Are we influenced by the fears, and maybe the loves of our ancestors? This story – http://www.nature.com/news/fearful-memories-haunt-mouse-descendants-1.14272 – took my breath away. A mouse was trained to react negatively to a particular smell, and this reaction was passed on to its grandchildren. The experiment asks as many questions as it answers – for politicians, teachers, artists, for all of us. Just as we’ve got used to the idea that we may be the product more of our genes than of our nurture, this blows the whole argument open again.
The Middle of Nowhere
I live in the middle of nowhere. There is nothing for miles. (And by ‘nothing’ I mean hills, fields, farms, streams, clouds and sheep). There are no other houses, no shops, very little traffic. I drive to work and rarely meet anyone coming the other way. I drive home and stare into the setting sun. At night the house creaks like an old ship. In the mornings, in the summer, there is no better place to live. In the winter, when everything freezes up, the track to the house becomes an ice slide, we can’t get out, and nothing can get up here. We’re marooned. And if the water supply shuts off and the boiler breaks down, we might as well be living in a tent. So I watch nature’s clock for the tell tale signs of spring: the snowdrops, the daffodils, the first green buds on the hawthorn. And when everything explodes into blossom, it is symphonic and sublime, and then the cold brutality of the dark months is at last seen off and life never feels so good.
The Frailties We Share
This Monday, on R4’s Start the Week, Andrew Marr, Jeanette Winterson and John Tavener talked about the soul, about their spiritual journeys. I am in awe of all three; they share a willingness to share their uncertainties, their frailties. Too often the public sphere seems to be made up of people who exude confidence and self-belief; most of us are not like that, but we’re often unwilling to make it known. It’s an astonishing edition of the programme, made poignant by Marr’s return to broadcasting after a stroke, and Taverner’s death the following day.
It’s here, 11 Nov, 2013 – http://www.bbc.co.uk/podcasts/series/stw
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Ten Again
It’s strange that even though I’m drawn to experimental art, to people and theories that challenge the status quo, again and again I come back to same things that I loved when I was about ten years old. I was bewildered as a child, I didn’t know what was going on. I still don’t know. I loved mountains and history, I loved music and football. And here I am, decades on, after fancying myself as a rock and roll singer in my twenties, and an avant garde artist in my thirties, I’m back to the child I was, staring at the stars in complete astonishment at being alive. I’m fortunate, I know, to have enough of what I need not to care about those things, so I am able to spend time just being in awe.
Richard ll
David Tennant’s Richard is the love child of Richmal Crompton’s Violet Elizabeth and Harry Enfield’s Kevin. He’s a spoilt brat surrounded by giggling sycophants who obsequiously applaud each of his successively disastrous decisions. He makes sarcastic asides, is impatient with the old and tumbles blithely into chaos. Even when the game is up, and he’s ordered to submit the crown to Bolingbroke, there’s a suggestion he’s going to stamp his foot and say ‘shan’t’ or ‘it’s so unfair!’ Tennant is very funny, and there are plenty of laughs, but Richard is an unpleasant character and only someone with Tennant’s huge popularity can pull it off.
Filed under Shakespeare, theatre
In Praise of Fog
One thing I love about mountains, and the views from their slopes and summits, is the distance that sparks the imagination. William Hazlitt said most of it in his essay ‘Why Distant Objects Please’. I can populate those distant places, a ship out at sea, a far off hill, with whatever I like. Get closer, and the reality is less alluring. I feel the same way about most things, about characters or places in books and films, or melodies in music. I’d prefer them to remain indistinct. I like murk and fog, I like the swirl of mist, and slippery uncertainties. Even in everyday exchanges, I prefer things left unfinished. Too much detail is like a lamp that’s far too bright. There are exceptions, of course, like following instructions for installing a new printer, but even then, I tend to sort those things out by fumbling, trial and error, and by throwing stuff across the room and so on.
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Alchemy
It’s a limbo I’m sure all writers understand. The book is finished, and has been reduced to the essence of what it should be. I’ve always thought writing, or any creative activity, is like alchemy. The alchemist takes raw materials, or base matter, and subjects it to a process of reduction until there is nothing but a purified essence. This, perhaps, is the mysterious white stone. It is everything stripped down to all that matters. I forget who said that good design is the art of knowing when you’ve reached the point where no more can be added, and nothing can be taken away. Perhaps it’s the same for writing a book. I don’t want to add any more, and I dread taking anything else away. Meanwhile I am in limbo, waiting for my agent to reveal to me what she intends to do. Will she represent it? And if so, to whom? Will she be ambitious, cautious, or will every publisher in town get to see it? So I cook boiled eggs and eat toast. I read more. I fidget.
Barbarians
I drove east to Oxford and a party to celebrate 25 years of the Felicity Bryan Agency. It took place in the beautiful, refurbished setting of the Ashmolean Museum. I overdosed on champagne and managed to be articulate enough to talk to a number of agency authors. I chatted with Peter Heather, who very modestly told me he was teacher, which he is, but he is also Professor of Medieval History at King’s College, London. His expertise is the fall of the Roman Empire, so I asked him to tell me, in one word, why the Roman Empire collapsed, he replied ‘Barbarians’ – which I think is the title of one of his books. I want to read it now, not just because I don’t know much about who the Barbarians were, but because Peter was a very amusing bloke. Lydia Syson, an author I hadn’t met before, was embarrassingly nice about my books, and Joanne Owen I discussed being Welsh, and what Wales means to us.
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Battles with My Boy
Last week I took my son to start his first term at university. Saying goodbye to the first born was something I was not looking forward to. I wanted him to go, to begin his new life, but knew I’d miss him. He’s been bogged down with school subjects he was never that immersed in, and so to start studying the thing he loves most, politics, means that he is doing what he wants to do. It is such a bittersweet experience. Once upon a time I had an idea of writing a book about our travels together: Battles with My Boy. It was to be a travelogue of journeys across battlefields of Britain, and a commentary on our arguments. We used to argue all the time, about politics, education, how to make tea, where the biscuits have gone.