Category Archives: writers

From Ages to Ages

Back in the 1990s I had a small midi studio set up in my flat in Ealing. I’d just bought a new keyboard, and was experimenting with using an Alessis sequencer which allowed me to record layers of music, something that today anyone with an iPad can do easily, but which then was something altogether new. I’d had a series of tape recorders, but these, like the Teac 4 track, were huge machines that needed careful handling. This new set up was like a sketchpad: I could leave it running all day and wander in, listen, add a track, edit something, go back out.

I’d always thought I would start a big project at some point, and had an idea of creating something based on the work of Welsh writer Arthur Machen, whose fictions were set in that part of London I now lived. But despite having the idea, I could not find a way to start. Whatever I tried seemed cliched or laboured. But then one afternoon a couple of friends came over. We had a few drinks, I showed them my set up. Neither of them were musicians, but they were captivated by the sounds that keyboard, sequencer and sound modules could make. So I let them play about for a few giddy minutes. I saved what they did – a scrambled series of semi-tones. I forgot about it.

But a few days later, resuming my search for a way to begin my magnum Machen opus I retrieved their sonic doodles and listened. I cleaned it up, added a few bass notes and realised this was the beginning of something. I developed it over the next few weeks and then, perhaps because of warmer weather or work or boredom, I put it to one side.

Three or four years later I moved to south Wales, bought an Atari computer and Cubase software, a sampler, some new sound generators, and once more woke the Machen project out of its hibernation. I worked on it for a year or so, and once more, shelved it.

This pattern repeated itself over two decades. I’d buy a new set up, develop the piece, forget about it. This went on until last year when I decided to buy some studio time, and finish the thing. ‘From Ages to Ages’, a sort of three act ‘musical lecture’ (it’s hardly an opera) was eventually finished in May 2016, twenty five years after it was born in the flat in Ealing.

I lost touch with the two friends whose delightfully naive playing gave me the eerie theme I use in the opening sections, but their curious little melody weaves its way through the hour of music that is ‘From Ages to Ages’. I’m very proud of it, but have put it away now and more or less forgotten about it. It’s time to start something new.

 

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The Hill of Dreams

Dominating the reclaimed marshlands of South Wales, Twm Barlwm stands as a barrier against potential invaders. I grew up below that mountain, in Newport, and every Good Friday a group of friends would undertake a strange pilgrimage to the top, an Iron Age hillfort, with its dome like construction at the summit.  We used to call it the twmp, or the pimple, but from a distance its not difficult to see the mountain as a reclining woman.  The pinnacle of Twm Barlwm is more like a nipple.

In The Silbury Treasure Michael Danes maintains that the Avebury stone circle in Wiltshire, and neighbouring Silbury Hill, the largest man made mound in Europe, is a Neolithic monument to procreation: the hill is a womb, the site, according to Dames, depicts a woman giving birth.

Neolithic peoples were the first farmers, and were well aware of the cycles of the seasons.  They sowed and they reaped, and the invention of agriculture gave rise to settlements of much greater complexity than those that preceded them.

Perhaps Twm Barlwm is a similar construction, on a gargantuan scale.  You can see the mountain from across the channel, in Bristol.   The Romans built a fort and amphitheatre at Caerleon, just a few miles to the south of Twm Barlwm.  I’ve often wondered if it was a base to lay siege to the mountain,  Twm Barlwm, Tump Bellum, hill of war.

I left Wales to go to art school in London.  There I discovered a tiny subculture of writers, poets and musicians who were admirers of the late nineteenth century Welsh mystic and author Arthur Machen.   Machen grew up in Newport, but his writing life did not begin until he moved to that same suburb I found myself, Acton.

His London Adventure is my favourite book of his, but here I want to concentrate on The Hill of Dreams, which begins with this wonderful sentence:

‘There was a glow in the sky as if great furnace doors were opened.’

The Hill of Dreams is Machen’s fantasy of his childhood, and the hill is, of course, Twm Barlwm.  It fictionalises Machen’s boyhood, much like my own, and his departure to London, where he attempts to make a living as a writer.

What pervades his books is a sense of the uncanny, of a belief that something more lies behind reality.  I read his books at a time when I was struggling to move forward.  On the evening I moved into a new room in a shared flat, it was a bitter winter, the heating failed, the pipes froze, as I was attempting to finish my first novel, a strong wind burst the window in my room, and when I reached down for my unpacked bag to find a jumper, I discovered the flat’s cat had pissed in it.

The cat’s owner had named it Crowley after the occulist, Aleister Crowley.  Crowley (the man, not the cat) was an admirer of Machen, but the admiration was far from mutual.  Aleister Crowley, I imagine, was the sort of man who would urinate in your bag and find it funny.  For weeks after I smelt of cat piss.  It felt like Crowley’s curse.

That first book was never published, but I did get a few encouraging responses form publishers.

Returning to Wales one spring, I decided to look for Machen’s childhood home, a rectory in Usk.  I went with a couple of friends.  It rained all day, and we got soaked.  It was April 1986.  A few days before the Chernobyl reactor in Ukraine exploded, nuclear radiation rained down over Wales, a ban was placed on sheep and cattle movement that wasn’t lifted for four years.  Again, I had been pissed on. But this time it was serious piss.

During those difficult years, the struggle to make my way in the big city, Machen’s books brought me great solace.  His trails were my trials, and his victories, I hoped, would soon be mine.

Unlike Machen, I returned to Wales, and to the hills: the Brecon Beacons, the Black Mountains.  I find great comfort in their vastness and beauty.  Those early years of living under the spell of a mountain still permeate my every waking moment.  From Twm Barlwm to Pen y Fan, the mountains of Wales are all hills of dreams.

 

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Ramblings and Digressions

I found myself looking at antiques. In an antique shop. The owner, hidden behind a wall of stacked furniture, was observing me in a large mirror. At first I mistook his reflection for him, and nodded a greeting. When I realised I was addressing a reflection, I peered around the barricade and smirked. He responded with minimal interest. I was a prospective customer, but he could barely acknowledge me. I was interested in the Windsor chair, but it was too late, I couldn’t overcome my embarrassment now, and walked directly out. This was Abergavenny, a place I tend to look down upon.

I look down upon Abergavenny from the three mountains that surround it. The Sugar Loaf, The Skirrid and The Blorenge. The last of these has an ascent so steep it is almost vertical. You climb on all fours, but standing up. The summit of the Blorenge can also be reached by road, which dilutes the achievement a little, but up there, with lungs screaming for air, this is what you get.

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The Skirrid can be seen at the foot of the rainbow, and at the foot of the Skirrid, is The Walnut Tree Inn. I love The Walnut Tree.

I fell over on the Skirrid, a long time ago. I thought I had broken a rib. On presenting myself at A&E  at the Royal Gwent Newport, and complaining of chest pains, I was immediately rushed into a cubicle and sensors placed on my chest.

Only the night before I had been drinking in the Church House, a pub at the Handpost, just outside Newport. The Slowboat Takeaway is just up the road, and above that is a small flat where Green Gartside used to live. I used to see Green wandering the pavements. He was quite famous then, and I never understood why he had chosen to live back in Newport. I don’t think he ever wrote a song about Newport, or the Slowboat.

I was drinking alone  in the Church House, a pub near the Handpost, just outside Newport, when a bloke slumped down next to me and asked if I could buy him a drink. He was in a bit of a mess, pissed, but seemed  good company.  I bought him a pint, and he began telling me how hard his life was, how he couldn’t hang on much longer. He told me he was doctor at the Royal Gwent, and although I had no reason to doubt him, I did. He looked bedraggled, and after all, he did ask me to buy him a pint.

I’m covered in sensors, wondering why no one will just take my word for it, that this isn’t a heart attack, I’ve just done something to my rib, but the ECG is blipping away and the doctor rushes in, unshaven, squitty eyed, and it’s him, the guy I was drinking with night before. He didn’t recognise me, of course. I was going to tell him about our encounter, but decided not to.

The rib took months to heal, and I can’t think of the Skirrid without thinking of that fall. The day of my fall I’d climbed the hill with my parents, neither could manage it now, they are both approaching ninety, and live just around the corner from the Church House.  I was there just last week. My mother is very unwell, and my dad cares for her full time. He’s usually very perky, and full of rambling, digressive stories. But last time I saw him he looked weak and frail and was sorry for himself.  It was his 87th birthday.

“I’ve lived long enough,” he said. I gave him a hug when I left. It was hard.

But today I’m in Abergavenny, making my way to the car park after walking out of the antique shop. I get in the car, drive home. On the radio Iain Sinclair is talking about WG Sebald. I love both writers. Sebald’s Austerlitz is one of my favourite books.  I prefer it to The Rings of Saturn, which many people consider his masterpiece. Sebald was a walker, and his books are often ramblings in both senses. Sinclair spoke of Sebald devotees who try to retrace his steps and fail. Sebald was a storyteller, Sinclair reminds us.

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Finnegans Wake

After I left college and spent a year at a table in a flat in Acton reading Ulysses.  It’s a difficult book, riddled with pastiche that is difficult to penetrate.  But it is a novel of novels and if anything, it shows what can be done with a story.  And it’s a day in the life – June 16th, I forget which year.  The hero wanders around Dublin, looking for his dad.  I read it, as well as all the books I could find that would help me understand it, decode it, unravel it.  Friends went off to South America and Japan, I stayed in Acton, above the glaziers, reading Ulysses.  I finished it, too.  If you have a year to spare, I suggest you have a go at it.

But this blog isn’t about Ulysses, its about Joyce’s other massive work, Finnegans Wake.  (n.b. – no apostrophe).

If I ever take a gap decade, possibly in my sixties, I shall endeavour to read Finnegans Wake.  I have had several goes, but never reached the end.  Not that there is an end.  I have a copy in which I’ve written the place where I have attempted it: London, Wexford, Newport, Mid Wales, each about three years apart.

The first 200 pages are thumbed and littered with marginalia, then, like stars fading at dawn, they disappear and the pages look younger, healthier, unadulterated.

Finnegans Wake is written in Joyce’s own language, a sticklebrick, portmanteau goobledegook.  (His notes for the book he called Scribbledehobble).

Excerpt:

“Or, if he was always striking up funny funereels… with tambarins and cantoridettes soturning around his eggshill rockcoach their dance McCaper in retrophoebia… to the ra, the ra, the ra, the ra, langsome heels and langsome toesis, attended to by a mutter and doffer duffmatt baxingmotch and… pszozlers pszinging… Ho, Time Timeagen, Wake!

It’s a funny book, bristling with puns and madness.  Read aloud it makes more sense.  It’s also full of codes, repetition, wheels within wheels and the rhythms and chants of music.

If Ulysses is a day in the life, Finnegans Wake is a night in the life, or a nightmare.  The central character HCE, is seen everywhere “Here Comes Everyone” “Haveth Childers Everywhere” and so on.

There is no beginning and no end, the book begins in mid sentence and ends so.

It is infinite.

If you have an infinity to spare, I suggest you have a go at it.

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