In Uncategorized on November 28, 2013 at 8:23 am
Writing is a question of motive, reading the same. It’s important to know why you’re doing it.
I can tell you why I write: it’s because I love the world as much as I hate it. Because I know it’s all I’ve got. Because a place can fill me up till I can’t breathe any more, pouring its stories into me like intoxicants. I can feel them in me, making me woozy even if I can’t always make them out, even when I can’t tell insight from pure imagination, or if those two things can be told apart.
I write because every time I so much as go for a walk the universe bowls me over. The daily litany of wonders: the sun, the wild Atlantic, murky Africa, the long coastal grasses and the man who won’t say hello to me even though we’ve passed each other by down at the water a thousand times. The litany of wonders and how it grinds. How it rubs raw.
I write because I won’t live for long. Because I’m a fucking mayfly and it makes me angry. It makes me grateful too. I write from the gratitude and I write from the anger. I write because I want to give you something and I write because I want something from you. I want your touch, like a cheap song; I want your breath on my neck. I write to make music of the noise, to make a noise in the dreadful silence, to find a silence in the roar. That is why I write.
Why do I read? See above. More
In Production on November 22, 2013 at 7:50 am
Up in the scrub of the bird sanctuary, the little wooden bridge has been listing for a couple of years and now wobbles, worryingly, over a whorl of fish in the river below it – a great tumult of watery life, the odd flash of silver belly glints in the writhing green murk.
Out over the Atlantic it’s getting brighter and the clouds have dipped beneath the full moon, cupping it as they fan outwards and upwards in either direction like a jewelled insignia. On the opposite horizon the sun hangs low like a hunter, its light predatory on the long, back lit grass as night flees.
Straight down the slatted walkway, its tip not quite clear of the black Rif mountains, the lighthouse on the island blinks. I’m sweating under my hat and warm jacket and I pick up the pace, on my way back to the first coffee of the day.
Later, up where the bus pulls out of town, opposite Lidl and arranged around the roundabout, a clutter of tattered hoardings hawk property for sale or rent. One of them has been there since I arrived three years ago and features an artist’s impression of a development that has never been built. The ground around them is strewn with rubble and litter and behind them the concrete training tower for the fire service seems to list a little itself. All in all it’s the ugliest little corner of town but you can still see the Strait and Morocco from here and a young man in a baseball cap and a leather jacket has chosen this spot to find Mecca; he’s up on the verge, prostrate in prayer. More
In Plenary, Presentation on November 14, 2013 at 11:25 am
Cádiz at night is the 18th century through a film noir looking glass. At every intersection in the old town the antique street lamps line up in all four directions, their light rising to illuminate the upper floors of the terraced town houses. Oddly uniform facades of cluttered little ornamental balconies – most glassed in to form protruding, paned windows – recede symmetrically into the distance on all sides. It’s a vertical world – the tall houses, the litter-strewn triangle of the retreating street, the mirror image funnel of sky revealed at roof level – in the form of a slender ‘x’. You might reasonably expect Mozart to walk around the next corner. In a trilby. Hands deep in the pockets of his overcoat, a gitanes dangling from his lips.
At street level the light of the lamps falls on cobbles, on ground floor walls whose colours daylight will reveal: the characteristic shades of the city – wine, champagne and salmon pink, pale blues and the ubiquitous brown of wet sand. All of them a little washed-out, as if the residents of this sea-locked city have grown so used to seeing their handiwork bleached by the sun and salt that they now paint it that way to begin with.
Some of the street level facades are left unpainted, exposing the mottled grey and sandy colours of the stonework and giving rise to the impression that this whole city grew organically from the waters that surround it; a close look at the big blocks reveals a surprising texture – they are comprised of shells and must be made of material gleaned from the sea bed. Neptune’s own bricks – a spellbinding detail. More