Ali

Dec 072012
 

January 1st 1909.  Ten-Footed Bear.  Tarak told us Wednesday evening that the tenfooted bear lives mostly in the water like a seal.  Looks like a polar bear all but the ten legs.  When he walks on ice the five feet of each side track after each other so the bear makes a double track like a sled.  Walking the bear often gets his legs tangled up; there are so many, he can’t manage them all.  Once a man was followed by a ten-footed bear.  The man walked between two cakes of ice and the bear was caught in the crevice between them.  If his feet had not become entangled he might have gotten off.  As it was, the man speared him.  When dying, the bear fell on his back, all his feet pawing the air.  This is an old men’s story.  Tarak never saw such a bear or tracks.

- Vilhjalmur Stefansson, in his Stefansson-Anderson expedition journal, 1908-1912

One of the wonderful things about monsters is that you can make them even more monstrous by merging them together.  Many fabulous beasts are a fusion of animal body parts, or of multiple instances of the same creature crammed together: one body with three heads or nine tails.  So too the qupqugiaq of the Arctic, who the Inuit and Inupiat peoples describe as a massive polar bear with ten legs.  During blizzards, the qupqugiaq rolls onto its back and waves all its limbs in the air.  Fooled by the swirling snow, the unwary hunter mistakes the moving legs for a human crowd and goes to them.  Then the qupqugiaq tears him into more than ten pieces, and feasts well.

We don’t know much more than that about qupqugiaqs (most of those who survive an encounter only do so by killing the bear), although it would be wrong to think of them as malignant creatures just because they like to snack on human beings.  That’s just bears being bears.  Evidently the ten-legged polar bear can be an aid as well as a danger.  In Explorations in Anthropology and Theology, by Frank A. Salamone and Walter R. Adams, the authors’ Inupiat host describes how his son inherited a ten-legged bear as an animal helper (a feral kind of guardian angel) from an ancestor.  ‘Polar bear helpers grow to a gigantic size,’ he explains, ‘then develop three more pairs of legs to become the ten-legged polar bears known as kiniq or qoqoqiaq.’

There’s another kind of many-legged and nigh-on mythic bear out there, officialy named the tardigrade but more commonly referred to as the water bear.  At less than a millimetre in size, it’s obviously not a member of the ursidae family of mammals.  But, hey, those extra limbs also bar the ten-legged polar bear from entry into the mammalian club, so I’m calling both of these creatures as members of familus qupqugiaq.  To make up for their size, water bears have powers.  They can ressurect themselves, for a start, and they can become invulnerable when the need arises.  In September 2007, two water bears blasted off in a rocket from Kazakhstan.  In orbit around the Earth, they endured the airlessness and vastness of space as well as the lethal radiation of unfiltered sunlight.  Then, after ten days, they returned from their mission alive and well.  Here’s water bear expert Mike Shaw (no relation), outlining some of the amazing properties of these animals.

 

 

I can think of one reason why those water bears survived: there are already bears in space, and these star bears took a shining (forgive me) to them.  Ovid describes how Juno transformed Callisto and her son Arcas into bears, only for Jupiter to throw them into space.  You can listen to Ted Hughes read his translation of that sequence at the National Gallery’s website, and you really, really ought to.  ‘Then to empty her cries of their appeal / The goddess nipped off her speech.  Instead of words / A shattering snarl burst from her throat, a threat – / Callisto was a bear.’

That story describes how the stars of Ursa Major came into being.  Likewise the Iroquois tell a story of the same constellation bear.  Three hunters chase the animal so high that they end up in the heavens.  ‘As it broke from the cover of the pines, the four hunters saw it, a gigantic white shape, so pale as to appear almost naked.  With loud hunting cries, they began to run after it.  The great bear’s strides were long and it ran more swiftly than a deer.’  In outer space, they spear the bear, cook it and eat it.  Then, to their amazement, it comes back to life.  Like the water bear, it can withstand just about anything.

According to Wikipedia, ‘The pre-Christian Finns believed the bear to have come from the stars and that it had the ability to reincarnate.’  A chap called Matti Sarmela has written a fascinating and extensive study called The Bear in the Finnish Environment, where he notes that, ‘Narratives of the bear de­scended or evicted from heaven are also found with Siberian hunting peoples. One of the closest equivalents of the Finnish bear birth poem is the Khanty myth narrative. In the beginning of time, the bear lived in the heavens. Defying the orders of the master of heaven or supreme god To’rom, it wanted to take a peek at earth and was enchanted by the land of the Khanty. By defying the order, the bear committed a “deadly sin” and as punishment, the supreme god ordered that it should be lowered in a cradle by golden chains onto earth.’

If interstellar cousins aren‘t behind the water bears’ miraculous antics, perhaps they’re due to all those legs.  Perhaps many-legged bears are just plain magic.  Further evidence comes in the form of one more nearly-bear, the woolly bear caterpillar.  This is another diminutive species of qupqugiaq that likes to come back from the dead.  It’s also my chance to once again shoehorn into this bestiary the work of the peerless David Attenborough.  He, as far as I’m concerned, is the closest thing we have on Earth to a mighty bear spirit…

 

 Posted by at 12:35 pm

Knuckles downed

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Dec 042012
 

Last Friday I finished work on the penultimate draft of my new novel.  It was cause for relief as well as whiskey, since I’ve had my head down for the last several months, pushing myself to see it through to completion.  Most of the time I can both write and keep a loose hold on the rest of my life, but sometimes I just have to let go and drop into a fictional world.  That’s what I’ve been up to since the summer, and although it’s been rewarding as far as the new book is concerned, I’m sorry to have left this website in a state of disrepair.  Likewise my apologies if I’ve missed you on twitter or other places online.  My working methods aren’t brilliantly in step with the digital age.

Anyway, I’ve got some time again now.  Things to catch up on.  Things to get done.  I’ve got a new entry to add to my bestiary, which I should have up in a few days’ time.  Then there’s the imminent arrival of the UK paperback of The Man who Rained, which will be on bookshelves around the end of the month.  Meanwhile Das Mädchen mit den gläsernen Füßen (the German edition of The Girl with Glass Feet) won the lovelybooks.de award for best cover of 2012.  I can’t really claim credit for that, but it’s an excuse to show you this delightful little trailer that script5, the German publisher, put together.

 

 Posted by at 2:40 pm
Jun 222012
 

It’s usual at this time of year, when the rain hammers down and stirs the fields to deep muck, for thousands of festival-goers to descend on a certain spot in the West Country.  It’s not happening this year, much to the despair of Wellington boot retailers, and its absence leaves, in my view, something missing from the English summertime.  Glastonbury is a bit like Wimbledon.  You might not attend it, follow it or watch it on the telly, but if it didn’t happen you’d still notice its absence.

The closest I’ve ever got to the festival is a visit to the town itself, and the abbey and the tor and the thorn tree.  I love all the eccentric stories that have sprung up around the place (see, for example, ‘Was Jesus taught by the Druids of Glastonbury?‘).  Conversely, I was miserable when somebody hacked down the Glastonbury Thorn, because even if it isn’t the flowering staff of Joseph of Arimathea, and even if that cutting was only planted in 1951, and even if I sound like an archetypical Glastonbury hippy for saying so, we could all use more trees and fewer chainsaws.

If, like me, you’ve got an itch for a little bit of Glastonbury this summer, there are various ways to scratch it.  The BBC has a vast archive of highlights that should keep you reminiscing and the Guardian is showing a tongue-in-cheek live-stream of the empty fields (hey, you might see a bird, or a bumblebee).

So many great musicians have played the festival that there are now loads of fantastic performances online.  Here are six of my favourites.

1. Something gentle and intoxicatingly folky from Alela Diane, with her father accompanying.

2. I get a William Blake vibe from this performance by The National.  England, angels, pleasant pastures and clouded hills.  Must be something in the water there.

3. One of my favourite songs, and one of the few I managed to dance to at my wedding.  I want a whole load of black and white balloons.

4. The thing I love about Shibusashirazu Orchestra is that every time the camera cuts back from one shot to the other, it seems to have discovered a new musician, a new wig, or a new naked man crawling on the speakers.

5. The Flaming Lips closing their set in 2010.  I bet there were hundreds of teary eyes and tingling spines when he played the encore part at the end.  It chokes me up just listening to it on YouTube.

6. The late Jeff Buckley back in 1995.  I was overjoyed to stumble upon this.  There’s a bit in this film where Buckley takes a breath and you get the sense that the crowd have just been wowed into silence.  Probably it’s just the editing – in my experience there’s always some jerk at a gig who shouts out his own name in the quietest part of a song – but here, hearing that impeccable voice, those abstract lyrics, you can believe that the crowd fell quiet.  Thanks, Glastonbury, for this and many more.

 Posted by at 3:27 pm

Ray Bradbury

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Jun 082012
 

Enough now. There you have it. There are one hundred stories from almost forty years of my life contained in my collected stories. They contain half the damning truths I suspected at midnight, and half of the saving truths I re-found next noon. If anything is taught here, it is simply the charting of the life of someone who started out to somewhere—and went. I have not so much thought my way through life as done things and found what it was and who I was after the doing. Each tale was a way of finding selves. Each self found each day slightly different from the one found twenty-four hours earlier.

- from Zen in the Art of Writing, by Ray Bradbury

Ray Bradbury, who died this week aged 91, has had an immeasurable impact on my writing.  Perhaps moreso than any other writer, even though I’ve read only a fraction of his enormous fictional output.  What I have read I have greatly enjoyed, but it’s his thin book of essays, Zen in the Art of Writing, for which I am most grateful.  This book, to use Bradbury’s own metaphor for writing, was a landmine.  I stepped on it when I was writing the early drafts of The Girl with Glass Feet and it blasted apart a great many false notions I’d developed about writing.  About what it meant to write, what it was for, who it was for.  Yesterday I reread it and rediscovered its many vital lessons.

A lot of books have been published with a claim on the cover that they’ll teach you how to write.  A lot of them won’t.  They’ll tangle you up with all the wrong concerns.  The vast majority of them will teach you the same old stuff about plot construction, tone, narrative voice, and so on and so on in tedious technical detail that will make you feel as if you’re building a robot, not a novel.  Don’t get me wrong, those things are important, but they’re not the starting point, they’re just aspects of final editing and technique.  Reading a hundred such books, even knowing them off by heart, will not help you develop the most fundamental part of your writing: your art.

Bradbury treated writing, unashamedly, as art.  Not art in a cerebral, critic-at-the-gallery fashion but art as the first cave painters saw it: as the first artists, trembling fitfully before the first painted bison, which seemed to them to snort and and stamp along rock walls.  Art, to Bradbury, was just such a primal thing.  An expression of something fundamental to the artist’s self.  If that seems a high-falutin’ way to talk about things, please blame me not Bradbury.  This was a man who couldn’t abide high-falutin’ of any sort.  He loved Buck Rogers just as much as he loved Gerard Manley Hopkins and, it seems to me, would not let either the dogged sci-fi fan or the theorising poetry professor tell him that the two had no place beside each other.

Zen in the Art of Writing is not a dry construction manual for building novels, but an exhortation to the would-be novelist to attune her/himself to her/his own art.  In it, Bradbury talks with infectious enthusiasm about his own experiences, specifically of where his fiction came from and how it was invoked.  It all came from inside him, of course, but it wasn’t conceptualised and planned and measured out on graph paper.  It was summoned from the shadows of the mind, those deep and hidden recesses that each of us contain and which rumble like thunder behind our thoughts while the fretting, thinking part of us forgets their existence and begins to believe that it alone is the whole self.

We are working not for work’s sake, producing not for production’s sake. If that were the case, you would be right in throwing up your hands in horror and turning away from me. What we are trying to do is find a way to release the truth that lies in all of us.

- from Zen in the Art of Writing, by Ray Bradbury

This book is a liberation for any writer.  I reread it yesterday and wished at once that I had reread it sooner.  There is much to learn from its author’s unshakeable enthusiasm for the act of creation and, if you embark upon that learning process yourself, I can assure you that it will be no sleepy school lesson on a rainy afternoon.  All the evidence suggests that Ray Bradbury lived an incredibly fulfilled life, and I for one am grateful that he chose to share his secrets.

And what, you ask, does writing teach us?

First and foremost, it reminds us that we are alive and that it is a gift and a privilege, not a right. We must earn life once it has been awarded us. Life asks for rewards back because it has favored us with animation. So while our art cannot, as we wish it could, save us from wars, privation, envy, greed, old age, or death, it can revitalize us amidst it all.

- from Zen in the Art of Writing, by Ray Bradbury

 

 

 Posted by at 2:27 pm
Jun 012012
 

Sunk deep in the night.  As one sometimes sinks one’s head in meditation, thus utterly to be sunk in the night.  All around people are asleep.  It’s a harmless affectation, an innocent self-deception, to suppose that they are sleeping in houses, in safe beds, under a safe roof, stretched out or curled up on mattresses, in sheets, under blankets; in reality they have gathered together as they once did of old, and again later, in a desert region, a camp in the open, a countless number of men, a host, a people, under a cold sky on cold earth, cast down where they had earlier stood, forehead pressed upon arm, face towards the ground, peacefully sleeping.  And you are watching, are one of the watchmen, you find your nearest fellow by brandishing a burning stick from the brushwood pile beside you.  Why are you watching?  Someone must watch, it is said.  Someone must be there.

- At Night by Franz Kafka, from The Great Wall of China and Other Short Works

Scenes from a telescope/

The night planet electric/

 

With all the trade routes of the world lit up/

 

However, since nothing confutes the assumption that lines and forms and colours exist on innumerable other planets and suns as well, we are at liberty to feel fairly serene about the possibilities of painting in a better and different existence, an existence altered by a phenomenon that is perhaps no more ingenious and no more surprising than the transformation of a caterpillar into a butterfly or of a grub into a maybug.

The existence of a painter-butterfly would be played out on the countless celestial bodies which, after death, should be no more inaccessible to us than the black dots on maps that symbolize towns and villages are in our earthly lives.

Science – scientific reasoning – strikes me as being an instrument that will go a very long way in the future.

For look: people used to think that the earth was flat.  That was true, and still is today, of, say, Paris to Asnières.

But that does not alter the fact that science demonstrates that the earth as a whole is round, something nobody nowadays disputes.

For all that, people still persist in thinking that life is flat and runs from birth to death.

But life, too, is probably round, and much greater in scope and possibilities than the hemisphere we know.

- Vincent van Gogh, from The Letters of Vincent van Gogh

Such science will go a very long way in the future/

 

Perhaps to the moon on a ladder of light/

And back in an all-too-brief freefall…/

Inevitably, what seems realest to us is what gets activated most often.  Our hangnails are incredibly real to us (by coincidence, I found myself idly picking at a hangnail while I was reworking this paragraph), whereas to most of us, the English village of Nether Wallop and the high Himalayan country of Bhutan, not to mention the slowly swirling spiral galaxy in Andromeda, are considerably less real, even though our intellectual selves might wish to insist that since the latter are much bigger and longer-lasting than our hangnails, they ought therefore to be far realer to us than our hangnails are.  We can say this to ourselves till we’re blue in the face, but few of us act as if we really believed it.  A slight slippage of subterranean stone that obliterates 20,000 people in some far-off land, the ceaseless plundering of virgin jungles in the Amazon basin, a swarm of helpless stars being swallowed up one after another by a ravenous black hole, even an ongoing collision between two huge galaxies each of which contains a hundred billion stars – such colossal events are so abstract to someone like me that they can’t even touch the sense of urgency and importance, and thus the reality, of some measly little hangnail on my left hand’s pinky.

We are all egocentric, and what is realest to each of us, in the end, is ourself.  The realest things of all are my knee, my nose, my anger, my hunger, my toothache, my sideache, my sadness, my joy, my love for math, my abstraction ceiling, and so forth.  What all these things have in common, what binds them together, is the concept of “my”, which comes out of the concept of “I” or “me”, and therefore, although it is less concrete than a nose or even a toothache, this “I” thing is what ultimately seems to each of us to constitute the most solid rock of undeniability of all.  Could it possibly be an illusion?  Or if not a total illusion, could it possibly be less real and less solid than we think it is?  Could an “I” be more like an elusive, receding, shimmering rainbow than like a tangible, heftable, transportable pot of gold?

- from I Am A Strange Loop by Douglas Hofstadter

…from a rock to a hard place.

 Posted by at 8:25 am
May 282012
 

W F Howes have just released an audio book version of The Man who Rained, read by actress Laurel Lefkow. I think she reads it beautifully, but I guess I’m biased.

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Coinciding with this is a large-print edition of the novel.  You can find all the details of both versions at W F Howes’ site.

 Posted by at 12:52 pm
Apr 042012
 

Time for our second Stop-Motion Film Night.  Roll up.  Settle down with the popcorn, the pick ‘n’ mix or the pack of cold beers.  Let the cinema curtains crank open in the dark.

The first Stop-Motion Film Night was a somewhat creepy affair, so for this second instalment I tried to find some light-hearted videos for your delectation.  For the most part, I failed.  Let’s face it, antique toys and taxidermied beasts lurching into animated life are always going to tingle the spine.  But here’s a short film that raises a smile and leaves your vertebrae untickled.

It reminds me, particularly when the hole opens up in the floor and the girl dives in, of Lewis Carroll: “Down, down, down. Would the fall never come to an end! ‘I wonder how many miles I’ve fallen by this time?’ she said aloud. ‘I must be getting somewhere near the centre of the earth.”

Alice’s Adventures In Wonderland bring us to Jan Švankmajer, and at once the creepiness kicks in.  The compiler of this video has set it to a track by Múm, a perfect choice to keep some of Švankmajer’s darkness at bay, but there’s nothing any accompaniment can do about the goggle-eyed bone monsters the white rabbit summons.

Let’s go back, way back.  The grain of old film.  The earnest faces of actors long passed.  These things do more for my sense of wonder than all the sophistications of modern cinema.  Something in the long focus and the time taken and the stiff playfulness.  Below is Dreams of Toyland, stop-motion from over a hundred years ago.  Bear with the serious boy in the tricorn as he and his mother labour through the introductory live action scene.  Enjoy what follows and choose something slow and careful to listen to as you watch it.  Josh T Pearson’s Country Dumb will see you through most of the film, and leave you quiet for the disturbing finale.  Come the 3.30 mark, watch the shadows cast by the sun on the streets of toyland, a hint of the long hours devoted to the stop-motion.

To finish on the light-hearted note we started on, here’s Gulp by Sumo Science at Aardman, but not before some Ernest Hemingway to set the scene.  This is the largest stop-motion ever, and come the end of the film there’s a link to a making of featurette.  As well as giving you an even greater sense of the scale of the set, it will give you some sand sculpting tips you can put to good use next time you’re at the seaside.

Then he began to pity the great fish that he had hooked. He is wonderful and strange and who knows how old he is, he thought. Never have I had such a strong fish nor one who acted so strangely. Perhaps he is too wise to jump. He could ruin me by jumping or by a wild rush. But perhaps he has been hooked many times before and he knows that this is how he should make his fight. He cannot know it is only one man against him, nor that it is an old man. But what a great fish he is and what will he bring in the market if the flesh is good. He took the bait like a male and he pulls like a male and his fight has no panic in it. I wonder if he has plans or if he is just as desperate as I am?

― Ernest Hemingway, The Old Man and the Sea

 Posted by at 2:31 pm

Finn Munro

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Mar 082012
 

His body was as smooth as a weathered pebble on the sea shore.  He had very little complexion: he was not so much a white man as a grey one.  He had a flat pair of buttocks and skin as hairless as that of his head.

He stood on the ridge between her viewpoint and the sun.  His tall body was an eclipse and the light was a corona behind it.  He spread his arms in a pose of dejected surrender.

Then, very gradually, he began to dissolve.

Like chalk washed into a blur by the rain, his outline began to distort, and almost imperceptibly he lost his form.  One minute he was a man and the next he was a blurry grey silhouette.  His skin became a coat of mist.  The sun shining from behind him lit him up and edged him with its brilliance, wherein he stopped looking man-shaped and instead resembled a cloud formed by chance into the posture of a human being.

He broke up.  His head caved in, becoming nothing more than a dented sphere of fog.  His chest tore apart and the blue sky and bright sun shone through the place where his heart should have been.  He disintegrated, every second less like a man and more like a cloud.

- from The Man who Rained by Ali Shaw

 Posted by at 10:08 pm
Mar 022012
 

On Thursday 29th March I’m going to be appearing at the Abingdon Arts Festival, at an event presented by the Abingdon Writers group.

It’s at 7.30 at Abingdon Libray, and tickets are £4.  All the info, as well as what’s on at the rest of the festival, can be found here – http://www.abingdonartsfestival.org.uk/lit.html

Hope to see you there.

 Posted by at 9:49 am