The Rise and Rise of a Pitman Painter Now on Kindle

The Story Behind the Story...

The Rise and Rise of a Pitman Painter

The widespread international success of the Pitman Painter drama reminds me that my novel, originally called WHERE HOPE LIVES, now retitled GABRIEL PAINTING was writtenbefore that play was produced. It focuses on the same extraordinary phenomenon of working men being inspired to be painters. Like the Pitman Painters story, my story springs out of true events in the history of mining art.


I thought you might enjoy it here on Life TwciceTasted:


In 1963 eminent painter Gabriel Marchant recalls his beginnings as a painter in the dark days of the 1930s and pays tribute the man – the Magician – who made it possible.


In 1935, haunted by a dream he once had underground, 19 year old Gabriel, an unemployed miner, finds help and support for his lifelong desire to paint.at the local Settlement. Visiting German artist Rosel von Stielenberg nurtures the extraordinary talent of this young man whose experience in the mine has left him obsessed to express in paint darkness and light and the power of colour,.


Gabriel is persuaded by the charismatic director Archie Todhunter to help with a Settlement play which will be performed before the Prince of Wales. In the play Gabriel plays opposite clever, plain, schoolgirl Greta who sees him as her doorway to maturity. 


But Gabriel is obsessed with painting and he finds the dark face of his dream in Marguerite Molloy, who is the model for the controversial painting which will make his national reputation and disturb the community in which he lives.


As the day of the performance looms, the lives of these women and the choices Gabriel makes are played out against the long shadow of the First World War with, if they knew it, the clarion calls of the Second World War echoing in their ears. 


Note: Although my characters here are invented, in the 1930s and 40s the Spennymoor Settlement, under its charismatic leader, did indeed nurture the talents of young men who gained national respect for their art, including painters
Tom McGuinness and Norman Cornish, and writer Sid Chaplin. WR

Treasure Trove: Discovering an Unknown French Version of My Studs Novel

2003 French Edition
 Just discovered by me (2012)
Hachette?

Now here's  funny thing!

I am about to put a young adult novel of mine The Real Life of Studs McGuire onto Kindle so I am checking out existing editions of this book. 

It was published by Hodder & Stoughton in the Seventies and seemed to have traveled all over the place. My son-in-law (who surfs the net more than I do ) once emailed me to say did I know it was on the required reading list of some outback education authority in Australia?

There was a French edition published by Hachette  under the title  Pour Venger Mon Copain (Avenging My Mate/Buddy)  (See cover below)  I had letters from French readers singing its praises.. Apparently it was on some French Schools' recommended reading.  Being such a Francophile I loved this. My story in French. Great!      
 

Original French Edtition - Hachette

Its popularity might just have been down to the universality of the story of Studs hunting down the gang of boys who enticed his best friend Tony to sniff glue which made him jump off the high roof of a car-park. Tony spends the whole of the novel in a coma while Studs, bit by bit, finds the culprits.

I have a son (and grandson now) and used to love teaching boys. I  loved Studs. and admired him. The novel is set on the day  he and Tony leave school  and shows two boys can love and admire each other as a normal part of growing up under all kinds of pressure..

All this means I was delighted  that the novel proved popular across the planet.


But this week, on my Kindle research I find a newer French Edition of  Pour Venger Mon Copain  published in 2003. And with this spanking new cover.

I have to say it looks great - the cover, cool, contemporary and well keyed into the novel - I love it. But all I have is an image of it (courtesy of Amazon). I don't even have a copy of it!  Of course I will check all this out with my agent and maybe she can hunt down the whys and wherefores of this. (Stop Press later - and so she did! - thank you J!)

Still it's great to see Studs living and thriving years after he was out of print in the UK. Somebody has loved him. It warms a writer's heart.,

And it bodes well for the Kindle of this novel -  maybe some insightful publisher will scoop it up again! - And I will ask Fiona who designs my Kindle covers to be inspired by this cool 2003 French Edition of THE REAL LIFE OF STUDS McGUIRE.

Original Paperback H&S

Look out for Studs on Kindle. I'll let you know.

The original Hardback
 Hodder & Stoughton

My Cruelty Games now on Kindle

Who is the victim? To buy

I have just extensively re-edited and revised for today my 1997 novel Cruelty Games for the new 2012 Kindle edition. This was a challenging book to write but it was very popular both as a paperback and as a library choice. I hope the new Kindle enthusiasts will  like it just as much.

As I revised it I reflected on the fact that the writing of Cruelty Games pre-dated the events around the Jamie Bulger affair but strangely pre-echoes it.

 About the story

Rachel, an idealistic young teacher in 1963, tries to make changes in the lives of her tough pupils. The school - tough as it is - is a haven for Rachel’s pupil Ian Sobell, whose mother neglects him and whose grandmother abuses him.  One of Rachel’s adventurous projects leads her class to a place where, two hundred years before, a boy hung for days in a gibbet until he died in agony: a punishment for the murder of his employers children.

Events on this day have a disastrous impact on the lives of  both  Rachel and Ian:  a shock  which lasts nearly two decades before they both move on to some kind of resolution, triggered by Rachel meeting Ian again after sixteen years.

This novel was inspired by my experience teaching in schools where I worked with pupils like Ian who soldiered on under great difficulty, walking the line between violence and normalcy every day. I also know that their desperation and stress is often mirrored in the plight of good, sensitive teachers who have to deal with the ambiguity of children who may be seen as evil.


Extract from Cruelty Games for you:
'... This worked. The two of them clambered up onto crumbling high points, Michael having difficulty because of his short legs, which had still not quite shed their baby roundness.

‘Now I count!’ Ian started to count in a loud voice. ‘. . . now I come, ready or not!’ 

The game that followed was full of shouts and squeals from Michael and Jonno, yells and whistles from Ian. As he was so much bigger, he caught them quite easily. He had to slow down to let them catch him when they were on. He found it boring, being chased. He liked to be the one doing the chasing. 

One time, when Jonno was  on, Ian lifted Michael onto a high section of walling, left like a pinnacle at the bottom end of the Baths.  Michael waited while Jonno counted carefully to ten, then looked round wildly. ‘I can’t get down! I can’t get down!’ he shrieked. 

Ian, who had found his own high spot, jumped down and went across to look up at the little boy, who screamed, ‘Get us down, Ian!’ 

Ian grinned up at him. ‘Why should I?’ 

Michael started to cry. ‘Gerrus down!’ he shrieked. 

‘No. Jump!’ 

‘Get him down, Ian’ Jonno came puffing across, and  pulled at Ian’s arm.  Ian flung the smaller boy away with some force, so  that he sprawled on the ground. ‘He’s gotta jump. Jump, Mikey!

From The Iconic Book Group

Dorothy M. hits THE ROAD

Dorothy, a valued and very informed member of our Iconic Book Group  lives in Littletown near Durham City.  Now retired she worked for Durham County Library Service for over 40 years and lists books and reading as one of her great passions.  She reviews books for the website www.whichbook.net - do give this a try if you don’t know it – it is a very original way of suggesting books for readers.  

Here's Dorothy: 

 'The Road is a brilliant novel and a great work of literature – but first and foremost it is an amazing experience.  I was totally immersed in this grim world and in the story of a man (who is dying slowly and ... (more) ..

First Date Ensemble

(Still working on this...)

Pure white wool blanket
straight out of
the asylum, and

cut with sharp scissors
shaped, Singer-sewn, the lining
carved from red silk off-cuts

long roll collar, Raglan sleeves
blue scarf shoulder-draped  -
all knotted fringes

I wear the whole ensemble-
complete with corsair swagger -
cracking image in the mirror

The tall boy smiles,
lifts a hand towards me -
tucks in the naughty fringes
curbing their message
of madness.

Listen Again to Sylvia's Story

Sylvia's Autobiography

We had a fabulous response to Sunday's Writing Game Programme where Sylvia Hurst, aged 90,  tells us how she arrived here on the
Kindertransport from Germany - on one of the trains which rescued threatened children from Nazi Europe.To listen again click HERE
Hope you  like it
w
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a

Paulie Smith Gets a New Cover!

On Amazon For You

One of the small pleasures of Kindling for yourself is the fact that you can design and develop your own covers and also your can if you wish, go back into the manuscript and improve things. When she downloaded my my kindled novel LIZZA, my eagle-eyed writing friend Avril spotted a dreaded typo on the second page and  - this being a Bank Holiday - once the new plants were planted in the garden, I went back into my manuscript, made the changes and there is LIZZA, even more perfect in my eyes especially with the new cover designed with me by my friend artist Fiona Naughton.

This crossover novel is A  Rights of Passage  story  framed in the strong characters of Lizza, her loose-living sister Ivy, their stern mother and their principled brother Bernard. It was very well received when it was first published in hardback and softback versions in 1980 and for years after.  Its message of self-belief, growth and survival is as relevant today as it has ever been.

She is selling well  - If you read LIZZA and enjoy it I would be very touched if you would take a moment to make a comment on Amazon. I am finding that getting the word out there is crucial to this process. Learning all the time!

On Amazon For You

Then my eye strayed down the Amazon column to PAULIE'S WEB,  So - it still being Bank Holiday -  I decided to brighten up her cover, because although this novel has some serious themes, Paulie and her  prison friends have bright optimistic, sometimes comic personalities, so I thought I would give her a brighter cover. It's nice to know that this novel is getting out there to  some appreciative readers. I think Paulie likes the new cover.  Gave me the thumbs up! I hope you give it the thumbs up too.

On Amazon by the end of the week.

And now this coming week I am about to put my novel CRUELTY GAMES on Kindle. Fiona has come up with a beautifully unique cover design. What do you think?  This is a strong story about a teacher and her pupil and savage events that have a profound impact on both their lives. It should be up by the end of the week and I will post more about it then. I suppose I should say Watch This Space...

My long time publisher Headline are putting books from my backlist on Kindle so it is all a glorious mixture for interested readers to enjoy.


I hope you enjoyed your Bank Holiday as much as I did...wx

I

WIP : A Daughter's Tale

 My father Billy died when I was nine years old and, it seems to me now, has permeated my life ever since, as my memoir The Romancer (see right) probably demonstrated. I miss him even now.

This is a poem about him which I have worked on for some time now

                            

                           Billy: A Daughter’s Tale

We walked along, your  giant’s hand in mine,  

long fingers up inside my woollen sleeve -

I remember nights she left the house

when you read the paper and I scaled your knee

settling, birdlike
into that rustling space.

I remember how we cut out pictures

for the Panjandrum book. And you read us stories -

your voice going up and down

What would you think of our young one?

Tall in Tai Kwan Do gear

white clad and obliquely oriental -

Or ready for cricket

complete with pads and faceguard,

grave and somewhat pedantic – a family trait

When I passed the age of thirty seven

- a lifetime since -

it dawned on me how young you were -  

yet at that dying time

you seemed to me so very old -

it did not feel too terrible.

wr

Endgame: The Eight Day Novel

For me,  researching and writing a novel can take anywhere from eighteen months to two years. More! If you take all the inklings and stirrings and brainstorms that precede a novel you can add another three years to that.
My new novel AOR* was just a twinkle in my eye about five years ago and it's a couple of years since I started to write sketches - actual sequences that could end up on a page in the final novel; dialogue (ditto); idiosyncratic biographies which would help me to become intimate with my characters: I also gathered notes, poems metaphors, analagies, images, quotations. maps, images and drawings.


Every day something new occurs to me, Some of this stuff goes on the wall, some on the table, some in boxes.


The more I go through this process the more things come to me - gathering like iron filings on a drum. (I am reminded that psychology there is a process called set presupposing perception. That’s when you think of something and then you notice it everywhere...)


In this way I begin to build up a mass of relatively shapeless inchoate material which has sprung out of that the original inkling: that first twinkle in my eye.


There comes a time when the mass becomes critical. In The Romancer I described this point as like fragments in the interior of a kaleidoscope. You shake those pieces and a distinctive shape emerges,


To develop my iron filing analogy - at this point you put a strong magnet under the drum and the iron filings shift into coherent and meaningful shapes and patterns.


This is the point where I find at last where the novel will begin;, what might be the issues; the possible low points; the possible high points; the ultimate climax; a possible ending. This is also when I discover significant gaps in the meaning and the structure of the narrative.
So begins a new brainstorming process to create credible links and  substantive new material to make the prose and the narrative work.

Clue to AOR:New Novel

Earlier this year with this current novel, AOR*, I felt as though I had more than enough material and the novel was going out of shape again. I could feel the energy of the novel outstripping its form. This can be quite a worry,


Somehtimes, at this stage working at home one can get stuck in the rich alluvial soil of a novel. For An Englishwoman In France at this stage I  went to France for two months to clear my mind to sort this out.


 This year my solution to this problem was - with my good writing friend Avril - to spent five days in the peace and quiet of Balliol College in Oxford to regain control of this mass of writing, material and inspiration and make my novel work.


And in that academic peace and quiet the final shape of my new novel did emerge. Reaching this point can be truly magical. This time it was like a key clicking in a lock: a door closing behind me. I knew that was it. I had the shape: all I had to do now was finish the novel,


ALL! Well there you go.

Oxford Wall Plan

On element that emerged in Oxford was that this novel would take place over an eight day week. While I was there I made a wall chart that showed me how all my parts fit into the whole.


I am now working in and on the crucial Saturday in the lives of my characters.


Phew!




*Title under wraps just for now, but it’s a good one.


PS Next!  - a work in progress extract from the end of the novel...

The Boy Who likes Chocolate and Academic Life...

Mismatched socks cool

‘A’ the boy who likes chocolate is visiting from university where his life is exciting, fulfilling, challenging, surprising: all one would wish. The usual subjects are covered: food, girls; a girl; studying; games; training. (As the game in question is American Football there is much to learn.)

 He plays me beautiful new sounds on his acoustic guitar which remains his relaxation in this welter of activity. He restrings his acoustic guitar. He takes to pieces his electric guitar and puts it back together again. It still works.

Secret Student

We talk quite bit, as is our custom. We get to genetics - his central study at the moment. He teaches me some very basic facts about genetics, with diagrams to  make it accessible. This is a world where the language is signs and concepts that can only be explained graphically.  New words emerge, which have a poetry all of their own: genotype, alleles, epistasis, diploid...

We discuss the  potential magic of intervention in the womb which could bring about the end of life-threatening genetic conditions. Inevitably we move onto ethical concerns and how medical ethics will be an important part of his future study.

Of course we move onto the way in which  nurture (my field) interacts with genetic predisposition. We talk about my own lifelong interest in twins – quite significant in the research into child development, which was once my own field of study.  My obsession was possibly due - I say - to the fact that my oldest siblings were twins,  christened the moment they were born  who died close to their birth.

 In the subsequent generation at the time of their birthday my mother would talk about them. The Twinnies would have been sixteen today … the Twinnies would have been twenty one today…  Calling them Twinnies made them seem so alive. She told me once that when the second twin died she stopped believing in God.

A man from around here once told me a story about an old woman, referring to her as ‘the Third Twin’, meaning the third of identical triplets. I looked it up and found that the likelihood of identical triplets was one in two million. That notion is at the core of my novel Family Ties. No novelist could resist it. Come to think of it my novel The Lavender House involved in-depth research into the Kray Twins, whom I used as models for two characters in that novel.  I suppose the notion of twins is closely linked to the nature of identity, which is a theme in so  many good novels.

‘A’ and I have played Scrabble together from when he was about four years old. For a few years I would manufacture sequences so he could make good words.  But soon we were playing  for real, which he enjoyed as,  despite being a quiet person, he is intensely competitive (think Rugby and American Football...) We played Scrabble this week-end. I banned two letter chemical formulae as it gave him an unfair advantage. It was a long, high-scoring game. 

Needless to say, he won.
wx

Once, in France

The Aviatrix Anne Lindbergh and the Double Sunrise

From my Boody Jar

'I began these pages for myself, in order to think out my own particular pattern of living, my own individual palace of life, work and human relationships. And since I think best with a pencil in my hand I started naturally to write.’  (Anne Morrow Lindbergh: A Gift from The Sea. More info about her life on  my Reading Blog..)

Anne Morrow Lindbergh's book  -  A Gift from the Sea is her meditation on aspects of life based on her observation of  sea shells.

 I have shells in the pot that I call my Boody Jar, written about here before, so having read this book I got them out and put them on my desk. Then I thought hard about where they had come from, from raw beach at Seaton Carew to a steamy  beach on the North Island of New Zealand.

Of course, being me, I read Ann Morrow's book as a writer.  As a writer I identify with her - particularly in terms of observation. So many writers look, but only see the surface of things and their seeing in not really embedded in their writing; it is not part of their thought  process. 

In her introduction Morrow  says.... 'And since I think best with a pencil in my hand, I started naturally to write.' This reminds me so much of my own mantra 'How do I know what I think till I see what I say?'

Shell Kiss

Each chapter focuses on one shell that Morrow finds, or is given, on her island retreat. First there is her observation and then comes her meditation. My favourite observation is the shell she calls 'The Double Sunrise':' Both sides of this delicate bivalve are exactly matched. Each side, like the wing of a butterfly is marked with the same pattern; translucent white except for three rays that fan out from the golden hinge binding the two together. Smooth, whole, unblemished shell. I wonder how is fragile perfection survives the breakers on the beach.'

 She goes on to compare this with a human relationship: 'Two people listening to each other, two shells meeting each other, making one world between them, There are no others in the perfect unity of that instant, no other people or things or  interests. It is free of ties or claims, unburdened by responsibilities, by worry about the future or debts to the past. ...And then how swiftly, how inevitably the perfect unity is invaded; the relationship changes; it becomes complicated, encumbered by its contact with the world...

This can be interpreted in all kinds of ways but to me speaks of the fragility of true romance and its claims on real life.And here the end of pure romance is the entry of the snake in Eden. It is a very feminine observation and thought process:  it can be taken as proto-feminist or retro feminine. 

Each chapter, each shell opens up another aspect of a woman's life perhaps in the 1950s. And the sensitive perceptions of this woman, who - although economically privileged - has flown the heights and plumbed the depths of family life, make thoughtful readon. Certainly millions of people have thought so since 1955.

My favourite aspect, though, of this book is the beginning of each chapter where she observes   the physicality, the nature of the shell. That level of observation should be in every writer's skill box, in every writer's habit-satchel. 

wx

The Power of the Wild Bluebell

On the bank in my garden leaves of bluebells are massing, ready to bubble forth  in flower late in April.

G., who has a writer's eye, took this photo on his phone: it is a wild bluebell in flower in the wild woods a short distance from here. Almost buried in last year's dead leaves and grasses and tangled in importunate ivy, this ancient flower stands there heralding a proper, wild spring.

The bluebells, long  naturalised in my garden, will be a paler, more apologetic blue, having lost their wild power.

Thank you for the thought, G.

Aslan in South Shields

Sand Aslan

Slick seal tide stains silk soft sand
when its  and the persistent push of water
makes a brand new tide of  pebbles

Food Bread in plastic, wrapped in silver,
tea from flasks in stainless steel
cigarettes in slackened fingers

Sisters, brothers,  all garnered
guile and  innocence
paw down  sand in rusty  tins

Sharpened spears of twice-used wood.
 pierce  the sand-scapes

- chips, perhaps,off the old lion block?

(This is a new one. I am stll working on it...as you see W)

The Itinerant Muse - Kathleen Jones Scribbling on Trains and Planes

Thinking, perhaps

I do love  Kathleen Jones' blog. It reflects her life as a  biographer, poet, teacher  and fiction writer of unique vision. Her blog reflects her life travelling the world and expresses her celebratory  and  principled approach to to life and literature. I asked her to be the guest blogger on Life Twice Tasted.

 Welcome Kathy...

'I’m writing this on a train - which is fairly normal for me, since I seem to be almost always on the move.  My partner works in Italy, our home is in the north of England, and my work as a writer takes me frequently to London and beyond.  Research trips for books have taken me to America, New Zealand, most of Europe, Russia, Cambodia and Australia. Before that, in another life, I was an engineer’s wife, trekking my children from one developing country to another across Africa and the Middle East.  You could say that I’ve learned to live like a nomad, with everything I need in my suitcase.
             All this travel is exciting and there’s all the input and stimulus that a writer needs, but it’s also necessary to have quiet, reflective, creative space to actually produce anything.  And that’s the hardest thing to achieve - a block of time to develop an idea in your head and put it down on paper.  I’ve learnt to use ‘transitional moments’ between one place and the next.  Trains and planes, buses and cafes - hours of time in limbo.   When you’re travelling, there’s no nagging list of ‘must do’s’, no washing up, no unexpected visitors.  Switch off the mobile phone and you’re secure.  The mind and imagination float free and - because nature hates a vacuum - all sorts of words and images begin to appear.
          Lots of writers have made use of the in-between spaces.  Katherine Mansfield  sometimes wrote on the staircase, which she saw as a transitional space, like a railway station - one had departed, but not quite arrived, and it became an alternative universe of space and time to be inhabited.   As AA Milne put it:

 Halfway up the stairs isn't up and isn't down.
It isn't in the nursery, it isn't in the town.

And all sorts of funny thoughts run round my head.
It isn't really anywhere, it's somewhere else instead.

            All this travelling has had an effect on the kind of things that I write.  Serendipity.  I’ve never concentrated on one genre, but always taken what turned up.  In the middle east it was English broadcasting for a local government station serving the Arabian Gulf states.  Then it was going a series of programmes for Woman’s Hour on what it was like to be a European woman living in an Arab world.  I’d have a go at almost anything - poetry readings in supermarkets, magazine articles on witchcraft, biographies of other writers I’ve admired, stories dug out of my own weird life.  Maybe I’d have been more successful if I’d stuck to one thing - but I wouldn’t have enjoyed it half as much!

              Although there’s a small part of me that longs to be ‘rooted in one dear, perpetual place’, as Yeats put it, the rest of my personality experiences a thrill of anticipation at the thought of travel - I can’t see a plane overhead, or a lighted train passing in the night, without wanting to be on it.   This passion for travel must be in my DNA - my mother’s family were seafarers who travelled the globe on ships and brought home foreign women as wives.   My father’s family were itinerant Irish, cattle drovers and horse dealers.

            But, for the itinerant writer, what happens to that sense of belonging, of writing out of place, the father/mother-land, believed to be essential for a writer?

             My roots, my sense of belonging, will always be in the north of England, Cumbria, in the wild landscape where I was born and brought up.  But even then we didn’t stay long in one place.  I was born in a farm labourer’s cottage not far from Caldbeck, then taken at the age of 3 to live on a remote croft in the Cheviot hills between England and Scotland.  At the age of 8 we moved back to the lake district, where my father had a farm manager’s job, before he begged and borrowed enough money to buy a small, ruinous (in both senses)  hill farm in the Uldale fells.  Different schools, different houses;  I became very independent and used to relying on my own resources.  Eventually my father went bankrupt and moved again, and I decided to go to London, where my real travelling (and writing) began.
        There are places I can’t write - places too noisy and busy, where I can’t settle.   And I can’t write when I’m stressed and anxious.  It was particularly difficult when my children were small.  We once lived in a hotel room for four months in the middle east, and we were shuffled round a series of rented apartments and other people’s houses - sometimes moving two or three times a year. Electricity and water were fragile things - not to be taken for granted. There was a busy expatriate social life I came to hate.   I learned to write in my head, memorising things to be written down as soon as I could snatch a moment. 

            I discovered that there’s a space inside your head you can go into and close the door, a parallel world of imagination.  Like Harry Potter’s Room of Requirement it usually appears when you need it. But no amount of searching will reveal it - the door opens by magic.  I’m always afraid that one day it won’t, and that the impulse to create will have vanished overnight, regardless of where I am at the time.  

            I’ve just written the last paragraphs in the airport departure lounge - plane an hour late - and, though I’m aware of the throng of people around me, it’s as though I’m in a little bubble of time, suspended out of real life for a moment.  In transit.  Very odd, but after so many years I now  recognise that it’s part of how and where I write.

© Kathleen Jones

Birthday Vibes: Translucent Butter Muslin

(1)

I wake up trembling

Time vibrating, tolling

Like a church bell



(2)



I see you standing there

dressed in yellow, arms raised -

backlit translucent butter muslin

Visions pulsing like stars before my eye:

You, with red hair in a fluffy coat

You, in sky blue crêpe party dress -

toggled at the neck in amber

You, in a silk dress, smiling -

he stoops, his arm slung

around your shoulders



You, standing straight and crisp

in your blue uniforn

silver buckle belted



A Place For Naming



(3)

The third of four children,

I slipped out barely noticed

among the dogs of war

and other fine distractions.

Later on I made you tea

and passed hard tests,

wrote so many books

just to please your heart

and catch your eye



There is the legend -

a story told so many times -

of me in your arms, you walking

to the church, waist high in snow -

to expunge your sin

and endow me with

a name made up by the man

who loved lost boys.



(4)

I see you standing here

dressed in yellow, arms raised -

all translucent butter muslin

Work in Progress: Recipe For Good Writing

It's lovely to be at the final stages of editing a long novel  but it can make your head hurt. At this point you have to juggle in your head with the ongoing narrative, the whole cast of characters, the themes, the atmosphere, and the setting all at once. But as well as this you have to make narrative flow, clear the undergrowth and retain its complexity, while allowing your readers true access to your meaning.

It occurred to me on this edit-run how important is the symbolism of food  to this novel; how meals can bring all these head-hurting aspects together.

Early in the novel American Tom Roache  surveys the table:

Tom looked up from his delicious porc aux cerises and surveyed the long table in the cloister. Ruthie Dancing was sitting at one end with Jonathon Tye to the right of her and the dark Spanish- looking boy in the washed out T shirt on her left. Jonathan was ignoring his hostess and concentrating on the plump feline girl on his right, whose eyes had flickered across to Tom more than once.  Here’s a chancer, Tom thought.


Ruthie was deep in conversation with the boy.Tom wondered about the boy:an unusual sort of guy for this kind of writing malarkey. He looked out of place and was therefore infinitely more interesting than anyone else around the table. Tom sometimes thought that gatherings of writers could be rather samey. He’d been to a few in his time: they could be drenched with cynicism, spite and the disabling atmosphere of people watching their backs.

Further down the table was the thin Englishwoman who had snubbed Tom on the plane: apparently she was a poet, name of Mariela. At this moment she was glumly working her way through what looked like porridge in a wonderfully bright blue earthenware bowl that had been brought down the courtyard, with some ceremony, by the Frenchman, Serge, who had placed it before the poet as though it contained pearls of great price. Serge was sitting beside her now, enjoying his own Porc au Cherises, chatting away to the poet. Tom could not tell from this angle whether or not the woman was responding.

Beside Serge sat the old lady Francine, who was deep in conversation with Aurélie LeBrun. They were talking in French and Aurélie was laughing and nodding. She was still wearing a rather distinguished chef’s apron and the fair hair that had escaped from her severe chignon was hanging in baby curls round her face.

Tom was fascinated by Aurélie. She was deeply attractive. But, having been bitten a couple of times in recent years, he now steered clear of attractive, mature women. Some of them, daughters of women of liberation, had been bred to believe they could and should have it all. Having it all – in the case of two fine women of his acquaintance – had meant owning his heart and creative soul as well as that of their hapless husbands. Having been stuck in such ambiguous mud a couple of times, these days he chose to stick to friendship. And women did  make fine friends.

Now, he appreciated Aurélie le Brun's grace as she stood up and gathered in the plates - helped by the boy Joe - and informed people they should retain their knives and forks.

At that point Serge LeBrun vanished down the courtyard and returned with a custard-yellow cheese - the size of a small wheel - on a board in one hand and a smaller white cheese on a blue plate in the other. He placed that before Mariela, the large cheese in front of himself and, without asking, cut everyone a slice and passed them around on small plates.

Tom didn’t care for cheese but, minding his manners, he took a nibble. It tasted tangy, salty in the middle and sweet at the edges. He found himself eating the lot, nibble by nibble. Aurélie returned from the kitchen with an apple tart the size of a bin lid. They ate their tart ate off their cheese plate, gathering crumbs of cheese enhanced by the sweetness of the apple. Serge brought a large shiny apple for Mariela. She looked at it resentfully but still took a very small bite, then another. Then another.

Just as Francine was taking her last dainty bite of the apple tart Aurélie tinkled her glass with her spoon and nodded towards Ruthie who resisted the pressure to stand up. Everyone looked at her expectantly. Jonno’s chair creaked as he sat back and folded his arms. The girl Abby smirked at Tom who raised his eyebrows, stern faced.

‘Well,’ Ruthie folded her napkin. She looked at them, from one face to another. ‘I suppose I should say something. I’ve welcomed you all individually and now I welcome you as a group. First, I’d like to thank my partners Aurélie and Serge for launching our retreat with this delicious meal.’ Tom led the patter of applause. Serge grinned and gave a vaguely military salute. Aurélie bowed her head gracefully.

Ruthie went on. ‘It’s great to see you here by the cloister talking and eating together, getting to know each other. I decided we wouldn’t to that awful thing of speaking about ourselves one by one. I’ve always hated that myself so can’t see why I should impose it in my own retreat.’

‘Bravo!’ said Francine quietly. And others round the table nodded and smiled. Except for Jonathan, whose glance had wandered across the courtyard up to the house and then further up to the wide blue sky. Tom thought he was either bored or embarrassed: hard to tell.

Aurélie and Serge were standing now, back from the table. Aurélie smiled. 'We do have some simple rules about the domestic arrangements.’  ...

‘I do have one question,’ said Tom Roache, looking straight at Aurélie . ‘Just how did you make the pork so very fine? I have never tasted such delicious pork.’

Aurélie beamed. ‘Thank you Tom. Me, I am not the  writer but I will write it down specially for you.’ Her gaze met his and for a moment he forgot hus good intentions about mature women.

Later that night the recipe turned up on the table:

Aurélie’s Roti de Porc aux Cherises
You need1 boneless, rolled pork loin or shoulder , 2 tablespoons olive oil , A couple of bay leaves , A sprig or two of thyme


250g cherries (stoned) or redcurrants , 10 sage leaves, roughly chopped , 2 onions, diced , 3 cloves of garlic, sliced 1 tablespoon runny honey , 1 tablespoon soy sauce, 1 tablespoon balsamic vinegar, 1 biggish glass of rosé, white wine or cider ,Salt and freshly ground black pepper


Season the pork well with salt and pepper. Warm the olive oil over a medium high heat in a large casserole and brown the meat all over, then remove it from the pan and set it aside. Reduce the heat, add the onions with the bay leaves and thyme and sauté until soft and translucent, about 15 minutes. Add the garlic and stir for another couple of minutes, then add the sage, honey, soy sauce, balsamic and wine or cider. Give it all a good stir, then tip in the fruit and return the pork to the pan. Bring to a simmer, cover with a tightly fitting lid and cook gently over a low heat for about an hour and a quarter. Keep an eye on it. You might need to splash in a little more booze or water halfway through, though I didn’t. Serve the pork cut in thin slices with the sauce spooned over. The pork is also excellent the next day, cold, and sliced into salads or sandwiches.


Bon Appetit! Aurélie – Baises xxx

I know! I know! It's not perfect, but it's getting there...Wx

A Thousand Year Old Chinese Poem

While working in prison I met an elegant Chinese girl whose English was excellent and who at that time was working her way through Jane Austen. Her name was Xiaocsia He - first name pronounced  Shargia. She did some great work with me, including a short story which was read on th4 BBC and the beginning of a very ambitious novel set in China. One day she brought me a page of Chinese letters. She said it was a thousand year old Chinese poem and could we work on it as you couldn't do it word for word, you had to proceed concept by concept. So we worked together to render it into elegant English. Here it is,,,

We are parting
at the time when the leaves
are withered and keep on falling

The cutting winds of autumn
batter my heart,
bringing sorrow to every part
of my mind and my body
making me die inside.

Now, all I have to cherish
are our bygone times, our old days.
Oh! In what time of our lives
in what part of the world
could you and I ever meet again?


Collaborative Tanslation: Xiaocsia He & Wendy Robertson

This is a very poignant poem, considering her situation. Xiaocsia is back in China now, no doubt making her way in a better life.

The Writing Game: Writing Behind Bars

My preoccupation on this month's  Writing Game programme is Writing Behind Bars

It's always good to talk to other writers. This week it has been a special inspirational treat to talk to two other writers with  experience of working in prisons.

I will begin with a story. One day I was walking down Newgate Street in Bishop Auckland. Towards me came a group of three people: a woman in her forties, a woman in her early Twenties and a little girl of three of or four. The young woman tugged her mother’s arm ands said, ‘Look Mam, this is the writing woman.’

We all smiled and nodded and I said how beautiful the little girl was. I had seen her photo as a baby when her mother was in prison. I asked the young woman if she was still writing. She shrugged and said there was no time, on the out. ‘But I still have my poems.’ She turned to her mother. ‘Don’t I Mam?’

This can happen to me now and then because the prison where I was writer in residence was in the main a local prison with many of the women there from our local communities.

On the programme (broadcast Sunday 4th March at 12 noon) I share the experience of working creatively in prison with my two guests

They are Avril Joy – a friend of the Writing Game – who worked for twenty five years at Low Newton Women’s prison as a teacher and later as head of Learning and Skills before becoming a full time writer. (see her blog on imprisonment at http://www.avriljoy.com/ )

She has now published two great novels The Sweet Track and The Orchid House, and has a novella and a short story collection on Kindle about women who end up in prison - When You hear the Birds Sing, and Susie Drew and Other Stories.

The other writer is Richard Hardwick who is at present writer in residence at Frankland men’s prison in Durham. He has previously worked in neuro-linguistic programming and worked with young people in social care. He has since published a well received novel Kicked Out and a moving memoir Andalucia. Avril and Richard read from their work on the programme. (Contact: www.richardwhardwick.co.uk )

On the programme the three of us sit around the fire in my study and discuss our experiences working as teachers and writers in prison. I worked out that between us we have nearly thirty four years between us, so there was a lot to talk about. The talk ranges from the difficult context of prison, the dark times, the laughter the ordinary and the extraordinary nature of the people one meets inside. We talk about the way the creative writing process can contribute to the lives of prisoners and how it affects the work of the writers who go into prison to do this work.

This was quite an emotional programme. One of my conclusions is that the hard experiences discussed here are not far from any of us. When I was working with women in prison I often thought, there but the grace of god go I. or my sister, or my daughter. I wrote a book about it, Paulie's Web.  (see sidebar)

If you want to listen again, remember that this programme is available as a podcast from Bishop FM or as a free download on iTunes. You can also listen to it on your computer.

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