Thursday, December 24, 2009

Infinite Sky

I was wrestling with Nikos, and he tripped me over.

As I lay on the dandelions and dry pine needles, I was struck by the calm largesse of the blue above me; the quiet, infinite ascent, highlighted by the tree's shadow, and a few clouds.

This is a common experience in martial arts: after the rapidity and risk of combat, moments of sweet reverie. After limitation, concentration and threat, an endless, easy welcome. It puts one's strivings and failings in perspective - and the sting of defeat.

As I lay there, I was reminded of the passage in Tolstoy's War and Peace, after Prince Andrei is wounded at Austerlitz. I can't claim Andrei's heroism, or Tolstoy's genius - but I think every downed, fallen fighter knows this dream:

Above him there was now nothing but the sky- the lofty sky, not clear yet still immeasurably lofty, with gray clouds gliding slowly across it. "How quiet, peaceful, and solemn; not at all as I ran," thought Prince Andrew- "not as we ran, shouting and fighting, not at all as the gunner and the Frenchman with frightened and angry faces struggled for the mop: how differently do those clouds glide across that lofty infinite sky! How was it I did not see that lofty sky before? And how happy I am to have found it at last! Yes! All is vanity, all falsehood, except that infinite sky. There is nothing, nothing, but that. But even it does not exist, there is nothing but quiet and peace. Thank God!..."

Wednesday, December 23, 2009

Critics and Christmas

I've a piece in the Sydney Morning Herald, 'A bad review can be a learning experience'.

I'm emphasising the educative role of critics, rather than their dubious role as 'guardians of culture'. A sample:
The big problem...is not that critics will murder restaurants or books - although I can understand why it feels this way if you're on the receiving end. The danger is that we will forget what good criticism is; that we will come to accept clumsy scores or shallow fawning or viciousness instead of works that genuinely diversify or deepen our taste.
(Image: G.C. von Max, 'Monkeys as judges of art')

***


I'm giving our version of an atheist Christmas - trying to avoid the extremes of shallow gift exchange and faux-religious laziness. A sample:
as I'm an atheist, there's no God for me. I believe that if he existed, Christ was a murdered holy man, not the child of a god. And that when I die, I will be annihilated and return to the nothing before my birth. But, with my family, and like faux-Christians everywhere, I do celebrate on Christmas Day. Before cries of hypocrisy drown out common sense, let me repeat: I celebrate on Christmas Day - I don't celebrate Christmas.
(Image: Softeis)

Monday, December 21, 2009

'The Write Tools' #10 - Kirsty Murray

Welcome to another edition of ‘The Write Tools’: a blog series featuring authors, artists and their favourite tools.

Today’s guest is
Kirsty Murray, author of books for children and young adults. Kirsty's most recent book is Vulture's Gate, and she is now working on her ninth novel (and fourteenth book).

When I was seven years old my younger brother accidentally slammed a car door on my right hand and severed the tendon between my middle and ring finger. As a result, I have such appalling handwriting that I’m in awe of people who can write elegantly with authentic writing tools, such as fountain pens. Perhaps I was always destined to have illegible handwriting but I have been able to justify my addiction to keyboards on the tiny purple scar on the back of my right hand.

But it’s not my keyboard that I’d classify as my favourite writer’s tool. In terms of writing novels, my dependence on the keyboard is second to my dependence on the big scarred, canite pin board that covers the wall above my desk. Without it, I don’t think I’d be capable of writing another book. Having just found my way to the end of my ninth novel, the board is in a state of semi-undress. It grows organically across the course of a year until the visual clutter becomes overwhelming and I’m forced to spend an afternoon fiddling with all the images and notes that cover its surface. I use it every day, to review materials, to visualise the tasks ahead of me, to secure stray documents, and it provides a method for holding and accessing all the disparate threads of a major story without having to resort to endless flicking through notebooks and files.

Before I turned to full time writing, I worked in visual and graphic arts. I have always been deeply visual in how I experience time, place and narrative. For me, a story is a series of images that grows into a canvas strewn with words. I see the story played out in my mind long before the words come to make the novel.

My first novel, Zarconi’s Magic Flying Fish was roughly 55,000 words in length but the greatest challenge was not simply producing the words but creating a structure for the flow of the imagined events. At that stage, I hadn’t discovered the beauty of the pin board. I wrote an outline of each chapter on a continuous roll of computer paper and wallpapered my office with it so I could walk around the room and visualise the sequencing.

In writing my second novel, Market Blues, I discovered that the entire premise of time travel is structurally flawed. The computer paper method didn’t work. When I was at my lowest ebb, my husband, a playwright and puppeteer, explained the virtues of storyboarding the scenes and I adapted this to the novel with liberating effect. With the aid of my first pin board and a stack of index cards, I broke the book into its parts and moved the scenes up and down the board until I had a satisfying sequence. Since then, this method has become an intrinsic part of the process of structuring every novel. If you think visually, containing tens of thousands of words and images inside your brain can be a tedious business. Allowing them to spill out onto the pin board frees up so much headspace.

If you look at the photo of the pin board, you’ll notice a stack of blue index cards to the right. They are the chapters of my latest book. They move up and down the board depending on how each chapter is reshaped, rethought and repositioned in the manuscript. Above the computer are roughs for the new cover. Above and to the left of the screen are maps of India at different times in its history. Then there are lists of characters, images relevant to the pivotal scenes, notes, publishing schedules, chapter summaries, calendars from 1909 and 1910, edifying slogans of encouragement and visual prompts and references for various scenes.

In another month or so, when I’ve finished the rewrite of this novel, the board will look completely different again. My pin board is an organic, ever changing landscape, a background to my writing days. Like the shelves of a pantry of essential foodstuffs, it is constantly in need of maintenance. In any given week twenty things are stripped from it, consumed, digested, passed into the recycle bin and another generation of images, ideas and notes come to take its place. Sometimes they lie one atop the other until the detritus becomes unbearably deep and I’m embarrassed by the state of the wall.

Frankly, photographing it for this blog post was traumatic. It probably looks scrappy and cluttered to everyone but me but that’s my writing life – mess, clutter, words, images, the endless battle to impose some order on the whole explosive mess and then, finally a new novel.

(Cross-posted at Kirsty's blog, Magic Casements)

Saturday, December 19, 2009

A Trophy Philosopher

This arrived in the mail this morning.

It's the first proper trophy I've won since my days of Goju-Ryu Karate.

Which nudges me to ask: is writing really more satisfying than ridge-handing someone in the face?

Perhaps not. But it's nice to get a pat on the back unexpectedly (rather than a foot in the head).

Today I'm a trophy philosopher.

Wednesday, December 16, 2009

The Virtues of Running

It's now 38.1ºC, and I just went for a jog. My wife thinks I'm stupid. Perhaps so.

My reasoning is simple: life is varied. If I want to continue anything of worth, I have to pursue it in different conditions. I have to write when I'm tired, grumpy, anxious or gleeful. I have to parent when I'm exhausted, frustrated or depressed.

Virtue, as Aristotle reminds us, is a matter of doing: habits are formed by acting, not waiting to act. Aristotle also suggests we vary these habits to suit the situation, and our inclination: if I'm over-anxious, I have to rein in my verbosity; if I'm sluggish, I need to kick myself in the bum to write another five hundred words.

And the same for running. I have to run in rain, hail, pollen storms - and in baking heat. I won't go in like a bull at a gate - sprinting, slogging and dehydrating. But I will plough on, slowly, patiently, calmly. This is how I cultivate the virtues of running, like courage, perseverance.

I'm still stupid. But not, I hope, craven or foolhardy.

Monday, December 14, 2009

'I am the bowler and the ball...'

If the wild bowler thinks he bowls,
Or if the batsman thinks he's bowled,
They know not, poor misguided souls,
They too shall perish unconsoled.
I am the batsman and the bat,
I am the bowler and the ball,
The umpire, the pavilion cat,
The roller, pitch, and stumps, and all.

- Andrew Lang, 'Brahma', after Emerson

Saturday, December 12, 2009

Wealth and Illth

Well, folks, we can all relax: according to the US Federal Reserve not long ago, the world economy is ‘leveling out’. Break out the bubbly, take out that second mortgage, and shift the kids back from Garden Variety High to Golden Grammar School – the markets are happy again.

Never mind that many government and private forecasters were blind to the ‘global meltdown’ in the first place. Never mind that some of them contributed to it, either through feverish addiction to economic ideology, or plain old-fashioned greed. All’s well again, and the emperor’s new clothes are dry cleaned.

Even if they’re right, it misses the point. What’s missing from the equations of many governments and corporations isn’t financial nous – it’s what we might call economic largesse. It’s a willingness to sacrifice private profit for public good; to invest in human flourishing, rather than investing in investment.

This, of course, isn’t a new doctrine. But it can be a radical one, in times when politicians, business leaders and ordinary citizens are all wearing banknotes for blinkers.

A good example of this moral capitalism comes from John Ruskin, who was born 190 years ago in England. The son of a well-off merchant, Ruskin was for a time the most beloved, respected public intellectual of Victorian Britain. He wrote on art, aesthetics, geology, botany, household management and education. He inspired guilds, schools, and the striking works of William Morris, and the Arts and Crafts movement.

But his most controversial works were his economics lectures. His father thought he’d be ridiculed for poking his nose into men’s business, instead of the more ‘feminine’ subjects of art and nature.

And his father was right. He was mocked by many commentators as ignorant, wooly-minded and unrealistic.

On top of this, he had conservative, repugnant ideas on democracy, suffrage and feminism. He was no radical. And, to our eyes, his famous Victorian prose seems meandering and vague.

But despite their flowery, sometimes-muddled expression, some of Ruskin’s ideas were prescient then, and relevant now.

In his book Unto This Last, the conservative redefined wealth: ‘there is no wealth but life,’ he famously wrote. For Ruskin, the Victorian obsession with profit wasn’t generating wealth – not health, happiness, beauty. Instead, it was creating sickness, anxiety, ugliness – what Ruskin called ‘illth’.

His point was a good one: the laissez-faire fixation with private gain was destructive. In their chase for profits, many industrialists and small-businessmen were crushing their workers, producing defective goods, and spoiling the countryside.

It’s not hard to see the parallels with today. The environmental crisis is partly the product of systematic, selfish marketeering, which seeks infinite growth in a world of finite, fragile resources.

The appalling conditions of third-world workers mimic the squalor and misery of Victorian factory-employees and miners – eking out a living, while others benefit from their subsistence life, and expect them to be grateful.

And, in the short term, the global economic implosion is obviously the result of blind, self-interested, unregulated profit-seeking.

As for defective goods – ever tried buying a durable DVD player recently? Our ever-growing landfill is heaped-high with obsolete, broken, inexpensive, often-toxic imports.

This is all Ruskin’s ‘illth’. And it makes a mockery of wealth: billions of dollars concentrated in a few wallets, while ordinary workers and the environment suffer. The same forces that produce beautiful cars, bags, clothes, also lead to industrial ugliness on a planetary scale.

So what to do?

Ruskin had many unworkable suggestions. He recommended, for example, that workers should be paid less, but with more predictable, ongoing hours. And he occasionally argued against leisure time, in case it was filled with idleness and trivia. I can’t imagine too many unions accepting these – and rightly so.

A more striking idea was that of duty and sacrifice. And it concerned, not workers, but bosses: managers, owners, CEOs.

His idea was simple. Many of our most esteemed professions involve sacrifice. We expect doctors to do grueling shifts in pursuit of health. We expect priests and ministers to miss out on family life or riches in the service of God and community. And from soldiers, we ask the ultimate sacrifice: their lives.

Yet from our businessmen and merchants, we expect selfishness. We believe, as did the Victorian free-traders, that ‘greed is good’ for our industrialists and high-flyers, and for the country. And we use the same logic for shareholders.

Or at least, some of us used to believe this. As the global meltdown suggests, selfish individualism can be horridly destructive. It can blind us to the consequences of our trade, and cause untold, cascading damage.

This was why Ruskin sought to raise the ambitions of traders. For them, the time had come to discard all they’d been taught; to lay aside their greed and selfishness, and adopt a mindset of honour, duty and sacrifice. ‘In true commerce, as in true preaching, or true fighting,’ he wrote, ‘it is necessary to admit the idea of occasional voluntary loss.’

Note he says ‘voluntary’, not accidental or forced. He means simply this: sometimes, in the interests of workers, the environment, or the country at large, our wealthiest should deliberately, thoughtfully lose money. ‘The market may have its martyrdoms as well as the Pulpit,’ he continued, ‘and trade its heroisms as well as war.’

In essence, Ruskin wasn’t offering a ‘roadmap’ for financial solvency. He was trying to humanise the market. He was asking economic leaders to raise their moral aspirations, and accept less, so that the broader community might have cleaner air, better goods, or higher wages.

With his cap on executive salaries involved in the bailout, US President Barack Obama recognises this: it’s fiendish for executives claiming hand-outs to profit while ordinary people suffer. They should sacrifice their private gain for public profit. Wayne Swan's discussion of caps in Australia have the same import.

What’s disappointing is that this surrender must be enforced, rather than freely given.
Perhaps a new generation, accustomed to global recession, might learn the value of sacrifice over selfishness. They might learn to live with less, while their industries green the countryside, or feed the families of the poorest here and abroad.

In Ruskin, we see an unlikely global financial advisor: an heir to a fortune, who lost it in philanthropic schemes, instructing today’s Forbes 500 in money-management. And, admittedly, notions of duty and honour are no ‘magic bullet’ for systematic economic crises.

But Ruskin’s point, almost two centuries since his birth, remains a vital reminder: that a healthy economy is for promoting wealth, not just making money.

Thursday, December 10, 2009

'A time for reflection'

I've a piece on the ABC, 'A time for reflection'. I'm suggesting the humble art of tea deserves a revival. A sample:

coffee has its benefits, too - to health and well-being. But these shouldn't divert us from the blessings of the humble camellia sinensis leaf. In its chemistry, rituals and gregarious pull, the cup of tea promotes patience and presence-of-mind. It's not a pick-me-up, it's a way to calm down; to come back to earth. So maybe The Roman was right after all: tea is a remedy, for the ills of a distracted life.
(Image: The Fitzwilliam Museum)

Monday, December 7, 2009

'The Write Tools' #9 - Christopher Lawrence

Welcome to another edition of ‘The Write Tools’: a blog series featuring authors, artists and their favourite tools.

Today’s guest is broadcaster, occasional author and very occasional orchestral conductor
Christopher Lawrence, whose most recent book is Swing Symphony. Christopher will be presenting Evenings around the country on ABC Local Radio during most of the summer.

Luck rather than perseverance produced my first book. A publisher wanted to convert my classical music gig on the radio into a printed equivalent. I was therefore asked to become a writer. And since my ambition was only to develop some degree of craft – the highest attainment one should expect – it would all be about the quality of the tools.

I had been writing radio scripts, magazine pieces, annotations for concert programs and other bits and pieces for decades, and had worked out that a good machine and a bit of clear air for the mind would always do the trick in these short-form exercises. My working environment seemed not to matter; I’d had to make copy about Stravinsky or baroque ornamentation in some pretty dingy, windowless spaces, amid the clatter of other typewriters.

There was a certain battery hen feel to it, all of us rolling out words for their brief life as a radio wave, but it was a good apprenticeship. I felt a bit like one of those nameless medieval scribes labouring away to illuminate his manuscript, seated at a long bench and freezing his cassock off in some unheated stone hall. And yet the work still glows and amazes a thousand years later.

I am consequently a bit sceptical of creative types who need well-appointed spaces in which to create, perhaps with the view of a lake or mountain. An ever-present display of the world’s beauty and immensity only makes one philosophical, and there is nothing more certain to undermine the intention to dream up words than the realisation of how little they matter in the scheme of things.

On the other hand, the unprepossessing space is ideal for writing, because the mind is made into a refuge by blocking out the surroundings. Those ancient monks had to be oblivious to what was around them, including the scratching of quill on vellum coming from the bloke alongside; whereas I suspect many full-time writers, nervous about losing their keyhole into the zeitgeist, spend anxious hours in comfortable seclusion trying to second-guess what everyone else might be doing.

So – any old space will do. And forget about pens and longhand. I know Stephen King says it has reconnected him to the magic of story telling, but he’s a freak. Computers and whatever will supersede them are the way. Speed is of the essence, and life is short. I bet those monks would have rejoiced in Adobe Photoshop if they’d had the option in the middle Ages. Their lives were very short.

Dictaphones are out for me too – Phillip Adams notwithstanding. Who wants even more freeze-dried conversation in the era of YouTube? It’s like last night’s uneaten risotto, having lost something when you pull it out of the fridge the next day.

My tools for the transition to more long-form writing are therefore the same as those of old, with perhaps a bit of sharpening: an ordinary room, some time, a compliant word application. The only extra requirement for me is one that rewards hard work and serves as a reminder that writing should be a joyful exercise, even when you’re on the verge of ripping up the vellum. It also inspires from time to time.

A glass of champagne.

(Photo: Jon Sullivan)

Saturday, December 5, 2009

Marriage: A Completing of the Instrument

"I am glad to be home, & feel my real life coming back again--I mean life here with L. Solitary is not quite the right word; one's personality seems to echo out across space, when he's not there to enclose all one's vibrations. This is not very intelligibly written; but the feeling itself is a strange one--as if marriage were a completing of the instrument, & the sound of one alone penetrates as if it were a violin robbed of it orchestra or piano." - V. Woolf, diary, Friday 2nd November, 1917

(Photo: The Estate of Gisèle Freund, courtesy of National Portrait Gallery, London)