote a post a couple of weeks ago – Winter 4 – the last in a series, discussing how I thought the Solstice might have been marked in prehistoric times. Although here in the UK we are now in yet another Lockdown, the solstice is tomorrow – marking the turning of the year – and I cannot help but see that as a reason for hope; the days begin to lengthen, the darkness slowly retreats, and whether you view that as merely symbolic, or connect that with longer, warmer, days and the pleasure they bring, as well as conditions less covid-friendly, yes, it is a reason for hope.

I finished reading H is for Hawk, by Helen Macdonald. I’ve been very poor at writing reviews this last year, and I must make a start again. This would be a great one to begin with; so much to write about it, and a definite five star recommendation. Superb.

I then read The Girl Who Forgets How To Walk, a poetry collection by Kate Davis, published by Penned in the Margins.

As the site describes it: ‘In this remarkable first collection, tarns, limekilns and abandoned pits become portals into a dark, interior world. A woman levitates above a building site; earth slips and fault-lines open up beneath the town; the sea hides ‘a gob of virus’. The moving title sequence tells the story of a young girl with polio who struggles to find her feet — and her voice — in an unforgiving landscape where ‘the ground cannot be trusted’.’ Again, thoroughly recommended and enjoyable. I finished it last night and am wavering between a couple of books, deciding what to read next. But, at the same time, I am working my way through a couple of excellent magazines:

An Antidote To Indifference is the perfect title for a magazine that showcases the best of the writing published on the Caught by the River website. It describes itself as: ‘an arts/nature/culture clash… It began as an idea, a vision and a daydream shared between friends one languid bankside spring afternoon. Conceived as an online meeting place for pursuits of a distinctly non-digital variety — walking, fishing, looking, thinking, birdsong and beer, adventure and poetry; life’s small pleasures, in all their many flavours — it was, and still is, about stepping out of daily routines to re-engage with nature. Finding new rhythms. Being.’ The website is updated daily and the magazine is published, on average, twice a year. I bought a couple of back issues as a bit of an experiment and, again, I highly recommend them to anyone who enjoys nature in any form.

My writing has taken a bit of a hit, though, this past week. I’ve felt utterly uninspired and fed up with the novel I’ve been editing, so I’ve tossed them aside for the moment and have been doing a little work on a short story – a folk horror / ghost story – and a little artwork. Amongst my daubings was this derivative painting which I intended to do for practice, but then thought would make a good birthday card for Sabina’s birthday last week. So that’s how it ended up.

Sunday Supplement – 1

This arrived at the beginning of the week: the new CD from Belbury Poly on Ghost Box Records. I listened to the podcast of Uncanny Landscapes #5 interviewing Jim Jupp (The Belbury Poly) back in September, and had been meaning to buy this since then. Inspired by British myth and legend, The Gone Away is essentially ambient electronic music. One review has it: …this haunting, immersive album that it feels like a nod to Ghost Box’s roots: where Jupp, working alone this time, is a channel for ancient, rustic strangeness, passed through the filter of some long-forgotten children’s TV series. I think it’s brilliant, and I’ve been listening to it for much of the week.

I finished re-reading Beowulf, the version translated by Seamus Heaney who is a poet I much admire. Most people know the story, or at least know that Beowulf is a great warrior who fights and kills the monster Grendel in what we think of as Anglo-Saxon times, although the story is somewhat more complex than that. I have read a lot of Anglo-Saxon poetry over the years, and I’ve frequently been disappointed by it. There is very little of it surviving – if it was ever written down at all, it has been largely lost – and what there is dates from the end of that period, when the Saxons had been converted to Christianity. This means it is frequently a strange and jarring combination of bloodthirsty adventure and po-faced sermonising. Fortunately, Beowulf largely escapes the latter, and Seamus Heaney’s translation is both beautiful and dark.

And, by strange coincidence, on my previous post (Winter – 3) Greg posted a comment mentioning Beowulf, although he could not know I had finished reading it the previous day.

But now I’m reading My Name is Red by Orhan Pamuk. This is the second time I’ve read it, and the first time I read it quickly and enjoyed it, but knew I needed to immerse myself in it more slowly. This time around, I began it in the spring and only got halfway through, for some reason really struggling with it. But I’ve picked it up again and now I’m finding it much easier going. Set in Istanbul in the sixteenth century, it is a murder mystery, love story and discussion on the power of art, with religion and intrigue chucked in for good measure.

It’s been a bit of a grey week, weather-wise, although we’ve had the odd spell of sunny weather. Yesterday we had a dodging-the-showers walk over the nearby common, and spent a while mulling over the age of this oak. I reckoned it might be three hundred to three hundred and fifty years old, while Sabina plumped for five hundred.

In the summer, I measured its girth at head height, and made it approximately six metres. The various ‘ready reckoners’ one comes across would suggest from this the age is around four hundred years, making allowances for factors such as the climate around here and its position in relation to the rest of the geography of the area, but this tree seems in unusually good condition for one that age. It’s possible, of course. Whatever age it is, though, it’s a mighty bugger.

My creative writing this week, what there was of it, was all revision of A Good Place. I’m getting there slowly, even if it does seem to be taking an age. How do some writers manage to dash off a couple of books a year, for heaven’s sake? Do they not have lives?

And my next post? My final post on winter. We’re approaching Christmas, are we not? So a little something seasonal. In a sort of Neolithic way…

Winter – 3

Winter would have brought a period of enforced leisure for our ancestors. Their days would have become shorter with the increasing hours of darkness, until in midwinter the daylight hours would make up only one third of the time.

All outdoor activities would effectively cease in the darkness, and even during the day the worsening weather would limit what could be achieved outdoors. But other than those tasks that could be carried out, what did they do in these times? how did they pass those long hours?

At times, no doubt, there would have been feasting and merry-making because they would have required some cheer and a sense of well-being to help them get through the winter. But they must also have been mindful of husbanding scarce food resources through those long barren months.

it may be that they played games. Although archaeology hasn’t furnished us with evidence of board games or dice or variations on these, it is still possible they would scratch, perhaps, some form of grid into the beaten soil of the floor and play games of skill or chance. It is not beyond possibility that some flat rocks with strange scorings and lines on them were used for that purpose.

With no TVs or books or computers, it might seem to us that time would have weighed heavily on their hands. But you are used to what you are used to, and they would have seen things differently. They may have looked forward to a period of relative inactivity; long hours of no talk, sitting or lying down, the mind slowing down until hours were passed in no thought. Did they then also pass unusually long hours in sleep? A kind of semi-hibernation as a way of conserving energy?

But long hours also, of talking. They must have talked: of daily life and plans and past disasters and glories, of gossip, and told stories both new and handed down from previous generations. These stories would have been incredibly powerful tools for the preservation of the tribe. With no written word, the spoken word becomes the only way knowledge is transmitted. And thus it has to be memorised, both for use and also to transmit in the future. As aids to memorising, powerful tools are repetition, rhyme and rhythm. We cannot know exactly how this was utilised, but it cannot have been long before poetry and song evolved.

It can be no coincidence, but in all the early societies we know of who had no written records, those of which we know about through records left by others – such as the Romans writing of the Britons – it is clear that poetry and song were important, and the bard a highly valued member of that society. Indeed, the writings left by Romans, who tended to denigrate anyone not Roman as barbarian and primitive, violent, and uncultured, still make it clear these ‘barbarian’ tribes valued poetry and song highly. Partly, this must have been for educational purposes, but they seem also to have been valued for themselves, for their beauty. It is taking things too far to suggest this proves the same would have applied in Neolithic times, but it is certainly possible. At some point, there would have been music. I imagine this developed out of ritual, perhaps through repetitive chanting and the beat of drums…

And so, I can imagine this at first being perhaps the preserve of the shaman, until becoming a specialised ‘post’ – that of the bard – and acquiring the value of entertainment, as well as instruction.

An Andalusian Adventure (1)

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It wasn’t my first trip to Spain, although it was a long time ago now. I walked into Malaga with a rucksack on my back and followed the signs for ‘Centro’ until I found myself in the crowded central district of older narrow streets with three- and four-story shops and cafes, guest houses and cheap hotels. The second hotel I tried offered me a perfectly adequate room on the third floor at a very good price.

The hotel was old. The wooden floors of the corridors were worn and polished by the passage of countless feet, and everywhere seemed gloomy. It gave the impression of having more nooks and corners where light never penetrated than it should. But the only light came from the occasional bulbs hanging from the ceilings, and other than by returning to the street, the visitor would only encounter daylight once they had reached their room and opened the curtains.

The bed was old, and sagged a good deal more than it should, and the furniture was so dark with age it was difficult to make out the grain. As a base for a few days, I decided it would suit me fine. As I unpacked and settled in, I suddenly heard a violin being played. It sounded quite close, and I opened my bedroom door to investigate. I had just decided the sound was coming from a neighbouring room when it stopped, and then a door opened. A man about ten years older than myself emerged and stopped when he saw me.

‘I’m sorry,’ he said. ‘Did I disturb you?’

He introduced himself as a German who I shall call Matthias, although I am no longer certain that was his name, and who immediately invited me to go for a beer.

It would have been rude of me to refuse.

Matthias was meandering around Europe, he told me, and supporting himself largely by busking. Later that week I was to see him playing in the street and be surprised at just how many passers-by threw coins into his hat. It seemed a particularly enjoyable way to travel. Over those beers and then over a few more later in the week, we talked travel and philosophy, music and religion. When I meet someone while travelling, I find it interesting how I often have less constraint than I would when I meet someone for the first time in more familiar surroundings. Frequently, I will reveal things about myself I would never dream of doing to someone I meet perhaps for the first time at a friend’s house, or at my writing group. I presume it is the unspoken knowledge we will never meet again.

Beside the entrance to the hotel was a little café where I made it my habit to take a breakfast consisting of strong coffee, sometimes with slices of thick white bread dipped in olive oil, sometimes with fried eggs. It was a good place to sit and watch Malaga waking up. Its clientele were a broad mixture of workers all grabbing a quick breakfast on their way to office, shop or building site. Mostly they sat in silence, reading the morning paper and smoking, other than to give their orders to the waiter. On the bar a tiny transistor radio chattered away in speech too indistinct for me to make out more than the occasional word. In a way, though, that only added to the atmosphere. Despite it being a familiar situation, there was enough of the unfamiliar and the foreign to make it feel a little exotic.

I wanted adventure, I wanted to explore. I’ve wanted to do that for as long as I can remember. I travelled in those days with a few changes of clothes in a rucksack and a minimum of half a dozen paperbacks, which invariably included something by Hermann Hesse and at least one poetry book.

That, at least, hasn’t changed much.

I liked to travel light (other than the books, of course), so I had no camera with me and probably very few of the essentials most people would think to take on a Spanish holiday. No swimwear, for example. I don’t do beaches, at least not in that way.

But I had come to Malaga because I had a peripatetic nature, and my itchy feet were troubling me. After a few days I decided to take a walk out to the little town of Colmenar, to the north of the city. I would take a room there for one night and return to Malaga the following day. Any other destination would have done just as well; the purpose was the journey, and the journey was the purpose. I chose this route simply because while wandering around the outskirts of Malaga I saw a narrow road winding up into the hills with almost no traffic on it, signposted to Colmenar. The morning after I had made the decision, I packed my rucksack and checked out of my hotel immediately after breakfast.

Part 2 to follow

Wandering

I’m posting this poem again, as it rather illustrates what I’ve personally found particularly frustrating during the recent lockdown. We can go for longer walks now, it is true, but that’s still not the same.

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If I could just wave a wand,

I would wander the world.

With my notebook in hand,

And a bag on my back.

 

I would sleep under hedges,

In hotels and haylofts.

Drink beers under trees,

And eat cheese on the moor.

 

I’d watch clouds over hilltops,

And boats on the ocean.

Shapes and shadows at sunset,

A moon with a view.

 

And I’d write trivial poems

Of snowfall and sunlight,

Birds singing at dawn

And the sounds of a stream.

 

There’s the lure of a skyline,

And skylarks above me,

Wine and woodsmoke my welcome,

At the end of the day.

 

To travel, to journey,

There’s magic in wandering

Over moorland and downland,

Through woods and through fields.

 

The world’s full of wonders

All waiting for wanderers.

Let me follow these paths

For as long as I can.

The poem can be found in my collection The Night Bus, which is available here. should your interest have been piqued by this…

Vikings

Allow me to introduce a new joint venture, a magazine (or zine, as I’m informed we hip youngsters now say):

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The final poem in my recent collection, The Night Bus, is a poem called Vikings, and it is reproduced in this here zine with a series of super illustrations.

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This is a collaboration between myself and my talented friend Mark Prestage. As already indicated the poem is mine, while Mark designed, cut and printed the linocuts.

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Mark also did the hard work of putting the zine together, while I just sat around and drank beer. The zine is printed on 16 pages of high quality paper, in a preliminary edition of 40 numbered copies.

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In the UK the price is £4.50 including postage and packaging, and it can be ordered from my Etsy site: here, or directly from me (just email me) using Paypal. Unfortunately the cost of postage overseas makes it impractical to offer outside of the UK (typically doubling the cost of the zine, or even more).

If people make lots of approving noises, we have ideas for similar projects in the future.

Mark also blogs here: drifting in lower case and twits: twit and is well worth a visit.

Crows

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This is the first poem in a series still not quite completed. Although the rest of the series needs to be read as a single entity, this one works as a standalone piece.

Crows are unsettling.

They make eye contact with you,

Like all their kind:

Rooks, magpies, jackdaws and their ilk,

Black-eyed, mocking, wind-flicked feathers,

Watching you from high branches,

Scattered trees, lone rocks and open fields.

Krra icily in the harshest breeze.

 

They could be smart, dark-suited undertakers,

Clearing up dead bodies or

Smug bankers, lounging in the hotel bar with

After-dinner drinks, bragging raucously.

 

Crows solve problems, are wary, learn,

And remember you.

They may reward kindness

With coins and pieces of glass,

With golf balls, or feathers.

But crows make up murders.

They hold grudges and will plot your destruction

If you cross them.

 

The Night Bus ebook Free for Three Days

Giveaway now live!

I think the thing I miss the most during the Coronavirus crisis is being able to travel around; being able to to take journeys. Even a day out is forbidden just now, and all I can do other than go for a local walk is to read books about travel or watch documentaries. I’m sure there are many more like me out there, eager to indulge their wanderlust in any way they can.

So here’s my contribution:

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The Night Bus is my book of short stories and poems, all based around the theme of ‘journeys’, and I’m making the e-book free to download for a short period from this coming Saturday.

The link is here and the giveaway will run from Saturday 25th April – Monday 7th April inclusive, US Pacific Time (I know, but that’s how Amazon insists on setting it up! It’s 8 hours behind UK time, so that means the giveaway will presumably start 8 a.m. Saturday UK time and finish 8 a.m. Tuesday.). I’ve not run one of these before, so I hope it works! Please let me know if there are any problems!

Obviously, if you do download it, a review would be marvellous and I’d really appreciate it!

The Night Bus ebook Free for Three Days

Giveaway now live!

I think the thing I miss the most during the Coronavirus crisis is being able to travel around; being able to to take journeys. Even a day out is forbidden just now, and all I can do other than go for a local walk is to read books about travel or watch documentaries. I’m sure there are many more like me out there, eager to indulge their wanderlust in any way they can.

So here’s my contribution:

312EjL1fieL._SY346_

The Night Bus is my book of short stories and poems, all based around the theme of ‘journeys’, and I’m making the e-book free to download for a short period from this coming Saturday.

The link is here and the giveaway will run from Saturday 25th April – Monday 7th April inclusive, US Pacific Time (I know, but that’s how Amazon insists on setting it up! It’s 8 hours behind UK time, so that means the giveaway will presumably start 8 a.m. Saturday UK time and finish 8 a.m. Tuesday.). I’ve not run one of these before, so I hope it works! Please let me know if there are any problems!

Obviously, if you do download it, a review would be marvellous and I’d really appreciate it!

Lost and Found in Translation

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I have read many novels, short stories and poems translated into English from other languages, but I wonder how much of what I read is true to the original intentions of the authors?

The Argentinian writer Jorge Luis Borges wrote many short stories and poems, all of them in his native Spanish. Although I did buy one collection in Spanish, my own knowledge of that language has always been too poor for me to do anything other than read it slowly and laboriously and, undoubtedly, to miss many of the nuances in the writing. So for that reason, I’ve had to read them in translation.

And in any case, even if I spoke Spanish well I could do little more than read it as translation in my head. Unless I spoke it like a native speaker, I would still likely miss much that the author intended to convey.

And so I buy translations.

Zima Junction by the Russian poet Yevgeny Yevtushenko is a long poem that tells of the poet’s visit to his home town in Siberia, having left some years before to go to live and work in a city. It is a beautiful depiction of rural life in Russia at the time, seen afresh after a gap of several years away, and describes the poets now ambiguous relationship with it.

Long poems can be good vehicles for describing journeys; my own poem The Night Bus does just that, and was written because in that instance I could not find any other medium that worked as well to convey what I wanted to say.

Another favourite of mine is Dart by Alice Oswald, which describes a journey from the source to the sea along the River Dart in Devon, England. She gives voices to the various people encountered along this journey, and to the animals living there…Since it is written in English, I am not left with any worry I am missing things the poet wanted to say, other than perhaps my own occasional inability to understand her.

I have a book of poems from North East India. It is an anthology that I bought in India, with contributions from a huge number of poets. A few of them wrote in English, but the majority of them wrote in other languages – some in Bengali, but the majority in one or other of the plethora of languages to be found in the North East States. And, sadly, most of the translations appear to have been done as a straightforward translation word for word, with no thought given to the feeling of the poem. Any rhythm the poems may originally have had seems to have been lost. The sentences are often clunky and uncomfortable to read. Their meanings have become lost in translation.

But Zima Junction has a natural and comfortable rhythm

The translator of a poem has, to my mind, a task that is more difficult than the translator of prose. Yet, paradoxically, they also have more freedom. More difficult, because they have to get across to the reader ideas or meanings that may be partly concealed in idiomatic language used by the author that perhaps we have no parallel for in English, and hence they may have to completely alter the structure of that part. This will affect a line of poetry far more than it would a line of prose. Immediately, the rhythm of the poem is disrupted, the word count of the line changed.

Yet the reader of a poem has a right to expect a poem. And so, strangely, the translator has the freedom to re-write the poem. In the need for the end result of their translation to be a poem, they may have to completely alter much of the structure to enable the translated words to reassemble themselves as a poem. And so the translators of poems must, by essence, be poets themselves.

So to return to Borges and Yevtushenko, when I read the poems I do wonder whether I am actually reading their poems, or someone else’s?