I forgot to do this last year for a bunch of reasons I can’t completely remember, but I’m back on track for a round-up of my favourite things that have happened in the last 12 months. In no order, these are:
1. The kids. This year has been another cracker with my wee family. It hasn’t always been easy, but seeing Dora and Indy getting on with the world has been a treat. In particular, Indy learning to talk has given us such joy — almost every day now we get a new word, and with every word our communication grows, our interactions develop, our bonds become stronger. He’s funny, he’s happy. Dora is still mostly feral, but she’s finding her way, all the time, a few steps back and then a few more forward. She’s developed an addiction to Lego, she loves reading Ottoline and Harry Potter and the Worst Witch, she argues about pretty much everything, she laughs all the time. They’re good kids, and I love getting to know them.
2. Mon’s art. Mon’s finally, slowly, getting to paint again with some regularity. Like me, she doesn’t get nearly enough time to make her work — and it’s therefore brilliant that she’s finished off these astonishing paintings and started on some really exciting new work. After she lost so much time in Indy’s first year, it’s been a real thrill to see these pieces coming together, and I’m so so excited by the work she’s sketching out and backpainting. She’s a bloody genius, my wife, and I count myself beyond lucky to watch her art unfolding in the studio.
3. Kefalonia. I used to write long posts about my holidays, but don’t blog as often as I used to, and so haven’t. But we went to Greece for two weeks in the summer, and it was brilliant. We went swimming every day and collected pretty pebbles. There was a titanic storm that rumbled all morning while Indy stood at the window and thumped the glass every time the lightning struck, and the day broke into vast grey Miyazaki clouds that washed away into the bluest of sweet blue skies. Waves had painted the beach in perfect smooth sand. The insects were incredible — a praying mantis, big black bees with pearlescent wings, swallowtail butterflies, a great emerald beetle that zipped about my head and lit on my hand. It then bit me, which wasn’t quite as cool, but for a wee moment I felt like Dr Doolittle. I read loads, wrote loads, and threw Dora in the swimming pool about a thousand times. It was brilliant. This is the actual moment Indy fell out of the sky. We decided to keep him.
4. Reading sea books. My original resolution was to read only sea books in all of 2017, and in this regard I’ve failed. I abandoned the task around August after finishing Moby-Dick, firstly because I stopped writing the sea book I’d been working on, secondly because very few of the sea books I tackled actually had much to say about the true nature of the sea, and finally because nothing else quite cut the mustard after the Melville. The stand-out was Rachel Carson’s The Sea Around Us, which is an extraordinary book and everyone should read it. Overall, though, I mostly felt relief when I decided to let it go and read some books that were not about the sea.
5. Wainwrights. As a family, we’ve started the long, slow process of sending Wainwrights. We’ve now walked about 16 of the 214 fells that Alfred Wainwright ascribed in his famous guidebooks, so there are clearly still loads of them to go, but we’ve loved every one we’ve done so far. The uphills are hard, the downhills are hard, but the tops are completely worth it — especially the plateaus and ridges, and earning a sense of having climbed up out of the world below. At some point Indy’s going to get too heavy for the sling, and then we’ll have to slow the numbers a wee bit, but for now — up we go.
6. Film and video work. This has been a fairly steady year for my freelance video work, but most of all I’m soaringly proud of my work for Kendal Mountain Festival. Along with my friend Dom Bush, I edited the trailer for this year’s festival, as well as copyediting the voiceover poem. The film edit was difficult and time-consuming, and I’m really proud of what we made:
7. Getting veganised. Come June 2018 I’ll have been vegetarian for 10 years, a decade in which I’ve eaten wider and healthier, become a much better cook, and made better decisions in spending my money. Taking that to the next step hasn’t been easy, but over the last two years, Mon and I have moved steadily towards a vegan diet. We’re pretty much dairy-free and I go weeks at a time without eggs — and again, it’s improved my cooking and my eating and my thinking about where my food comes from. I’m not quite ready to go fully vegan, but I am moving steadily in that direction (especially since working out how to make my own seitan, which is just tremendous).
8. British Sea Power. I saw my favourite band three times this year. First was in London, where I took my students on a college trip — on the Tuesday we watched Under The Skin with a live soundtrack by the London Sinfonietta, and the students all despised it — beautiful, discombobulating enigma that it is. But on the Wednesday, we watched BSP perform a live soundtrack to a collection of Communist-era existential Polish animations, and they were majestic. Their music was sublime and transporting and wonderful in every way. The second gig was on the tour of their new record, Let The Dancers Inherit The Party. It’s another cracking record — of course it is — that slots in perfectly with the rest of their catalogue. Fave tracks are Electrical Kittens, What You’re Doing, St Jerome and Bad Bohemian, but the whole album’s brilliant. Third and finally, Mon and I zipped down to Manchester to see them headline the People’s Festival in the Albert Hall, which was epic — Dutch Uncles and Field Music playing too — a heart-thumping whirl through their finest moments. Their music is consistently superb and in constant reinvention. They’re the best band in Britain. I hope I see them three times in 2018.
9. Moy’s 90th. My grandmother Moy turned 90 this year. She’s amazing. She’s travelled all over the place. Once, in her 80s, she sent me a postcard from a youth hostel on a glacier in New Zealand. For her birthday she wanted all of her grandchildren together, and so we went — Kate, Anna, Ali, Emma, Kirsty, Tim and me, plus partners Kees, Ian, Adam, Ina and Mon, plus great-grandchildren Tom, Jack, Dora and Indy. We descended on Aberfeldy in the rain and spent all day drinking tea or wine, and it was brilliant. I don’t get to see anyone in my family as often as I’d like to, and it’s always a treat to catch up. Anyway, Moy’s a badass. Here’s the squad:
10. Writing. A year of ups and downs for me and my writing. Then again, aren’t they all? In the last 12 months, I finished my third distinct draft of The Hollows, decided against rewriting it again, and moved on with surprisingly few regrets. No regrets, really. The more space I put between me and that third draft, the less I like it, and the more I want to get the story right. I’ve now sketched out the plot for the fourth draft, which already feels more cohesive and engaging, but that’s on a back-burner until I’ve finished something completely different. To that end, I’ve been working on another novel since June or so, tapping away with 100 Days Of Writing. It’s going okay, by which I mean that I’m enjoying it. I very seldom had fun while working on The Hollows #3, and on leaving it behind, I promised myself that I wouldn’t spend all these hundreds of hours wallowing in my own head unless it was making me happy. Novels aside, my short story output and publications have been very few and far between — only half-a-dozen pieces here and there, with barely as many written again. I’ve mostly finished a couple of short film scripts, another flash collection and a ‘novella-in-flash’, but there’s nothing wrapped up and ready to go. I only get one day a week to write, and that time needs to go on the new book. And that’s okay. I like the novels best of all.
So that’s that. Looking ahead to 2018, there are a few things I want to do. Most of all, I hope to finish the new novel and another flash collection. And if, by hook or crook, I somehow manage to get those finished, then I’ll start The Hollows #4. I’d like to go back to a Scottish island for a bit. I’d also like to direct a short drama film, which is something I’ve had in my mind for a while. It’s about 12 years since I directed people, and I’ve learned a lot about cinema since then — and about people. Finally, I want to read more, because books are the best of things.
2017 has been a strange one. For all of the terrific things I’ve been lucky enough to have in my life, Brexit is still the batshit stupidest thing in the world, and Trump is still a howling sphincter. Those twin sprawling catastrophes have haunted and defined my year, and they both push me into furious despair pretty much whenever I think about them. It hasn’t got easier. It’s worse. The longer they endure, the worse they become. Maybe 2018 is the year we can put them both to bed and step back into the light. Please, 2018. We’re ready.
This is long overdue, but I’m only now catching up on alpine stacks of paperwork. Pleased to wallow in the old news that two of my films have garnered some small festival selections — the laurels say which and where.
Here’s Take Me Back To Manchester, a wee documentary I made with Dom Bush. It’s the improbable but true story of a Victorian lion tamer called Lorenzo Lawrence, who rode an elephant between Edinburgh and Manchester — and Oliver East, the modern-day comic artist who repeated the journey:
And here’s To The End We Will Go, a short environmental documentary about hay meadows in Cumbria. Using archive footage, time lapse, macro photography and dozens of hours of interviews, the film explores some of the tensions between biodiversity and food production:
Quietly pleased, but still longing to make a couple of short dramas…
I haven’t blogged for a zillion years because I’ve been frantic with work. There’s lots to talk about after a busy summer — performing campfire stories at a new Lakes festival, beginning some collaborative work with an old friend, a wonderful holiday in Greece, and the new novel, which I’m chipping away at via 100 Days Of Writing. But more than anything else, I’ve been editing.
I’ve talked before about my video and film work, which feeds directly into my writing, but most of my editing isn’t the sort of thing I’d share on the blog. It’s with great pleasure, therefore, that I present my latest effort — the trailer for Kendal Mountain Festival, which I’ve edited with Dom Bush for Land & Sky Media. I’m really proud of this. Enjoy.
Here be spoilers. Don’t say I didn’t warn you.
I teach films, I make films, but I very rarely get to watch films. So it’s with great pleasure I sat down tonight with Down By Law, the Jim Jarmusch prison/buddy/road movie in which Jack, Zack and Bobby find themselves sharing a cell. It’s hard to switch off teaching mode, and about a third of the way through, I found myself idly wondering why it had been shot in black and white…
…and eventually decided that it was because it’s an existential story. Suddenly, the rest of the film swam into focus. All three are in prison for morally uncertain reasons — Jack and Zack have been set up, while Bobby’s manslaughter was a freak accident. Their situations are anything but black and white, so to render their world in high contrast B&W makes a nonsense of their injustice. As it unfolds, the film feels more and more like a Beckett play, the pointlessness playing out in theatrical, meditative wide shots — I don’t remember a single close-up in the entire movie.
Much of the story occurs as loops of nonsense — Bobby reciting American poets in Italian, or Zack recording the passage of days in fives or sixes or sevens, some vertical and some horizontal, none of them in any particular pattern. In the scene below, the three walk in endless circles — “I scream, you scream, we all scream for ice cream!” — while the other prisoners bellow the song along with them. It’s the only time they’re completely of one mind, and it’s over something pointless and completely unachievable.
The cabin they escape to is a mirror of their cell, while the Louisiana swamps unfold in circles. When they argue over the rabbit, Zack leaves to the right, then appears walking to the left — while Jack leaves to the left, and then appears walking right — and still they end up back at the campfire. On reaching the road — “Civilisation!” — both directions are identical and endless and pointless.
When Jack and Zack finally go their separate ways, they have literally no idea where they’re going — only that each needs to go away from the other. As solemn as Vladimir and Estragon, they swap jackets before walking away, right and left. I had the sense that they’d probably end up in much the same place they started.
Not Bobby, though. Bobby goes through life with an open heart and an open mind. He talks to people, he wants to communicate, and so he reaps the rewards of food and wine, a roof and a song, love. For all his nonsense, there’s a bigger meaning behind Bobby’s story — he perseveres through the babble of his world, and so he earns his happy ending. It’s all part of the joke that he’s the one who likes to speak — and it’s in a language no one understands.
A clever, entertaining, charming film.
I’ve now seen Penny Woolcock and British Sea Power‘s astonishing documentary, From The Sea To The Land Beyond, about ten times, including a live screening at Glasgow Film Festival last year. It’s an astonishing work—a feature length film comprising entirely of archive footage and BSP’s score, by turns haunting and playful. The footage was lifted entirely from the BFI archives, and tells nothing less than the social history of Britain through our relationship with the sea. It’s extraordinary: through the flickering windows of hundred-year old reels, the film explores Britain’s food, wars, suffrage, leisure, the rise of the middle class, industrial action, economic boom and bust, immigration, capitalism and more.
Ever since watching From The Sea To The Land Beyond, I’ve wanted to work with some archive footage. I used a little of it in my hay meadows documentary To The End We Will Go, but when I recently happened upon some fascinating public domain material, I decided to cut something entirely from archive. And here, then, is something of a music video; taken from my friend Dan Haywood‘s wonderful album Dapple, I’ve cut together footage of USAAF atomic bomb tests and the seminal agricultural documentary The Plow That Broke The Plains, all soundtracked by Dan’s glorious song I’ve Got Heaven At My Door.
It’s not the most complex thing in the world, but then again, I have very little time right now—I’ll write more about that in my next post—I threw this together over a couple of lunchtimes at college. For now, here’s the video, and I’ll get back to my novel.
With a first draft of The Hollows finished and sent away, I’ve emerged, blinking, into the light, with pasty skin and mild RSI. I’m still hungry to keep working while I have these little windows, though, so I’ve tweaked and typeset all the stories in Dare, and sent it to the printers; I’ve started thinking about some new flash stories for my guest spot at Verbalise in October; and I’m catching up on some long overdue blog posts, including this one.
When I wrote The Visitors, I had a tight-knit soundtrack to shape my work. This consisted mostly of:
Come On Die Young by Mogwai
Mar of Aran by British Sea Power
Raise Your Skinny Fists Like Antennas To Heaven by Godspeed You Black Emperor
Just Beyond The River by James Yorkston
…and everything by Bat For Lashes.
In combination, they did what I needed them to do; for me, music for writing needs to hit several things at once. It must be engaging, immersive, transporting; but also neutral enough to let me tune out and play it in the background, and not get too involved. For this reason, I tend to go for records with minimal vocals; or, at least, records (like the James Yorkston and the Bat For Lashes) where the vocal is tonally consistent, drifting, utterly woven into the fabric of the music.
On starting The Hollows, I developed a new soundtrack. Some of the same culprits are there, but with different albums; listening to my Visitors soundtrack takes me back into The Visitors, and I needed to be somewhere very new for The Hollows, which is a more fantastical, more magical place. And I say ‘evolved’ quite deliberately; albums have dropped in and dropped out as the manuscript developed. Ys by Joanna Newsom was a big part of last year’s stumbles, but she gradually shifted down the running order as the story unfolded. Instead, Jonathan Eng’s wonderful soundtrack from the computer game Sailor’s Dream moved in to take her place (thanks in no small part to the wonderful vocals by Stephanie Hladowski). Another video game soundtrack has proven to be extremely good music for writing: Thomas Was Alone is an utterly beautiful game in and of itself, but the score by David Housden stands alone.
The most recent addition is I Want To See Pulaski At Night by violinist Andrew Bird. My friend and colleague Dom introduced me to this record while we were in the depths of a marking slump, and it parachuted into my writing soundtrack next day. Mostly instrumental, Pulaski takes its title from this glorious centrepiece:
The running order is important (to me, anyway – it’s totally cool if you don’t care). Andrew Bird is first on the list, as I Want To See Pulaski At Night is both sleepy and sparky, making for exactly the right way to start the day. Then comes Thomas Was Alone, which takes me somewhere deeper, calmer, more concentrated:
From Thomas Was Alone, British Sea Power take it up a notch with the drive, shift and transporting tumble of their film soundtrack From The Sea To The Land Beyond. Thanks to pal Kirstin Innes, Mon and I were lucky enough to witness them play this live at the Glasgow Film Festival earlier this year. Their performance was magisterial. I’ve now seen the film half-a-dozen times, and it’s a masterpiece: a social history of Britain told through our relationship with the sea, drawing together a century of archive footage from the British Film Institute. Watch it. Watch it again. Tell everyone.
Next up is Sailor’s Dream. By this time I’m ready for something less immersive, and the vocal interludes of the days of the week (this makes sense if you’ve played the game) saturate my head with little magics, thresholds, otherworlds.
Next comes Balmorhea. I discovered this post-rock band last year when friend Jon kindly gave me his old iPod, and I became addicted in days to their sweeping arrangements. There’s a timelessness to Balmorhea’s music that I find completely immersive. They sustain this over several records with different measures of minimalism, but it all works for me. After Sailor’s Dream I go into their album Constellations, but from this point they recur every other album, working up to Live At Sint-Elisabethkirk, which is perhaps the best £5 you’ll spend today, because this:
After Constellations, Mogwai strike back with Rock Action, the follow up to Come On Die Young. Here’s why it’s one of my favourites of their many awesome albums:
Then comes phase two of the mighty British Sea Power, with their short and astonishingly sweet soundtrack Happiness, then Balmorhea again, then Rachels and Remember Remember. I seldom make it all the way to the end, though. After Happiness, I tend to start the playlist over. It’s almost nine hours long, which is most of a working day for me.
Every time I think I won’t find any more music that’s right for me, something always comes along. Dom introduced me to Andrew Bird, and Jon to Balmorhea. I do wonder, looking ahead to next novels, how the soundtrack will change.
I’m currently wrapping up another film project before I get back to my writing. A couple of months ago, my friend Dom Bush and I were commissioned to make a film called Take Me Back To Manchester, based on the extraordinary true story of a lion tamer called Lorenzo Lawrence, an elephant called Maharajah, a cartoonist called Oliver East and a 200-mile walk across the country.
It was an incredibly tight turnaround – we had less than six weeks from commission to completion, and only three weeks from the shoot to the deadline. Dom shot the film, using drones and steadicam, and I cut it. I used the parallax effect for the first time to bring some of our amazing archive images to life. Technically we co-directed the film, but the story was so rich, the contributors so engaging, and the archive material so fascinating, that it pretty much directed itself.
Take Me Back To Manchester has now been shown at Toronto Comic Art Festival, and a shorter version will be screened on a loop in Manchester Museum.
Roll up, ladies and gentlemen, roll up…
This is my last film project for a while. I’ve really enjoyed working on this piece and To The End We Will Go, but I’m more than ready to get back to the Hollows. I’ve been maintaining my erratic early morning writing sessions, even if that means grabbing five minutes before Dora explodes downstairs demanding her breakfast. Those snatched sentences and stolen paragraphs might only give the book twenty words, fifty words, a hundred words a time, which feels painfully meagre in isolation, but they add up over weeks and months. I’m up to about 66,000 words, for all the difference it makes, and happy with where it’s going. I think again of how little I achieved last year, and feel a grim urge to push on and make up for so much wasted time.