Tag Archives: Murakami

Short story: The Lonely Tree


This is just something I rattled out, slightly in the style of Murakami:

This is the story of a boy, who was not yet a man. It’s the story of his first love, his first heartbreak and the tree that fell on him.

It’s the fashion to have summer romances but the boy was allergic to everyone’s favourite season. It made his eyes red and his nose stream.  In fact he had always thought that girls were allergic to him. It wasn’t that he couldn’t speak to them or that they didn’t like him, but that they couldn’t love him. More than anything the boy wanted to know love. One winter, when the air was crisp and the nights chilled, he thought that he did.

He couldn’t believe his luck. A childhood crush, the cleverest catch around and a friend he cared for deeply rolled into one package. Her smile locked his worries away and out of reach for hours. Being with her he felt as if he wasn’t alone for the first time in his life. Hearing from her was, surprisingly, almost as good. Making her happy filled the void of purpose in his life. His existence no longer felt empty. Simply put: she made him happy.

Fate had never looked so kindly upon him before and deep down he knew that her favours would be brief. But while it lasted nothing else mattered. Or rather, everything mattered more. Her dreams enriched and expanded his own, her energy and life gave them colour. He was filled with enthusiasm and a drive he did not know he possessed. He felt like a better person and fully himself for the first time.

Looking back on it he supposed the relationship would seem a short lived folly to onlookers, and this angered him. Nothing had ever meant more. At least to him. The boy had never realised just how important intimacy, close friendship and the joy of caring for someone was to happiness. When it ended, for no reason besides that she didn’t love him after all, things reverted to normal. Only more so.

He wondered if that happiness had been an illusion and whether he had truly known love. He felt catapulted back to square one. He did not know what to think or feel, knowing for certain only that he was empty again. And he was alone. The dreams that had grown to new heights in her company were now mere weeds, smaller than the clumps of green nothingness at the foot of the tree in his garden.

The tree watched as the boy moped and rolled around like a pig in his misery. At first the tree felt sympathetic towards the boy, as no one knew better than him what it was to be alone. Trapped in his hollow shell with no friends to speak of, and no means to speak, the tree longed for contact of some kind. He knew everything the boy was missing and more. And then the tree realised how selfish the boy was. And how much harder it was to be a tree.

As the spring rapidly shifted into summer the boy felt every concrete trace of his love fading away, swamped by the passing of time. With each day he felt more and more like he had no right to feel anything at all. All he had left were the memories and hopes in his head. He missed so much; far too much for words, he told himself.

On a blue morning with a blazing sun and abstract strokes of white overhead, the boy had an epiphany. Well it was that day at least that he admitted to himself a truth that he had felt for a while. He said to himself: “Love is enough for me”. He knew that, for the right person, he would sacrifice all the goals and ambitions he had thought essential to his well being, satisfaction and success. He acknowledged that, during his time with his first true love, he had enjoyed and derived immense contentment from even the harder things. He was glad to be there when she was upset, happy to calm her down, even if he was only a slight comfort. Caring for someone important to him, as important as that, was all he could ever need.

He remembered reading a novel in which the main character believed there were only three chances of finding your soul mate. He pondered whether for him, “soul mate”, meant someone worthy of his absolute care. Plunged back into sadness and despair by the thought of having lost someone he could lose himself in and devote himself to, he ran into the garden, blinded by fierce tears. He crouched down in the dirt, sniffling as the pollen swarmed up his hostile nostrils. He pressed his back against the trunk of the tree. He stared at the world around him, confused and crying.

By this point, the tree was seething. The tree didn’t know how he knew all about what the boy was thinking and feeling, but he did know, and it made him angry. The tree did not know he was capable of anger. The tree could not think, had no brain and nothing at all to account for the melancholy consciousness brooding within his gently swaying frame. The wind blew lightly across the garden, flicking the odd leaf and stroking the odd stem. The tree felt a shiver of cold. The tree felt.

The boy was gradually coming out of his panic, descending into a depressed paralysis. The loveliest, brightest petals of the most vibrant flowers looked bleak to him. His mind’s eye conjured a symbolic bonfire of his dreams in the corner of the lawn. If he could be so easily tempted from them, what chance did he have of achieving such grand plans? What did they matter anyway? Forcing his head up from its slouch on his knees, he felt the bark in his hair and decided there was no point to any sensation at all without someone to share it with.

The tree was fuming with anger from its roots to its summit. It could sense the boy’s sadness. His self involved and ungrateful emotion wasn’t just saturating the air around the tree now, but squirming and writhing against its flaky skin. The tree couldn’t stand it. It was determined not to take it anymore. It wouldn’t be buffeted by nature or ignored by men today.

The boy sighed deeply, turning his face into the breeze and relishing its cold wipe. He felt the gusts get stronger and firmer in waves, as if someone were stirring the air with an enormous food blender. Pulse after pulse slapped against him. The sweat under his arms went from hot and sticky to icy and damp. His spine creaked as the tree trunk rocked a little against him. His back stood firm easily like a castle wall against the minute thrusts.

The tree was summoning all of its energy from its very furthest extremities, even the roots beyond the garden wall. The tree was straining every part of its being in pure and untamed rage. The tree was alive and a part of nature but for the first time ever it was wild. It did not have muscles to tense or bones to move but it had life and the tree channelled every last ounce of it into its rage. It didn’t know what it was doing or understand the consequences. All it knew was how wrong the boy was, how angry it made the tree feel. It was trying to teach the boy a lesson, on behalf of trees everywhere.

The boy continued to feel little swellings at his back. Small pressures, surely caused by the wind, made the entire structure of the tree wobble a fraction. Leaves that had been noisily rubbing in the flower beds slowly stopped. The bending blades of grass rested and stood upright. Gradually, the trunk seemed to be moving faster, almost pushing out into the boy, like something was stuck inside. The tree rocked more and more as the breeze died away to an unnoticeable whisper. As the branches began to rattle, the boy noticed properly for the first time the firmer and firmer touch of the trunk. He glanced up towards the sky, through the canopy of crisscrossing browns and greens, only to shrug away again with a sob.

The boy’s indifference only enraged the tree still more. So that, as the swaying grew quicker and quicker, the consciousness that had formed inside the tree disappeared, becoming something else entirely. Now the tree was just movement, just energy, just purpose. All of the life the tree had ever known became focused on the boy and ending his ignorant and cruel soul. The tree had never known what a soul was; would never know. It did not know whether or not the boy had one. It only knew that the boy had to be stopped. He had to be taught that at least he had tasted love, known happiness, shared warmth and feeling. He had to be shown that at least he could dream, chase dreams and possibly live them. There were always those lives that did not live, always those with truly no hope left; always lonely trees.

There was a crack. And the trunk threw its full weight at the boy, who scrambled too late from his pity. Falling branches pulled away the light and the blue from the canvas of the sky, bringing only dark.

Like in films, the boy came to gazing at sheer whiteness. Nothing else. The colour white was the afterlife? Appropriately empty he thought. And then he remembered. The tree.

He had often dreamt about his funeral. A song lyric drifted into his mind – “the dreams in which I’m dying are the best I’ve ever had”. The dreams in which he was dead were some of the best he’d ever had; terribly self indulgent fictions in which all the figures and characters of his life turned up, gushing praise and regrets. All the girls and friends he’d ever wanted poured their hearts out. He was great after all.

There was no one here he really wanted to see. The strip lights buzzed and whirred, stuffing light down his retinas. The whiteness turned out to be the roof tiles. A steady beep and blip passed the time like a clock ticking. His heart was liable to suddenly conk out. He was hooked up to a monitor like on telly. His parents were here.

They didn’t believe him about the tree. When he was well enough to argue, they argued. They accused him and lectured him. They warned and scorned him. His mother ranted about the hardships of life, bemoaned his ignorance. Even his father shouted. He wasn’t allowed grapes, hadn’t been for years, so someone, probably his mother, had brought biscuits. His father had eaten most of them during the interrogations.

If he’d been able to text, he might’ve texted her, would definitely have texted his best friend. She hadn’t come to see him, even when he’d asked his parents to try to organise it. He was still alone. But something felt different. His skull was cracked, his spine weakened, his legs bruised, his right ankle broken, toes misshapen, right thumb fractured, left hand in plaster, nose crooked, face scratched, knees cut, wrists sprained and buttocks sore. But he felt stronger.

When they took him home he realised what it was. The tree hadn’t been dealt with yet. Its big, bulky carcass, torn in two and smashed in a heap through the fence, reminded him how bad he had felt. It reminded him that he’d realised he just wanted somebody to love. A universal truth, some might say, theme of many a song, but for him it was deeper, all his other wants were trivial and only to love was what he needed and what he craved.

Those trivial dreams might have been exposed as mostly meaningless, but somehow the tree had taught him they were still important. Months in a hospital bed had forced him to write again to pass the time. So that’s what he would do. He would write more and more, hopefully better and better, churning out any old nonsense. He would write to forget, write to remember, write to move on, write to preserve, write from the heart, write from the mind, write in the night, write in the day and write to lose himself. He would write because he could. And to touch, now and again, on truths that made everything worthwhile.  Even the lonely trees.

The Art of the Short Story – Reading and Writing Challenge Month


For weeks now I’ve attempted to absorb myself in the art of the short story. Not just to read lots of new ones and re-read old ones, but to look closely at their composition, compare their merits and work out why it was that these fleeting snapshots of life seemed so much more like art than their beefier cousin, the novel.

At the end of my blitz of numerous tales I feel at once wiser and just as ignorant. The fact that my study of these stories has been so intense, the fact that it was indeed a solitary blitz, meant I had much less time than I would have liked to dissect, contrast and concoct thoughtful, satisfactory points and conclusions. This mini task within the greater, rushed whole of Reading and Writing Month has certainly not proved to be the magic pill I might have hoped for; I have not morphed into a masterful writer myself simply by consuming such a renowned, diverse range. But I am glad I was ambitious and wide ranging. I feel as if I’ve discovered intriguing examples I’ll be able to return to again and again as an inspirational template and model for my own work. Or works I’ll re-read simply to marvel at and endlessly reinterpret and enjoy.

Even prior to this challenge I found that a certain type of short story would leave me baffled. It would feel as if I’d barely read what could be called a “story” at all. Ernest Hemingway was one of the particular authors that could simultaneously make me feel cold and unmoved and fascinated. At A-Level I studied Cat in the Rain and for this challenge I read other tales from Hemingway’s “First Forty-Nine Stories” collection, including Homage to Switzerland and One Reader Writes. One Reader Writes is barely two pages long and feels as though it were lifted straight from an experiment in a creative writing class, as the narrator, clearly barely literate, attempts to write a letter about her husband’s syphilis. Homage to Switzerland presents three almost identical but also very different conversations at a railway station in Switzerland.

This last story is more typically Hemingway. He simply paints the picture of a scene to the reader; who watches. It takes the rule of “show don’t tell” in storytelling to the extreme. It points towards any number of possible truths about the characters, just as the famous Cat in the Rain does. The reader is left to interpret, as if watching a scene from a play. Indeed the quote from The Guardian on the back of my Hemingway collection sums up, what in the end, is his subtle brilliance:

“The author’s exceptional gift of narrative quality gives the excitement of a well-told tale to what is, in fact, a simple description of a scene” (my emphasis)

Here then is the first vague, hardly groundbreaking truth I began to comprehend better about short stories; that they can show us the many, differing qualities of a specific scene, much like a play. They can have as much or little drama as the reader (or the audience) chooses them to. Their brevity and focus also means that short stories encompassing a substantial sweep in time become harder to write. They’re also more likely to succeed if they contain dialogue. I do not say light-heartedly that dialogue is easy to write, but simply that good short stories rest on their ability to show us things in flashes, like a play. This is easier to do with well written dialogue. The professional looking winners, submitted by amateurs, to last year’s writing competitions, for Summer and Halloween in The Guardian and Telegraph respectively, mostly contained convincing dialogue, from which the reader can infer.

Chekhov was of course a playwright and this might explain his aptitude for the short story. In an insightful and enlightening introduction to a collection of Chekhov stories, Richard Ford makes a number of points about the merits of Chekhov’s writing that can also be applied across the board to short stories. Firstly he highlights how teachers were always telling him it was the sheer economy of Chekhov’s writing that others tried to replicate. As he concludes though, whilst this was evidence of accomplished craftsmanship it was hardly remarkable. What Chekhov did to elevate his writing, what made them art, was to expose universal, everlasting truths of the human condition still relevant today. His stories, the most famous of which being The Lady with the Dog, went against convention by taking established forms and zooming in on their less explored aspects. Like poetry, or a well executed play, Chekhov slowly makes us accept facts of existence we knew to be true all along; he simply crafted the circumstances and phrases to express them.

And yet short stories don’t all have to be masterfully subtle scenes, open to endless interpretation. The subtlety helps and it certainly doesn’t do any harm to have the fine focus of a scene. But they can also be the seeds of future novels, as Haruki Murakami’s Firefly became Norwegian Wood or symbolic essays on ideas. If I had to categorise the stories I have read, and I don’t think it would be wise to, I would divide them between these focused scenes and explorations of a particular idea. Fiction, in this condensed form, can be a far better, fuller examination of any idea than a hard written essay. Short stories can also better express something, without all the trappings and requirements of a novel.

In a refreshingly frank and interesting introduction to the collection Blind Willow, Sleeping Woman, Murakami talks about the difference for him, as a writer, between short stories and the novel. As always I find his distinctive Japanese symbolism captivating, even when he’s not crafting anything creative:

“To put it in the simplest possible terms, I find writing novels a challenge, writing short stories a joy. If writing novels is like planting a forest, then writing short stories is more like planting a garden. The two processes complement each other…”

Certainly there is substantial crossover in style and themes from Murakami’s novels to his short stories. Like his most celebrated novels, these tales are often heavy with nostalgia, sentiment and emotion. I mentioned ideas, but Murakami is a writer more interested in feelings and moods. His short stories allow him to explore these moods in isolation, touchingly and with symbolism. Many of his stories are symbolic and for me at least, irresistibly enthused with ingredients like adolescence, love and Japan. He is also an old fashioned storyteller in the sense that his short stories are often told by a character, or have happened to a friend of the narrator. Stories are currency to be passed around and retold, often based on perplexing coincidence that cast life in light or shadow.

Among my favourites from his collection Blind Willow, Sleeping Woman was A Poor Aunt Story, apparently one of his youthful, inexpert creations. This was a story with a symbolic idea at its heart, as opposed to someone’s emotional journey; the narrator wanted to write a story about a poor aunt, only for one to appear stuck to his back for the world to see. It seemed to me a wonderfully poetic way to make a point about the forgotten members of society, the pieces in the background.

Murakami also has the knack for the occasional, sensational and fantastical funny tale. A perfect day for Kangaroos, Dabchick and The Rise and Fall of Sharpie Cakes were all witty and amusing. Other personal favourites from the collection included: Hanalei Bay, Where I’m Likely to Find it (wonderfully mysterious), The Seventh Man, Hunting Knife and Birthday Girl.

Like Murakami, Kazuo Ishiguro is a writer excellent at moods, and I thoroughly enjoyed his atmospheric collection “Nocturnes”. This was five stories of music, love, nightfall and heartbreak. Here we find another string to the short story bow; loosely connected stories, that are quite separate but as a whole unite to portray one emotion, one truth or experience.

So finally then, to ideas. Whether they are sci-fi musings such as the poetically described automated house, with all its rhythm and life, in There Will Come Soft Rains from Ray Bradbury’s The Martian Chronicles, to Thomas Mann’s more intellectual and philosophical ponderings via his protagonist in Death in Venice, the short story can properly showcase them all. Mann’s masterpiece is a superbly written meditation on obsession, love, beauty, youth, art, ageing, inspiration and everything in between. It’s also just a damn good story, with an impressive sense of place, created from very little, compared to the time devoted to beauty and reflection.

Stories need not replicate the sweep of Mann’s success to be brilliant of course; I’ve already praised the narrow focus of the genre. They can deal with aspects and ideas within a grander theme. From the collection of love stories, My Mistress’s Sparrow is Dead, The Hitchhiking Game by Milan Kundera and Lovers of their Time by William Trevor, stand out. Kundera’s story for its exploration of role-play and the need for a balance between meaning and fun in a relationship; what he calls “lightheartedness and seriousness” (reminded me of his unique philosophical novel The Unbearable Lightness of Being). And Trevor’s for its portrayal of the decay of love over time.

My three favourites from my fleeting trawl through the form then: The Hitchhiking Game, Death in Venice and Murakami’s Where I’m Likely to Find it.

Thus concludes my inadequate summary of the art of the short story. But as I say, I do feel enlightened and extremely excited to have reignited the joys of reading and writing.

Reading and Writing Challenge Month – Days 8, 9, 10 and 11


I apologise for the failure of the blogging aspect of this challenge over the past few days. But I’ve had an epiphany. My laptop is evil and an agent of procrastination and distraction. Its seemingly harmless, sleek frame conceals the delights and dangers of the world wide web and countless other ways to fritter away time pointlessly. I therefore attempted to simply knuckle down. This post will take the form of a basic list, as I am keen not to waste time or disrupt what rhythm I have. Rest assured I am making better progress behind the scenes.

So a list of what I have been reading/read, predominantly comprised of short stories:

–          Lady Chatterley’s Lover (ongoing) by D.H. Lawrence

–          Love by Grace Paley

–          The Hitchhiking Game by Milan Kundera

–          The Lady with the Little Dog by Anton Chekhov

–          Lovers of their Time by William Trevor

–          Mouche by Guy de Maupassant

–          The Moon in its Flight by Gilbert Sorrentino

–          Spring in Fialta by Vladimir Nabokov

–          Yours by Mary Robison

–          Death in Venice by Thomas Mann

–          Cat in the Rain/One Reader Writers/Homage to Switzerland by Ernest Hemingway

–          There will Come Soft Rains by Ray Bradbury

–          Blind Willow, Sleeping Woman (collection) by Haruki Murakami

Some readers might find it amusing to know I made the grave typo of “Bling Widow” in the above last line.

A great number of the above short stories come from the collection My Mistress’s Sparrow is Dead, compiled and edited by Jeffrey Eugenides. This was recommended to me by Tomcat and as usual I thank him for a trustworthy tip.

The next few days will see discussion of these stories and others, along with some attempts of my own I hope and I’ll plough on with some novels.

Reading and Writing Challenge Month – Days 5, 6 and 7


What’s the old saying; one step forward and two steps back? After finally making progress by finishing The Day of the Triffids (and easily answering a question on its opening line from University Challenge this evening as a result) I then went to see a friend for the weekend and did no reading whatsoever. I took an assortment of books, I intended to read and she intended to revise, but neither of us succeeded. I could hardly be rude could I? This is my excuse I know. But the break, not from this challenge but from life, did me good. So in reality this post could be entitled simply Day 7.

To make matters worse I haven’t devoted today solely to reading. Distracted by writing I haven’t actually read a great deal. However I do feel that I have a plan of action and that I made some considerable strides in terms of understanding today. I finally read Chekhov’s The Lady with the Dog in its entirety, along with an introduction to a collection of his stories by Richard Ford. I’ve also read some more of Haruki Murakami’s short stories and I plan to read Thomas Mann’s Death in Venice before I sleep tonight. Lady Chatterley is on the back burner for the time being, but next on my list, whilst I get my head around different short story writers and hopefully attempt an article on them this Wednesday.

Reading the introduction to Chekhov’s stories really helped me appreciate the unique value and insight of short stories compared to novels. Much like essays they can single out a particular issue or aspect of existence for closer inspection. Chekhov’s writing was economical and concise in making its points, something I need to begin to hone. His stories also reveal life’s hidden truths that we’re sometime reluctant to acknowledge, often from mundane events and goings on. I shall hold back the rest of my musings for another time.

I also recalled a Ray Bradbury short story from The Martian Chronicles that I’m going to re-read, as it’s another example of a type of short story and something else they can do.

Tomorrow night I’m going to attempt serious physical exercise for the first time in ages. I shall be a shattered and broken man. Hopefully my eyes will still be able to read. Until then I suppose.

Looking for love – Reading and Writing Challenge Month


After an indulgent weekend rest, I’m beginning to make some headway with short stories. It’s starting to seem like there are some broad categories of tale. Many are symbolic and first person. The following tiny attempt at something is based on the style of some of Haruki Murakami’s short stories.

One Wednesday I went looking for love. I’ve no idea why that particular day made a search seem necessary. Usually I’d dismiss such an undertaking as a foolhardy waste of time and effort. But that day it seemed possible I might find something resembling love at least. I didn’t have a rational hope in my mind or blind faith in my heart; just the sense that I might glimpse something if I took time out to look for it. And an overwhelming need to stop for a moment.

Perhaps it was the way the sun fell in dusty rays on my pillow. Or, in fact, not my pillow at all, but the forever vacant one next to it. The way the feathery grains wafted over the empty, unruffled fabric. The way they swirled upwards in a golden bliss. The way they danced with their infinite, weightless friends. The very fact that I could see them, rather than a face cloaked in sleep or a sprawling arm, highlighted my loneliness.

Outside my gloomy bubble, the sun smiled and everything was right in the world. The worker ants dashed about bathed in optimism. Something told me that it was going to be a good day, if only I was sure to stand in the middle of it. I could hardly lie in bed, daydreaming of aimless floating, when the grass was so green and the sky so blue. I had to get up and look.

I threw the window open and rushed about my flat in an inexplicable, excitable daze. Wednesday, some people said, was a hump day, from which the downward slide to the weekend began. It was the beginning of the descent from monotony to freedom and relaxation. My working hours were sporadic, but it just so happened I had to be somewhere for one o’clock. I might have finished looking by then; I might not.

Whole water droplets, untouched by the deadly stab of a towel, quivered in the chill from the window as I pulled on some clothes. I was out the door early, way before the rising sun had climbed above the clustered buildings of my road. I travelled light, reasoning that love could do without any extra baggage. Even my watch, which I regarded practically as a vital organ, lay forgotten about somewhere near the bed. My cavernous empty bed.

At first I simply walked. Up streets, down alleys, across roads. My creased, hastily buttoned shirt billowed around my waist like a skirt in the wind. I drew glances from passersby and tore past determined commuters. Rounding a corner onto a key London artery, I recoiled like a vampire in the harsh, all consuming stare of a fierce mid-morning sun, focused like a laser between two squashed buildings into my eyes. I felt them roll back in their sockets, suddenly burning with the vibrancy of it all. I staggered to a nearby wall, colliding with an irate businesswoman, greedily sucking hasty gulps from a cigarette, discarded yards later. I caught my breath.

Where best to stand for a fleeting glance of love? Where was the pivot, the enlightening epicentre of this shiny, beguiling day? Panting against my grimy patch of wall, I spied a gargantuan bookstore and made my way inside. Calmer now amongst the scent and flicker of turned pages, I allowed the dream of a likeminded, slender hand reaching out for the same book to grow in my mind’s eye. Browsing here today I would find love, I thought.

It didn’t happen. And neither did it happen at the cinema, where I lingered about the foyer, peering round pillars for the elusive moment. Hopes were raised and dashed by beautiful women scanning my favourite poetry or chatting noisily about a film I wanted to see. One o’clock came and went.  It’s funny but I never once seriously considered approaching any of them. I think deep down I disliked the notion wheeled out by some, so called, “romantic” men, that it was possible to fall repeatedly in love with numerous women from the most meagre meetings. Inexperienced I may be but I’d formed my own ideas of love.

I didn’t go in for this chance encounter, novelistic crap. If I’d known anything like real love it was born first out of friendship. It surely couldn’t blossom just like that, in a single moment in all its complexities, between utter strangers; could it? So I gave up hope and set off home; trudging forlornly without any of the energy or automatic spring to my step I had left with that Wednesday morning, cursing such a total waste of such precious time. I began rehearsing the pointless phone call to work, explaining my absence.

But near the station I saw a record store, the type that was the domain of collectors and enthusiasts. I found myself wandering in. Subconsciously at least I clearly wanted one last throw of the dice, even when I knew things didn’t work like that. It didn’t take long for regret to wash over me on stepping inside. I felt almost instantly conspicuous, an agent behind enemy lines with their cover about to be blown. It wasn’t that I disliked music. I simply knew nothing about the dusty vintage jazz or limited edition punk littering this place. And I despised any form of artistic snobbery. Glancing at the other customers I could tell most of them did it for superiority, for bragging rights rather than passion.

Except one couple that is. Only they weren’t a couple, exactly. He was rifling through boxes of records, almost in a frenzy, whilst she leafed through the odd selection, drifting quietly just behind him. I felt myself instinctively drawn to them. They were fascinating. Though standing so close, it was clear they were not together. And yet it seemed as if they would be; they ought to be.

It felt too cliché to be real. Both were absorbed in their browsing, their mutual passion evident despite their completely contrasting methods and expressions. Both backed gradually towards each other, their gazes locked intently on the records. Then as he made an erratic eureka lunge for a treasured collectable, there was the inevitable clash and she dropped her own prize.

After endless seconds of token British apologies and awkward eye contact, they both shared a kind, selfless smile for a snapshot of a moment. It was a smile that said they knew each other, and had done for years. And yet it was also a smile of discovery, of innocence and renewal. I had watched the whole unremarkable incident. They left the shop separately. As far as I know nothing came of it, not that I chased the matter up. But it made me feel as if I’d seen love; if only a rough edge of what its purity could be.   

I don’t know if I was in my right mind that Wednesday. Most would probably say I wasn’t, given the circumstances. Back then the operation seemed a long way off, but it was still an ever present, looming reality. Now I only have hours to wait. I think of that weird Wednesday and my sudden compulsion to search for love. I remember it as I try to bring myself to trust absolute strangers with everything I have. I cling to it in case anything should go wrong and I am left with a brief window of time to properly fall in love, and be loved in return.

Reading and Writing Challenge Month – Day 4


Today I finished The Day of The Triffids by John Wyndham. I’ve also nearly finished a collection of short stories by Murakami I’ve been nibbling at for some time and begun Chekhov’s The Lady with the Dog, as well as reading The Kiss, a short while ago. On the recommendation of Tomcat (see his insightful, well written blog on books here: http://tomcatintheredroom.wordpress.com/) I have ordered an additional collection of short stories and shan’t post anything on “The Art of the short story” or attempt any creations of my own until I’ve delved through it and added further variety to my depth of knowledge.

I think that short stories are something I need to seriously study if I aim to be both a better reader and writer. They are economical examples of excellent craft, as well as being sublime, symbolic and inspired in their brevity. They often better capture the essence of a single idea or emotion than a fully fledged novel, padded out with all its requirements. I need to learn how to think of original ideas, as well as be more efficient with my language. Anyway enough of that till I’ve read some more and pieced some half decent musings together.

With my plans for short stories on hold, and an unexpectedly busy weekend ahead, I’m unsure where to turn for my next read. Certainly I have a pile of books to choose from and I can continue to consume short stories but I also feel I should be choosing something else substantial and making headway with it. My audio book too is on hold as I shall be unable to listen as attentively as I would like over the next few days. At the moment I’m leaning towards Lady Chatterley’s Lover by D.H. Lawrence as my next hurdle in this marathon month.

I say hurdle but on completing Triffids today I am starting to relish the immense range of books ahead of me. I was surprised by how different the novel by Wyndham was to an adaptation by the BBC, with Eddie Izzard as a villainous figure, a couple of years ago. From what I remember of this adaptation, Izzard played a character called Coker, brimming with a lust for power and the manipulative, ruthless personality to acquire it in a fallen world.

I might have remembered the BBC version incorrectly. If it was indeed BBC; could have been ITV? Probably BBC. Anyway in the novel Coker is an enemy of the protagonist and narrator initially. He believes that the sighted should do what they can to help the blind and cunningly kidnaps some of those that can still see, who were intending to start a new community in the country. He puts them to work looking after groups of the blind in the city, a plan destined to fail. But later he and main character Bill become friends, and Coker admits the error of his well intentioned ways. Throughout the book, because of lingering notions of the adaptation coupled with his earlier behaviour, I was expecting Coker to turn nasty and reveal his own personal malice and ambition. Instead he was very likeable, an intriguing and helpful character.

Triffids seems on the surface like sensational, pulp sci-fi. My girlfriend smirked and seemed put off the novel when the summary of the plot I gave her was inevitably ludicrous. But despite how ridiculous giant plants menacing the streets and fields of Britain may seem, Triffids is good, serious science fiction. Almost every page has Bill’s first person narration grappling with the ethical dilemmas of such an uneven apocalypse; with most of the population blinded but a few spared by odd circumstance. There are well written explanations of loneliness, realistic dialogue and fascinating interactions and bonds between strangers thrown together by terror. Not to mention warnings about nuclear weapons, biological experimentation, future energy crises and unsustainable lifestyles rolled into one idea. This book is impossible to adapt well. Nothing can replicate the way the Triffids are described or the realistic realisation of the probable truth with the passing of time. Screen versions require more drama, more enemies; a conspiracy of some kind that loses the truth in the essence of the original.

Triffids, for all its doom and grand ideas, was not a heavy or taxing read. Wyndham manages to keep things remarkably light. Part of this is to do with the zippy pace, another the narrative voice of Bill. But for me it was the quirky touches of early 1950s, post-war British period detail that made me smile amongst the horrors. Characters would constantly refer to situations as “queer” and Bill would refer to his love interest in an old fashioned way with terms like “darling” and “sweet”. She would often reply with “honey” in the most grave of circumstances or idea laden conversations. None of this was derogatory for women when balanced with the overall impression and philosophy of equality evident in the book; simply a sign of the author’s times and an innocence that would not leave his characters, no matter what.

So one book down. Hopefully many more to go. And I promise some accompanying articles at some point.

The Song of Lunch/ The Fry Chronicles/The Road/South of the Border, West of the Sun


Trawling through various cultural mediums is for me not just a search for entertainment and means of passing the time but a hunt for reassuring truths, universal truths of life that we all share and when found elsewhere as better formed, well expressed versions of your own troubles offer satisfying comfort. I am no poetry connoisseur but when I do read poems the ones I enjoy speak to me for saying something true, often in the simplest of ways.

Take The Song of Lunch, a BBC adaptation of Christopher Reid’s narrative poem, recommended to me by a friend. Through the artificial constructs of art it says something true and genuine about life, rising above the reality of existence. Of course lunches with old friends are not the profound verbal duels shown here, they are not always feasts of slow-mo exquisite detail. But at times the language, the imagery of the poem is spot on and the sentiments exact. That feeling of so much change and yet so little. Those regrets impossible to accurately voice. The simultaneous significance and insignificance of everyday gripes like the noise of the next table, the disappointing wine. On the whole the dramatisation of the poem works well too and certainly the first half an hour or so is immersive and engaging. Alan Rickman’s lazy, lingering, drooling tones suit such a piece perfectly. You rejoice with his ageing character as his planned escape from the office comes off, via the “yawn” of the lift and enjoy his observations of the London crowds. The direction matches the poem well, vividly evoking stand out lines and images. The arrival of the old lover and the disbelief and resurgence of old feeling is also dealt with well, but as Rickman’s character loses himself amongst his thoughts the adaptation struggles to convey the essence of the words, resorting to overlong focuses on Rickman’s vacant, ogling face. During these moments the drama loses its urgency and coherence and even Rickman’s loving recital of the language, full of irresistible rhythm and emphasis, cannot avert awkwardness for the audience. Despite this and the sense that the adaptation worked best at the beginning, only to trail away, The Song of Lunch was a beautiful, meaningful and enjoyable watch.

Emma Thompson, the old flame and muse of Rickman’s character in The Song of Lunch, also features prominently at times in Stephen Fry’s latest and second autobiographical work, The Fry Chronicles. This book focuses on Fry’s Cambridge years and the formative years of his career, mainly in comedy. However the book joyfully flits about all over the place, touching upon all manner of topics. Forgive me for what is a very Stephen Fry-espque tangent, but the cover of The Fry Chronicles, by which I mean the covering of the book itself, is extremely attractive and I cannot understand the unrealistic snobbery of people who continue to adhere strictly to the old mantra “never judge a book by its cover”.  It is surely impossible today not in some, even wholly unconscious way, to judge or dismiss books based upon their colourful jackets. A writer can slave away at the world’s next great novel only for it fall flat on its face, or be devoured by entirely the wrong sort of audience, because of a wrong decision in the marketing department. Fry’s book is carefully kept simple, with a mostly pure white background and a tasteful picture of himself accompanied by the title in bold blue. The quotes selected for the cover go some way to conveying the essence of what is in inside. I have also bought and shall soon read C by Tom McCarthy, the expected winner of this year’s Booker prize. His publishers too have done a fine job of creating an enticing, attractive cover, reflective of the book’s content (a whirl of lines reflect the theme of communication) and informative (positive criticism expectedly prevails), without excluding anyone by opting for a garish pink. A nice touch to The Fry Chronicles’ cover is that the inside cover has a coloured stripe pattern that matches that of the socks Stephen sports on the cover and generally such colours would seem to represent his personality too.

Cover rant over, is The Fry Chronicles actually any good, jostling for position as it does with whopping political memoirs from not just Blair himself but his advisers and fellow New Labour architects and other assorted celebrities with bright, bubbling, amusing lives to share? The answer is yes and I have not even quite finished the thematic, slightly chronological trip through Fry’s memories as yet. Of course like any autobiographical work has its faults but Fry does his best to acknowledge them. It is also surely more entertainingly, amusingly and playfully written than a host of other similar works set to come out in the endless run-up to Christmas gift season. Fry’s book will ride high on the bestselling lists right up to the turkey dinner and beyond, and deserves to. Not only is it stuffed full of interesting content and fascinating anecdotal tales, but offers an enormous amount of wit, humour and personal, emotional insight; of the truth I search for on my cultural wanderings.

If anything the book starts slowly with a brief focus on Fry’s adolescent addiction to sugar, which if I am honest I found irritating and hard to relate to, but never boring as the sheer energy and wit of Fry’s prose carried me through this section. Once he reached the start of Cambridge however I could identify far more and I whizzed through this portion of the book. Every now and then Fry will interrupt the recounting of actual events to bemoan his lack of confidence and express his own doubts. He fears that he has become a jack of all trades, master of none and that he has squandered natural talents. It is comforting to hear a man of such talent and intelligence admit to such fears about topics as wide ranging as ambition, fame and relationships. He even hopes that his trials and tribulations are merely facts of the human condition, shared by all, and in so doing says something true. At times his refusal to analyse the failings of others as he examines himself is frustrating, with most name-drops also accompanied by gushing praise, but this is all tolerable as he repeatedly acknowledges he is too kind to be a critic, can be seen as arrogant and would not want to judge anyone but himself, in what is after all, an excellent autobiography first and foremost, as well as a snapshot of the entertainment world of the eighties (which Fry makes accessible to those not familiar with the era, as well as the ardent fan).

If Fry’s book is for the most part a light hearted, jovial glance at what it means to be human, set amongst manicured university grounds and the artificial, rich entertainment world, then director John Hillcoat’s 2009 cinematic imagining of Cormac McCarthy’s novel The Road is a bleak and brutal, stripped back stare at the core of existence. Unlike Wall Street: Money Never Sleeps which I reviewed last week, concluding that it had little purpose or idea of what it was, this movie has a strong narrative and never fails to engage, doing so on a number of levels. Early on we are struck simply by the aesthetics of a barren, apocalyptic landscape, the moving soundtrack by Nick Cave and Warren Ellis and the emptiness of father and son walking, emaciated and dirty. Then there are moments of genuine tension, excitement and action when the gangs, cannibal or not, emerge and threaten to discover our protagonists and then no doubt exploit or kill them. The scene where a gang member discovers the crouched Viggo Mortensen whilst taking a piss, clutching a gun with just two bullets left, bullets meant for his son and himself should they be necessary, is incredibly tense. It emerges that to be a father in such an environment means being just steps from being a killer. The film grapples with some big ethical questions around suicide, parenting and violence by placing them in a fictional, extreme context. Even without thinking about these deeply it’s impossible not to be moved by the bonds between Viggo Mortensen’s father and Kodi Smit-McPhee’s son, who both give excellent performances, or not to be gripped by the hard hitting action or grim scenery.

For me the most moving parts of the film were the flashbacks that revealed the boy’s mother choosing to leave the father and son, effectively choosing to die rather than go on living in a dangerous, frightening, fallen world. Viggo Mortensen’s character must deal with the fact she chose to die rather than be with them throughout the film as he clings desperately to life for his son. Again here I found that elusive truth that could resonate in my own life; people can do irreparable damage to each other, unimaginable hurt, just by living or in this case by choosing not to, but for her things were clearly so bad for it to be the only choice, the only path forward. This passive process, this capacity to senselessly destroy the meaning of the lives of others, is also recognised by Haruki Murakami in his novella South of the Border, West of the Sun.

I read this in its entirety during a series of train journeys this weekend and found it compulsive reading, for want of a better less clichéd phrase. This is the second Murakami I have read following Norwegian Wood and he seems to have an ability to articulate romantic feeling that I find fascinating, given the differences that perhaps ought to exist between Japanese and Western culture. He seems to capture some sort of universal feeling, especially when writing about the ambitions and frustrations of adolescence. His style is simple and elegant and full of spot on imagery, whilst always retaining a sense of urgency and passion. I could empathise with the narrator of South of the Border, West of the Sun despite our vast differences; he a wealthy, Japanese bar owner, facing a mid-life crisis and the return of a childhood sweetheart, me an ordinary student in Britain. I could share the agony of his conflicting desires and that sense that incompleteness will always prevail. In fact the novella seemed to conclude that such incompleteness was the only certain destiny of the human condition and that life will always be a meandering search for truth in vain.