I Should Live so Long: One Hundred Years of Solitude

I learn foreign languages with the aim of reading the literature. The drawback is it takes years. In fact,  the only language with which I feel confident with is French, which I  learned at school. I remember a  holiday in France with  no access to English books when I read 'Madam Bovary'. There must have been lots of words I didn't know, but it helped that I'd already read an English version.

 

I was pleased when I saw an entry  in the U3A handbook earlier this year : Argentinian Francisco  offered  to lead weekly two-hour sessions of advanced Spanish in his home. It took months to get together enough people of the right level and  agree a class  time but after a launch at the Royal Standard pub in  Blackheath it was settled. Now we get together  at 3pm to 5pm on Wednesdays at Francisco's house in Charlton - six members, including Francisco, but usually only about four or five people at each meeting.

The first half hour  is taken up with translating into Spanish a piece from the freebie Metro Then we do it the other way round with a Spanish freebie, called El Iberico. 

 

After a ten minute chat-in-English break we read and translate,  A Hundred Years of Solitude (Cien anos de Soledad) by Columbian  author Gabriel Garcia Marquez.

 

The extraordinary tale tells the story of human development through the history of a small town and its leading family. Jose Arcadio Bendia has two sons of quite different temperament and abilities -one is serious and interested like his father in new discoveries and inventions, the other is a more sensual individual of great sexual appetite. It's a pattern that's repeated over the generations. The women are subordinate but  strong individuals who  deride the hair-brained schemes of their men,   and who sometimes go AWOL.  

 

The style is 'magic realism', which means bizarre things happen, sometimes the result of exaggerated reactions and confusing timeshifts. Gypsies pay an annual visit to the isolated town of Macondo, appear each year with some new invention from the outide world, such as a block of ice or a flying carpet. Some events are starting and some are funny but all are recounted in a style that piles on details in  hypnotic sentences. When you read you become fully immersed and convinced by the author's vision of his world .

 

 We don't go very fast - on average four pages each week, because of the method of taking it in turns to read and translate a passage. It's the sort of thing that was tedious in a school classroom but which works very well with a small group of adults, especially when one is a native Latin American speaker.

 

Some of the group use dictionaries, and I initially downloaded the text to my Kindle, so I could use the built-in dictionary. It's easier just to position a cursor and click than to search a print dictionary, but the drawback is that the Kindle version doesn't have page numbers. I use a 'parallel text' method instead - I read a page in Spanish, putting pencil crosses over words I don't know, then I read the English version, writing the translation over the crosses.  

 

So far so good, excpet for a minor setback - Francisco's three sons have clubbed together to buy their father a ticket to Argentina . He'll be away for three weeks. As we 've only reached page 60  of this 500 page novel, I only hope I live long enough to finish it.

 

Reading Like a Writer

I don't buy many books these days - partly because like most people I know I've run out of room in the flat, and I've about twenty sackfuls in the garage. But I couldn't resist this item in the London Review newsletter - not just  a book about writing but one that recommends learning to write from 'good' authors. Just what I need right now - reassurance that reading 'difficult' books has some validity. I've been struggling recently to write stories for women's magazines. A lifetime of reading nineteenth century novels hasn't helped. I've tried hard to write short sentences with simple  words set out in a fairly straightforward manner. It's been a good exercise.

Reading like a Writer by Francine Prose is a fascinating  book for any writer who's also a keen reader.  Chapters analyse models from mainly, but not exclusively, American works  using  a method called 'close reading'. The author says this approach was one she learned at college instead of the old way. This privileged  context, so biographical and historical details assumed more importance than the text itself. While I don't think one precludes the other, the approach is one I used  when I did my Eng Lit degree.

The book opens with a description of the author's method for teaching Creative Writing by close reading. The chapters that follow are headed : 'Words', Sentences', 'Paragraphs', 'Narration', 'Character', 'Dialogue', 'Details', 'Gesture', 'Learning from Chekhov','Reading for Courage', 'Books to be Read Immediately'.

I've read about three so far and am enthralled by the easy style and use of extracts from familiar writers, from  Jane Austen to Raymond Carver and from  Gustave Flaubert to Katherine Mansfield, taking in Chehov and Shakespeare along the way.

'Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted, and reminds us that good writing comes out of good reading'.

A Novel of Two Halves: Until it's Over by Nicci French

The experience of  discussing this book with members of my local crime reading group made me realise the importance of structure.  I go to see so many plays and films where the aim is to keep the reader guessing, so it's important.

In the first half of Until it's Over the reader learns about a  group  who share a house in North London. One of the four men bought the house while he was at university and then let off rooms to fellow students. Years have gone by and they are still together, mostly established in their careers. There are a couple of newcomers.

Astrid,  her late twenties, is a bit of a drifter who began working as a bicycle courier after a gap year. She's had a few failed romances and  a couple of  casual sexual encounters with one of the  other housemates, a sleazy photographer called Owen.  Then, within a few weeks, she's linked to  three separate murders. In addition, the landlord's new fiancee says she wants all the tenants to leave before she moves in.

I'd read two quite riveting novels by Nicci French - a portmanteau name for the team efforts of married journalists Sean French and Nicci Gerrard. Maybe that's one reason why  I took a more favourable attitude than other members of the library crime reading group. I arrived five minutes into the discussion, so was surprised that the hostility was already established.

It's what usually happens - people say straightaway whether or not they like a book and then justify their opinions, which opens up a discussion about plot,  characters and style.

The first, and main, objection concerned the structure.  It's truly a book of two halves, with an unexpected  switch in the point of view at the place where most crime  novel sag : in the middle.  There's a  sudden increase in the level  of interest, as the reader sees things from the murderer's point of view.

Someone said it's a common feature of crime novels - practised, for instance, by Val McDermid, or Ruth Rendell, but in those  the change of viewpoint happens in alternating chapters, not as a sudden switch half way through. 'We're just going over the same ground all over again,' someone said.

While that's true, there was quite a bit of satisfaction, for me at least, in having questions answered. Most importantly, I found out why Astrid had been present at the crime scenes  - accidently the first time - and why, in the end, the murderer had it in for her as well.

There's a lot more to object to - not least the slightly bizarre situation of seven people all living together in the same house for no reason other than they're too apathetic to move. It's true that accommodation in London is expensive, of course, someone conceded. People often have to live with their parents until their thirties. Again, they all seem to get on so well; they don't even have locks on their  doors. Maybe that's how things are in North London, said someone else. It's true there are two many poorly described characters, so we can't even remember who they are when they're mentioned again in the second half.

I think I was so bowled over by the structure, that I was prepared to overlook a lot. But  I had to agree that the denouemement, which made most people laugh because it was so unlikely,  stretched even my credulity.

So, sadly,  not up to the standard of The Red Room and Killing me Softly.

Pretentious in Florence: Mark Mills' The Savage Garden

Personally, I like my crime to have a more literary flavour than your average Agatha Christie affords , but Mark Mills could take a few tips from the 'Queen of Crime' with regard to plot development.  Nobody  in the library crime reading group liked this, a Dan Brown-style mystery/murder set  around a villa near Florence.

The main problem is that the murders happened some years before, during wartime, so there's no sense of urgency, although it does have some bearing on who is the rightful heir to ownership of the property. It's not particularly well-written and the narrator is too immature and lacking in character for us to empathise.

An indolent  Oxbridge student's tutor offers him the chance to complete a thesis in Italian garden design through a contact in Tuscany. The  Roman statuary dotted about within it seem to have symbolic meaning. Research into the poetry of  Dante and Ovid point to a murder.

His middle-aged landlady seduces the priapic youth  as as soon as he arrives but he's  more interested in the young virginal niece of the elderly female villa owner. His pheronomes seem so string that one even suspects the old lady will be involved at some point. The graphic sex scenes are not attractive and put most readers off the book.  I suppose  all the talk of Dante is educational in its way, althouhg it just seems like showing off.  The hero's  wastrel  bohemian brother turns up around page 200 and  promises to liven things up, but he soon disappears. Even the young man's parents in Purley, whom he despises for their mediocrity, have all too short a stay.

The book is praised on the cover for its setting, but I'd say read EM Forster's Room With a View or see the film starring Dame Judi Dench. A better mystery story is John Mortimer's Summer's Lease, which has also been made into a film.

Favourite Things : Launch of Linda Stratmann's The Daughters of Gentlemen

Some people like a good funeral. I prefer a nice book launch :

It's an excuse to visit a (usually) posh part of London

The bookshop ambience is convivial

The author gives a little talk about his/her next book

There's a chance to talk to friendly book-readers

Not least, there's free wine and nibbles

Daunt books on Holland Park Avenue is a 'really lovely bookshop', according  the person of whon I asked directions, having made the mistake of walking first to Notting Hill Waterstones. Notting Hill has more shops but Holland Park is more 'select' and foodie - it has both a Paul and a Patisserie Valerie, which some might think excessive.

Linda has written a lot of true-crime books but The Daughters of Gentlemen  is only her second work of fiction. As before, it stars female detective Frances Doughty and is set in Victorian Bayswater. Linda says her next book features that ubiquitous Victorian bugbear, the fear of being buried alive. The other ingredients sound a bit racy. I expect other readers enjoy as much I do the gradual uncovering of the dark forces underlying the respective veneer of Victorian society.

 

It was good to catch up with someone I'd first met at the launch of The Poisonous Seed, in which Frances worked in her father's pharmacy and was set on proving he hadn't done in one of his customers with cyanide. Or was it strychnine? Something fatal, anyway. In the current one she's called in to solve a crime in an a genteel school for girls and rather hopes it won't turn nasty. Fat chance!

After that I had a chat with a lady wasn't so old as to be Victorian, but had toughed it out as  the youngest of five children with a widowed mother who ran out of money when it came to her turn to go to university.

All this, plus wine and nibbles and a book signed by the author. Definitely one of my favourite things.

Almost Promethean: U3A London Region Creative Writing Study Day at Canada Water Library 19/4/2012

 Had Lewis Carroll and  Aleksandr Solzhenitsyn been partners in building design  they might well have come up with  Canada Water Library. In fact it was designed by Piers Gough, and opened in November 2011. It's said to have solved the problem of how to build a library  on too small a site, as if the fact of a new library were not miracle enough in a time of widespread closures.  Inside,  it was warm and cosy; not at all like the set for a Murnau film.  

The U3A ‘Day for Aspiring, Self-published and Published Writers’ attracted some 40 enthusiasts, from London and other regions. I know because I was i/c of ticking off names.

National Adviser for Creative Writing, Maggie Smith, whose creative writing classes I was once lucky enough to attend,  facilitated. Gwen Wright, U3A London Regional Chair, welcomed guest speakers Ian Skillicorn, Director of  National Short Story Week, and   Catherine King, author of popular fiction novels. There was an opportunity over a buffet lunch for members to buy books and CDs as well as chat informally with speakers and fellow writers.

Ian Skillicorn's past was in non-fiction writing and translating. He returned from Italy to found Short Story Radio.com in 2006, a project that attracted Arts Council funding and content development in 2009. In 2010 he conceived  the idea for National Short Story Week.  The third annual events will take place in on November 12^th-18^th 2012 and will be celebrated in about 25% of UK libraries. In addition to adult entries, this year 250 schools will be invited to submit entries. More about this, plus downloadable podcasts, can be found at http://thewritelines.co.uk/blog/

Ian had brought along a CD  of short stories,  Women Aloud, to be sold in aid of the Helena Kennedy Foundation (Further details at www.hkf.org.uk) Contents  include stories by  Katie Fforde, Sue Moorcroft and our next guest speaker, Catherine King, in a two-disk compendium. 

A new Short Story Network will be launched on May 1^st with links to organisations such as the National Association of Writers, the Amateur Theatre Network and Writing Magazine.

Ian’s  talk  was titled: What Makes a Good Story?  with an emphasis on writing for radio. Fascinating, but as Ian uses his material for teaching I can't say anymore.

 Catherine King's talk stressed  the need for market awareness. From a scientific background ('I was no good at English in school'), she began writing her popular sagas after retirement. They are set in Industrial Revolution Yorkshire, and feature strong heroines who survive the hardships that were the common lot of working class women in the nineteenth century. From her first novel, Women of  Iron (2006)  Catherine went on to develop the theme through six further works, the latest a story set in the fashionable Edwardian era with a heroine who is in domestic service.

 Catherine was enthusiastic about the income libraries generate for  authors in payments for lending rights especially with  adaptation to audio and  large-print versions.

The development of eBooks was  was a marvellous marketing outlet for writers at a time when publishers are economising on  paper publications.

Her inspirational attitude, as someone remarked, could be summed up as’ If I can do it, anybody can’. There are two things publishers want, she was told: a good page-turning story, and a voice, which could be summed up as the writers ‘take’ on life.  

Catherine  said writers  should network , especially on occasions when agents might be present. Find your own tribe, she said, and join events and associations that would relate to your chosen genre. She talked of ‘rubbing shoulders’ and ‘the elevator pitch’ or imaginary thirty-second slot in which to summarise your novel.

The afternoon session continued with practical writing exercises conducted by Maggie Smith. The results were first read aloud in small groups, and  the best were shared with the appreciative audience. All agreed the programme had the right balance of learning, writing and socialising –the current buzzword, ‘networking’ seeming inadequate to describe the sense  of camaraderie that characterised the day.

World Book Night 2012 at Manor House Library

There was a good turn-out at Manor Park Library, and I spotted some reading-group members among the standing-up throng. They should have come earlier, I thought. But they'd been vulturing in the adjoining room, where the giveaway books were laid out. By the time I got in there it was almost bare. Never mind, I enjoyed the delicious home-made snack - canapes, they've been called at other minglings I've attended. Especially memorable were tiny jerk vegetable patties and spiced mini potato- cakes. Shame I was off the wine that day, because there was plenty of that.

I did pick up a YA book that a reviewer had brought to swap. She confirmed it would be suitable for my granddaughter, who is fifteen. I'll report on that later.

I took Mrs Fry's Diary, by Stephen Fry, which I blogged about earlier, Hot Kitchen Snow by Susannah Rickards, whose short story class I attended last year, and   Butterfly Tears, by Zoe S Roy, which I reviewed myself  -inspiring stories by a Chinese woman who'd emigrated alone from Hong Kong to Canada.  These books disappeared pretty quick, too.

Old Filth by Jane Gardam

The title refers to an anachronism: 'Failed in London; try Hong Kong'. 'Old Filth is a nickname that the main character. Sir Edward Feathers, acquired during his distinguished career as a judge in the British outpost.

I didn't think I wanted to read a book about a 'rich as croesus' ex-colonial recently retired from Hong Kong to live in Dorset, but it was a local library reading group choice. By chapter two I was hooked, as the old man is stumbling around in the snow, having locked himself out of his remotely-located house and forced to seek help from a hated neighbour (why he hates him we are to learn).

Sympathy grows as he reminisces about his childhood in Malaya (as it was then) where his colonial administrator father leaves him in the care of local villagers when his mother dies shortly after giving birth. Aged five, he's separated from the only person with whom he's bonded - an older girl of his foster family - and sent on the long voyage to England. We learn this was the usual fate of thousands of so-called 'raj orphans' - traumatised by the separation and supported through prep and subsequent public schools by only by monthly cheques.

The narrative switches between the extremities of old age and scenes from a lifetime of interacting with a host of unusual characters, that encapsulate 'a whole period from the glory days of the British Empire, through the Seond World War to the present and beyond'. For me, it's the quality of the writing plus the exploration of a complex character and his relationships that makes the book such a compelling read.

Published in 2004, the book was shortlisted for the Orange Prize in 2005

An Unfortunate Encounter : Truman Capote's In Cold Blood

I enjoyed reading  the Lewisham Library Crime Reading Group's  choice for March. It's a shame I missed the discussion because the book raised issues worth talking about. The meetings are lively, and this is a thought-povoking book about  the random killing of a family in a remote Kansas farmhouse.

Having recently read James M. Cain's 1934 novel, The Postman Always Rings Twice the group were familiar with depression-era drifters and the notion that chance encounters could lead to mayhem. You could argue that the murder committed by that story's anti-hero was as much a crime of passion as a act perpetrated  for material gain. In the case of In Cold Blood, however, the motive, one might say, was purer : in 1959 a pair of ex jail-birds follow  a tip-off  about a wealthy landowner who keeps a safe in his house. But the safe doesn't  exist. Much of the drifting after the crime is  motivated by the wish to evade capture. Capote's detailed journalistic style is ideally suited to telling the tale, switching at first between victims and criminals and later gruesomely fascinating in its descriptions of life on Death Row

I watched the 1967 film on DVD. It depicted  the different personalities of the two young men , Perry Smith and Dick Hickok. It was also clear to me that the real reason  the family had been killed was that the men were wound up by a desire to appear 'tough' to one another - particularly the younger  Perry, whom Dick impressed by the swagger and confidence that made him such a successful conman. It's amazing that in the days before cheque guarantee cards shopkeepers were  so trusting. Passing dud cheques was called 'paper-hanging' .

It's remarkable  that Truman Capote, writer of the very different  Breakfast at Tiffany's and played by Philip Seymour Hoffman in the 1995 film , was capable of such a such feat of journalism. He read about the case in the newspapers in 1959 and then went to interview the men in jail, as well as reading witness statements and trial transcripts. The church-going backgound and daily routines of the respectable Clutter family contrasts with the lifestyle of the two men, and the recreated dialogue is utterly credible.  The writing style seems on the surface  curiously flat and factual -  more effective and engaging  than a more sensational approach. The meeting of the two men, their crime and the aftermath are made to seem as inevitable as the meeting of the Titanic and the iceberg.

Buried too deep: John Sandford's crime novel:  Buried Prey

All last week I was  on a demanding immersion course in Spain, so I put the  lacklustre nature of the first half of this book  down to tiredness. After page 200, though, when the killer's point-of-view was introduced,  it suddenly picked up. It was no effort to  finish it during the  return journey.   I was all ready next day, it being the  third Saturday of  the month,  to discuss it at  my local  crime readers' group.

Maybe it would have helped if it hadn't been the twelfth book in a series with a particular Minneapolis-based detective;  the author was assuming a certain amount of groundwork. But, as a newcomer, why should I be interested in Lucas Davenport, who seemed a bit of a wuss in his wool suit,  most unsuitable, ha-ha, as it happened,  for kneeling in mud. This was activity much in demand in his line of work.

To make matters worse it's a cold case - two small skeletons surface during land clearance and they turn out to belong to Lucas's first case, when he thought his colleagues had named the wrong killer but he lacked the authority to follow up his hunches. Not only has reader no stake in the case, not having known the victims, who are sisters, but  their  mother turns out to be a callous publicity-seeker, bizarrely launching a career on the back of her  TV appeals.  It's only when we get to know the killer, still at large, that the reader's attention is engaged.

It made me think about the role of the serial detective  in crime fiction, of which publishers are much in favour. In a sense these adult novels resemble  popular children's series;  the same central character or gang, whether Tracey Beaker or Harry Potter or (giving away my age) The Famous Five, is  already known to the reader. For adults, whether it's Sherlock Holmes, Ian Rankin's Rebus or Val McDermott's Tony Hill, the effect's much the same - the burden of interest falls on the plot. Granted  we want to know how our hero/heroine's  singular  abilities will help  solve the crime, but the focus must always be the nature of the events.  

This isn't  necessarly a bad thing, although style and wit are always welcome, but it means the action should take hold of the imagination early on.  Otherwise, even loyal fans begin to yawn and newcomers may not persist - unless, of course  like me they have an incentive that's quite extrinsic to the book itself.