Permission To Write

As we now move through the penumbra cast by the 1st January – that collective witching hour that grips people and allows them to slip into a deeper self-delusion than usual – I thought it time to write about New Year’s Resolutions before the disillusionment currently circling them engulfs them entirely and this whole blog post is rendered sterile before it’s even uploaded. Which would say it all in both a very real and meta way.

But it’s not too late, read on and you’ll see that I believe there are reasons to be cheerful yet! Is it your New Year’s resolution to try a new creative pursuit? Perhaps it’s painting or sculpture, or learning a musical instrument or new language? Or maybe even something sporty, such as a martial art or dancing.

Just over three years ago I had the urge to do some creative writing. I had ideas and the inkling that some of them were valuable, but no real sense of what to do with them or that I should even try. Instead, it seemed almost that I should just leave them until they gradually faded from memory. But why? There was no real barrier to entry; I knew how to write English, and I had pen, paper, and laptop. Still I did nothing.

As with writing, most of the creative pursuits I mentioned earlier can be done by oneself, and be self-taught at that. Buy a sketchbook and pencils; start drawing. But have you?

Perhaps like I did three years ago, you’re thinking that it’s a waste of time? That sitting down to write or draw, and to do so badly (because it will be, at first), is self-indulgent, an unjustifiable waste of your time and energy, and plain discouraging.

But you’re reading this blog now, so what changed my mind? What made me start to write after all?

The answer is simple: I enrolled on an evening-course for creative writing, which I attended for one year altogether. Quite apart from anything about the craft of writing that I have may have learnt on the course, the key point is that it gave me time and space in which to write, both in the classroom and as homework. In the classroom one has no choice, and at home, well, the fact that it was homework allowed me to trick myself into thinking it was mandatory. Any justification for sitting down to write for a couple of hours a week was now prêt-à-porter: I’m not wasting time, I’m doing my homework like a good boy should.

In short, the course gave me permission to write. And that was all I needed.

Whether it’s writing or any other creative enterprise I believe that booking a class or a series of lessons will give you the space, motivation and permission to get through those beginning, inevitably-difficult stages. After which you’ll feel capable of carrying on by yourself.

If you think this might apply to you, go do it, whatever it is and, if you like, please do share your creative plans for 2014 below! Let me know how you get on.

“A Half-Forgotten Book of Erotic Memoirs”

What would be a shame is if this erudite and hilarious sketch by Fry and Laurie were to become half, or worse, fully-forgotten. Not just a parody of a certain kind of intellectual television show, it contains a wonderful monologue that is both about, and itself embodies, the sheer delight of language. “A Half-Forgotten Book of Erotic Memoirs” is one such treasure contained therein. I won’t spoil anymore of them, but merely insist that you watch for yourselves.

Finally, thanks to everyone for reading my blog over the past year. Merry Christmas and a Happy New Year to all!

Player Piano, Player Reader?

Every time Conlon punched a hole, the world got more interesting.

So said Robert Willey of the 20th-century composer Conlon Nancarrow, and what a beautiful thing that is to say of an artist. Would that someone might say the same of us and our work.

Nancarrow, an American composer, spent much of his life in self-imposed exile in Mexico due to his far-left political beliefs, and gained renown – in the world of classical music at least – for his innovative use of player pianos. These are the pianos that “play themselves”, with the music fed in on rolls of paper that’s pock-marked with encoded musical notation. For a surprisingly funky example that provides context for the rest of the article, I highly recommend that you listen to the following one of his compositions:

As you will have just heard, Nancarrow exploits the possibilities afforded by the player piano to produce fiendishly complex rhythms and staggering polyphony, to an extent which would lead to broken digits and mental breakdown if attempted by a living pianist.

But that’s just the beginning, what I’m really interested in is the following question: is there an analogue, or something close to it, in literature for the music and compositional technique of Conlon Nancarrow?

To begin to answer that, it’s necessary to understand what it is that his approach to composition and performance allows, and it seems to me that, aside from highly music specific aspects, there are two main effects.

  1. It removes the possibility of interpretation by the performer; the composer’s word is now final.
  2. It allows the music to possess a complexity of sound that would otherwise be difficult, or impossible, to obtain through normal means.

These things taken together, along with his rhythmic innovations, give us a new kind of music. How might we do something similar for literature?

For music, the performer and listener are separate roles, but for literature, the reader is working overtime in two jobs. When they bring the text to life beyond what’s stated on the page they are both performing and listening, more or less simultaneously.

Therefore, tackling point one, one possible analogue is to have it such that every single thing in the sentence, every symbol, reference and allusion is explained as fully as possible, in an attempt (futile, but still) to remove the possibility of any incorrect interpretation on the part of the reader.

Another is to remove any emotion and interpretation by producing a speech-synthesised recording of the text. But this kind of electronic reproduction allows for further innovation and refers to point two – in a similar way to Nancarrow, we could use this synthesised speech to overlay multiple strands of speech and narration, which no longer necessarily obey the rules of etiquette, and now refuse to wait for one to finish before entering with their own contribution. Cacophony it could be, also confusing, nauseating or breathtaking. Finally, we could deploy a combination of these two effects: complex multi-layered speech and narration, accompanied by the exhaustive authorial exposition.

It’s likely, almost certain in fact, that some of these suggestions will sound horrific or merely redundant, but then to an ear accustomed to more traditional modes of music, Nancarrow’s can feel claustrophobic and bewildering at first, but there’s no doubting its place in the canon. Equally there is surely space for these other methods of writing and storytelling.

In this post, I’ve only begun to suggest and hint at possibilities, but the judgement of their success can only be made by recourse to some concrete examples. To that end, in the next couple of weeks I’ll be uploading a few of my attempts to capture something of Nancarrow’s music in the “written” form. I welcome your feedback and hope that we can have a fascinating debate on the topic.

It’s a Wave

Today’s poem was “found” in the music of Radiohead, and is followed by some details of the writing process should you wish to find your own poem. I hope you enjoy it!

It’s a Wave

It’s a wave,
it is full up,
such names are here –
all eyes up,
here for you.

More!

What answers, there?
How old am I?
It’s our hate – if I must –
it will save us fast,
it will ensnare us,
or see through,
as if we lose.

What is happening?

For your women,
where you sneak up on us:
tomb.

It’s not here anymore,
it’s more evil,
it’s more evil.
It’s more evil,
more.
No good winner.

Lick your lips,
silent!
Well, next time I
will eat
you.

You were there,
you good men,
you all wavered,
stood in the road.
End.
No Moses…

Remember it,
no excuses
if you find suffering in it.

It’s more evil,
it’s more evil.
More evil voices,
they send me down.

The following video is of Thom Yorke singing the beautiful Radiohead song Videotape from their album In Rainbows, with one crucial difference – the recording is reversed.

Listening to this reversed Videotape/epatoediV, I attempted to find a poem by trying to “understand” the garbled audio. Some of the mirrored lyrics seemed to leap out quite naturally and I formed new interpretations almost automatically. Other sections of the song appeared impenetrable but taking a phrase as a whole it evoked a feeling or an idea, which could be translated into verse. The caveat implied in this is that any efforts to compare the audio with my words will almost certainly bring about contrary opinions and disagreement.

For proof of this, note that the finished poem contains far less of the structure and repetition of the original song. This creative process is apparently not entirely reproducible, even with the same writer, the same sounds, or perhaps sounds only slightly changed, will evoke a different thought at a different time. It’s clear then that everybody will find their own unique poem in this music, and there’s something quite pleasing about that.

As a final piece of trivia, fans of Radiohead will know that the band themselves have played around with reversed audio on the song Like Spinning Plates, its genesis in the reversal of another of their songs, I Will. If you want to listen to the original, correctly-oriented version of Videotape, and I recommend that you do, as it’s a fantastic, moving song, then here it is:

Which Artwork Should You Be Creating?

The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality. His procedure was simple: on the final day of class he would bring in his bathroom scales and weigh the work of the “quantity” group: fifty pounds of pots rated an “A”, forty pounds a “B”, and so on. Those being graded on “quality”, however, needed to produce only one pot — albeit a perfect one — to get an “A”. Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busily churning out piles of work-and learning from their mistakes — the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.

Art & Fear: Observations on the Perils (and Rewards) of Artmaking, David Bayles & Ted Orland

This was the first of three pieces of advice that I’ve encountered recently on the topic of artistic creation. They’ve conspired to accumulate and in synergistic fashion approach the same question, albeit from different angles. I suspect that they will be equally valuable to other writers and artists, but as you’ll see, even knowing these things, doesn’t mean that we will always and reliably follow them – external prompting helps.

Now, I could almost quote every other sentence of Art & Fear, but rather than doing that, I recommend that you buy yourself a copy. I can guarantee you’ll read and then re-read it, particularly if, like me, you’ve never been to art school or equivalently taken a degree in creative writing. This book can in part form a surrogate for that missed experience. The book explains what it is to be an artist (in whatever medium – paint, musical notes, words), and how to continue to create art in the face of doubts and external indifference.

The second piece of advice was given by the Irish novelist Colm Tóibín, in an interview with the Guardian. When asked, what advice would he give a young writer, he answered:

Finish everything you start. Often, you don’t know where you’re going for a while; then halfway through, something comes and you know. If you abandon things, you never find that out.

If it’s true for writing, it’ll almost certainly be true for other artistic disciplines as well. That’s two pieces of worthy advice then, but without personal intervention they are easy enough to ignore.

In a recent post, Anyone For Some Innovative Fiction?, I mentioned a piece of work that I was going to submit to a writing competition, with the brief of “innovative fiction”. As of now this story is just over 9000 words in length. But in no way was it conceived as a whole. In fact, it all sprung from a tiny idea based on a piece of grammatical wordplay, nothing more than a single sentence. This pun only forms a small part of the finished story, but without it the rest of the story would never have emerged. However, it took four different stories before it finally found a natural and finished home. Colm Tóibín was right.

I say it’s finished, but that’s no longer true. The story was finished, then submitted, put aside, finally hands washed and back to the keyboard to commence the next project. A project which has been stewing in my mind for some time, and which I believed to be the perfect one, my own single perfect pot.

What’s strange is that in that being so open-minded as to avoid, for the most part, conventional narrative prose, I had become quite closed as to the larger possibilities of the work – an artistic myopia. Feedback on this work, graciously provided by Mark Nelkin of BeautifulOrange, suggested that the story could easily be extended into a novella or novel. My immediate reaction was somewhat sceptical, allowing only that perhaps a novella could be a possibility. Perhaps.

He was right though, as within a week I had two sides of A4 of jotted ideas for new plot lines and the elaboration of existing ones, not to mention a host of innovative narrative structures and devices. Certainly enough new ideas to fill out, at the very least, a short novel. And with Colm Tóibín’s advice having held true thus far, I can hardly begin to ignore it now. Nor will I ignore Bayles & Orland; I’ll write many stories and explore many ideas, rather than fixating on creating a single, perfect one.

If anyone wants to read the aforementioned innovative fiction, just send me a message here or simply “like” this post if you have contact info on your blog/gravatar profile, and I’ll be in touch. Thanks!

Who Should Write Poetry? (How Vaughan Williams Might Have Responded)

The English classical composer Ralph Vaughan Williams (1872-1958) was a great supporter of English folk music, systematically transcribing its pieces so that they would be preserved for the enrichment of future generations. Although part of the musical elite, he was far from being a musical elitist and believed that everybody should make their own music, no matter how simple, as long it were truly their own.

I think I feel the same way about poetry. There is absolutely no need to leave this to the professionals (although I do aspire to join that group), no need to wait deferentially for their elegantly expressed, finely constructed words to be delivered to us. No, it’s within all of us to express our thoughts, feelings and observations in verse, whether that’s a sonnet, haiku or plain blank. If you don’t capture the experience of your local life and history, then who will? Just as there is a great tradition in folk music, so should there be in poetry.

That being said, it shouldn’t be taken as a license to write lazily or sloppily, nor as an excuse to put forth insufficient effort. Just because the poem might be “simple”, doesn’t mean that it need be bad. I can’t know for sure that Vaughan Williams would agree with this application of his words to poetry, but I am hopeful.

For those regrettably unfamiliar with his music, might I suggest one of my favourites of his as a starter – Fantasia on a Theme by Thomas Tallis. The piece is in one part, but split across two videos here.

Like a YouTube mash-up before the internet age, this piece is genius reworking genius. Thomas Tallis is the master Renaissance composer, who wrote the 40-part motet Spem in Alium. Truly a staggering musical achievement, this piece is particularly sensational live, so you should immediately snap-up any opportunity that comes your way to see this in concert.

One of Tallis’ many other compositions is the theme Why Fum’th in Fight. Vaughan Williams took this haunting melody and transmuted already-glittering material into a precious object.

Now that you’ve heard these gems, it’s time to create your own works of beauty, and to do so true to yourself. Why not begin by writing your own fantasia, but in this case, based on a favourite line of verse.

The Many Surprising Sides of Poetry

When I started this blog, I thought I knew its purpose and intended content. What I didn’t expect was for poetry to play such a large role, least of all that I might find myself reading some in front of an audience! Yet of the 14 posts I have written so far, 5 are poems or are related to poetry.

First came a piece of fiction, Life at Sea, that embodies this whole process, writ small, and charts a gradual descent into verse. This was followed by the analysis of a haiku found quite unexpectedly in a book about classical music, the post Hidden Haiku, Hidden Depth. Further chance discoveries led to me downloading J. Fisher’s intriguing iOS poetry app What We Mean and reviewing it in Do I Say What I Mean?. After this, I found myself writing a poem, which through much effort and editing became Stitch Yellow Quilts, and soon thereafter came a haiku, Eutrophication. If I wished to bolster my argument through dishonest arithmetic, I could even include this article in the count. Make it 6 then.

So it has been a rapid inculcation into the beguiling discipline of poetry, a process that has continued apace; on Tuesday evening I attended, and performed at, my first open-mic poetry reading. The event, Poetry Unplugged – a name that could provoke many surreal fantasies of clockwork poetry robots – is held weekly, at the Poetry Cafe in Covent Garden, London.

Wander down the darkened street to inquire within – timidly in my case and continually on the verge of mumbling excuses and backing out – and you’ll be encouraged by all the staff to give it a go, on the assurance of meeting with a friendly reception.

Sure enough, I was greeted with raucous applause as promised, an equal treatment to the other performers, though ‘unplugged virgins’ are particularly are well taken care of, and afterwards received another helping of the same. But before you start fantasising of a world organised similarly to the one in Martin Amis’ short story Career Move – a world reversed, in which poets are treated like film stars and their poems eagerly anticipated and developed in a big-budget way, while screenwriters are left to languish in poverty and a state of eternal hope – let me stop you right there.

No, there aren’t any waiting agents, ready to sign you up with an enticing cash bonus and year-long tour of the world’s literary festivals. The biggest financial reward you’ll receive for performing is a £1 discount to the entry fee. Can I mark this as my first literary advance? So there are many incentives. To reference myself, referencing someone, referencing Chekhov, another motivation was the opportunity to acquire additional grist for the blogging mill.

As for my performance? Inevitably, if the one delivered in my head beforehand was a tour de force of emphasis and timing, the reality was a resounding and solid OK. Overall, I think I was a little flat, and missed several stresses that made the poem seem worse than it is. Sorry, poem! But that’s okay, as one of the “old” hands said to me afterwards, I should just come back and read it again but better. And why not, given how much effort went into writing it.

If any poets are reading this, and wondering whether they too should consider public readings of their work, then I would say to them, ‘yes, you should, you must!’ The prospect of reading aloud in front of others, first made me raise my game for fear of looking stupid, a much bigger risk than with a blog post, and secondly, forced me to consider the rhythm of the poem far more carefully. No longer could I let my brain glide serenely past the additional beat as though it weren’t there – the lips aren’t nearly so able to forgive. Equally, those same lips came to the end of a line and carried on moving, but there was nothing for them to say, only ghost words, and so I had to insert extra words here and there to give the rhythm its full space for expression.

You don’t have to take the word of neophyte though, talking to Unplugged’s congenial host Niall O’Sullivan at the end of the night, he revealed that the unconscious editing of poetry that can happen during a performance, particularly if speaking from memory, can be quite astonishing. Words, lines, and sometimes whole verses can disappear. They simply weren’t needed. So, if you’re struggling to edit a poem, maybe this is the answer: memorise, read, and record. Then play it back to discover what your brain has figured out, without you having to think at all. This is mere hypothesis though, has anyone tried this for themselves? Let us know below. Thanks!

Now that I’ve begun, I hope to write more poetry, and every now and again post the shorter ones as a midweek fillip, perhaps saving the longer works for the main, weekly post. And when I’ve got a few new poems stored away I will return to the Poetry Cafe, better prepared this time. Maybe see you there?

Don’t Only Think, Feel Too

What is the hardest thing to write about? Or to be seen to be writing about, if such a statement makes any sense?

In an interview with Michael Silverblatt of Bookworm, the late, great author David Foster Wallace (DFW) argued that, in his experience as college professor, it was sentiment that his students had the most difficulty producing in their work. To express weird, twisted and abnormal thoughts was nothing but the norm to them. Sentiment, however, was to be avoided at all costs, lest the student risk being perceived as naive, corny or soppy. I’m sure a desire to appear clever was another key motivation.

These observations of DFW were brought back to me by a recent conversation I had, in which a friend, commenting on my blog, said that they wanted to know what something made me feel and not only what it made me think. I accept the criticism gratefully.

First, let’s acknowledge that it is hard to write and talk about these things. Certainly in today’s postmodern world, where knowing-parody and the ironic are staples of our cultural diet, the straightforward emotion is often viewed as simplistic and unsophisticated, and displaying it almost impolite to the point of offence.

Further, a society that values the intellect and wealth perhaps sees a diminished role for emotion, except in the cynical exploitation of it that organisational behaviourists refer to as emotional labour. You’ve all experienced it, take the last time you bought a cup of coffee for instance – the forced-smile greeting and the exhortation to have a great day as you leave. Occasionally genuinely felt I’m sure, but that would just be a happy coincidence. This misuse of false emotion must surely colour our impressions of the genuine article, a Pavlovian training to be wary of it, lest that person harbour ulterior motives.

Perhaps it’s difficult to write about because the felt-emotion can be fleeting and difficult to reproduce, whereas the thought seems longer term, more permanent. The emotion only persists for about as long as we read the book, in the best cases perhaps a little longer. But its intangible nature makes it harder to record and to analyse, and so we don’t bestow upon it the same permanence.

A few days ago I watched the film 50/50, a loosely-autobiographical dark comedy-drama about Adam, a 27-year-old radio journalist who develops a rare form of cancer. The film charts his struggle, and those of his friends and family, to come to terms with the diagnosis and subsequent treatment of his condition. Certain elements of the film appear to be on the verge of becoming corny, but the writing and classy acting help it veer away from this, and the end result is a very good film. Although it is sad in parts, it isn’t unremittingly so, and even the sad moments are generally handled through humour, that is, apart from a scene near the end, which was played straight, and was enough to leave me weeping for several minutes.

That this happened, and the intensity of it, took me quite by surprise, and I’m not exactly certain why it affected me so strongly. The risk of what I think of as “narrative self-delusion” – the way we fool ourselves by telling neat Just So stories to explain our behaviour – is ever present here, but it’s reasonable to suspect the following factors: one of my relatives is unfortunately currently in hospital; the very similar ages of myself and the protagonist, and the sense of tragedy that accompanies his young age; finally, the brilliantly-subtle acting of Adam’s father, an Alzheimer’s sufferer, as he looks on confused, not quite understanding but still somehow touched, when his son tells him he loves him. Even remembering and writing about it now isn’t very easy, as sure a sign as any that it is necessary.

Maybe one explanation for our unwillingness to write about these things, is that they either seem too simple – base states of happy, sad or angry – to be worth the bother of writing about, or they are too complex – the reasons for feeling how we do, and the concurrent, paradoxical feelings we seem able to hold in a single moment – mean that it’s simply easier to talk about abstract thoughts, which can be logically connected and analysed.

Then consider that it’s possible, even probable, that the scene won’t have the same hold over me the next time I see it. The perfect storm of circumstance might no longer be present and, this time prepared for it, I’ll be able to watch it more calmly. This is another problem of putting emotional content in art; it’s difficult to control the response of the reader or viewer, there are too many variables at work.

The rejection of this, by a cynical culture, is a defence mechanism. A sign of our unwillingness to face pain because, by talking about what we feel we can induce in others similar sensations, we are at risk of a kind emotional infection. In everyday life, this might be an unwelcome imposition, but in art, in literature, surely it is what we desire. And if not desire it, we probably need it. In fact, we need both new, original thinking and strong feelings.

I had been previously persuaded by DFW’s interview that it was necessary and right to inject sentiment into writing, and wanted to do so, but in the main I suspect I had failed. The recent conversation, and watching the film 50/50, has reconfirmed this suspicion, and I am encouraged to try again.

That said, looking back over this piece it seems I’ve only partially succeeded in trying to talk about how I felt; inevitably a whole lot of thinking resulted. Still, it’s a better ratio than before, and no matter my level of success, I shouldn’t stop trying. And if I do, then readers, feel free to call me on it.

Stitch Yellow Quilts

Today’s post was inspired by a conversation I had recently with a fellow writer. I hope that they, and all other writers who read this blog, find some encouragement in it (and if so, please share with others). First though, a disclaimer. This poem is, apart from a couple of verses at the end of Life at Sea, the first I’ve ever written, and certainly the first time I’ve tried to express myself wholly through verse. With that in mind I must stoop ungracefully to some special pleading. Please read with a generous heart, and let my good intentions compensate for any lack of flair or technical sophistication. To reiterate, this poem was not designed merely to be decorative; I hope it fulfils its intended function. So here it is:

Stitch Yellow Quilts

You told me that you
once wrote,
some chapters of a book.
Now set aside,
they lay half-hidden,
closed echoes of ideas.

And so today, begin again.
Put pen to paper,
record your pain,
transfigured
now through laughs,
darkly uttered.

Write your reality,
bright future, or sad past.
Breathe epic novel,
or brief haikus.
Collect the small moments,
put them to good use.

Reclaim the night and
with distant focus,
stare.
Animate your dreams,
take to the street and write,
hoarse voice upon blank air.

Peel post-it notes,
and stitch yellow quilts;
patchwork stories
stuck piece by piece.

Spill one word,
let ten more drop.
Set to rest
now and then,
what should we call them:
a writer’s dozen?

But in the end,
write because
you can,
for fun.
Write, now,
and don’t ever stop.

As I mentioned before, this is really the first poem that I’ve written, and done so mainly from gut instinct about what sounds good and not. I would therefore welcome any useful feedback and advice from those better versed in the ways of poetry than I. Thank you!

Andrew.

Why I Write

So far in my posts on this blog I have only hinted at the reasons for writing them. In one sense, no justification is necessary; this blog is not being written under duress, and, intentional fallacies aside, there are no coded messages hidden in the text that implore the reader to send for help. No, I do it, of course, because I want to, but why do I want to?

There are the obvious motivations: I want to practice my writing; to generate additional impetus to help with writing the novel; to receive feedback; etc; etc. Case closed.

But still this is avoiding the question: why write anything at all? Simply put, I have ideas, and ones which I thought were interesting, and wanted to record them. But is that sufficient explanation?

Sometime ago I came across the following quote from Nassim Taleb.

Most people write so they can remember things, I write to forget.

The Bed of Procrustes: Philosophical and Practical Aphorisms

At the time I thought this was the typically-contrary type of statement in which Taleb seems to specialise, a sign of his wilful individualism, but I’m beginning to be convinced.

For years, intermittent thoughts bubbled up, occasionally recurring, and which I thought might make a good plot for a story, or perhaps a humorous set-piece, or simply an insightful observation. Even the ideas that I thought would be interesting to others were ignored; at most they were occasionally jotted down on a tiny scrap of paper only to be tossed away later. Over time though a feeling grew in me that this wasn’t a sufficient response, that something more permanent should be constructed from them. It was a discomfort that these ideas were being lost forever, with no guarantees that I could ever regenerate them on demand in future.

Despite this reasoning, I suspect I feel similarly to Taleb. I might write down the ideas so that they are remembered, sure, but they won’t need to be remembered by me. Once the initial documenting is completed I can simply forget about them, and be guilt-free in my forgetfulness. The instinct to hoard is sated.

The problem is that writing down an idea isn’t as simple a task as it sounds. Sometimes the idea is actually just the suspicion of one, the hint of its existence, a sense that there is something there, but it’s inchoate and inarticulate. It needs a physical medium in which to assume a form and to permit its boundaries to be shaped and discovered with any precision.

What they don’t seem to tell you, or perhaps they do and we ignore it, is that the cure is as harmful as the disease. In the writing of thoughts already had, are spawned many more; writing is dangerous.

Moreover, once started, there is no way to quit. It is no cure, merely a palliative. There is only temporary respite until the calls of the newly-discovered ideas become too strong to ignore. Nothing to be done but wait until the ideas stop coming. But who would wish for such a thing? Not I, never, quite the opposite.

Inevitably though, the flow will cease, and what better comfort for that moment than documentary evidence? I can show my sceptical, older self that the younger manifestation did indeed once possess ideas, and with them produced something original, even interesting. Geoffrey Wellum had it right when he said he wrote to convince himself that, at some point in his life he had been of use.

At the very least, and even if nobody ever reads it, writing is reassurance.
For any readers who also write: what drives you? Please do share your thoughts below…