As someone who’s drawn to subtle stories with complex characters and hates being bludgeoned with being told what to think and feel, I shouldn’t be surprised that there are times when my expectations aren’t met by the book in my hands and I’m tempted to give up. Usually I try to unravel why it didn’t work for me, with the aim of both getting a stronger sense of what I like and don’t like, and what I can learn from this for my own writing. But sometimes I feel quite disorientated by my bafflement, by my lack of connection with the author’s words. If I’ve been unlucky – or chosen unwisely – and experienced a string of disconnections, I can feel quite low. The activity that has always been my refuge becomes a claustrum. It’s like being internally homeless or losing a good friend. (Or finding your compatriots have voted overwhelmingly for xenophobia, which still has me reeling almost a week on.)
It’s almost a year until my second novel, Underneath, is published. As it starts with looking around a house, I had it in mind when I posted my guest prompt over at the Carrot Ranch recently. What I didn’t realise at the time was that this would herald a theme cutting across much of my reading and reviews, from Nolan’s work on a building site in Journeyman, to an updated Wildfell in The Woman Who Ran, to the isolated manor house in The Sacred Combe, a large house in Nigeria in This House is not For Sale, a farmhouse in upstate New York which has been bought on the cheap in All Things Cease to Appear and an entire street in Prosperity Drive. Now I’m adding to that list with a novel about a former show house on an unfinished Irish housing estate from which, one by one, all four members of a family disappear and another about the strange children who come to live in an isolated mansion.
It’s UK publication day for two debut novels taking a look back at 1960s in the USA, with an emphasis (at least in my reading) on the subjugation of women. Thanks to Chatto & Windus and John Murray for my review copies.
Less than a week after I published my post on how we relate to fictional characters as if they were real, I was chatting to a farmer out on the moors. He was on his quad bike looking for some motorbikers who’d trespassed on the land that feeds his sheep and cows; I was patrolling on foot enjoying the sunshine and wildlife and hoping the next people I asked to put their dog on a lead would comply. We spoke about the impact of the human footprint (and tyre) on the changing landscape, and he referred to other farmers he knew in tourist hotspots who have to contend with far more visitors. Ever conscious of my limited countryside knowledge, I wanted to tell him that I knew a farmer too. But I didn’t, because the farmer I had in mind lives in a book. So I’m telling you instead. As Norah commented on my cognitive poetics post, finding a suitable channel to sound off about our reading is part of the motivation for writing blogs.
Annecdotal is where real life brushes up against the fictional with mutterings about reading and writing seasoned with psychology.
Annecdotist is the persona through whom I navigate that in-between space. When not roaming the blogosphere, I'm reading or writing, tramping the moors, battling the slugs in my vegetable plot or struggling to sing.
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some linked to a weekly flash fiction, plus posts on writing and my journey to publication and beyond.
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Sugar and Snails on 2016 shortlist
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