Originality and self-discovery through reading

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Writers are always told they ought to read more: to learn the rules, to understand the language better, to figure out which stories work and which don’t. As Stephen King notes, you need to “read widely, and constantly work to refine and redefine your own work as you do so.”

Yet is there a greater power literature has that can help improve a writer’s skills? Something that goes beyond a simple ‘monkey see; monkey do’ instruction tool?

German born poet, novelist, and painter Herman Hesse touched upon this power in a 1920 essay simply titled ‘on reading books’. Arguing that reading books helps spark something within our minds that other form of media fail to do, he suggests that the act of reading helps improve our associative thinking that turns the reading material into a springboard for indiscriminate curiosity from which to leap far beyond the particular substance of the particular book. He writes:

At the hour when our imagination and our ability to associate are at their height, we really no longer read what is printed on the paper but swim in a stream of impulses and inspirations that reach us from what we are reading.”

Reading, then, can spark a person’s imagination in such a way that genuinely new and unique ideas can flourish. Just as solitary exercise can stimulate the creative energy required to produce original pieces of work (as we’ve detailed here), reading is important to writing, because it opens channels. It expands our potential and helps us grow – to better understand the world. Our minds are free to linger on thoughts they otherwise would not; in a kind of simulated – but nonetheless stimulating – solitude that helps us better understand who we are, at our very deepest levels, as human beings.

As US President Theodore Roosevelt opined when asked whether he saw there to be any ‘rules’ for the act of reading himself:

“[We] all need more than anything else to know human nature, to know the needs of the human soul; and they will find this nature and these needs set forth as nowhere else by the great imaginative writers, whether of prose or of poetry.”

Intriguingly, though reading is a solitary act, it can make a person feel less alone. As Rebecca Solnit writes in her essay ‘Flight’:

“Like many others who turned into writers, I disappeared into books when I was very young, disappeared into them like someone running into the woods. What surprised and still surprises me is that there was another side to the forest of stories and the solitude, that I came out that other side and met people there. Writers are solitaries by vocation and necessity. I sometimes think the test is not so much talent, which is not as rare as people think, but purpose or vocation, which manifests in part as the ability to endure a lot of solitude and keep working. Before writers are writers they are readers, living in books, through books, in the lives of others that are also the heads of others.”

If it is true that the most important qualities to be a writer are imaginative ability, intelligence, and focus, reading avidly helps curate and foster these skills. Yet in the process of reading so much, we can step beyond simply doing what we ought to be doing, and discover more about the world; and also ourselves.

 

 

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Crime and punishment: rehabilitation through reading

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“In your cell reading, it’s like meditation. You can shut off the rest of the world, your problems, and just focus.” – Anonymous prisoner, HMP Pentonville, UK.

3 years ago, the UK High Court overturned a Conservative government-imposed ban on books inside prisons. Campaigners argued that books were an integral part of the rehabilitation process for prisoners, and a number of charities, notably The Reading Agency and Books to Prisoners have long championed literature as a tool of redemption and education.

Let’s explore this in more detail.

Transformation and metamorphosis

Books that seem to be popular among many prisoners are those that hold pertinent messages of transformation, like Shantaram, by Gregory David Roberts. These stories seem to help inmates craft a new identity for themselves – convincing them of the possibility of not only surviving but even thriving within the tough environment of prison.

And, with an estimated 50% of UK prisoners unable to read or write, the ability to access books, or participate in reading groups, provides not just motivation; but other practical skills, too.

Rod Clark, Chief Executive of Prisoners’ Education Trust, explains: “a seemingly simple book can be incredibly valuable to someone serving a prison sentence – from teaching him or her to read, to developing a love of learning, to feeling empathy for characters to encouraging people to tell their own stories”.

A great escape

An age-old, oft-made joke is that you can escape prison by reading a book. But it’s not simple escapism that literature offers those serving hard time; but something far more important – hope. For prisoners who are able to access and engage with literature – at whatever level, freedom doesn’t have to begin for them when their cell doors are opened and they are finally allowed to walk back out onto the streets in some distant future. It can begin immediately – whenever they open up the pages of a book.

This isn’t simple idealism. Rather, it is based on hard evidence that reading can dramatically improve the lives of prisoners. In the Critical Survey, ‘Reading for Life’: Prison Reading Groups in Practice and Theory, research concluded that another vital benefit of providing prisoners with books to read was that it helped alleviate feelings of depression. The author of the survey, Josie Billington, explains:

“A rich, varied, non-prescriptive diet of serious literature […] proved especially important in encouraging participants to engage in discussion and address their depression directly.”

The survey found that, not only were inmates starting to claim direct benefits of feeling happier, more content as a result of the literature they were reading; but that they were becoming more self-aware as a result of reading it. The authors note that there was “a significant proportion” of prisoners who found that, by engaging with specific set texts, they were able to rediscover old or forgotten, suppressed or inaccessible modes of thought, feeling and experience.

That prisoners, then, are often drawn to books about transformation may not be so surprising. For through their engagement with literature, many are undergoing a personal metamorphosis of their own.

As Wolfgang Iser recognised long ago, literature has the power to change and restore. This is because when you read a story, you can find yourself temporarily transported from bad, anxious, troubling or unhappy thoughts because of your absorption in a story. In this way, the relationship between a reader and a fictional work is different from that between an observer and an object – it is different from that between a viewer and a television set, also. It is an active relationship that requires the reader to possess a moving viewpoint which travels along inside that which it has to apprehend. Readers have to create worlds and characters for themselves, partly through their imagination, and partly guided by the author of any given text.

This is why readers become “caught up in the very thing they are producing,” as Henry James put it, which means “they have the illusion of having lived another life.”

Real rehabilitation

This is a powerful reaction to produce in a human being – and one that helps readers discover new awareness of empathy for others. When readers empathise with people in books, they are mimicking the same empathy they would feel for people in similar situations in real life. For prisoners who have often struggled with notions of the impact their actions have on others, this is a critical part of their rehabilitation.

Again, this proposition is based on hard evidence. In 2014, the UK Ministry of Justice produced a report that indicated prison inmates who had access to educational courses that focused heavily on literature and reading were 8% less likely to reoffend than those who did not have access to such courses.

Freedom through literature

What all this seems to come down to is the way prison, in its current form, is designed not only to keep inmates physically confined; but mentally restricted, too. Yet by closing down the thoughts of prisoners, you restrict the opportunity for their minds to perceive of the world as a land of opportunity and freedom; and instead only as a place of narrow paths that likely follow the same routes that ultimately lead back to prison.

Literature – and access to it – changes such a worldview. Reading helps support the inquisitive mind of the individual human to discover new ways of looking at the world. As John Steinbeck wrote:

“The free, exploring mind of the individual human is the most valuable thing in the world. And this I would fight for: the freedom of the mind to take any direction it wishes, undirected.”

So, let’s make the case to help prisoners free their minds through books; let’s make this the moment when prison libraries are given due attention, improved where necessary, made much more accessible for all prisoners and put at the heart of a learning culture in prisons. Through prison libraries and reading groups, it might be possible to create an oasis of sanity and a door to a new world.

 

 

 

 

Book review: ‘Mumur’ by Will Eaves

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“I cannot help wondering if the real nature of mind is that it is unencompassable by mind, and whether that Godelian element of wonder – at something we know we have, but cannot enclose – may be the chief criterion of consciousness.” So opines the narrator early on in the latest terrific book from Will Eaves. Startlingly ambitious in its scope and form, Murmur invites us into a world of philosophical mathematics and artificial intelligence. What’s not to love?

Now when it comes to these topics, Eaves has touched upon these areas before – for instance, within The Inevitable Gift Shop. Yet here in Murmur he explores it with an astute intimacy from the perspective of an avatar, Alex Pryor, a character based on the father of artificial intelligence, Alan Turing.

It is not whether or not machines can think that is the main focus here; but rather, a potential inverse of the proposition – whether or not humans think like machines. Murmur is more concerned with the nature of human consciousness, how we come to be – whether we are pre-formed, destined to live pre-determined lives following a set of codes within our basic DNA, or if we are our own programmers (to stick with the computer theme).

As Turing himself argued in his seminal paper, Computing Machinery and Intelligence, when asking the question ‘can machines think?’, it is firstly of critical importance to “begin with definitions of the terms ‘machine’ and ‘think’”. Determining whether or not something possesses artificial intelligence is not based on empirical fact, but rather, decision – the decision of the human beings setting the frames of reference for any AI test (the computer can play chess; can fool a human into believing they are conversing with another human; etc.). That a machine may ‘pass’ such parameters does not necessarily mean they have acquired genuine intelligence. As Noam Chomsky has argued, conversing with a computer shows only that a piece of software can be programmed to breakdown the codes of our language and repurpose them (as it has been told to do so by a human programmer). This is not intelligence; but parroting.

Yet the notion of conversing with a machine opens up linguistic questions and challenges. Numerous pieces of research have shown that language not only shapes our culture – but also shapes and manipulates our personalities. Language programmes us, in that sense. With this in mind – and considering the subject of Eaves’s book – the Turing test, which has for so many years been the gold standard of measuring a machine’s intelligence, becomes even more central to the core of Murmur. By choosing to frequently adopt a conversational style within his writing, the reader must begin to question the formal structure of the novel, and their relationship with both the words on the page, and the characters within it. Are we, as readers, engaged in a Turing test of our own? Asked without directly being asked to assess whether we are in conversation with machine or man; or, more simply, whether we are able to assess for ourselves what does and does not have consciousness? Do characters feel, if their actions and thoughts on a page make us as readers feel? Are books themselves alive, if they contain within them what looks, feels and appears for all intents and purposes to be consciousness?

These questions of course invite further questions. For instance, is it mere coincidence that formally, there are times Murmur’s structure resembles some of the (at first) seemingly disconnected pieces of text – memories, questions, letters, and so on – that might be produced by some of the ‘AI’ writing programmes that have been developed in recent years? Coincidence perhaps; yet the fragmentary nature of the novel certainly asks us to think about the ways our own ‘intelligence’ – or consciousness – is structured.

We like to think of ourselves as straight thinking, coherent and logical beings despite all evidence to the contrary. There is no clearer feature of the mind than its willingness to construct wholes out of fragmentary parts. Our memories inevitably have gaps within them. Our focus can so easily be lost to distraction. Thoughts and memories pop up seemingly at random. A innocuous smell or sense of touch can make us involuntarily recall feelings and thoughts both good and bad; as well as those we have suppressed.

Life and consciousness are not logical (though they can of course be assessed and reviewed with logic). And this is one of the many things that Murmur does so well – it is, by its very nature, both an accurate representation of consciousness and human experience, as well as a thorough, logical analysis of these things. Through Alex Pryor, Eaves has developed a protagonist through which we may see these inherently complex ideas more simply.

This would be a triumph in itself; yet Eaves goes further – creating characters that are not simply tools through which we may explore high-level concepts, but through whom we empathise with, laugh with, and love with.

Perhaps this last part is the most important (as it so often is with a good novel). For all that the writing is excellent (as we have come to expect with Will Eaves); and for all that the book grapples with a veritable menagerie of ‘worthy’ ideas (there are so many more we could have discussed at length in this review); and for all that it provides another worthy voice to consider in the ongoing conversations surrounding artificial intelligence – none of these are really what the book is ‘all about’, or what readers should take away as being the most important aspect of Murmur. Because ultimately, what it all comes down to is that this is a novel about love. And it is the way in which Eaves presents this most human of emotions, that really makes this novel truly intelligent.

Ever wanted to run your own bookstore by the sea? Now you can!

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Bookshelf catering: your chance to run your own bookstore by the sea. Photograph by Mike Dodson/Vagabond Images.

For many litterateurs and book lovers, the prospect of running your own book store may sound a little bit like a far-fetched fantasy. Yet, thanks to the disruptive influence of AirBnB and a clever marketing gimmick, those who long to while away days amongst the bookshelves of a small independent book store can now do just that.

Founded by American Jessica Fox in the small Scottish town of Wigtown, ‘the Open Book’ offers holiday makers the chance to run their own bookshop during stints of up to two weeks.

Described as Scotland’s ‘Book town’, Wigtown has a population of just 900; but is served by 16 different bookshops. The perfect location, then, for such those looking for a “bookshelf” catering retreat.

“The bookshop residency’s aim is to celebrate bookshops, encourage education in running independent bookshops and welcome people around the world to Scotland’s national book town,” says the AirBnB listing.

Guests staying at The Open Book will be expected to sell books for 40 hours a week while living in the flat above the shop. Given training in bookselling from Wigtown’s community of booksellers, they will also have the opportunity to put their “own stamp” on the store while they’re there – arranging new window displays, as well as organising book readings and events.

You can follow the adventures of The Open Book’s residents via the bookshop’s Tumblr page.

 

Sylvia Plath on writing, and the complexities of life

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It is It is fifty five years since Sylvia Plath killed herself, in her flat in London, near Primrose Hill, in a house where William Butler Yeats once lived. She was thirty-one. Her two children, Frieda, age three, and Nicholas, barely one, slept in the next room. The details of her suicide are known most likely by everyone with a tangential connection to poetry – the rags and towels blocking the doorway; the oven; the two young children sleeping next door; the glasses of milk she left for them on the kitchen table.

In the months leading up to her death, she had published her autobiographical novel The Bell Jar, and completed a manuscript of her influential poetry collection, Ariel.

Both works have rightly contributed to the widely shared view of Plath as a creative genius. Robert Lowell, who contributed a forward, is said to have exclaimed, when he opened and read the manuscript, “Something amazing has happened.”

The feeling that Plath’s work has the capacity to be revelatory to both new and returning readers has never really faded. Yet the near mythicism that is attached to her death – and the frenzied period of creativity that seemed to lead up to it – have contributed to the almost stereotypical belief that all the greatest writers and artists must also be tortured souls who carry their demons with them.

This is an unhelpful view to hold, primarily because it risks diminishing the complexity of other human beings. In the case of Sylvia Plath, it risks simplifying her existence to a simple Wikipedia footnote – the idea that she is simply a tragic figure of creative genius and inner turmoil. But, as with all human beings; Plath is so much more.

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While it’s impossible to forget or ignore how Plath died, the question that today has fresh urgency is how she wrote – and how she lived.

In 1975, nearly a decade before Plath’s posthumous Pulitzer Prize, Aurelia Plath, the poet’s mother, edited a loving selection of Sylvia’s letters to her family, published as Letters Home: Correspondence 1950–1963. Tucked between their lines is the enormity of emotion that animated the poet’s restless spirit.

Within these pages are glimpses of a character and a life so much more than a simplified summary that suits our inclination toward drama and tragedy. And they also show Sylvia as entirely human. For instance, at 17, she expresses such a feeling of invincibility instantly recognisable as that of a teenager:

“Somehow I have to keep and hold the rapture of being seventeen. Every day is so precious I feel infinitely sad at the thought of all this time melting farther and farther away from me as I grow older. Now, now is the perfect time of my life.

In reflecting back upon these last sixteen years, I can see tragedies and happiness, all relative — all unimportant now — fit only to smile upon a bit mistily.

I still do not know myself. Perhaps I never will. But I feel free — unbound by responsibility.”

In other letters, the young Plath speaks of the fears of growing older that also grip so many on the cusp of adulthood:

“At the present moment I am very happy, sitting at my desk, looking out at the bare trees around the house across the street… Always I want to be an observer. I want to be affected by life deeply, but never so blinded that I cannot see my share of existence in a wry, humorous light and mock myself as I mock others.

[…]

I am afraid of getting older. I am afraid of getting married. Spare me from cooking three meals a day — spare me from the relentless cage of routine and rote.”

In other letters, she does express some sentiments of inner turmoil – of not knowing what she wants or if she ever will. But again, here, who has not felt such things? Read on:

“I want to be free — free to know people and their backgrounds — free to move to different parts of the world so I may learn that there are other morals and standards besides my own. I want, I think, to be omniscient… I think I would like to call myself “The girl who wanted to be God.” Yet if I were not in this body, where would I be — perhaps I am destined to be classified and qualified. But, oh, I cry out against it. I am I — I am powerful — but to what extent? I am I.

Sometimes I try to put myself in another’s place, and I am frightened when I find I am almost succeeding. How awful to be anyone but I. I have a terrible egotism. I love my flesh, my face, my limbs with overwhelming devotion. I know that I am “too tall” and have a fat nose, and yet I pose and prink before the mirror, seeing more and more how lovely I am… I have erected in my mind an image of myself — idealistic and beautiful. Is not that image, free from blemish, the true self — the true perfection? Am I wrong when this image insinuates itself between me and the merciless mirror. (Oh, even now I glance back on what I have just written — how foolish it sounds, how overdramatic.)”

Nonetheless, in her fears of the future, she also harbours a clear vision of hope in herself, as well as joy in the knowledge that the future is still hers – is still anyone’s – and that no individual must be entirely bound to any defined destiny:

“There will come a time when I must face myself at last. Even now I dread the big choices which loom up in my life — what college? What career? I am afraid. I feel uncertain. What is best for me? What do I want? I do not know. I love freedom. I deplore constrictions and limitations… I am not as wise as I have thought. I can now see, as from a valley, the roads lying open for me, but I cannot see the end — the consequences…

Oh, I love now, with all my fears and forebodings, for now I still am not completely molded. My life is still just beginning. I am strong. I long for a cause to devote my energies to…”

Even the way she signs off some of her letters to her mother speak volumes of her hope and love, as well as her happiness:

“Honestly, Mum, I could just cry with happiness. I love this place so, and there is so much to do creatively… The world is splitting open at my feet like a ripe, juicy watermelon. If only I can work, work, work to justify all of my opportunities.

Your happy girl,

Sivvy”

In other letters, the subject of Plath’s writing is more mundane and perfunctory. At aged fourteen, she writes to her mother from summer camp:

“I am very busy, but not too much to write regularly to you,” she writes. “Last night I had three big helpings of potatoes (mashed) and carrots for supper and a scant helping of meatloaf as well as 2 pieces of bread and butter, 2 apricots & a glass of milk.”

And in others, she speaks intimately of her innate calling to the written word. In July of 1956, twenty-three year old Plath writes:

“Dearest Mother,

… Both of us are just slowly coming out of our great fatigue from the whirlwind plans and events of last month; and after meandering about Paris, sitting, writing and reading in the Tuileries, have produced a good poem apiece, which is a necessity to our personal self-esteem — not so much a good poem or story, but at least several hours work of solid writing a day. Something in both of us needs to write for a large period daily, or we get cold on paper, cross, or down… We are really happiest keeping to ourselves, and writing, writing, writing. I never thought I should grow so fast so far in my life; the whole secret for both of us, I think, is being utterly in love with each other, which frees our writing from being a merely egoistic mirror, but rather a powerful canvas on which other people live and move…”

What these letters clearly demonstrate is that there is heartbreaking tragedy and despair, it’s true: but there is also wholehearted exuberance. There is the hum drum of daily life and meals and eating; there is the excitement of life changing events; there is fear and there is hope; there is, simply, life.

 

‘The 8th Emotion’ – An Extract

An extract from Josh Spiller’s forthcoming speculative fiction novel, ‘The 8th Emotion’…

 

In a tribdwell situated in Karthalia, but beyond the boundary of any tribe – like some exiled building – Pavneet worked frantically.

Night-time candles glowed on his desk, while a cooking fire burned in the corner of his tribdwell’s main room. The smell of acidic chemicals singed the warm air, emanating from the beaker of green liquid that sat on his desk.

Taking yet another sheet of paper, Pavneet scrawled more notes, his eyes – behind his brass-rimmed glasses – in a trance-like state. He wore a long, stained jacket which he used as a makeshift lab coat. Above his greying temples, his craggily-lined forehead was furrowed in intense concentration. His World had contracted to the sheet of paper that lay before him, so much so that he hadn’t noticed that Bastian, his sandy-coloured dog, was barking in agitation and fear.

Two strident door-knocks resounded through the room. Cowering, Bastian fell silent, before leaning forward and barking with even more aggression.

Pavneet, frozen still, stared over the rim of his glasses, at the front door that lay directly ahead of him. No one had knocked on that door in years. Cautiously, he rose from his wooden chair, and started to shuffle around his desk.

Then with frightening suddenness, something shattered loudly. Pavneet instinctively ducked, snapping his gaze in the direction of the noise. Any last dregs of his trance-state were gone. The real World had come roaring in, flooding his alert mind with intense, vivid impressions. From beneath Bastian’s deafening barking, he heard, with acute sensitivity, a dull and solid thud strike the floorboards somewhere nearby. Then he saw that the single window in the left-hand wall was smashed open. And framed within its new jags of glass, which were like a jaw of predatory, vitreous teeth, a balaclavaed face stared back at Pavneet.

“Shut that dog up!” the balaclavaed man hissed. Then, with menacing slowness, he raised a lit candle into view. “Or we’ll blaze this place to the ground.”

In a state of shock, Pavneet whispered: “Sh-shush boy. Shush.” Bastian fell silent.

“Good,” the balaclavaed man said, and Pavneet could practically hear the smirk in his voice. “Now – open the door.”

An enormous fear gripped Pavneet, rattling his heart in its gigantic grip. Please, he thought. Oh please, don’t let them hurt me…

With a trembling hand, he unlocked the door, and pulled it toward him.

Two imposing men, balaclavaed like the one at the window, stood before him. One held a knife, its sharp point only an inch away from Pavneet’s gut.

“Get inside,” the man with the blade said. Within the holes of the man’s balaclava, Pavneet saw tiny, gloating, and vicious eyes. Silently, just enough to prod the flesh without cutting it, the man jabbed the knife into Pavneet’s stomach.

“W-what do you want?” Pavneet mumbled, fearfully stepping backwards toward his desk. He couldn’t believe a stranger was attacking him. Such a thing had been known to happen in other lands, in other times, but never in Karthalia. It was a peaceful place. “P-please. I’ll give you anything.”

“We already know that,” the man carrying the blade said, speaking with a twisted and gleeful sense of power.

He forced Pavneet back into the chair by the desk. Half-collapsing into it, Pavneet rubbed Bastian’s neck with trembling hands, as if he were trying to soothe his beloved companion, when it must have been obvious that it was simply a nervous expression of his own terror. Bastian growled, baring his teeth.

“E-easy, boy” Pavneet whispered. “Shhh.”

The other two intruders seemed subservient to the man with the blade. Both were now searching Pavneet’s tribdwell, one rifling through the sheafs of pamphlets and notepaper which Pavneet, to get them out of his way, had piled up around the edges of the room; the other, taller one standing nearby, inspecting the notes in the drawers of Pavneet’s desk. It was obvious that neither was finding what they were looking for.

The man carrying the blade spoke, still holding the knife just in front of Pavneet’s chest: “You’re not a liar, are you Pavneet?”

“N-no.”

“So this is true?” ‘Blade’ withdrew from his pocket a scrunched-up piece of paper. He flattened it out on the top of the desk, before showing it to Pavneet. With a gut-wrenching sense of horror, Pavneet recognised it at once. The page had been ripped out from the last scientific pamphlet he’d written, published only a week ago.

The chain of reasoning Pavneet had expounded in the pamphlet flashed into his mind, fierce and white-hot like burning magnesium:

  1. Single-celled organisms don’t experience emotions, or if they do, they experience very little.
  2. Humans evolved from single-celled organisms.
  3. Humans experience emotions.
  4. Thus, humans must have evolved emotions.

Then came the main part of Pavneet’s article. He’d claimed that he knew how to unlock humanity’s next emotion, so that it could become a permanent part of anyone who wanted it. What’s more, he’d said that when everyone possessed it, it would end all human conflict, equalising everyone profoundly, and ushering in a true paradise.

For now, though – he’d ended his article – he needed to do more testing, to check that what he’d discovered was safe. But in the next pamphlet he released, he would explain how people could tap into this emotion for themselves.

This memory of what he’d written hit Pavneet with the force of a tempest, and then, following close behind, realisation stabbed through him: these men were searching for proof that he really could unlock this next emotion. Why? He had no idea. But if they found it, he knew they’d have no reason to keep him alive.

“I lied,” Pavneet blurted. “I just did it to sell the next issue. I’m alone, my income, it’s all through trading these pamph—”

Out of nowhere, Blade’s knife-gripping fist smashed into Pavneet’s cheek, knocking him into his desk and rattling the container of chemicals that sat on top of it. Bastian barked ferociously, but Pavneet retained his terrified, white-knuckled grip on the dog’s collar. As he gasped from the blow, Pavneet could almost feel ‘Blade’ grinning at him sadistically from behind his balaclava.

“Give me a reason to do that again,” ‘Blade’ said.

Then one of the other men came over to ‘Blade’, pointing at something on a piece of paper.

They’ve got it, Pavneet thought, a cold thrill of terror running though him, shifting the hyper-real present into even sharper focus. He felt upon his back the heat from the cooking fire in the corner. Saw the fire’s light gleaming upon the knife, as if the blade shone with its own golden, vicious soul. An inchoate, instinctual plan was forming in his mind.

With regret, he remembered how – on the day of his breakthrough – he had told himself that he would never again inflict any type of injury on another human being. A sort of premonitory sympathy pain shot through him: he understood the agony these men might be about to suffer. And there was something still worse…

He looked at Bastian with sorrow.

‘Blade’ stared at the piece of paper, his eyes widening in a look of quiet awe. All humour had dropped out of his voice: “So you really can do it.”

And with that, Pavneet’s decision was made.

With his right hand, he shoved Bastian forward and released the dog’s collar. “Go!” he shouted, and Bastian leapt upon ‘Blade’, slobbering fangs barking and snapping. Spinning round, Pavneet snatched up the container of chemicals and threw it at the cooking fire. A blaze exploded upwards, blasting a wave of searing heat over Pavneet’s face. Everything became confusion and clamour. Fire-tongues gobbled ravenously at floorboards and terracotta walls, vomiting black smoke. Pavneet bolted across the room, past the indistinct shapes of his attackers, through a haze of barking, swearing, and shouts. Leaping, he hauled himself up to the smashed-in window, his adrenaline making him oblivious to the jags of glass that were slicing open his forearms.

Then, through the whirlwind of smoke and shouts, there cut a sharp, canine yelp. For a moment, Pavneet froze. Tears brimmed in his eyes. Blood poured out of his arms. He wanted to look back, but he couldn’t bring himself to do it. Struggling over the knives of glass that jutted up below him, he toppled out the window’s other side, landing with a thump on the soil and vegetables below.

Gasping for breath, he hauled himself to his feet, and ran, trampling vegetables, fruit, and grass, sprinting alongside the winding River Menignus. The reek of sulphur burned in his nostrils, beneath a clear, starry sky.

Who were those men? Why were they after him? He didn’t know. And that meant he couldn’t trust anyone.

Still running, he tried to ignore his screaming desire to go back, even as tears ran down his cheeks. Bastian… it was Pavneet’s fault. And it was too late for him to do anything about it.

And as he ran, Pavneet also imagined that gang of men, amongst the fiery confusion, enduring an emotion they’d never felt before… enduring Oceanos, as the flames ate through the scientific specimens stored in his bedroom, and released their psychotropic vapours into the air.

 

 

You can read more about ‘The 8th Emotion’ – and order your own signed first-edition copy of the novel – here

20 of the sexiest haiku you’ll read today

 

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After reviewing Nick Brooks’s excellent book, Sexy Haiku, we’ve been reading and re-reading this extraordinarily erotic collection over and over, picking out the haiku that just stay with you, leaving you turning them over in your head throughout the day.

Indeed, we’ve become a little obsessed with just how good this book is. In turns moving, funny, profound, filthy, erotic and – yes – sexy, this is the collection of erotic haiku that just keeps giving over and over (like an exceptional lover).

While we can’t recommend you pick up a copy of Brooks’s book highly enough from the exquisite publisher’s Freight Books, we thought we’d whet your appetites further with some of the sexiest haiku we’ve picked out from the collection.

Enjoy with a friend, the one you love, or read alone while crying into a bowl of milk watching yourself in the mirror – it’s your call. But enjoy you will…

1.

She holds up an

overripe avocado

winks coyly at me    licks her lips

2.

Looking at her body

in the mirror    its imperfections

make her beautiful

 3. 

Our mouths meet

Teeth bash intimate flavours

Our tongues grappling

 4. 

Surprise surprise

you climb on top    put me in

tight    easing it    rocking

 5. 

Do I look good?

semen bubbling on your lips

cheeks flushed red  

6.  

My semen spreads its

Loose vines inside you    searching

For nooks    for purchase

7.  

Zara’s pussy incredibly

wet and juicy    soaking everything

in its own pleasure

 8.  

Shall we make love

in the shower tonight    or

would you rather fuck in the bath?

 9. 

I put it in from behind

fuck you   hard     fast      deep

then ease back a little 

 10.

I wait for you to plead

Like that yes    oh   yes   please

Don’t torment me any longer! 

 11.

I thrust in go deep

her hands hold my hips in check

as I nudge her cervix

 12. 

Your brain is

the sexiest part of your body    I say

staring at her arse

 13. 

Your cock is so

beautiful    maybe it can live

inside me forever?

14. 

I place my fingers

over yours    on the fretboard

place them on the right notes

 15.

Peeling your panties

your spreading legs     soft down

It’s still the Seventies, you say

 16.

She always laughs

when she comes

still slick with juices    making tea

 17. 

We spend the entire day

in bed    fuck  til we’re both raw

gnaw holes in each other

 18. 

You show me your

breasts as we talk on Skype

tell me you don’t like the word ‘tits’

 19. 

I want you to fuck me

from behind then come over

my face     smear it with your cock

 20.

We come at the same time

both our faces raw     tangled

if it could always be like this   

Purchase Sexy Haiku from Freight Books here:  https://www.freightbooks.co.uk/product/sexy-haiku/  

Raymond Chandler on what people really want to read

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Throughout his career as a writer (following his stint as an oil company executive), Raymond Chandler almost single-handedly crafted the pulp fiction genre with novels such as The Big Sleep, The Long Goodbye and The Lady In The Lake as well as numerous screenplays. His most famous creation, picaresque private detective Philip Marlowe, has been portrayed on screen by the likes of Humphrey Bogart, Robert Montgomery, Robert Mitchum and Elliott Gould.

The author’s career as a pulp writer began in the Thirties, when he realised he could make money from it. He taught himself to write pulp fiction by studying the Perry Mason stories of Erle Stanley Gardner. Chandler’s first professional work, “Blackmailers Don’t Shoot”, was published in Black Mask magazine in 1933. 

In 1950, Chandler described in a letter to his English publisher, Hamish Hamilton, why he began reading pulp magazines and later wrote for them:

Wandering up and down the Pacific Coast in an automobile I began to read pulp magazines, because they were cheap enough to throw away. This was in the great days of the Black Mask (if I may call them great days) and it struck me that some of the writing was pretty forceful and honest, even though it had its crude aspect. I decided that this might be a good way to try to learn to write fiction and get paid a small amount of money at the same time. I spent five months over an 18,000 word novelette and sold it for $180. After that I never looked back, although I had a good many uneasy periods looking forward.

From the moment he started writing pulp, he planned from the first to smuggle something like literature into the stories he penned.

Most of the magazines publishing this type of fiction at the time hooked their readers with a mixture of sex and violence – “they have juxtaposed the steely automatic and the frilly panty and found that it pays off”, wrote SJ Perelman. But Chandler wanted to do more than titillate: he had designs on his audience’s subconscious. He planned to sneak into his stories a quality which readers “would not shy off from, perhaps not even know was there … but which would somehow distil through their minds and leave an afterglow”.

His reasoning for this was that readers actually wanted to read this type of writing; even if the publishers didn’t think they did. In another letter to his editor, Chandler explained this in his characteristically simple and insightful way:

“A long time ago when I was writing for pulps, I put into a story a line like ‘he got out of the car and walked across the sun drenched sidewalk until the shadow of the awning over the entrance fell across his face like the touch of cool water.’ They took it out when they published the story. Their readers didn’t appreciate this sort of thing: it just held up the action. And I set out to prove them wrong. My theory was they just thought they cared nothing about anything but the action; that really, although they didn’t know it, they cared very little about the action. The things they really cared about, and that I cared about, were the creation of emotion through dialogue and description; the things they remembered, that haunted them, were not for example that a man got killed, but that in the moment of his death he was trying to pick a paper clip up off the polished surface of a desk, and it kept slipping away from him, so that there was a look of strain on his face and his mouth was half open in a kind of tormented grin, and the last thing in the world he thought about was death. He didn’t even hear death knock on the door. That damn little paper clip kept slipping away from his fingers and he just couldn’t push it to the edge of the desk and catch it as it fell.”

For more thoughts on writing and reading, check out our writing tips for writers, and creatives in profile interview series!

Conquering Mount To-Be-Read: A New Year Challenge

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Starting the new year with a mountain of books to read? You’re not alone

It’s no doubt advice that you’ve heard time and time again, but it’s good advice – in order to be a better writer, you have to be a great reader. In the quest to read as widely and prolifically as possible, it’s inevitable that you’ll pick up lots of wonderful books. It’s even more inevitable that at least half of them will gather dust on shelves and in piles in bedrooms, living rooms, attics and garages. Alas, the curse of the bibliophile writer (is there any other kind?) is the to-be-read pile of shame.

Your TBR pile grows quicker than you realise – doubly so if you’re an ebook-a-holic like me. A new awards list comes out, so you pick up a few titles – they have to be good, right? A friend reminds you of a series that you’d been meaning to check out in a while, so that’s another set on the shelf. Amazon’s always got a sale on Kindle books, Humble are doing a new bundle of rare and unseen Neil Gaiman texts, and before you know it, you’re drowning in pages with more and more being added to the vast, wordy sea.

This Christmas, my bookcase reached its limit and became a health and safety nightmare, so I decided that something needed to be done. After scouring the web for a solution, I stumbled upon my potential salvation – the Mount TBR reading challenge, created by literary blog My Reader’s Block.

The aim of the game is to try and conquer that toppling to-be-read pile by choosing a target number of books to read throughout the year, with tiers named for mountains of differing heights. In my case, I’ve chosen Mount Blanc, partially because of the Shelley reference, and also because it equates to knocking a conservative 24 books off the list. It doesn’t seem like many, but that’s at least two books a month, and not an easy feat when you read whacking great sci-fi tomes like I do. However, with a bit of careful planning – a hastily scribbled list of all the physical books I have left to read, and a promise to take my Kindle on the bus to work instead of my 3DS – it’s a positively achievable goal.

There aren’t many rules in the Mount TBR challenge, except that the books must be ones you own (and surely that’s the point of doing the challenge), and, if you’re really not feeling a book, you have to give it a chance and get through a good portion of it before you can call it quits and knock it off the list. If you’re feeling adventurous, you can always scale your pledge up to conquer even more of the pile of shame. However, in the true spirit of competition, you can’t scale that number down. Come on, it’s meant to be a challenge after all!

As well as alleviating some of my reader’s guilt for leaving books on the shelf for so long, I’m excited by the fact that I’ll be reading loads of new stories. Already, I’ve knocked The Autobiography of James T. Kirk and Paul Cornell’s The Lost Child of Lychford off my list, but I’ve got some Annie Proulx on there that’s been languishing in the pile for several months. On my Kindle, there’s a T.C. Boyle novel that I bought during my MA that remains untouched, and there are even books that I bought in sales six years ago lurking on there. I’m hoping that at least a few of those will make the cut as I attempt to hit my target.

Although climbing the mountain and cutting down the list is its own reward, I’m hoping that the challenge will stretch me even further and encourage my writing output to grow this year. Getting off the computer and going analogue a bit more, diving into new and different worlds, should in theory encourage me to keep on creating my own. So with cup of coffee in hand and blanket in easy reach, I’ve started my ascent up the formidable Mount TBR. What are you waiting for?

About the author of this post

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Robyn Hardman is a writer, blogger and a PR and marketing consultant based in the Cotswolds. When she’s not writing press releases about silly cars, she’s usually in the pit at your local punk show. She tweets as @twobeatsoff.

How to tell if you’re reading good writing – David Foster Wallace on books, arguments and how to write a good opening sentence

 

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Once described by John Updike as “just a penis with a thesaurus”, David Foster Wallace has become a quasi-mythical figure in the literary world. The author, essayist and former teacher who told his students “The whole thing [literature] gets very complicated and abstract and hard”, continues to provide inspiration and guidance to book lovers and aspiring writers.

This guidance ranges from the spiritual:

“The really important kind of freedom involves attention, and awareness, and discipline, and effort, and being able truly to care about other people and to sacrifice for them, over and over, in myriad petty little unsexy ways, every day.”

Through to the practical:

“Get a usage dictionary… you need a usage dictionary, you have to be paying a level of attention to your own writing that very few people are doing… A usage dictionary is [like] a linguistic hard drive… For me the big trio is a big dictionary, a usage dictionary, and a thesaurus.”

In so many of Wallace’s words and ideas there is a clear expression of the relationship between the author and language itself – what it means to write, how one should go about the task of writing, and what the writing your produce reflects about your own psychology, and how it helps you to become who you are.

If you’re in need of a further fix of David Foster Wallace inspiration, we’ve brought you some of our favourite excerpts from the book Quack this way: David Foster Wallace and A. Gardner talk language and writing.

Speaking of books, and the act of reading, Wallace discusses ways you can tell whether what you’re reading is actually any good:

“Reading is a very strange thing. We get talked to about it and talk explicitly about it in first grade and second grade and third grade, and then it all devolves into interpretation. But if you think about what’s going on when you read, you’re processing information at an incredible rate.

One measure of how good the writing is is how little effort it requires for the reader to track what’s going on. For example, I am not an absolute believer in standard punctuation at all times, but one thing that’s often a big shock to my students is that punctuation isn’t merely a matter of pacing or how you would read something out loud. These marks are, in fact, cues to the reader for how very quickly to organize the various phrases and clauses of the sentence so the sentence as a whole makes sense.

[…]

The point where that amount — the amount of time that you’re spending on a sentence, the amount of effort — becomes conscious, when you are conscious that this is hard, is the time when college students’ papers begin getting marked down by the prof.

[…]

One of the things that really good writing does is that it’s able to get across massive amounts of information and various favorable impressions of the communicator with minimal effort on the part of the reader.

That’s why people use terms like flow or effortless to describe writing that they regard as really superb. They’re not saying effortless in terms of it didn’t seem like the writer spent any work. It simply requires no effort to read it — the same way listening to an incredible storyteller talk out loud requires no effort to pay attention. Whereas when you’re bored, you’re conscious of how much effort is required to pay attention.”

A crucial exponent of a good read, Wallace suggests, is a good “opener”. And in his correspondence with Garner he puts down some advice for all aspiring writers on how they should go about writing that often difficult opening sentence:

“A good opener, first and foremost, fails to repel… It’s interesting and engaging. It lays out the terms of the argument, and, in my opinion, should also in some way imply the stakes… If one did it deftly, one could in a one-paragraph opening grab the reader, state the terms of the argument, and state the motivation for the argument. I imagine most good argumentative stuff that I’ve read, you could boil that down to the opener.”

Agreeing with the Aristotelian principles that any good piece of writing should have a beginning, middle and end, Wallace says that while openings can be difficult – it is perhaps the middle that is the toughest nut to crack.

“The middle should work… It lays out the argument in steps, not in a robotic way, but in a way that the reader can tell (a) what the distinct steps or premises of the argument are; and (b), this is the tricky one, how they’re connected to each other. So when I teach nonfiction classes, I spend a disproportionate amount of my time teaching the students how to write transitions, even as simple ones as however and moreover between sentences. Because part of their belief that the reader can somehow read their mind is their failure to see that the reader needs help understanding how two sentences are connected to each other — and also transitions between paragraphs.

[…]

An argumentative writer [should] spend one draft on just the freaking argument, ticking it off like a checklist, and then the real writing part would be weaving it and making the transitions between the parts of the argument — and probably never abandoning the opening, never letting the reader forget what the stakes are here… Never letting the reader think that I’ve lapsed into argument for argument’s sake, but that there’s always a larger, overriding purpose.”

So, saviours of the written word, there you have it! Go out and discover your overriding purposes – and never let them out of your sight!