tag:blogger.com,1999:blog-76387625554395576732024-03-05T13:53:31.785+00:00Jenny Wren and Bella WilferJenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.comBlogger79125tag:blogger.com,1999:blog-7638762555439557673.post-70323259423166786602019-05-30T12:39:00.000+01:002019-05-30T12:39:04.194+01:00Weekend of Words workshop - come along<div class="separator" style="clear: both; text-align: center;">
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Exciting news: I'm co-running a 2-hour creative non fiction workshop in the glorious setting of Victoria Baths next Saturday, 8th June as part of the first <a href="https://www.creativetourist.com/event/weekend-of-words/" target="_blank">Weekend of Words festival</a>.<br />
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Adam Farrer, editor of <a href="https://therealstory.org/" target="_blank">The Real Story</a> and writer-in-residence for Peel Park in Salford, will be running the workshop with me.<br />
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If you're interested in exploring life writing/memoir/personal narrative, why not come along? The workshop runs 11-1pm and tickets are £5 in advance from here: <span style="font-family: Arial;"><a href="http://vbwowsaturday.eventbrite.co.uk/" rel="nofollow" shape="rect" target="_blank"><span lang="EN-US" style="color: #103cc0;">vbwowsaturday.eventbrite.co.uk</span></a></span><br />
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<span style="font-family: Arial;"><span lang="EN-US" style="color: #103cc0;"> </span></span><br />
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Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-11587692660761854992017-12-31T16:00:00.000+00:002017-12-31T16:00:12.483+00:00Happy New Year againLately I've been reading<a href="https://maggiesmithpoet.com/" target="_blank"> Maggie Smith</a> poems. Her '<a href="http://waxwingmag.org/items/Issue9/28_Smith-Good-Bones.php" target="_blank">Good Bones</a>' , first published by Waxwing, went viral in 2016 and 2017.<br />
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<img alt="Image result for Bones by MAggie Smith" class="irc_mi" height="597" src="https://reachingforpicchu.files.wordpress.com/2016/06/clljpvnweaeuixk.jpg" style="margin-top: 14px;" width="442" /><br />
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I like its hyperbole and its downbeat insistence on hope.<br />
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That downbeat yet ultimately hopeful feel comes over in her <a href="http://losangelesreview.org/new-year-sestina-maggie-smith/" target="_blank">'New Year Sestina'</a> too - so appropriate for this night and the next morning when we feverishly vow to enjoy ourselves and be better people next year. Next year. The things we do over and over. Patterns of repetition. Happy New Year.<br />
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<br />Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-89629286863277765122017-09-15T22:13:00.000+01:002017-09-16T12:56:40.822+01:00Raclette dinner<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_GpT8rYqAhrZSg2hux6kwRJYD_zg2N1dHkmJ6mNNgvJ4VR1OgUPA15bXYCzHi14EE-uGJt92p7jXJv8RYDqIyIqhesGYgh079wRP6MioSgU63IjlVED36bfGpfDetAcR2vXQafNXabQ0/s1600/swimmer-659904_1920+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1063" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_GpT8rYqAhrZSg2hux6kwRJYD_zg2N1dHkmJ6mNNgvJ4VR1OgUPA15bXYCzHi14EE-uGJt92p7jXJv8RYDqIyIqhesGYgh079wRP6MioSgU63IjlVED36bfGpfDetAcR2vXQafNXabQ0/s320/swimmer-659904_1920+%25282%2529.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">Raclette was invented by Swiss
shepherds, snowed into a mountain chalet one long winter. After ravishing one
another, they got hungry and made dinner from what they found in the cupboard. </span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">Ingredients:</span></i></div>
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<span style="font-family: "courier"; font-size: 12.0pt;">Raclette cheese but
gouda or cheddar also good</span></div>
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<span style="font-family: "courier"; font-size: 12.0pt;">Potatoes</span></div>
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<span style="font-family: "courier"; font-size: 12.0pt;">Ham, optional</span></div>
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any source of heat to melt the cheese</span></div>
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</span><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"></span><br />
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">Method:</span></i></div>
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"></span><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"></span><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"></span><br />
<div class="MsoNormal">
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">1. Meet a French guy at the swimming pool one Saturday afternoon in January. He must be a serious swimmer because he wears a nose clip. Notice his large feet.</span></span></span></div>
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />2. Have coffee with him. You are both new in town, both 23. When he offers to cook you dinner, accept.</span></span></span><br />
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br /></span></span></span></div>
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">3. Watch him peel potatoes at your sink. You have already seen him in Speedos: he looks good with clothes on too. Admire the way his shirt folds in against his back. </span></span></span></div>
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">
</span>
<div class="MsoNormal">
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br /></span></div>
<span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">4. Listen as he sneers at your kitchen knife, but say nothing.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">5. Notice the fine hairs on his forearm.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">6. Boil the potatoes. The kitchen fills with steam.</span></span></div>
<div class="MsoNormal">
<br />
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">7. Outside ice crystals are forming in the air. Close the blind.</span></span></div>
<div class="MsoNormal">
<br />
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">8. Set the table in the bed/living room: wine glasses, plates and a box containing the raclette machine.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">9. After 7 minutes, admire him draining the potatoes. </span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />10. Arrange slices of cheese and ham on a plate. Raclette cheese smells like grass and chlorine.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />11. Watch him assemble the raclette machine. It takes a while.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />12. Put the big dish of hot boiled potatoes on the table.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />13. Light candles.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />14. Sit opposite him at the trestle table. He has a big nose and no chin. The French for a man who is ugly yet attractive is <i>beau laid</i> – beautiful ugly.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />15. Place cheese slices into the tiny raclette pans to heat. This will take several minutes.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />16. Notice, just over his shoulder, the bed in the corner of the room. </span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />17. Talk. He is into neuro linguistic programming. This stuff would sound dodgy in English, but ignore that. Apparently we construct our thoughts in three ways: <i>auditif</i>, <i>visuel</i> and <i>kinesthetique</i>. You and he are <i>kinesthetique</i>, he says. You both communicate though movement, with your bodies.</span></span></div>
<div class="MsoNormal">
<br />
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">18. Watch the cheese melt.</span></span></div>
<div class="MsoNormal">
<br />
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">19. Pour the cheese onto the potato. Eat with fingers.</span></span></div>
<div class="MsoNormal">
<br />
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">20. Pour wine.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />21. Drink wine.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />22. Melt more cheese. When it finally becomes liquid, tip it over some ham.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />23. Notice the slick of fat left in the pan. Eat. </span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />24. Raise glass to French guy. Brush fingers against his. Touching his skin is like touching a hot raclette.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">25. Look into his eyes. Green.</span></span></div>
<div class="MsoNormal">
<br />
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">26. Merge fingers. </span></span></div>
<div class="MsoNormal">
<br />
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">27. Lean in. </span></span></div>
<div class="MsoNormal">
<br />
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">28. Stand because the table is too goddam wide to reach across.</span></span></div>
<div class="MsoNormal">
<br />
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">29. Knock potatoes onto the floor.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />30. French kiss an actual French man.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />31. Slide into bed with him. Stay for two months.</span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />32. In the third month he will reveal that his other girlfriend, Sandrine, who he never mentioned before, is expecting him home for Easter and you will wonder how you could have been so stupid. </span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br />33. Notice that raclette sits heavy in your stomach. Open the blind and notice that spring has arrived. </span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;"><br /></span></i></div>
</span><span style="font-family: "courier"; font-size: 12.0pt; line-height: 106%;">
</span>Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com1tag:blogger.com,1999:blog-7638762555439557673.post-88979477698789374862017-06-30T14:56:00.000+01:002017-06-30T14:56:06.866+01:00Bunkerlust<div class="MsoNormal">
<span style="font-size: large;">Since the election, I’ve been thinking about how to cope
with the next five years. My instinct is to dig a hole and hide in it. I’d like
a bunker.<o:p></o:p></span></div>
<blockquote class="tr_bq">
<span style="font-size: large;">bunker – n. 1. A large container or compartment for storing
fuel 2. a reinforced underground shelter, esp, for use in wartime</span></blockquote>
<div class="MsoNormal">
<span style="font-size: large;"><o:p></o:p></span></div>
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<span style="font-size: large;"> I’m picturing a very specific World War 2 bunker, a concrete
cube with earth banked up the sides, a small door and a couple of tiny windows.
This bunker is a real building, on the east coast of Scotland, a look out post hastily
constructed in 1940 as part of a huge effort to protect the country from an expected German invasion.
A pillbox. <o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<tr><td style="text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxJ-7vXlBvzKXJ2nWr5TW5DuNpH81rBcU7cjfwIK1f4qRDQJFVeqJsrHaAyAwgrrW4xjQQAHkPgCeukpi25nvpP6yTNdrPXFKvVX8sdqdQOa2AB2TdeXtY_IWeFN1KveRGDLZfnb7JMc/s320/pillboxboarhillsgemmill.jpg" style="margin-left: auto; margin-right: auto;" width="320" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">picture by Sandy Gemmill: <a href="http://www.geograph.org.uk/mapper/quick.php?q=user8181">http://www.geograph.org.uk/mapper/quick.php?q=user8181</a></span><br /></td></tr>
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<span style="font-size: large;"><br /></span></div>
<span style="font-size: large;"><br /> These days it’s overgrown with turf and gorse bushes. Sheep graze on top of it, rabbits run over it. It’s built into the side of a cliff – not the bare rock variety, but one with a gentler, grass covered slope, that kids and animals can climb up. Walkers on the <a href="http://www.fifecoastalpath.co.uk/">Fife coastal path</a> approach it from the land side, through a flat field of barley that seems to end in the sea because the land drops away so suddenly. There’s a hole in the roof – perhaps originally a gun hatch; inside a rusting metal ladder leads down to a floor thick with ancient beer cans and broken bottles. It smells of piss. <br /><br /> I played here as a child with friends: climbing and exploring and peering out to sea, towards Norway and Denmark. Even then it was a relic of a long gone past. Our parents were children during World War Two. The pillbox, like other markers on the landscape, was a remnant of an old conflict. Strange that this concrete structure surfaces from my childhood now. Silent on its cliff edge, waiting all these years for an inhabitant.<br /><br /> The bunker I long for is dry and clean and the walls are decorated with multi coloured flowers. Against one wall stands a couch heaped with cushions and blankets; against the other, a desk made from painted planks. A sea view through the tiny windows. A source of heat. Books. Writing materials. A good chair. No wifi. In there I will write whatever oddness and peculiarity came to mind. I want to make a counter narrative to the drivel that comes from the top, to go deeper than despair or anger, and to follow my interests and whims without interruption. I want to look out for whatever signs are on the water. <a href="http://www.delia-derbyshire.org/">Delia Derbyshire</a> - the pioneering electronic musician and composer, who wrote the original theme tune for ‘Doctor Who’ – expressed this state well. </span><div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;"> She <a href="https://www.theguardian.com/news/2001/jul/07/guardianobituaries1">once told a friend</a>: ‘What we are doing now is not important for itself, but one day someone might be interested enough to carry things forward and create something wonderful on these foundations.’<br /><br /> In 1949, a pupil of the great psychoanalyst Carl Jung once dreamed of a vast temple under construction. The pupil’s name was <a href="https://carljungdepthpsychologysite.blog/2016/08/28/carl-jung-each-person-works-on-his-own-pillar-until-one-day-the-temple-will-be-built/" target="_blank">Max Zeller</a>, a Jewish doctor who had escaped Nazi Germany shortly before the war started. Here's how he described his dream and Jung’s response:<br /><br /> “As far as I could see - ahead, behind, right and left - there were incredible numbers of people building on gigantic pillars. I, too, was building on a pillar. The whole building process was in its very first beginnings, but the foundation was already there the rest of the building was starting to go up and I and many others were working on it.”<br /><br /> Jung said, "Ja, you know, that is the temple we all build on. We don't know the people because, believe me, they build in India and China and in Russia and all over the world. That is the new religion. You know how long it will take until it is built?"<br /><br /> I said, "How should I know? Do you know?"<br /><br /> He said "I know."<br /><br /> I asked how long it will take.<br /><br /> He said, "About six hundred years."<br /><br /> "Where do you know this from?" I asked.<br /><br /> He said, "From dreams. From other people's dreams and from my own. This new religion will come together as far as we can see."<br /><br /> Writers, poets, artists and musicians listen to a subtle voice that tells them what to work on, and how to work. Stone by stone, pillar by pillar, each of us working on our own bit. That’s what’s calling me into the bunker – not an urge to hide from the world, but to focus and make work. The pillbox is a building block in a greater project. It’s one of many across the land.<br /><br /> Delia Derbyshire said her love of electronic sounds came from hearing air raid sirens sounding the all clear in <a href="http://www.delia-derbyshire.org/interview_boa.php" target="_blank">her wartime childhood in Coventry</a>. The <a href="http://www.bbc.co.uk/schoolradio/subjects/history/ww2clips/sounds/all_clear_siren" target="_blank">all clear</a> is a haunting wail. It signals a feeling of relief, knowing danger has passed, that death has been averted, for now, as you step out of the bunker, still alive, and look around at the new world outside.</span></div>
Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-86925240823222749472017-06-05T10:35:00.003+01:002017-06-30T14:59:38.285+01:00Ninjas of Non fiction: Kathleen Jamie<span style="font-size: large;">I've been loving Kathleen Jamie's books on landscape recently so I jumped at the chance of writing an appreciation of her work for The Real Story. Read it here: <a href="http://therealstory.org/2017/05/27/ninjas-of-nonfiction-10-kathleen-jamie/">http://therealstory.org/2017/05/27/ninjas-of-nonfiction-10-kathleen-jamie/</a><!--[if gte mso 9]><xml>
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<![endif]--><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 115%;"><br /></span>Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-26054872724029903082016-06-07T11:01:00.000+01:002016-06-07T11:01:00.169+01:00The Real Story live show!<br />
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<img alt="Amy Liptrot" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpRSjDNUGb6XXfk8UWs1OMTGZLAoJrdVCckQVLUM0Cd0C9t3tMQdCOxjZoLrq8wwOAT-L5b4Dz6h-A6H-u5QSk1NJQBcw9MVP8690y0mYt5phYUzS0jZeSJ9o2rIt3QH_TgZVvJQnJiy8/s1600/index.jpe" title="" /></div>
<br />
I'm reading my story<a href="http://therealstory.org/2016/05/15/mr-moore-by-ebba-brooks/" target="_blank"> 'Mr Moore'</a> at a live telling of non fiction stories later this month - and delighted to be part of a really strong line up of women writers: <a href="http://amyliptrot.tumblr.com/" target="_blank">Amy Liptrot</a> (above) with her memoir of growing up in Orkney, <i>The Outrun, </i><span class="_4n-j fsl"><a href="http://hollyaszkenasy.tumblr.com/" target="_blank">Holly Aszkenasy</a> who writes about her Jewish identity, <a href="https://twitter.com/laura_tans" target="_blank">Laura Tansley</a> and Pushcart Prize nominee <a href="https://writerinresidenceblog.wordpress.com/" target="_blank">Kate Jones</a>. </span><br />
<br />
<span class="_4n-j fsl"><b>It's all happening in Manchester, June 23, Gulliver's, Oldham Street M4 1LW. 7.30pm. Tickets £5/3</b> </span><br />
<span class="_4n-j fsl"><b><br /></b></span>
<span class="_4n-j fsl">Yes, it is European referendum day, but voting only takes 5 minutes, and wouldn't you rather be doing <a href="http://therealstory.org/2016/05/10/the-real-story-live-headlined-by-amy-liptrot/" target="_blank">this</a>?</span><br />
<span class="_4n-j fsl"><b><br /></b></span>
<span class="_4n-j fsl">Event page on Facebook: <a href="https://www.facebook.com/events/1000398630029675/">https://www.facebook.com/events/1000398630029675/</a></span><br />
<span class="_4n-j fsl"><b><br /></b></span>Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-81973103732918296422016-06-06T10:23:00.000+01:002016-06-06T10:23:53.345+01:00The Real StoryI'm delighted that my story <a href="http://therealstory.org/2016/05/15/mr-moore-by-ebba-brooks/" target="_blank">'Mr Moore'</a> has been published by creative non fiction afficionados <a href="http://therealstory.org/" target="_blank">The Real Story</a>.Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-43704685616204127422016-01-03T16:59:00.000+00:002016-01-03T17:01:12.579+00:00New Year's inspiration and all that shitI've had a cold for the last two weeks so am feeling sorry for myself. I've also just started working through Jo Bell's book of poetry writing prompts <a href="http://ninearchespress.com/publications/poetry-collections/52writeapoemaweekstartnowkeepgoing.html" target="_blank">52</a>. The first poem it features is the poetic pep talk 'Everything is Going to Be Amazing' by <a href="http://www.laurenzuniga.com/" target="_blank">Lauren Zuniga </a> which I won't reproduce here as I can't find it anywhere online. But it's funny, feisty and larger than life. I suppose I should really get my big girl pants on, get up off my 'Cadillac britches and show them motor/ mouth badgers how it's done' but all I can manage today is to shiver in my PJs under the duvet. <br />
And perhaps listen to Tom Waits reading Charles Bukowski's poem 'The Laughing Heart'. It's downbeat upbeat and about as positive as I can manage today. Thankyou <a href="http://simon-bestwick.blogspot.co.uk/" target="_blank">Simon Bestwick</a> for this recommendation.<br />
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The original poem can be found in <i><a href="http://www.amazon.co.uk/Betting-Muse-Stories-Charles-Bukowski/dp/1574230018" target="_blank">Betting on the Muse: Poems and Stories</a></i> (1996) but here's the text:<br />
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<a href="http://fluxcomb.com/2014/08/01/the-laughing-heart-by-charles-bukowski/" target="_blank"><img alt="text of The Laughing Heart by Charles Bukowski" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lDY7lanUtcPPLkAmh14lLp0CYtx6RlwkspG0YBk5kDpJEzpiOXLPYMZs1QKKW9ZC5gWJFACGhP4trTYD_WZS4e-NIOOW7sqeLHiK0rGXJ2wJkyVXuB5yWO5-AgmuYL7DszUjsaOAhtM/s320/bukowski.jpg" title="" width="226" /></a></div>
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One day soon I promise I'll try the Grown Ass Woman Soda, Lauren... But for now, where's my hot Ribena?Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-87847047767986183212015-12-31T20:10:00.000+00:002015-12-31T20:10:05.983+00:00Poems for the end of the world<div class="separator" style="clear: both; text-align: center;">
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I'm pretty sure the world will still be here tomorrow morning, but New Year's Eve always feels like a rush towards a terribly important global deadline. What if we don't make it? What if this is it?<br />
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So here's a final reading recommendation from a student for the end of the year: Ray Bradbury's aptly titled short story '<a href="http://www.esquire.com/entertainment/books/a14340/ray-bradbury-last-night-of-the-world-0251/" target="_blank">The Last Night of the World</a>'. It's short, simple and rather beautiful. I like the silence after the last line.<br />
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It made me think of <a href="http://www.neilrollinson.com/" target="_blank">Neil Rollinson</a>'s poem 'A List of Requirements for the End of the World' which takes a different approach to impending apocalypse. Rollinson is "one of our boldest and best contemporary writers" according to <a href="http://ninearchespress.com/publications/poetry-collections/the%20very%20best%20of%2052.html" target="_blank">Jo Bell</a>, who also says that "his poetry pulls no punches on any subject". In this poem, sensual details are heaped up around each other, like the living room after a very adult sort of Christmas, perhaps.</div>
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A List of Requirements for the End of the World<o:p></o:p></div>
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A barrel of beer, two glasses,<o:p></o:p></div>
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a coal fire, toasting forks<o:p></o:p></div>
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and muffins, a little bacon, sausages.<o:p></o:p></div>
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Near the fire, a bed, a double bed<o:p></o:p></div>
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with cool white sheets, preferably silk.<o:p></o:p></div>
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Marital aids, handcuffs, ointments<o:p></o:p></div>
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and perfumes for later.<o:p></o:p></div>
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A porcelain bath on its legs,<o:p></o:p></div>
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Shostakovich’s string<o:p></o:p></div>
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quartets, Northumberland pipes,<o:p></o:p></div>
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on LP (not CD).<o:p></o:p></div>
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Chocolate, lots, with a high cocoa<o:p></o:p></div>
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solids content. Waitrose is best.<o:p></o:p></div>
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Soft-porn movies, a Polaroid,<o:p></o:p></div>
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some good, clean speed, or coke<o:p></o:p></div>
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if you can. A broken television<o:p></o:p></div>
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stuck in the corner. A radio jammed<o:p></o:p></div>
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on Hilversum. A girl<o:p></o:p></div>
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I’ve never met before.<o:p></o:p></div>
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A Saturday evening, dusk falling<o:p></o:p></div>
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in a flush of reds, and winter;<o:p></o:p></div>
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make it cold outside, freezing.<o:p></o:p></div>
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Try some snow, high winds.<o:p></o:p></div>
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Don’t forget the radiation:<o:p></o:p></div>
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give it a long half-life, have it<o:p></o:p></div>
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come through the window in a day or so.<o:p></o:p></div>
Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-72557554856410139712015-12-21T09:30:00.000+00:002015-12-22T12:23:16.739+00:00Poems about cutting down trees<br />
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It's time to switch on the twinkly lights, huddle round the log burner, and hope that Santa will bring you <a href="http://www.amazon.co.uk/Norwegian-Wood-Chopping-Stacking-Scandinavian/dp/0857052551" target="_blank">a Norwegian bestseller about chopping wood</a>. But another student recommendation reminds me of the shadow side of all that cosiness. It's <a href="http://www.poetryfoundation.org/bio/robert-frost" target="_blank">Robert Frost</a>'s poem 'Out, Out-' and it's a shocker. <br />
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It starts:<br />
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The buzz saw snarled and rattled in the yard</div>
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And made dust and dropped stove-length sticks of wood,</div>
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Sweet-scented stuff when the breeze drew across it.</div>
</blockquote>
So far, so bucolic, but <a href="http://www.poetryfoundation.org/poem/238122#poem" target="_blank">things get worse from there</a> (click for full text). <br />
<br />
It got me thinking about other poems about chopping down trees. The idea that a felled tree leaves behind a "luminous emptiness" is a beautiful way of describing an unsettling absence and an unexpected space. It comes from story by the poet Seamus Heaney:<br />
<blockquote class="tr_bq">
In 1939 ... an aunt of mine planted a chestnut tree in a jam jar. When it began to sprout, she broke the jar, made a hole and transplanted the thing under a hedge in front of the house. Over the years, the seedling shot up into a young tree that rose taller and taller above the boxwood hedge. And over the years I came to identify my own life with the life of the chestnut tree. <br />
This was because everybody remembered and constantly repeated the fact that it had been planted the year I was born; also because I was something of a favourite with that particular aunt, so her affection came to be symbolised in the tree; and also perhaps because the chestnut was the one significant thing that grew as I grew. ...<br />
When I was in my early teens, the family moved away from that house and the new owners of the place eventually cut down every tree around the yard and the lane and the garden including the chestnut tree. We all deplored that, of course, but life went on ... and for years I gave no particular thought to the place we had left or to my tree which had been felled. Then, all of a sudden, a couple of years ago, I began to think of the space where the tree had been or would have been. In my mind's eye I saw it as a kind of luminous emptiness, a warp and waver of light, and once again, in a way that I find hard to define, I began to identify with that space just as years before I had identified with the young tree.</blockquote>
(This is from 'A Placeless Heaven' in Heaney's Nobel prize winning collection <a href="http://www.amazon.co.uk/Government-Tongue-Seamus-Heaney/dp/057114151X/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=" target="_blank"><i>The Government of the Tongue</i></a>.) Heaney makes that story into a metaphor for writing poetry - he describes a young poet writing about the tree itself, an older poet writing about the space the tree left behind. The chopped down chestnut tree makes an appearance in his sonnet sequence <a href="http://www.poetryfoundation.org/poem/247818" target="_blank">'Clearances'</a>.<br />
<br />
<a href="http://www.jenniferksweeney.com/" target="_blank">Jennifer K Sweeney's</a> 'How to uproot a tree' reflects on age and experience in a different way. A young couple attempt to pull up a tree, but it's not easy. The couple are naive, inexperienced, and expect everything is going to go their way smoothly. The tree proves a challenging adversary. <br />
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<span class="details" style="display: inline; font-size: 15px;">
Stupidity helps.<br />
Naiveté that your hands will undo<br />
what does perfectly without you.<br />
My husband and I made the decision<br />
not to stop until the task was done,<br />
the small anemic tree made room<br />
for something prettier.<br />
We’d pulled before, pale hand over wide hand,<br />
a marriage of pulling toward us what we wanted,<br />
pushing away what we did not.<br />
We had a shovel which was mostly for show.<br />
It was mostly our fingers tunneling the dirt<br />
toward a tangle of false beginnings.<br />
The roots were branched and bearded,<br />
some had spurs<br />
and one of them was wholly reptilian.<br />
They had been where we had not<br />
and held a knit gravity<br />
that was not in their will to let go.<br />
We bent the trunk to the ground and sat on it,<br />
twisted from all angles.<br />
How like ropes it was,<br />
the sickly thing asserting its will<br />
only now at the end,<br />
blind but beyond<br />
the idea of leaving the earth.</span> </blockquote>
Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-54603741597425991172015-12-16T16:49:00.001+00:002015-12-16T16:49:29.312+00:00Write a poem a week with 52<div class="separator" style="clear: both; text-align: center;">
<img alt="cover of 52: A year of poetry writing prompts" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglfFaDoQKaZYnS3wbiGD_kdgpTE5ojVB93WyIWh113JAGCZ1BmS1kIovZJi5o7trIjOde4fQOYP-YyMguUHDv99I6yZY9dwzKfhuUk2qTV_8KGbg9d6UlAbhfS_ro6Ia2SHEuRCn3mmQs/s320/52cover.jpg" title="" width="203" /></div>
<br />
"Write a poem a week. Start now. Keep going." That was the motto of the 52 project, a year-long online writing course led by poet <a href="https://belljarblog.wordpress.com/about/" target="_blank">Jo Bell</a>, featuring one new prompt each week. Thousands of
poets wrote tens of thousands of poems - some of which have won prizes and been widely published.<br />
<br />
What made the writing prompts really special is that each one featured two or three contemporary poems as inspiration - poems you might never have heard or read, but that represent the best of what's being written in English at the moment.<br />
<br />
And now it's everyone else's turn to get in on the action. <a href="http://www.ninearchespress.com/" target="_blank">Nine Arches Press</a> have just brought out <i><a href="http://ninearchespress.com/publications/poetry-collections/52writeapoemaweekstartnowkeepgoing.html#!/~/" target="_blank">52: Write a Poem A Week Start Now Keep going: A Year of Poetry Writing Prompts</a> </i>It features prompts written by Jo Bell and guest poets from David Morley to Rachel Boast.<i><br /></i><br />
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Get your copy quick before they all sell out. Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-53212690073730171952015-12-15T22:38:00.000+00:002015-12-16T17:03:43.621+00:00If only out of vanity/WarningOne of the things I love most about teaching is finding out what my students are reading/listening to. At this time of year, I hear all about the creative work that has most inspired them in their own writing, as they submit their assessed creative portfolios.So my next few posts owe everything to my students - thankyou to this semester's cohort of Creative Writing Workshop on Monday evenings. You guys are awesome!<br />
<br />
Their first recommendation is performance poet <a href="https://twitter.com/staceyannchin?ref_src=twsrc^google|twcamp^serp|twgr^author" target="_blank">Staceyann Chin</a>, with her fine and fierce poem, 'If only out of vanity'.<br />
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Although this poem makes me feel very old indeed, my favourite part is: <br />
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<br />
“I want to be forty years old<br />
and weigh three hundred pounds<br />
and ride a motorcycle in the wintertime<br />
with four hell raising children<br />
and a one hundred ten pound female lover<br />
who writes poetry about my life<br />
and my children and loves me<br />
like no one has ever loved me before<br />
I want to be the girl your parents will use<br />
as a bad example of a lady”<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
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<br />
Check out the text of the poem here:<br />
<a href="https://indian2006.wordpress.com/2012/04/09/spoken-poetry-stacey-ann-chins-if-only-out-of-vanity/">https://indian2006.wordpress.com/2012/04/09/spoken-poetry-stacey-ann-chins-if-only-out-of-vanity/</a><br />
<br />
It's like a more angry and politically aware version of Jenny Joseph's famous 'Warning', written in 1961. You know it:<br />
<br />
When I am an old woman I shall wear purple<br />With a red hat which doesn't go, and doesn't suit me. ... <br />
<br />
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<br />Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-23632854462018316162014-06-22T16:06:00.000+01:002014-06-22T16:06:01.324+01:00Why Edith Pearlman is awesome<div class="separator" style="clear: both; text-align: center;">
<img alt="cover of Binocular Vision by Edith Pearlman" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCIs616Wd5U-_hhzFlDTqRwwy7OVbdG2pJk4HyPfYDGJ_Ks7AE5MR0rY-wVlTQQUtBA0TkgoRh6h5Go0TAszDh8bkSIIDUn4Pq6wIG6rR-34DYnt8M7ykQcTEHqq4RJ1y77nHx1ZSUI-w/s1600/Binocular-Vision.jpg" title="" /></div>
<br />
<br />
Last week I taught Edith Pearlman's "The Story" for the first time. <br />
<br />
It was a bit of a risk: I love Pearlman's work, but I didn't know how my <a href="http://www.llc.leeds.ac.uk/public-engagement/spring-into-summer" target="_blank">very varied group of adult learners</a> would react. I probably shouldn't have worried. I'd hardly got into the room before one student began enthusing about it.<br />
<br />
I was so pleased: Pearlman has become my all time favourite short story writer this year, since her collection <i><a href="http://www.amazon.co.uk/Binocular-Vision-Edith-Pearlman/dp/1908968117" target="_blank">Binocular Vision</a> </i>was recommended to me by writer and teacher <a href="http://www.sherryashworth.com/" target="_blank">Sherry Ashworth</a>.<br />
<br />
I want my students - and myself - to learn to slow down when reading short stories. I want us to notice the sentences, notice the words. Not to skim read or scan the page, but to read each word mindfully, like poetry. Some people do this naturally; most of us don't. Pearlman's writing reminds us to decelerate. <br />
<br />
"The Story" seems to be about two couples simply having dinner together. Nothing happens. Or rather, something doesn't happen. One of them - Lucienne - decides not to tell a story about herself, a story which reveals who she is, why her life has taken its shape, a story she has told many times before, which would certainly bring her closer to the others at the table. The mystery of this tale is why she chooses not to speak.<br />
<br />
Cue much discussion in class. Again, I want my students to learn that simply going back to the author's words carefully will give them answers. (Hoping this doesn't come across as a primary school level instruction - but honestly, primary school was probably the last time any of us read s-l-o-w-l-y.)<br />
<br />
The story opens with three lines of dialogue (from Harry, Lucienne's husband, and the other couple), and a silence (from Lucienne who "uncharacteristically said nothing"). Pearlman is never afraid of introducing lots of characters into short stories. But the only way to read the first couple of paragraphs is attentively - or perhaps twice. Otherwise, as my students noticed, you may get lost in the names. <br />
<br />
Barely have you become acquainted with Harry and Lucienne Savitsky and Justin and Judith da Costa, you're plunged into another paragraph describing the restaurant violinist, the name of the restaurant ("The Hussar"), its 26 year old chef and a nervous busboy. In just two paragraphs, you're submerged in the world and setting of this story but at this point have no idea where the story is going. The only way is onwards.<br />
<br />
Unless it's backwards.<i> </i>The story hinges around a flashback of sorts: Lucienne’s story - which is related to us as readers (but not to Justin and Julia da Costa) by Harry. Usually, I’d say to writers, <i>work your flashback into the
story, weave it in so the reader hardly notices we are reading about the past
of the story</i>. Stories have their present narrative time, where the action is
taking place, and a history or a memory (the back story). The key is to stay in that present
narrative time.
But this story is different. Pearlman does something I’d
usually counsel writers against: setting out a flashback in italics, as a
separate story. How does Pearlman get away with it?<br />
<br />
Well, she waits until the story is almost over before revealing it. Beginning writers often place flashbacks very early on before the reader has the sense
of where the story is going.<br />
<br />
Second, this flashback isn't simply a memory, it’s a story which has
been repeated many times over Lucienne’s life. It's presented to us as a story within a story, and the way it stands out on the page emphasises this.<br />
<br />
Third, it’s told with “the nouns unadorned, the syntax
plain, the vocabularly undemanding” – plain language which contrasts with its
dramatic and emotional content, and indeed with the sophisticated way that Pearlman relates the rest of the scene.
<br />
<br />
The best part of teaching this story was when I asked my students the significance of Lucienne's one shouldered shrug at the end. And seeing realisation dawn on their faces as they reread the flashback section. The power of a well placed gesture.Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-70469994814866641342014-06-18T14:20:00.000+01:002014-06-18T14:26:20.808+01:00Book Festival round up<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicUHAnUdApERZ7fwfb4FUDtxNPMSQ0kWxDZo6ko0cT9hObPxG3OZpcymQcXNSL1HArefcLLIH_6ntOLPNk2mUMt5XIM8_tssse6VWTm_YqxDJkJWpfrDMlBBQp6yDkgEJa7KvSLmuFebI/s1600/14027697267_f8bc51340a_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicUHAnUdApERZ7fwfb4FUDtxNPMSQ0kWxDZo6ko0cT9hObPxG3OZpcymQcXNSL1HArefcLLIH_6ntOLPNk2mUMt5XIM8_tssse6VWTm_YqxDJkJWpfrDMlBBQp6yDkgEJa7KvSLmuFebI/s1600/14027697267_f8bc51340a_z.jpg" height="213" width="320" /></a></div>
<br />
Well, the <a href="http://www.prestwichbookfestival.net/" target="_blank">Prestwich Book Festival</a> is over for another year, and though it was small it was perfectly formed.<br />
<br />
Check out <a href="https://www.flickr.com/photos/emmafarrer/14028210570/in/set-72157644317282677?rb=1" target="_blank">lovely pictures from the marquee</a> - a day of childrens' events on May 18 at Prestwich Clough Day, via <a href="https://www.flickr.com/photos/emmafarrer/14028210570/in/set-72157644317282677?rb=1" target="_blank">Emma Farrer's Flickr photostream</a>.<br />
<br />
Meanwhile there's a great <a href="http://aplaceinprestwich.com/2014/06/15/booked-up/?utm_source=hootsuite&utm_campaign=hootsuite" target="_blank">write up of our readers' day</a> on June 1 by blogger Molly of <a href="http://aplaceinprestwich.com/2014/06/15/booked-up/?utm_source=hootsuite&utm_campaign=hootsuite" target="_blank">A Place In Prestwich</a>. There were many highlights to the day, but I only just noticed, from the picture in this blog, how fabulous Emma Jane Unsworth's shoes were.<br />
<br />
Finally, the lovely Park View Primary School ran a short story writing competition among its 600 or so pupils: and local author Sherry Ashworth went along to award prizes to the very best of them.<br />
<br />
This year's authors: <a href="http://www.sherryashworth.com/" target="_blank">Sherry Ashworth</a>, <a href="http://www.empowell.com/" target="_blank">EM Powell</a>, <a href="http://dominicberry.net/" target="_blank">Dominic Berry</a>, <a href="http://www.flapjackpress.co.uk/page17.htm" target="_blank">Tony Walsh</a>, <a href="http://emmajaneunsworth.com/" target="_blank">Emma Jane Unsworth</a>, <a href="http://vanessalees.com/index.html" target="_blank">Vanessa Lees</a>, <a href="http://www.sfs.org.uk/people/honor-giles" target="_blank">Honor Giles</a> and <a href="http://www.paulneads.co.uk/" target="_blank">Paul Neads</a>.<br />
<br />
<br />Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-19210630365769323222014-04-15T20:46:00.000+01:002014-04-15T20:47:15.775+01:00Tamim Sadikali - Dear Infidel<!--[if gte mso 9]><xml>
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</xml><![endif]--><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoxezfl0TkCDeInmOZQ6vWy0qLBy2Jg0Ba3MMXhoPq3oOgXnofMlH1HyqRqyyRlgbB378GKfsmk9ishWY9a1ECjzbnOyUUCI2ycD4K-OFA7lAE2N0hpziSDlv8V8gkUEO_MZVTgvL4YdI/s1600/Tamim.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoxezfl0TkCDeInmOZQ6vWy0qLBy2Jg0Ba3MMXhoPq3oOgXnofMlH1HyqRqyyRlgbB378GKfsmk9ishWY9a1ECjzbnOyUUCI2ycD4K-OFA7lAE2N0hpziSDlv8V8gkUEO_MZVTgvL4YdI/s1600/Tamim.jpg" height="320" width="235" /></a></b></div>
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<b>Tamim Sadikali is a software developer by day, novelist by night. His first novel <i><a href="http://www.dearinfidel.com/" target="_blank">Dear Infidel</a></i> "</b><b>a story of love, hate, longing and sexual dysfunction, sifted through the fallout from the war on terror"<i> </i>is already making waves, though it's not out until August 1. You can follow Tamim on <a href="https://twitter.com/TamimSadikali" target="_blank">Twitter</a>, check out his <a href="http://dearinfidel.blogspot.co.uk/" target="_blank">blog</a>, and read his reviews at <a href="http://bookmunch.wordpress.com/" target="_blank">BookMunch</a>. We asked Tamim about the writing life:</b></div>
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<b>How do you balance the day job with your writing?</b></div>
My life as a software developer and business analyst couldn’t be further removed from writing fiction. Yes, software can be creative, but business analysis involves many meetings and often tricky negotiations, and money is foremost in everyone’s mind. When I write fiction, my only need is for splendid isolation. Writing is a kind of meditation, and I’m torn out of the moment if I so much as hear another soul. I don’t have a writing schedule (and with two very young kids, regulating it would never work). I keep a scratch pad on me at all times, and whenever an idea strikes I put it down. To flesh it out and refine it then takes anything from a few hours to a couple of years… Patience is indeed a virtue. <br />
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<b>Tell us about your path to publication.</b></div>
I started writing <i>Dear Infidel</i> over ten years ago, and right
from the beginning, my intention was to get it published. I ignored all reality
checks (statistical likelihood etc), and saw every rejection as just another
bend in the road. I never doubted that I’d reach journey’s end. What I didn’t appreciate at the time, though, was how little
I knew about the craft – the science – of writing; that there was more to it
than stringing together a couple of cute sentences. It is a truism that practice
makes perfect, but in my experience, real learning – and real improvement –
needs honest feedback, too. I don’t mean asking your friends what they think,
or relying on views from those writers’ circles where everything gets a
thumbs-up. I paid for critiques, and had my work torn apart, and boy did it
hurt – but it was priceless.<br />
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I also went to many, many workshops – I found <a href="http://www.spreadtheword.org.uk/" target="_blank">Spread the Word</a>’s events particularly useful. Johanna Bertie of <a href="http://www.chapteronepromotions.com/" target="_blank">Chapter One Promotions</a>
unofficially mentored me in the early days, and gave me some great tips – for
example, when you read your own work, read it out aloud, as if performing to an
audience – the flaws become transparent. I came runner up in <a href="http://www.chapteronepromotions.com/competitions/international-short-story-competition-2008-3.htm" target="_blank">C1P’s 2008 shortstory competition</a>
- and my entry can be found in that compilation. I’ve also had a ‘vignette’
published by the magnificent <a href="http://emergent-publishing.com/bookstore/the-best-of-vine-leaves-literary-journal-2012/" target="_blank">Vine Leaves Literary Journal</a>. </div>
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<b>You’ve got a maths degree and a career in computing. What has the reaction of your family and friends been?</b></div>
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I didn’t get into writing by design – in truth, I stumbled
across it. One night, for a reason that I still don’t know, I just picked up
pen and paper and began scribbling. Over the next few days I kept on
scribbling, and within a week I had over 10,000 words worth of scribbles. (Some
of that has actually made it into <i>Dear Infidel</i>). And by then I was hooked. But
after the initial excitement of wanting to tell the world that ‘<i style="mso-bidi-font-style: normal;">I’m writing a novel!</i>’, I decided to keep
that part of my life secret.<br />
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My family are so proud; really made up for me. I must
especially mention my wife, from whom I stole so much of what should have been
‘couple’ time, to lock myself away and write. Sometimes she understood and
sometimes she didn’t, but I was selfish and did it anyway. Farah – thank you.<b> </b></div>
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<b>What does it mean to be a British Muslim writer in 2014? Or
are you simply a writer and other labels are meaningless?</b></div>
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I’m British, I’m Muslim and I’m a writer – I’m comfortable
with all that. Does that, though, make me a ‘British Muslim writer’..? It would
be churlish to deny how big a part my own experience has played, in shaping my
first novel. But in no way would I accept being pigeonholed. If I choose next to
write about a gay, Irish New Yorker, I will. Good fiction resonates across boundaries – categorizations
such as British, American or ‘ethnic’ are fine as reference points to the
story, but certainly not to any (potential/likely) audience. I can think of no
greater insult than to be told my work would only appeal to some well-defined
subset.<b> </b></div>
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<b>Did you face any technical challenges in writing it? Or did it ‘write itself’?</b>
</div>
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Irvine Welsh has said that ‘…you have to respect the blank
page’, and there is much in that. However I don’t see writing as an exercise in
‘free-styling’ – previous experiments were too hit-and-miss. At the other end,
I once read a book on novel writing that reduced the whole thing to a sum of
parts, like manufacturing widgets or assembling IKEA furniture: <i style="mso-bidi-font-style: normal;">connect A to C and D to F, tighten all the
screws and Hey Presto!...</i>you’ve got yourself a bestseller. Frankly, I found
that approach appalling. Over the years<a href="https://www.blogger.com/null" name="_GoBack"></a> I’ve worked out
my own Zen middle-path, wherein I first become clear on what I’m really trying
to say, and thereafter just roll with it.</div>
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I consciously spent time on making my characters believable.
The challenge was not only to give each of them a unique voice, but also to
ensure that ‘their’ voice, their POV on life, was not polluted by mine. I found
this very hard to achieve. There is also an inherent contradiction in this as I
am, through the vehicle of my characters, trying to say something; but
nevertheless – once a character is reduced to a mere mouthpiece for the writer,
they are effectively dead. Another great tip I got from Johanna was that the story had
always to continue moving forward. Every chapter, every scene had to contribute
to the wheels turning. I edited out over 20,000 words on this principle alone.
If a passage – however well written – does not contribute to an unfolding
story, it is dead weight. These and other aspects to the craft of writing, I learnt
organically and slowly. It took me three years to write this novel, and a
further seven years to edit<b>.</b></div>
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<b>Who are your favourite writers?</b>
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I love Irvine Welsh – the rawness, the honesty of his
writing really appeals to me. And that his characters are so variegated – i.e.
able to evoke love, hate, disappointment and awe – gives his stories real
depth.<i> </i><a href="http://www.amazon.co.uk/Marabou-Stork-Nightmares-Irvine-Welsh/dp/009943511X" target="_blank"><i>Marabou Stork Nightmares</i></a> is my favourite novel of all time. There aren’t any other writers whose body of work interests
me, but some novels have really left their mark – <i><a href="http://www.amazon.co.uk/Solitude-Thomas-Cave-Georgina-Harding/dp/0747599742/ref=sr_1_1?s=books&ie=UTF8&qid=1397570373&sr=1-1&keywords=The+Solitude+of+Thomas+Cave" target="_blank">The Solitude of Thomas Cave</a></i>
by Georgina Harding, <a href="http://www.amazon.co.uk/American-Psycho-Bret-Easton-Ellis/dp/0330536303/ref=sr_1_1?s=books&ie=UTF8&qid=1397570424&sr=1-1&keywords=american+psycho" target="_blank"><i>American Psycho</i></a> by Bret Easton Ellis, <a href="http://www.amazon.co.uk/Killer-Inside-Me-Jim-Thompson/dp/1409119718/ref=sr_1_1?s=books&ie=UTF8&qid=1397570467&sr=1-1&keywords=the+killer+inside+me" target="_blank"><i>The Killer Inside Me</i></a>
by Jim Thompson and <i><a href="http://www.amazon.co.uk/Fattest-Man-America-Christopher-Nicholson/dp/1845291182/ref=sr_1_1?s=books&ie=UTF8&qid=1397570505&sr=1-1&keywords=the+fattest+man+in+america" target="_blank">The Fattest Man in America</a></i> by Christopher<span style="mso-spacerun: yes;"> </span>Nicholson. I read <a href="http://www.amazon.co.uk/25th-Hour-David-Benioff/dp/0340822295/ref=sr_1_1?s=books&ie=UTF8&qid=1397570549&sr=1-1&keywords=the+25th+hour" target="_blank"><i>The 25<sup>th</sup> Hour</i></a> by
David Benioff as I began writing <i>Dear Infidel</i>, and I was so impressed, it made
me doubt my ability to produce something of a similar standing. Whether I have,
I’ll leave for others to decide…<b> </b></div>
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<b>What are your tips for aspiring writers?</b><span style="mso-tab-count: 1;"> </span>
</div>
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Of course, keep writing. But beyond that, get honest
feedback on your work. Pay for it, if need be. And attend writers’ workshops. I
found that just the mere act going somewhere new and being around different
people, sparked some moment of epiphany.<b> </b></div>
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<b>What now?</b>
</div>
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Play more squash. Take my kids
swimming more than once a week. Try to be a bit more romantic, and less of an
automaton. I’m also sitting on a collection of short stories that’s about 60%
complete. I’d love to see that project through.</div>
Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-75817526557827315962014-03-11T21:00:00.003+00:002014-03-11T21:00:46.472+00:00Gooseberries
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNmTA68Ve5jUwwpnjICwGkWlwPDJ9XZLyKcWuaEGfwQDl475rTeKIf0og8_rZzooSI01MJbCwywjwjWxs5eiQPInlSdTJairZE7s6k03jMqfpsD2sLr6oDHsw1erQG6q3zkIk6Hp8rbYs/s1600/gooseberries.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNmTA68Ve5jUwwpnjICwGkWlwPDJ9XZLyKcWuaEGfwQDl475rTeKIf0og8_rZzooSI01MJbCwywjwjWxs5eiQPInlSdTJairZE7s6k03jMqfpsD2sLr6oDHsw1erQG6q3zkIk6Hp8rbYs/s1600/gooseberries.png" height="200" width="142" /></a></div>
<br />
<span style="font-family: Calibri;">Chekhov's <em>Gooseberries</em> is one of three linked stories featuring
the old vet Ivan Ivanich, high school teacher Burkin, and reluctant country farmer
Alekhin.<span style="mso-spacerun: yes;"> </span>Ivan Ivanich and Burkin are on
a walking holiday together, and the men tell stories to pass the time. Burkin’s
tale features in <em>The Man in a Case</em>, Ivan Ivanich’s in <em>Gooseberries</em> and Alekhin’s
in <em>About Love</em>.</span><br />
<br />
<span style="font-family: Calibri;">Each tale within a tale illuminates a problem, an aspect of
life: <em>The Man in a Case</em> is about a man who shields himself from life with
external protections and coverings: galoshes, an umbrella but also inflexible
and judgemental attitudes than eventually cause his undoing. Ivan Ivanich’s
tale is about a brother who acts most unscrupulously in pursuit
of his dream of country life and growing his own gooseberries; and Alekin’s
tale is about the pointlessness of undeclared love.</span><br />
<br />
<span style="font-family: Calibri;">Gooseberries has ambiguity in spadeloads, and nothing that
resembles a traditional plot. It feels perplexing if you read it as a
standalone story, but with its companions it makes more sense, though we are
left with a tangle of ideas, no moral. <span style="mso-spacerun: yes;"> </span><a href="http://www.amazon.co.uk/Reading-Like-Writer-Guide-People/dp/1908526076" target="_blank">FrancineProse</a> writes: “I have often thought that Chekhov stories should not be read
singly, but as separate parts of a whole. For like life, they present
contradictory views, opposing visions.” I find this profoundly reassuring: it’s
not just my leaning towards longer narrative: these stories make more sense
when read together – and if Francine Prose says so it MUST be true.</span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">Prose says Chekhov breaks all the rules she tried to teach
her creative writing students. Instead they have “the impact of direct
experience” as <a href="http://www.themillions.com/2010/05/i-heart-chekhov-better-than-booze-or-smokes.html" target="_blank">one blogger describes it</a>. </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">As writers perhaps the greatest lesson we can learn from
Chekhov is to learn to observe and absorb life, and reflect something of its
mysteries back on the page.</span></div>
Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-80462638622541503592014-02-11T12:09:00.000+00:002014-02-11T12:09:00.647+00:00Short stories and photographs<!--[if gte mso 9]><xml>
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="line-height: 115%;">“<span> </span>'Isn’t it odd how
much more one sees in a photograph than in real life?' [said Virginia Woolf]
This gives us, I think, a clue to the enduring power and appeal of the short
story – short stories are snapshots of the human condition and of human nature,
and when they work well, and work on us, we are given the rare chance to see in
them more 'than in real life.' ”</span></span></span></div>
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</span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span><a href="http://www.williamboyd.co.uk/" target="_blank">William Boyd</a> from his essay <i><a href="http://www.williamboyd.co.uk/literature-short-story-history" target="_blank">A Short story of the Short Story</a></i></span></span></span><span style="mso-bidi-font-style: italic;"></span></div>
Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-39980318979970429482014-02-04T12:06:00.000+00:002014-02-04T12:06:00.036+00:00Is this a new short story age?<!--[if gte mso 9]><xml>
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<br />
<blockquote class="tr_bq">
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“Short stories are not an especially easy read. Because of
their intensity, they can be quite demanding. But the age of text-messaging may
well be disposed towards short concentrated bursts.”</div>
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<br />
<a href="https://www.edgehill.ac.uk/english/staff/dr-ailsa-cox/" target="_blank">Ailsa Cox</a>, from <a href="http://www.amazon.co.uk/Writing-Short-Stories-Ailsa-Cox/dp/0415303877" target="_blank"><i>Writing Short Stories</i></a></div>
Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-6293255724250086842014-01-28T16:19:00.000+00:002014-01-28T16:19:00.051+00:00William H Gass on reading slow<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipvA9mzXb_mt-iO8cL6HFaj0vkZytLdmvhpjgckv8IuoNYTird-A5lWHMZBXcrfafJAvDhMQnaYkhKvCEznnW_NGuA2Uakh2PifTU2Kyl8tnyT-XSLxroSBZ4rcNPIPM3Rsuy28HLe-mQ/s1600/gass_sm.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipvA9mzXb_mt-iO8cL6HFaj0vkZytLdmvhpjgckv8IuoNYTird-A5lWHMZBXcrfafJAvDhMQnaYkhKvCEznnW_NGuA2Uakh2PifTU2Kyl8tnyT-XSLxroSBZ4rcNPIPM3Rsuy28HLe-mQ/s1600/gass_sm.gif" /></a></div>
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<blockquote class="tr_bq">
"I went over a little story called <a href="https://www.blogger.com/I%20went%20over%20a%20little%20story%20called%20%E2%80%9CPing%E2%80%9D%20%5Bby%20Samuel%20Beckett%5D%20one%20day%20with%20the%20idea%20of%20reading%20it%20aloud.%20It%E2%80%99s%20about%20six%20or%20seven%20pages,%20but%20it%20is%20a%20half%20an%20hour%20or%20more%20in%20the%20reciting.%20If%20you%20do%20it%20properly,%20well%20spaced,%20larded%20with%20silence,%20then%20it%E2%80%99s%20overpowering.%20You%20gotta%20wait,%20you%20know,%20and%20wait,%20and%20wait,%20and%20wait,%20and%20we%20just%20don%E2%80%99t%20do%20that%20sort%20of%20thing%E2%80%94the%20world%20turns%E2%80%94who%20has%20time%20to%20wait%20between%20two%20syllables%20for%20just%20a%20little%20literary%20revelation?%20A%20lot%20of%20modern%20writers,%20I%20remember%20saying,%20are%20writing%20for%20the%20fast%20mind%20that%20speeds%20over%20the%20text%20like%20those%20noisy%20bastards%20in%20motorboats.%20The%20connections%20are%20all%20spatial%20and%20all%20at%20various,%20complicated,%20intellectual%20levels.%20They%20stand%20to%20literature%20as%20fastfood%20to%20food.%20William%20H%20Gass%20%E2%80%93%20The%20Paris%20Review%20interview,%20The%20Art%20of%20Fiction%2065:%20http://www.theparisreview.org/interviews/3576/the-art-of-fiction-no-65-william-gass%20http://www.abingdonblog.co.uk/imag10/ping.htm" target="_blank">'Ping' [by Samuel Beckett]</a>
one day with the idea of reading it aloud. It’s about six or seven pages, but
it is a half an hour or more in the reciting. If you do it properly, well
spaced, larded with silence, then it’s overpowering. You gotta wait, you know,
and wait, and wait, and wait, and we just don’t do that sort of thing—the world
turns—who has time to wait between two syllables for just a little literary
revelation? A lot of modern writers, I remember saying, are writing for the
fast mind that speeds over the text like those noisy bastards in motorboats.
The connections are all spatial and all at various, complicated, intellectual
levels. They stand to literature as fastfood to food."</blockquote>
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<div class="MsoNormal">
William H Gass – <a href="http://www.theparisreview.org/interviews/3576/the-art-of-fiction-no-65-william-gass" target="_blank">The Paris Review interview, The Art of Fiction 65</a></div>
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Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-49392924697927441312014-01-25T11:57:00.001+00:002014-01-25T12:03:03.086+00:00Alice Munro and Margaret AtwoodWhy did legendary writer Alice Munro get hate mail for her realist short stories? Find out in this interview by Margaret Atwood - Munro's first public appearance since winning the Nobel Prize in October 2013 (17 minutes).<br />
<br />
<br />
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<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/tFZXaeeMykc?feature=player_embedded' frameborder='0'></iframe></div>
<br />Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-84125975385965738022014-01-21T22:01:00.000+00:002014-01-21T22:14:19.706+00:00Today Will Be A Quiet Day<span style="font-family: Calibri;">Once upon a time <a href="http://jennywrenandbellawilfer.blogspot.co.uk/2011/07/sherlock-holmesshort-stories.html" target="_blank">I didn’t enjoy short stories</a>. It was laziness </span><span style="font-family: Calibri;">and something else: despite an extensive literary education (English
literature degree, creative writing MFA, library job, books for
breakfast) I had never learned how to read a short story for anything other
than plot. Reading Amy Hempel’s short stories has changed that. <br />
<br />
They are short, sometimes very short, and at the end of each I have to pause to
take in what I’ve read, and usually read them again. The meaning isn’t always
apparent, so I read slowly, absorbing every sentence, every word, to pick up
the nuances. I'm a beginner again, feeling my way. I’m not page turning to find out ‘what next?’ Reading these short
stories is more like contemplating a poem.</span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">This sounds dull. But Hempel’s
writing isn’t at all. Her voice has “something to do with stand-up comedy,
contemporary poetry, celebrity magazines, visual arts, the West, and the
popular song” according to Rick Moody in his essay 'On Amy Hempel'. One-liners,
references to pop and celebrity culture, the shallow side of California: all
those things I love. But it is necessary to pay attention, particularly at the beginning of Hempel’s
stories: there’s no traditional set up, no gentle easing into a scene.</span><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>‘<a href="http://www.missourireview.com/archives/bbarticle/today-will-be-a-quiet-day/" target="_blank">Today Will Be A Quiet Day</a>’, </span><span style="font-family: Calibri;">
<span style="mso-spacerun: yes;"> </span>from her first collection <a href="http://www.amazon.co.uk/Reasons-Live-Stories-Amy-Hempel/dp/0060976721" target="_blank">Reasons To Live</a> <span style="mso-spacerun: yes;"> </span></span><span style="font-family: Calibri;">propels the reader
straight in with a disagreement:</span></div>
<div style="text-align: center;">
<span style="font-family: Calibri;"><strong>“I think it’s the other way round,” the boy said.</strong></span><br />
<strong><span style="font-family: Calibri;"></span></strong> </div>
<div style="text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">How’s that for a first line? We’re given information that is
partial at best. No name, no indication of what the boy is talking about, no
setting. What this does is force us to read the next line to orient ourselves
as readers. <i style="mso-bidi-font-style: normal;">What</i> is the other way
round?</span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
<span style="font-family: Calibri;"><strong>“I think it’s the
other way round,” the boy said. “I think if the quake hit now the <i style="mso-bidi-font-style: normal;">bridge</i> would collapse and the <i style="mso-bidi-font-style: normal;">ramps</i> would be left.”</strong></span></div>
<div style="text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">Ah. So we’ve entered this story half way through an argument about the effect of an earthquake on a bridge. But it would be tedious to read a
repeated line, so Hempel omits it.
Hempel’s stories seem as pared down as possible – like poetry - <span style="mso-spacerun: yes;"> </span>giving the reader only what is absolutely
essential for the story. She’s a slow writer (four short story collections in
twenty years) – but I like to think she’s spending her time cutting, honing and
polishing her sentences until they are as minimal as they can possibly be. Hempel just drip feeds the reader what they
need to keep reading, to build up a picture of what’s going on. The next
sentence tells us who the boy is arguing with: </span></div>
<span style="font-family: Calibri;"></span><br />
<span style="font-family: Calibri;"><blockquote class="tr_bq">
<div style="text-align: center;">
<strong>He looked at his sister with satisfaction.</strong></div>
</blockquote>
</span><br />
<span style="font-family: Calibri;">OK, so this is a brother and sister arguing. What’s more the
boy is enjoying the argument – we can tell by the word “satisfaction”. </span><span style="font-family: Calibri;">Now a third character jumps in: </span><br />
<span style="font-family: Calibri;"></span><br />
<div style="text-align: center;">
<span style="font-family: Calibri;"><strong>“You are just trying to scare your sister,” the father said.
“You know that is not true.”</strong></span></div>
<div style="text-align: center;">
<strong> </strong></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
<span style="font-family: Calibri;"><strong>“No, really,” the boy insisted, “and I heard birds in the
middle of the night. Isn’t that a warning?”</strong></span></div>
<span style="font-family: Calibri;"></span><br />
<span style="font-family: Calibri;">We’re eight lines in, and though we have no names, no time of day, no
descriptions of what the characters look like, we do know there are three people in the scene: a father and two kids, and we can tell quite a bit about
this family’s dynamics, which is what the story is about, plus we have a tone of
voice: annoying younger brother, a father who is trying to be authoritative. The boy is needling his sister – and
the father knows he’s doing this on purpose: we suspect in fact that
he’s quite enjoying it. We don’t know where they are yet: they could be together watching something
about earthquakes on TV (though why would that scare the sister?) or perhaps
they are on the bridge itself. The next two lines give us the information we need:</span><br />
<span style="font-family: Calibri;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
<span style="font-family: Calibri;"><strong>The girl gave her brother a toxic look and ate a handful of
Raisinets. The three of them were stalled in traffic on the Golden Gate Bridge.</strong></span></div>
<div style="text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">Finally the setting is revealed: they’re in a car on the bridge. We can go
back and read the opening again, with more understanding, and this time round, can hear the needling tone of the younger brother, sense the girl’s
mood.</span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">Tempting as it is to do line-by-line analysis of the whole
story, I’d rather you <a href="http://www.missourireview.com/archives/bbarticle/today-will-be-a-quiet-day/" target="_blank">read the story for yourself</a>. </span><span style="font-family: Calibri;">The other thing I particularly noticed in this story is Hempel’s wonderful ear
for banter between children: this story teems with the sort of talk that
parents/adults tune out. But it’s not saccharine or
cute in any way – it’s well observed, well listened to, which saves it from
being sappy: </span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
<span style="font-family: Calibri;"><strong>“Can I have one?” the boy asked, meaning the Raisinets.</strong></span></div>
<div style="text-align: center;">
<strong></strong><br /></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
<span style="font-family: Calibri;"><strong>“No,” his sister said.</strong></span></div>
<div style="text-align: center;">
<strong></strong><br /></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
<span style="font-family: Calibri;"><strong>“Can I have two?”</strong></span></div>
<div style="text-align: center;">
<strong></strong><br /></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
<span style="font-family: Calibri;"><strong>“Neither of you should be eating candy before lunch,” the
father said. He said it with the good sport of a father who enjoys his kids and
gets a kick out of saying Dad things.</strong></span></div>
<div style="text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">The dialogue is very much on the surface: it
crackles with corny jokes, family sayings and wisecracks – which a) is fun to
read and b) tells us so much about these three characters and the levels of
comfort and discomfort they have with each other. </span></div>
<span style="font-family: "Calibri","sans-serif"; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The reason the three of them are on a daytrip in
the car together is that the father wants to check that they are OK after one
of the son’s friends committed suicide. It would be so tempting as a writer to
slip in some heavy conversation, a leaden “on the nose” <span style="mso-spacerun: yes;"> </span>question: “How are you feeling son?” “I hurt
so much dad.” But people rarely speak like that: how much more often do we
sidle up to the real subject by talking about something else? Or argue
passionately about things that don’t matter at all, while leaving important
things unsaid? So why shouldn’t characters in fiction do that too? The clever
thing about this story is that the superficial dialogue – the squabbling and
joke telling - is all the father needs to understand exactly how his children
are doing.</span>Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-65491782273840331282014-01-15T17:51:00.001+00:002014-01-17T19:47:44.720+00:00Carver on short stories<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixiZXyOqUICr2ZZdIlNj9Z3JtufRpngr9jwBAEnPsZ-QQnCstxVAt9_im34O2JCsmSYvons4m_EBsN04urfRSwhtdvsFXKAtWz3EMowPdEbJeOETuuESH35O2u2nhsZaCEWfLVneA1ty8/s1600/carver.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixiZXyOqUICr2ZZdIlNj9Z3JtufRpngr9jwBAEnPsZ-QQnCstxVAt9_im34O2JCsmSYvons4m_EBsN04urfRSwhtdvsFXKAtWz3EMowPdEbJeOETuuESH35O2u2nhsZaCEWfLVneA1ty8/s200/carver.png" height="197" width="200" /></a></div>
<br />
<blockquote class="tr_bq">
<span style="font-family: inherit; font-size: small;">“If
we're lucky, writer and reader alike, we'll finish the last line or two of a
short story and then just sit for a minute, quietly. Ideally, we'll ponder what
we've just written or read; maybe our hearts or intellects will have been moved
off the peg just a little from where they were before. Our body temperature
will have gone up, or down, by a degree. Then, breathing evenly and steadily
once more, we'll collect ourselves, writers and readers alike, get up,
'created of warm blood and nerves' as a Chekhov character puts it,
and go on to the next thing: Life. Always life.” </span></blockquote>
<span style="font-family: inherit; font-size: small;">- <a href="http://en.wikipedia.org/wiki/Raymond_Carver" target="_blank">Raymond Carver</a>, from <i><a href="http://www.amazon.com/Call-If-You-Need-Uncollected/dp/0375726284" target="_blank">Call if You Need me: The Uncollected Fiction and Other Prose</a></i> </span><br />
<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
<br />Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-91306661080914297132014-01-12T21:18:00.003+00:002014-01-13T13:01:01.120+00:00Five thousand lads a yearI read a lot of American fiction. And I'm going to be writing a lot about American short stories here: I'm currently half way through Amy Hempel's collected short stories and in a kind of writerly swoon about how wonderful they are. BUT. Though a small portion of my heart will forever belong in southern California, I now live in the north of England. And I do want to be reading stories that reflect where I'm from, how I live right now, that render my experience, my life, or something like it, as art. If that doesn't sound too poncey.<br />
<br />
So. It encourages me no end that the short story has some advocates this side of the Atlantic. People like <a href="http://www.taniahershman.com/" target="_blank">Tania Hershman</a> who tirelessly champion the form. Tania, whose volume of flash fiction <i>My Mother Is An Upright Piano</i> I <a href="http://bookmunch.wordpress.com/2012/08/05/experimental-yet-accessible-my-mother-was-an-upright-piano-by-tania-hershman/" target="_blank">reviewed a while back</a> does a great job on Twitter (@taniahershman @shortstopsUK, #shortstorysunday #shortstory ) to fly the flag for short stories. Check out <a href="http://shortstops.info/" target="_blank">Short Stops</a>, a listings website she's set up to promote and celebrate short story writing in the UK and Ireland. Anyway, through #shortstorysunday on Twitter, Tania flagged up <a href="http://jennashworth.co.uk/" target="_blank">Jenn Ashworth</a>'s short story <a href="http://www.bbc.co.uk/programmes/b03ntb7d" target="_blank">'Five Thousand Lads A Year'</a> .<br />
<br />
I'm so glad I was whiling away my afternoon on Twitter, otherwise I wouldn't have heard this great short story about a prison writer-in-residence. I love the way that Jenn (@jennashworth) subtly undermines the confident voice of the writer when he meets a lad he can't reach with his patter, his pamphlet or his poems. The writer reminds us throughout of his achievements - the numerous hits on his website, his (surely somewhat inflated) earning power; the way he is rapturously received at corporate gigs. He's very impressed with himself, and his 'rebellious' long hair, which his wife apparently adores. I recognised the type, the sly send up, and it made me smile.<br />
<br />
This story is broadcast as part of BBC Radio 4's Friday Firsts season, it's only <a href="http://www.bbc.co.uk/programmes/b03ntb7d" target="_blank">on the iPlayer</a> until 17th January, and hasn't been published yet - so
listen quick before it's gone.<br />
<br />
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</xml><![endif]-->Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-46043752306019027342014-01-11T14:12:00.000+00:002014-01-12T14:01:40.211+00:00Hygiene<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4dVWH3Tj3fCkH_9fSUmylVTz4_Kp6ffHjgOKlJ-TdM0heqCs_dHKEy5EHua4CpGkRnfibttkt7MqIpw8MYS0VtRMKobbB1AVmn73pKxNdID5Aw4TvYNyCvUct63nou6pAp_llVaKELGs/s1600/Petrushevskaya.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4dVWH3Tj3fCkH_9fSUmylVTz4_Kp6ffHjgOKlJ-TdM0heqCs_dHKEy5EHua4CpGkRnfibttkt7MqIpw8MYS0VtRMKobbB1AVmn73pKxNdID5Aw4TvYNyCvUct63nou6pAp_llVaKELGs/s1600/Petrushevskaya.png" height="200" width="130" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"></span><br /></div>
<span style="font-family: inherit;">Ok, the next collection of short stories could not be a bigger contrast to the elegant, muted fictions of <a href="http://jennywrenandbellawilfer.blogspot.co.uk/2014/01/black-vodka-by-deborah-levy.html" target="_blank">Deborah Levy</a>. <em>There Once Lived a Woman Who Tried to Kill Her Neighbour’s Baby</em> by Ludmilla Petrushevskaya is a
doorway into an off kilter, parallel world where the worst regularly happens,
but where miracles can occur. Reading it felt like having my brain doused in
caustic soda. </span><br />
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"><a href="http://www.belletrista.com/2011/Issue14/features_1.php" target="_blank"><span style="font-family: inherit;">Petrushevskaya</span></a><span style="font-family: inherit;"> is well known in Russia – practically an institution – but still virtually unknown in the English-speaking world. </span>Her fiction was banned until the USSR fell apart in
the late 1980s – only then were her short stories and novel published.
</span><span style="font-family: inherit;">These tales – mythical fables and fairy tales – pack a
mighty punch. The one that has stayed with me longest is 'Hygiene', a tale of an
imagined plague.</span><br />
<span style="font-family: inherit;"> </span><br />
<span style="font-family: inherit;">
Petrushevskaya is particularly good at first sentences:
“There once lived a girl who was killed, then brought back to life.” (from '</span><a href="http://www.newyorker.com/fiction/features/2009/08/31/090831fi_fiction_petrushevskaya" target="_blank"><span style="font-family: inherit;">The Fountain House</span></a><span style="font-family: inherit;">') “There once lived a woman whose son hanged himself.” ('The
Miracle') Bang, straight into the heart of a conflict. Here by contrast is the start
of 'Hygiene'</span><span style="font-family: inherit;">: “One time the doorbell rang at the doorbell of the R family, and
the little girl ran to answer it.” This most innocuous of first sentences lulls
the reader into expecting a cosy domestic setting; an expectation that
will be met yet distorted in the most appalling way. </span><br />
<span style="font-family: inherit;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: inherit;">The person at the door warns of a spreading plague, advises
on body bags and offers to forage for food because he has immunity to the
dreadful disease. The family turn him away, and from there, life deteriorates
fast. The father of the family goes out each night to procure food, spraying
himself with cologne on his return, and burning his clothes. No one else leaves
the apartment. But one by one the family become infected and are nailed up in
their rooms. Only the family cat seems to be alive, and we assume it has
survived by eating the corpse of its former owner. I’m not going to give too
much away – just read it - <span style="mso-spacerun: yes;"> </span>but suffice
to say this is a tale with a proper beginning, middle and end. (And if you like
stories about people being entombed alive, once you read this, try Poe’s '</span><a href="http://xroads.virginia.edu/~hyper/POE/cask.html" target="_blank"><span style="font-family: inherit;">The Cask of Amontillado'</span></a><span style="font-family: inherit;"> )</span></div>
<span style="font-family: inherit;">
Horror in literature is surely most chilling when it’s
closest to the reality of our own experience. This story seems entirely real
and imaginable in its domestic detail of an overcrowded apartment simmering
with family conflict. It calls to mind too some of the
horrors that people in Russia and the former USSR have experienced over the
last century. The siege of Leningrad. Stalinist purges. Starvation. Appalling
things experienced by Petrushevskaya herself (</span><a href="http://alexandra-schwartz.com/post/13234179659/sometimes-a-small-redemption-on-ludmilla" target="_blank"><span style="font-family: inherit;">see this article</span></a><span style="font-family: inherit;"> by Alexandra
Schwarz [@Alex_Lily] ) Perhaps writing about real horror can only be done
obliquely, using the realms of fantasy, or fairy tale to explore what is too
awful to write about directly.</span><br />
<span style="font-family: inherit;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: inherit;">What redeems this story - and this collection - for me is
that even in the midst of utter horror, it contains a twist of hope, threaded
into it like a message in a stick of rock – only visible at the very end. </span></div>
<span style="font-family: inherit;">
Thanks Yelena Furman and </span><a href="http://www.dawnakemper.com/Home.html" target="_blank"><span style="font-family: inherit;">Dawna Kemper</span></a><span style="font-family: inherit;"> who recommended Petrushevskaya, and <a href="http://billpiercy.tumblr.com/" target="_blank">Benjamin Wessel</a> who reminded me about Poe.</span>Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0tag:blogger.com,1999:blog-7638762555439557673.post-52603394793981430652014-01-06T21:13:00.000+00:002014-01-12T14:18:25.758+00:00Black Vodka by Deborah Levy<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmzSQN6u7gA_RYL31LaZDBEnrkjVIuPzHql_7rWdUwnGQF9zmcfgu3d0IXlf4VfxtzPYVgPbfutqkm_mFPxk62mJY8SG17ckmMA3ocI460u3CNF6POpGApywUh38jkMnr230cdvm4Rz4M/s1600/Black+Vodka.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="cover of Black Vodka by Deborah Levy" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmzSQN6u7gA_RYL31LaZDBEnrkjVIuPzHql_7rWdUwnGQF9zmcfgu3d0IXlf4VfxtzPYVgPbfutqkm_mFPxk62mJY8SG17ckmMA3ocI460u3CNF6POpGApywUh38jkMnr230cdvm4Rz4M/s1600/Black+Vodka.png" height="200" title="" width="130" /></a></div>
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<span style="font-family: Calibri;"></span> </div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: inherit;">The first story that’s grabbed me this year is ‘Shining a Light’ by </span><a href="http://www.deborahlevy.co.uk/index.html" target="_blank"><span style="font-family: inherit;">Deborah Levy</span></a><span style="font-family: inherit;">, from her
excellent collection </span><a href="http://www.amazon.co.uk/Black-Vodka-Stories-Deborah-Levy/dp/1908276169/ref=sr_1_1?s=books&ie=UTF8&qid=1389041750&sr=1-1&keywords=Black+Vodka" target="_blank"><span style="font-family: inherit;">Black Vodka</span></a><span style="font-family: inherit;">. It's one of those you read and think <em>huh?</em>
when it ends, because, well, what just happened? The events of the story
are as follows: a British girl, Alice, goes on holiday to Prague, the airline
loses her suitcase, she befriends a group of young Serbs, and goes for a day
out with them. And that's it. </span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">But there's a hidden arc, or movement in the story, which starts with the loss of something
relatively trivial - Alice’s suitcase – a minor aggravation which means her
mobile phone will be unusable because her charger is in the lost bag. We are
reminded of this loss as she dances in a park with her new friends “in the blue
dress she has worn for three days”, and again when she goes for a swim with them
at a lake near Prague and meets Alex “a famous brilliant terrific genius
composer of electronic music” who is curiously uninterested in her mobile phone
problems. As she waits for him in the woods, feeling panicky in case he’s got
lost, both she and the reader understand Alex and her other new friends have
suffered far greater losses; their names, possessions, homes, identities,
families. “She wonders if there are people hiding in the woods because they
have lost their country and their home and their children and their sister and
cousin and she thinks Alex might have lost his brother and father because of
something he said earlier.”</span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: inherit;">It’s beautifully and subtly done; a tale obliquely told
through objects lost and vivid impressions of a couple of summer days. There is
no preaching here. All the stories in this collection are worth lingering over
and rereading.</span><br />
<br />
Black Vodka is published by <a href="http://www.andotherstories.org/" target="_blank">And Other Stories</a> a small publisher which focuses on work that is "collaborative, imaginative and 'shamelessly literary' ". It relies on subscriptions from readers to continue its work - can you help?<br />
<br />
Recommended by Simon Savidge over at <a href="http://savidgereads.wordpress.com/2013/12/29/black-vodka-deborah-levy/" target="_blank">Savidge Reads</a> - thankyou!<br />
</div>
Jenny Wrenhttp://www.blogger.com/profile/17146092687410096857noreply@blogger.com0