I’m in that very enthralling, exciting, worrying, phase of embarking on a new big novel. I have this big idea and am reading like crazy, checking facts and looking at landscape in a different way. It has been some time in coming. I have been waiting for a decision on my last novel about writers living together The Art of Retreating and this process has frozen me like a hare pretending to be a statue in the middle of a harvested field.
I’ve kept busy, as an artisan writer should be, with my short story collection Painting Matters. I have read novels for my Room to Write reading group although novels have been losing their escapist appeal for me as I take it all too seriously and read as a writer, tending to be too analytical and failing sufficiently to suspend my disbelief to read with true pleasure. The other members of the group are very patient.
Then in a London park I was introduced to a girl called Lisa who talked about her current obsession: Ley Lines in London. I wasvery intrigued because the past-in-the-present is part of my own world view. Layers in time and figures in old landscapes are a long obsession for me which has inevitably emerged in some of the novels. For instance it’s an important element in my novel An Englishwoman in France where present day Languedoc lives alongside Roman Gaul in the life-changing experience of a woman mourning her lost daughter.
So, when I got back home I started to read these esoteric texts about Ley lines and this got me looking at maps in a different way. I looked at the ley line maps and moved on more conventional maps - both contemporary and historical. Maps can be very exciting sources for a writer. They are both precise and non-literary. You have to think imaginatively to elicit their meaning. My own invented maps are an important element in the way I have laid the ground work (the ground-world?) for my stories. For instance I made a whole 1850 wall map for my novel A Woman Scorned
Now from these maps there emerged a new person and an very new idea for a novel that had not been there before I started looking at the maps. Magic. . This story is not at all, except tangentially, about the things called Ley Lines. From the Ley line books I have leapfrogged to more intensely serious sources about pre-history and Romano British history and then - I realised - into the world of polite internecine strife between, conventional historians and progressive archaeological historians in their increasingly rigorous search for meaning in a world about which there is no direct written record. And I am looking at ancient songs. Fascinating.
My new novel will be (I think) about a certain woman, about a landscape, about journeys, and about what it is to be British. I am just now trying to make logical sense of the Druids, and the function of the myth of King Arthur as a metaphor. A long journey ahead.
Beginning again. Ha-aleluya!!
Work In Progress
In the beginning - alongside the reading - there are always 'sketches' which may (or may not) end up as part of the novel. Do you think this sketch will find its place?
... So anyway I came into this world of light quite by accident, first in my mother’s belly then into the throng of a broad river well known for its dark spirits. The rain was sleeting down. A strut of the bridge creaked and broke and the chariot carrying my mother and her sister Branwen slid into the river, rained on by golden bangles and silver brooches.
My brother Lleu told me years later that he heard the river sing like a choir of many voices. I have a ghost memory of the strange glow of the water and also the singing. No doubt there were also shouts and screams but I do not remember them. ..