{"id":24862,"date":"2023-01-13T14:00:00","date_gmt":"2023-01-13T14:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/?p=24862"},"modified":"2023-01-13T14:00:00","modified_gmt":"2023-01-13T14:00:00","slug":"yellow-trees-november-winds","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/yellow-trees-november-winds\/","title":{"rendered":"Yellow trees, November winds"},"content":{"rendered":"

I\u2019ve just finished reading a novella, Small Things Like These<\/em>, by the Irish writer, Claire Keegan.<\/p>\n

People liked that book \u2013 a lot. Hilary Mantel said, \u2018wastes not a word \u2026 exquisite.\u2019 Colm Toibin said, \u2018The best novel I read this year.\u2019 It was a Book of the Year in more publications than you can shake a stick at.<\/p>\n

It starts like this:<\/p>\n

\u2018In October there were yellow trees. Then the clocks went back the hour and the long November winds came in and blew, and stripped the trees bare. In the town of New Ross, chimneys threw out smoke which fell away and drifted in hairy, drawn-out strings before dispersing along the quays, and soon the River Barrow, dark as stout, swelled up with rain.\u2019<\/em><\/p>\n

The simple, accurate, unshowy style is applied to descriptions of the hero\u2019s inner life as well. Like this:<\/p>\n

Eileen was fast asleep, and for a while he watched her, feeling the need of her, letting his gaze idle over her bare shoulder, her open, sleeping hands, the soot-black darkness of her hair against the pillowslip. The longing to stay, to reach out and touch her was deep, but he took his shirt and trousers from the chair and dressed in the dark, without her waking.<\/em><\/p>\n

More is happening in that passage than it first appears. He lets \u2018his gaze idle\u2019 \u2013 that\u2019s a good phrase. And he\u2019s looking at a \u2018bare shoulder\u2019, which is nicely balanced. The word \u2018bare\u2019 suggests a waft of sexual attraction, but the humble word \u2018shoulder\u2019 keeps the moment restrained and almost innocent \u2013 exactly matching the couple\u2019s interactions. Even hat last little touch about him dressing in the dark is a light but telling way to suggest the husband\u2019s basic kindness \u2013 his willingness to suffer (a tiny bit) to allow his wife a better sleep.<\/p>\n

So: good writing, but also humble. \u2018Bare shoulder\u2019 might be a good phrase, but it\u2019s hardly showy. \u2018Soot-black hair\u2019 is pretty darn close to clich\u00e9 (albeit a clich\u00e9 that works nicely here, in a domestic setting with a coal fire downstairs.)<\/p>\n

And in a way, that\u2019s what a lot of people think novel-writing is all about. Find a character. Find a theme. Find a story. Connect all those things up with a vividly realised sense of place. Use prose that is as accurate as possible. Make sure that characters feel real. That emotional moments connect.<\/p>\n

Claire Keegan, no question, did all those things \u2013 and the critical response was amazing. She was shortlisted for a few literary prizes and won two.<\/p>\n

So: that\u2019s one model for excellence. Spare, accurate, cumulative. Plenty of writers come to this game thinking that\u2019s what they have to aim at. That that\u2019s what good writing is.<\/p>\n

But it isn\u2019t.<\/p>\n

It\u2019s what one<\/u><\/em> model of what good writing is. There are others, and just as good. Here\u2019s another author opening a very different sort of book:<\/p>\n

Lyra and her daemon moved through the darkening Hall, taking care to keep to one side, out of sight of the kitchen. The three great tables that ran the length of the Hall were laid already, the silver and the glass catching what little light there was, and the long benches pulled out ready for the guests.<\/em><\/p>\n

In one way, that passage is a simple enough description of a traditional Oxford college hall. Except -that fourth word. You know immediately that Philip Pullman (the author of the book, Northern Lights<\/em>) has created something strange and fantastical. A world where a girl moves through it with a daemon (in this case a brown moth) alongside.<\/p>\n

That fourth word instantly eliminates any possibility that this book is going to be an accurate description of any world there\u2019s ever been. Whatever follows that fourth word, Pullman\u2019s excellences are not the same as Keegan\u2019s. He\u2019s taken her model, and trashed it.<\/p>\n

Now, OK, Pullman was writing fantasy and kids\u2019 fantasy at that, but there\u2019s more than one way to pull away from Keegan. Here\u2019s the first paragraph of Cormac McCarthy\u2019s All the Pretty Horses<\/em>:<\/p>\n

The candleflame and the image of the candleflame caught in the pierglass twisted and righted when he entered the hall and again when he shut the door. He took off his hat and came slowly forward. The floorboards creaked under his boots. In his black suit he stood in the dark glass where the lilies leaned so palely from their waisted cutglass vase \u2026 He looked at the face so caved and drawn among the folds of funeral cloth, the yellowed moustache, the eyelids paper thin. That was not sleeping. That was not sleeping.<\/em><\/p>\n

There\u2019s no daemon, but this certainly isn\u2019t Claire Keegan either. On the one hand, this is an acceptably accurate description of a non-fantasy world. But at the same time, McCarthy\u2019s language is busily reshaping<\/em> the world. He\u2019s not entering the world as a mere reporter-of-detail. He\u2019s entering the world with an intention to remake it.<\/p>\n

Take that sentence about the black suit, the dark glass and the leaning lilies. McCarthy writes, \u2018In his black suit he stood in the dark glass.\u2019 That sounds accurate enough \u2013 but it isn\u2019t. He didn\u2019t<\/em> stand in the glass (a mirror), he stood in a room. By putting the man into the mirror, McCarthy takes an ordinary scene and transmutes it into an oil canvas, painted in lights and darks. It\u2019s a canvas where where the lilies (leaning \u2018so palely\u2019 from their waisted vase) seem just as alive as the man.<\/p>\n

With his opening paragraph, McCarthy is effectively telling us, \u2018Look, this world might be as real as Claire Keegan\u2019s, but I\u2019m going to show it to you in my way. I\u2019m going to take an ordinary moment \u2013 man, flowers, mirror \u2013 and put a twist on it, my twist. You\u2019re going to be reading what follows as much to see what I do as to see what the characters in my story do.\u2019<\/p>\n

McCarthy and Pullman both draw attention to themselves. Pullman says, \u2018I\u2019ve created an astonishing world. Do you want to explore it?\u2019 McCarthy says, \u2018I render my world in an amazing way. Do you want to explore all that I can do?\u2019<\/p>\n

The reason for hammering away at these things?<\/p>\n

Because a certain type of creative writing class can often tend to present the Keegan way as the only real way to write literature. And that\u2019s just not true.<\/p>\n

Literature is baggy, expansive and creative. One strange line, one strange thought, can set the tone for an entire book. (\u2018Lyra and her daemon \u2026\u2019). Some books spring from exactly that disruptive impulse.<\/p>\n

My Fiona Griffiths books arose, more than anything, from her voice. Who the heck talks the way she does? Who has her humour? Her craziness? Her toughness? Her brain? Her dislocation? Her introspection? By creating a voice \u2013 an assertive, non-standard voice that takes the Claire Keegan model and shatters it \u2013 I created a book or, in fact, an entire series.<\/p>\n

So, yes, write like Claire Keegan if you want to. That\u2019s a wonderful way to write and the people who are best at it are terrific writers.<\/p>\n

But if you don\u2019t write that way, don\u2019t think you have to. The best disruptors write wonderfully too. Literature is huge and capacious. Enjoy the space.<\/p>\n

And (go on, why don\u2019t you?) behave disruptively and see what happens.<\/p>\n

PS<\/strong>: You know the Ultimate Novel Writing Course? The one that\u2019s had over 600 prospectus downloads in what seems like little more than a week? Yes, well I forgot to tell you last week that there\u2019s 10% off the price to anyone making an application before the end of this month. Good to know, right? Details here<\/a>. And, yes, places are limited and demand seems very strong \u2026<\/p>\n","protected":false},"excerpt":{"rendered":"

I\u2019ve just finished reading a novella, Small Things Like These, by the Irish writer, Claire Keegan. People liked that book \u2013 a lot. Hilary Mantel said, \u2018wastes not a word \u2026 exquisite.\u2019 Colm Toibin said, \u2018The best novel I read this year.\u2019 It was a Book of the Year in more publications than you can<\/p>\n","protected":false},"author":32,"featured_media":24863,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[],"class_list":["post-24862","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-harrys-friday-email"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/yellow-trees-november-winds\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yellow trees, November winds – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"I\u2019ve just finished reading a novella, Small Things Like These, by the Irish writer, Claire Keegan. 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