A vintage car, Middlemarch and hedgehogs

Not having blogged for a while, this post includes a somewhat random collection of subjects. There will be short stories and more paintings again next time.

First, can anyone identify the make of this English car of the 1920s? Olive's Car MJ

Next, while I blush at the years that have passed before I got around to reading Middlemarch (George Eliot), I finally accomplished this. If I had read it as a schoolgirl, I might have been a better writer, but hopefully it is never too late to have an improving influence. Eliot has a way of lightly skewering a character onto the page, with the result that they are forever real in your mind. There are no saints or villains to be seen; every character has strengths and weaknesses, can fascinate or disgust.

A few words on Mr and Mr’s Vincy’s relationship with their daughter, Rosamund, tells so much about all their characters.

Vincy, blustering as he was, had as little of his own way, as if he had been prime minister,…

Rosamund… listened in silence, and at the end gave a certain graceful turn of the neck, of which only long experience could teach you that it meant perfect obstinacy.

 And Bulstrode’s endless rationalisations are a total giveaway of sanctimonious hypocrisy.

… is it not one thing to set up a new gin-palace and another to accept an investment in an old one?

The fates treat everyone with impartial kindness or cruelty according to random whim. Yet  the plot is tight, intricate, totally believable and immensely satisfying. This is exactly what the title implies, a novel woven round a community, and yet this is no old-fashioned pastoral, the individual stories still grab you today. People’s mistakes and aspirations are still recognisable today. I’d better stop. Basically, Eliot has all the skills I am striving to acquire and my envy of her is too blatant.

I started Middlemarch in high summer, but autumn has more than set in. The hedgehogs are still feeding; we almost tripped over one last night, snuffling just outside the back door. He scuttled off, but returned quickly when I put food out. They will not eat in the rain, so if it is wet we put the plate under the back porch. Finally, my favourite rose, Just Joey, has decided to have a final summer fling and the cosmos chocamocha is flowering madly. DSCN6632 - Version 2

 

Reading pile-up and Reality exhibition

My reading has reached crisis proportions. Middlemarch, which I started months ago, has been cruelly and endlessly sidelined, though each time I pick it up, I am right back in there, the characters are old friends and I am in happy awe of Eliot’s every, exact word. Grabbing a volume slim enough for handbags and waiting rooms, I also started Goethe’s The Sorrows of Young Werther, the story source of an opera. For iPad reading on trains, I have Carol Balawyder’s Mourning has Broken, a very moving and fascinating set of essays. Also downloaded months ago, Chimamanda Ngozi Adichie’s Americanah, which I foolishly started… just to see what it was like. Sandwiched between these, but finished, have been a list of nine books both light and heavyweight and ahead are another five books to read ‘immediately’.

So, I made a resolution, NO NEW BOOKS until all the above are finished, and I MUST  carve out some real writing time.

I have just started a ten-afternoon writing course at the wonderful Sainsbury CentreScreen Shot 2014-10-10 at 12.35.40    Screen Shot 2014-10-10 at 12.39.35             at the University of East Anglia (UEA). I signed up for this at a low moment when re-reading the final, supposedly fully edited, manuscript of Border Line, and having concluded that I still had everything to learn about writing.

The course tutor is Patricia Mullin, so I downloaded Patricia’s novel, Gene Genie, and have been reading that on the train.

The writing course is attached to the current exhibition of modern and contemporary British painting, Reality. This is a stunning exhibition (no photography allowed), but we have a free run of the exhibition for the ten days of the course. Many paintings have intrigued me, but one by John Keane (website screen grab), has set a story going in my head.

Screen Shot 2014-10-10 at 12.19.51

His other work is fascinating too and on his website he says:

I am interested in the process of painting, and I am interested in why 
human beings want to kill one another for political ends. These two 
apparently diverse preoccupations I attempt to reconcile by smearing 
pigment around on canvas in an effort to achieve a result whose success 
can be measured by how well it disguises the sheer absurdity 
of the attempt.

And what is the writing course homework? Trawling for great opening lines and writing our own story first lines. I spent a happy and feverish week reading old favourites: Kipling stories (The Maltese Cat, Without Benefit of Clergy, Little Tobrah, The Head of the District etc), and Salinger (For Esmé With Love and Squalor etc), Saint Exupéry (The Little Prince) etc, etc, etc I also opened all my most-loved books, only to find that the majority had nothing dramatic about the opening lines. They were often quite conversational. Though one of my favourites is Mary Renault’s The Last of the Wine which opens:

When I was a young boy, if I was sick or in trouble, or had been beaten at school, I used to remember that on the day I was born my father had wanted to kill me.

Is it just me, or are others caught in the same reading maelstrom? How does one extract oneself, brain intact, from such a reading pile-up? (sorry about mixed metaphors.)

I shall go and sweep some leaves and pretend that my list of tricky phone calls to promote Border Line can just as well be tackled next week… I read this and then made myself ring a local newspaper.