The end of the story

Other people’s words about … writing

April has never really known loneliness until now; she has had all tastes of its dregs, like cold milky coffee curdled at the bottom of the cup, but she has always had faith in the fact that it would pass. Now, she is not so sure. And this loneliness is entangled with her failure as a musician, another certainty in her life that seems to have gone.

Most days, she tries to write.

She sits by the window with her guitar and picks idly at notes, strumming chords underneath, humming to herself as she does so. But nothing ever sticks, and she feels as if she is just pretending, playing alone outside a room she can no longer enter.

from ‘Between a Wolf and a Dog
by Georgia Blain

I did something I had never expected to do this week: I stopped working on the book I’ve been writing, on and off, ever since my last novel was published in 2010. Actually, I stopped writing fiction altogether, at least for now.

The novel I’ve been writing all these years has gone through many, many permutations: I’ve written it as a ghost story for young adults; as a reworked ghost story for middle-grade readers; as a love story for ‘new’ adults’; as a coming-of-age story for women my own age. I’ve written it in the first person and in the third person, and in past tense and in present tense. I’ve written it using pen and paper, and Microsoft Word, and Scrivener.

I’ve written it. And written it. And written it.

All the time I’ve been writing this novel, I’ve been telling myself that the doubt I feel in myself, and in my ability to write a third novel — this third novel, anyway — would pass. But it hasn’t. Sometimes it’s quietened down for a period, but then it’s flared up again. And over the years, like April, the sense of inner loneliness I carry with me — which is in part an aspect of being me, Rebecca Burton, and in part an aspect of being me, a human being — has slowly become ensnared with the doubt I feel about my writing. [N]othing ever sticks, and she feels as if she is just pretending, playing alone outside a room she can no longer enter. Yup. Yup. Yup.

Ever since I wrote my first novel and it was accepted for publication, I’ve believed, with all of my heart, that writing books was something I would do for the rest of my life, because that’s what writers do, right? It’s what they want to do. It’s their privilege, and their gift. Or so the story goes.

But I just don’t think I believe that particular story anymore. That’s what I finally realised this week, after all this time. I don’t think — as April thinks, in this passage which I have loved so much for so long — that I am a failure as a writer, or as a person, if I stop writing, for a while, or forever. I think the world is bigger than that.

I don’t know what the future holds for me if I’m not a writer anymore — for now, or for a while, or forever. But you know what? Unlike April, I want to find out.

It’s a big, big world.

Unpacked

Other people’s words about … surfing and the sea

Nearly all of what happens in the water is ineffable — language is no help. Wave judgment is fundamental, but how to unpack it? You’re sitting in a trough between waves, and you can’t see past the approaching swell, which will not become a wave you can catch. You start paddling upcoast and seaward. Why? If the moment was frozen, you could explain that, by your reckoning, there’s a fifty-fifty chance that the next wave will have a good takeoff spot about ten yards over and a little farther out from where you are now. This calculation is based on: your last two or three glimpses of the swells outside, each glimpse caught from the crest of a previous swell; the hundred-plus waves you have seen break in the past hour and a half; your cumulative experience of three or four hundred sessions at this spot, including fifteen or twenty days that were much like this one in terms of swell size, swell direction, wind speed, wind direction, tide, season, and sandbar configuration; the way the water seems to be moving across the bottom; the surface texture and the water colour; and, beneath these elements, innumerable subcortical perceptions too subtle and fleeting to express. The last factors are like the ones that the ancient Polynesian navigators relied upon when, on the open seas, they used to lower themselves into the water between the outriggers on their canoes and let their testicles tell them where in the great ocean they were.

Of course, the moment can’t be frozen.

From ‘Barbarian Days’
by William Finnegan

I know someone who is in his mid-fifties now, and who, like William Finnegan, has been surfing since he was a teenager. Though he and I are both avid beach-lovers, I know that when he looks at the sea, he sees something different from what I see.

I (from my admittedly middle-class, Western, leisured perspective) look at the sea for beauty. I don’t understand the sea’s tides, its swells, its waves. I understand, simply, how the sea makes me feel.

It’s hard to express my feelings about the sea in actual words, though. They are, to use Finnegan’s words in a slightly different way, subtle, fleeting,subcortical, ineffable.

And … good.

 

 

Snatched phrases on … birds

‘It was eluding her again: the essence of bird.’

From ‘Nest
by Inga Simpson

I love this sentence. Jen, the protagonist of Nest, is an artist, and in this passage she is trying to draw a fairy wren.

I’m not an artist; in fact, I’m spectacularly untalented when it comes to drawing. But I know the feeling of trying to capture — in a photograph, perhaps, or in conversation, or in writing — what you see when you see a bird. To say that a bird flies, or that it sings, or that it is beautiful is true, but those descriptions come nowhere near to capturing what a bird really is, or how it makes you feel.

The essence of bird. Perhaps it will always elude me, as it does Jen. Perhaps that’s part of the fascination.

This moment, now

Other people’s words about … the everyday

The sunlit room is silent and there rises a kind of aural transparency through which a deeper background of sound emerges, intricately embroidered like an ocean bed seen through clear water: the sound of passing cars outside, of dogs barking and the distant keening of gulls, of fragments of conversation from the pavements below and music playing somewhere, of phones ringing, pots and pans clattering in a faraway restaurant kitchen, babies crying, workmen faintly hammering, of footsteps, of people breathing, and beneath it all a kind of pulse, the very heartbeat and hydraulics of the day.

From ‘Aftermath’
by Rachel Cusk

I’ve been saving this quote for a while. My copy of Aftermath came from the library, and so I can’t look the quote up again and remind myself of the context; but from memory, Cusk, who was at the time living and working in the British seaside town of Brighton, is in this passage writing of a visit to the dentist.

It’s easy to focus our attention on the beautiful things we see and hear around us. (I do it in my posts on this blog all the time.) But I love the way that Cusk does the opposite here: she takes an everyday moment — not a remarkable one, not even a particularly pleasant one — and describes it so vividly that the moment shines; it sings.

Sometimes, as I go about my own day — at moments when I am particularly busy, or grumpy, or stressed, or anxious — I make myself stop. I glance around; I tilt my head to one side to listen; I sniff the air. I make myself take everything in, just for that moment. It’s a way of stepping back, I suppose: of absorbing rather than participating. However unremarkable my surrounds at that moment, the act of stepping back from them and observing them creates a stillness inside of me.

That stillness is useful. It reminds me that I’m alive.

Look up from your work
every now and then.
Take a step back.

I suppose you could call this a form of anxiety management. I suppose you could say that I am teaching myself to be present, or trying to practise mindfulness. But I’m not consciously striving to do any of these things: the act feels more instinctive than that. It feels, simply, as though it is an important — no, an essential — thing to do, every now and then.

And that’s what Cusk does in this passage, I think: she grabs a very ordinary moment, she witnesses it and she breathes life (a heartbeat, a kind of pulse) into it.

And somehow, along the way, with the words she uses, she breathes magic into her day.

Snatched phrases on … the sea

‘The sea pronounces something,
over and over, in a hoarse whisper;
I cannot quite make it out. But God knows I have tried.’

From ‘Teaching a Stone to Talk’
by Annie Dillard

Sometimes when I’m walking on the beach I close my eyes and listen to the sea as I keep walking. It’s a way of shutting out the beauty of the visual world, in order to concentrate on the other kinds of beauty accessible to me at that moment, in that particular space.

The sea murmurs.
It sighs.
It whispers.
It roars.

Like Dillard, I can’t make out the language of the sea  …

… although unlike her I’m not sure that I want to try.

I’m happy just to keep listening.

Snatched phrases on … the sea

‘They’d ended up sitting on the beach,
the sea a great black heaving beast,
sighing and rolling under the white light of the moon.’

From ‘Between a Wolf and a Dog
by Georgia Blain

I don’t have any photographs to accompany this post because I still haven’t yet managed to get the hang of the craft of night-time photography. But isn’t that a wonderful image of the sea at night? — that great black heaving beast, sighing and rolling. It makes me want to go for a night-time walk on the beach right now …

A breakfast of clouds and chocolate

Other people’s words about … what works

Chocolate at breakfast has always seemed wrong to me somehow. It seemed too decadent and lusty, entirely out of place, like watching a sex scene on television when your parents are in the room. But I have now spent eight mornings eating chocolate granola for breakfast, and I have concluded –- with all due gratitude to [my husband] Brandon, my personal granola pusher –- that chocolate is, once and for all, perfectly acceptable at any time of day. I had been a doubter for so many years, but now, good lord, I get it. And I think this revelation might, quite possibly, be the cosmic purpose of our marriage.

From ‘All We Ever Really Want to Do
by Molly Wizenberg of Orangette blog

I came to Molly Wizenberg’s blog only recently, many years behind most people. There are so many cooking blogs out there in the internet-world now, and so many of them are so beautiful, that it is easy to feel overwhelmed, or bored, or cynical. Moreover, the idea of using a recipe to introduce a post that discusses a theme entirely unrelated to food — in other words, to discuss life — has become such a common approach amongst food bloggers that it seems to me to be verging on the clichéd. But Molly was one of the early bloggers to take this approach, and she writes well, which makes all the difference. I will be reading her blog again, I’m sure.

As for chocolate at breakfast — well, why not? A therapist I used to see once said to me, as I agonised over how to live my life better (or rather, how not to live it so very, very badly): Life is short. Do what works. Though I’ve left much of his counsel far behind, I think about these particular words of his from time to time. Life is short, indeed. If chocolate works, then eat it. Please.

(Alternatively, you could try cake. Cake never fails for me.)

Meanwhile, today is my first day of two weeks’ annual leave. I currently have two part-time jobs, so time away from both of them simultaneously can be hard to pull off. The next fortnight feels incredibly precious to me.

For some of that time, I plan to go to Yorke Peninsula again. Autumn is in full swing now: my holiday there will be different from my last trip to Yorkes, back in February. There will be clouds; there will be rain; there will be wind. It will be too cold to swim, so I’ll walk miles down the beach and along the clifftops. I’ll sleep late into the morning and go to bed early at night. And I will read.

I’ll read.

I’ll read.

Afterwards, I’ll come home grateful for heaters and hot showers, and ready — already — for the next trip, whenever that happens to be.

I don’t know if, like Molly, I’ll be eating chocolate for breakfast while I’m away. It doesn’t matter. Life is short, and these are the things that work for me. That’s why I do them.

All in all, it’s not such a bad way to live.

On asides

Other people’s words about … other people

Some writers describe nature beautifully; some express their characters’ inner lives with great insight and pathos; some describe people pithily. I came across two writers of the latter kind recently.

How’s the following for a description of someone, for example?

He had the countenance of someone who’d weathered a thousand tiny insults; they were etched into the lines of his forehead and cheeks. He had the drawn, inelastic face of either a serious smoker (with no time for the inconvenience of food) or a fastidious vegan whose pursuit of a healthy lifestyle had left him on the verge of sickness.

from ‘A Smell of Burning: The Story of Epilepsy
by Colin Grant
(p. 2)

Colin Grant’s book is a memoir about life with a brother who lived with, and ultimately died from, epilepsy. It’s also a history of epilepsy’s treatment (both cultural and medical) over the last two millennia. But it was Grant’s descriptions of people which really held me.

He held disgust in his nose, a magnificent diaphanous beak with thread-like blue veins and tobacco stains on the nostril hair and dividing septum, usually slightly cocked and in a permanent sneer.
(p. 16)

After I’d finished reading A Smell of Burning, I moved on (in a completely non-sequitur fashion) to Angela Carter. I’d never read any of her novels before, though people had told me over and over that I should. I’m still only partway through The Magic Toyshop, but already, I’m relishing Carter’s descriptions of the characters who populate her story.

Here she is on five-year-old Victoria:

Victoria had no sense of guilt. She had no sense at all. She was a round, golden pigeon who cooed. She rolled in the sun and tore butterflies into little pieces when she could catch them.
(p. 6)

And here’s her description of twelve-year-old Jonathan:

Jonathon ate like a blind force of nature, clearing through mounds of food like a tank through the side of a house. He ate until there was no more to eat; then stopped, put knife and fork or spoon and fork together neatly, wiped his mouth with his handkerchief and went away to make model boats.
(p. 4)

Meanwhile, when Melanie, the fifteen-year-old protagonist of Carter’s story, first meets Finn, she watches him from afar before he notices her. When she does capture his attention, he fixes his gaze upon her before speaking:

His eyes were a curious grey green. His Atlantic-coloured regard went over Melanie like a wave; she submerged in it. She would have been soaked if it had been water.
(p. 38)

These are snatched phrases, I guess, more than anything. But that’s the thing about the experience of reading: it’s not just about plot, or emotion, or catharsis. It’s about the little things, too: the words and the phrases; the asides and the diversions. The sentences I’ve quoted above aptly capture the essence of the people they’re depicting: they made me smile in recognition (and wry admiration) and then re-read them, just in case I didn’t miss anything. And, like the characters they’re describing, they stayed in my mind long after I’d put the books aside to get on with the business of my day.

They stayed in my mind. I can think of no greater praise for someone’s ability to write — and no greater reason to keep on reading — than that.

Acknowledgments

Other people’s words about … gratitude

Andrew Wylie and Sarah Chalfant continued to treat me as a writer until eventually I became one again.

from the ‘Acknowledgments’ section
in ‘Aftermath
by Rachel Cusk

There is a ritual I always follow when I first pick up a new book to read. Before I begin to read it, I flick to the end to see how many pages it is. I like to know the length of the book I’m about to read, so that as I’m reading it, I know exactly how far I am through. It’s a way of measuring the pace of the story, perhaps: a way, too, of pacing myself and measuring my mood as I read. Sometimes, also, I admit, it’s a way of determining whether I’ll keep reading the book to its end. (If I’m bored and I’m not even a third of the way through, I stop. Life is so short and the library has so many books, it’s not worth spending time struggling through one I’m not enjoying!)

Once I’ve done that, I like to read the ‘About the Author’ section. I look at the author photo and check out their biography. Are they an academic? Is this their first book? How old are they? What do they like to reveal about themselves? Do they stick solely to their writing history, or do they mention their family, their loved ones, their hobbies? Do they write full-time, or do they have another job that pays for the privilege of writing? Maybe reading about the author is a way of trying to find some kind of connection. Reading is better, in my experience, when you feel connected in some ways — to the characters, certainly, but also, at least for me, to the author.

Next, I look at the list of the author’s previous publications, near the front of the book. I look at the copyright page, to see the date of publication. And then, finally, I read the acknowledgments. I love to see who the author thanks in their acknowledgments, and in what order, and whether their acknowledgments are formal or perfunctory (or both), or informal and long-winded and meandering. Sometimes there is a hint of how the author felt as they wrote the book — whether the writing of it was a joyful process or whether they were filled with troubles and doubt as they wrote.

There is an art to writing good acknowledgments, I think. If the author says too much — gushing about how wonderful the writing process was, or moaning about how difficult it became — they embarrass themselves. If the author says too little, the words are meaningless. Sometimes — unfairly, no doubt — I am so swayed by my reaction to the acknowledgments that I have already decided whether I love or hate the book before I’ve even read the book itself.

Rachel Cusk’s acknowledgments for Aftermath are of average length; the writing of them is neither perfunctory nor over the top. There is no hint of whining in them, and yet the sentence I’ve quoted above hints — subtly, I think, and poignantly — at serious writerly doubt. Once I’d read that sentence, I was determined to read the book all the way through, no matter how difficult I found it. Cusk, in those few words, had won me over.

They continued to treat me as a writer until eventually I became one again. That might be one of the most grateful sentences I’ve ever read from a writer. Gratitude, graciousness, humility — these are qualities I admire in others and aspire to myself. A writer who can write a sentence like that is, simply, the kind of writer whose books I want to read.

Note:
Some readers may remember that I published an earlier version of this post by mistake, before I had finished writing it — a version I subsequently (and very hastily) deleted when I realised my mistake! This is the finished version, finally …

Words unfurled

Other people’s words about … paths

This is what is behind the special relationship between tale and travel, and, perhaps, the reason why narrative writing is so closely bound up with walking. To write is to carve a new path through the terrain of the imagination, or to point out new features on a familiar route. To read is to travel through that terrain with the author as guide — a guide one may not always agree with or trust, but who can at least be counted upon to take one somewhere. I have often wished that my sentences could be written out as a single line running into the distance so that it would be clear that a sentence is likewise a road and reading is traveling … Perhaps those Chinese scrolls one unrolls as one reads preserve something of this sense. The songlines of Australia’s native aboriginal peoples are the most famous examples conflating landscape and narrative. The songlines are tools of navigation across the deep desert, while the landscape is a mnemonic device for remembering the stories: in other words, the story is a map, the landscape a narrative.

So stories are travels and travels are stories.

from ‘Wanderlust
by Rebecca Solnit

Last year, a theme I returned to often on this blog was paths. I had decided not to make a New Year’s Resolution for once: instead, I thought, I would learn to find, and then follow, my own path. Paths became a metaphor for me; once I began to look, I found them in the most startling and beautiful moments. There were paths in the sea, paths across the sky, paths to the horizon, paths trodden by other creatures than myself, making their way through the bush.

Path through the sky
Path through the sky

Perhaps it was a theme painfully obvious in its metaphors. Less painfully obvious is the metaphor Rebecca Solnit employs in the passage above. To consider one’s job as a writer to be the task of carving a path for one’s readers to follow: what a wonderful thought. What an honour.

The sun's path over the sea
Path of the sun

I was interested in Solnit’s comparison with the songlines of the First Australians. In these days of serious debate about cultural appropriation, I considered long and hard whether it would be appropriate to include that part of the quote. In doing so, I found an explanation which seemed genuine and made sense to me. You can read it here.

Path across the sea
Path across the sea

Landscape as narrative. This is something I have long believed in, right down to my core. When I go for a bushwalk in a place that is familiar to me, a track I’ve walked many times before, part of the joy I find in my wandering is in the act of observing how the seasons have wrought changes on the place since the last time I was there — how rain brings forth wildflowers, for example; and how those wildflowers differ in variety and in abundance, depending on that year’s rainfall. It feels then as though I am following a narrative which is both part of me, as a creature on this earth, and also greater than me. Songlines are not mine to appropriate, but the sense of a story, and the sense of the sacred, is everyone’s to share.

Other creatures' paths
Other creatures’ paths

But story as map: that’s something I hadn’t considered before. I am both a reader and a writer,and I am intensely aware, in both roles, of the contract between the two. The writer makes a promise; the reader holds the writer to it. I like the idea of viewing this contract as a map. It explains the sense of awe I feel as a reader, and the sense of humility I feel as a writer.

Path across the sand
Path across the sand

In the end, we each tread our own path across our own landscape, using our own map.

But it is nice to know there are guides along the way.

Tread your own path ...
Tread your own path …

Happy new year, everyone!