V.S. Pritchett on living and writing in Ireland

V.S. Pritchett by André Carrilho

At twenty Pritchett went to Paris (1920/1921), where he "lived an abysmal bohemian life and wrote a terribly pretentious and mannered prose." Later he was a correspondent on the Irish rebellion for The Christian Science Monitor. Later again, a journalist in Spain.  When he joined the Christian Science Monitor the editor sent him to Ireland to write a series of articles. It was during the troubles of 1921–1924 he was asked to travel all over the country and write, not about the war, but about how ordinary Irish people lived and coped with the situation.

James Joyce in Vanity Fair (1922)

Joyce by Mina Loy. Also by Djuna Barnes here. 

Djuna Barnes wrote about her meeting with James Joyce at the Deux Megots for Vanity Fair magazine, published in April 1922:

"There are men in Dublin who will tell you that out of Ireland a great voice has gone; and there are a few women, lost to youth, who will add: “One night he was singing and the next he wasn’t, and there’s been no silence the like of it!
 For the singing voice of James Joyce, author of The Portrait of the Artist as a Young Man and of Ulysses is said to have been second to none.

AWIT - 'Articulating What I Thought'

'Portrait de poètes' (1942) by Serge Ivanoff: Yanette Delétang-Tardif, Maurice Alphonse Jacques Fombeure, Jean Follain, Rémi Masset, Eugène Guillevic

When I read Orwell, I am reading someone who has written what I'm thinking. I read:

"Serious sport has nothing to do with fair play. It is war minus the shooting."

And thought, 'finally someone has expressed and articulated exactly what I felt about sport and the culture around it!' Seamus Heaney wrote:

"One perceptible function of poetry is to write a place into existence." 

That is the role of the writer and poet: to put reality and the everyday experience into words. Jean Follain, friend of Francis Ponge, who Ciaran Carson introduced me to, said:

"Le mot fait corps avec la chose." (The word makes body with the thing)

Roddy Doyle, deviating a little, said:

"Like a lot of writers, I knew I wanted to write but I didn’t know what I wanted to write about. When I wrote The Commitments, it clicked. I felt this was the world that was familiar and I could make it a bit unfamiliar and sparkling."

But the point remains. The role of the writer is to articulate what everyone thinks; doing it in a way that adds spice and energy. They make it everyday but with excitement. They make the mundane profoundly readable.

Except the funny thing was that while I recognised this phenomenon I didn't have the words or terms to express this phenomenon.

That represents a great irony. So I propose 'AWIT' - Articulating What I Thought.

The greatest writers work with the same 26 letters, good writing is just putting one word after another

Philip Roth by Zach Trenholm

Writing is putting one letter after another letter; one word after another; one sentence after another. As Margaret Atwood said:

"A word after a word after a word is power."

Christopher Hitchens' regret - Not writing more to people

Christopher Hitchens by Martin Rowson

The combative and confrontational Christopher Hitchens died of cancer in 2011. In 2010 he spoke with Jeremy Paxman, reflecting on his past and politics. At the end he shared a regret: 

"In case you are watching this anybody, and you ever wonder whether to write to any one, always do, because you’d be surprised by much of difference it can make. Here’s a regret: I regret not doing it more often myself." 

Zadie Smith - Typing out the work of other writers



Zadie Smith said in a conversation with US cartoonist Chris Ware:

"I had the same feeling when I’m talking with other artists or writers who wrote a lot when they were teenagers and some how I didn’t do that at all. I maybe wrote about four stories throughout the whole of my adolescence and they were perfect copies, that’s what I did, I copied an Agatha Christie story or a PG Wodehouse story, sometimes to the extent of typing out the story itself and sometimes changing it one way or another but for some reason that was my main instinct… it’s reading that is the practice, it’s not writing. I was reading obsessively, all the time, forever, every day. And that’s where I think you learn to write. Not in the actual writing. The writing was an explosion of 18 years worth of reading all the time."


Artists are labourers to their unconscious



Scottish artist John Byrne with a self-portrait. More John Byrne self-portraits here.

[UPDATE - Zadie Smith said: "[My] writing was an explosion of 18 years worth of reading all the time."
Graham Linehan talked about "practical procrastination" and said: "Your subconscious is this huge glacial thing under water that’s just doing a lot of work when you don’t realise it."]

Agnes B said on Radio 4:

"When you are designer you are like a sponge you don’t know where ideas come from."

John Byrne said:

"I am the labourer to my unconscious."

Michael Longley said:

"The raw material of experience… needs to settle to an imaginative depth where it can be transformed and emerge as art."

Francis bacon said:

"There’s this deep sea which we call the unconscious which we know nothing about. I always hope the most wonderful images will emerge from it."

John Banville - Most artists live with other artists, whether physically or in their minds

Cartoon of John Banville, more here.

John Banville said:

"Most artists live with other artists, whether physically or in their minds."

Martin Amis said the same thing of writers. Speaking in 2000, he said that reading and writing is about communion, not communication:

"It was Christopher Hitchens that introduced me to Saul Bellow as a reader. Look at Homboldt’s Gift he told me with a serious inclination of the head on the staircase of the New Statesman in 1977. I looked instead at the victim and after very few pages I felt a recognition threading itself through me whose form of words, more solemn than exhilarated, went approximately as follows: Here is a writer I will have to read all of. Everything else followed from this and it remains the basis of the connection. I see Bellow perhaps twice a year, and we call and we write, but that accounts for only a fraction of the time I spend in his company. He is on the shelves, on the desk, he is all over the house, and always in the mood to talk, that’s what writing is: not communication but a means of communion. And here are the other writers that swirl around you like friends, patient and intimate, sleeplessly accessible over centuries. This is the definition of literature."

George Orwell - Writing is hard, Ctd

George Orwell's1984 is the classic of classics. One of the most celebrated book in the English canon that speaks and sells powerfully to this day. Yes 1984 is a classic. Yet for Orwell, the writing of it was most testing. Early drafts were seen by Orwell as "ghastly" and "dreadful" messes. While writing 1984 in May 1947, Orwell wrote to his publisher Fred Warburg: 

"Of course the rough draft is always a ghastly mess bearing little relation to the finished result, but all the same it is the main part of the job."

Philip Larkin - 'On Being Twenty-six'

As I savour these last few minutes and moments of my 26 years in this society and make it 27, I want to share my cartoon of Philip Larkin and his poem, 'On Being Twenty-six.' In a period of change and challenge and in a time of self-doubt and crippling comparison, Larkin's word are hugely soothing and encouraging. I also want to share this as a shout out for Lyra McKee as she approaches the 26 mark and battles the precarious and uncertain forces of the freelance world. You too Lyra can take strength and guidance from a successful poet who often thought he was useless. Here it is,  Philip Larkin 'On Being Twenty-six':

I feared these present years, 
      The middle twenties, 
When deftness disappears, 
And each event is 
Freighted with a source-encrusting doubt, 
      And turned to drought. 

Christopher Hitchens on Orwell and feeling inferior against otherwriters

Christopher Hitchens by Ralph Steadman

Christopher Hitchens said about George Orwell: 

"The point was made better by Lionel Trilling. The remarkable thing about Orwell and the encouraging thing was he is not a genius. He lived to only 46 years. He never went to university. He never had a steady job. He usually didn’t have a steady publisher. He will never be forgotten because he managed to disprove imperialism, Stalinism and fascism in one lifetime and made some imperishable raids on its territory that no-one is ever going to forget. All the time ill. All the time poor."

He then said:

"[George Orwell] shows how much difference a person of really average integrity and intelligence and education can make if they have a little courage and a little intellectual honesty. The shortcomings of the individual you can see in him too. But he basically won his own battle against his own prejudices. This is an example for all time. You don’t get the sense for example when you’re reading Proust or Nebokhov or George Eliot that you shouldn’t be in the writing business. All the people in history who said alas there was nothing I could do are lying or at least discrediting themselves. They could have. They just chose not to."

George Packer - Emulation and imitation is a good way to learn how to write

George Packer - New Yorker

New Yorker staff writer George Parker spoke with Christopher Hitchens in 2009 and explained how he modelled himself and his writing on the work of George Orwell:

"I needed to know how does one become a writer, and so I just read straight through what was then the only collection of George Orwell’s essays and journalism and letters… I became a slavish emulator and imitator for a while in my 20s. I think it’s a good way to learn how to write - To find a writer you feel some affinity for, and just master their prose style, their rhythms, get the cadences into your own nerve system and then try to find your own way into it." 

As I noted in an earlier post, Hunter S. Thompson did the same thing, modelled himself on great writers, and he explained how he did this on Charlie Rose:

"If you type out somebody's work, you learn a lot about it. Amazingly it's like music. And from typing out parts of Faulkner, Hemingway, Fitzgerald - these were writers that were very big in my life and the lives of the people around me - so yea I wanted to learn from the best I guess."

Poetry and literature, the new scripture

Anyone who knows me by my social media presence knows that I love quotes. Yes it can be a meaningless act - Ralph Waldo Emerson who said that "I hate quotations, tell me what you know" - but if exercised correctly, quotations have huge instructional value. They inform us around the challenges and happenings of every day life. Like the words of Samuel Beckett - "never matter, try again, fail again, fail better" - these sooth and guide my conscience as I navigate the many obstacles and labour against the many rejections. Douglas Murray wrote in his article 'Have It By Heart' in the Spectator Magazine:

"It is worth filling your head with the best words in their best order because it gives you the greatest company as well as guidance throughout your life."

Yet as Sean O'Casey said:

"All the world's a stage and most of us are desperately unrehearsed."

Hunter S. Thompson - Typing out the work of the best writers

Airman (2nd class) Hunter S. Thompson before his (honourable) discharge from the USAF in 1958.

Porter Bibb, a childhood friend of Hunter S. Thompson explained (8m) how the famous writer immersed and smothered himself in the work of many of the most famous writers of all time. He said:

"He chose, rather than writing original copy, to re-type books like The Great Gatsby and a lot of Norman Mailer, the Naked and the Dead, a lot of Hemingway. He would sit down there on an old type-writer and type every word of those books and he said, "I just wanna feel what it feels like to write that we'll."

Speaking with Charlie Rose in 1997, Hunter explained (9m) how this worked:

"If you type out somebody's work, you learn a lot about it. Amazingly it's like music. And from typing out parts of Faulkner, Hemingway, Fitzgerald - these were writers that were very big in my life and the lives of the people around me - so yea I wanted to learn from the best I guess."

David Remnick - Writing is hard, Ctd

The editor of the New Yorker Magazine David Remnick was speaking with David Carr (@Carr2n) of the New York Times and explained how writers find writing hard but that he finds writing comes easy for him. He said at 6 minutes:

"I'm very different from a lot of other writers I know and I also think this has been a problem for me, learning how to be an editor. I find the act of writing immensely pleasurable, and most of the writers I know spend an enormous amount of time talking about how much they hate to write, the suffering of writing and there's almost this competitive thing among writers, how much fetching they can do about how [writing is hard] - and I don't doubt that writing is hard, in fact maybe if I found it a lot harder and suffered more I'd be better at it. I don't know. But I found it and find it enormously pleasurable to be in a room by myself doing that with notes."

Video in full here. Previous articles in the series with Charles M. Blow here, with David Baddiel and Edna O'Brien here. Jason Alan Murdock here, with Alex Massie here, with Gideon Lichfield here, with Tim Kreider here, with Christopher Hitchens here, with American author Stanley Karnow here, with Ernest Hemingway here, with Neil Gaiman here, with James Joyce here, with Dan Brown here. My piece that looks at George Orwell's 6 rules to good writing is here. I also wrote a piece on The Huffington Post here.

I've also posted here about the propensity for law school to teach law students to write badly here. I made The Case For Plain English here. I've also written a few pieces, including here, on Writing on Paper as a way of making the writing process easier. Apparently blogging is an art form, seehere.

The writer can never really stop, Ctd

Edna O'Brien said:

"I think that all writers are like that – your mind is always galloping, trying to write the thing you cannot write. That is one of the characteristics, one of the norms of writing."

Northern Irish poet and writer Nick Laird said in 2005:

"When I was a lawyer… I never stopped writing reviews and poems and articles. I’d do it in my lunch hour or after work. It didn’t matter how tired I was.

In January 2014 Nick said:

"I’m working on poems all the time. I was writing a poem this afternoon, before I came here. I’ve got other work—teaching at Princeton, writing articles and so on—but I’m pretty much always working on a poem." 

Precious post with Christopher Hitchens here.

David Baddiel - Writing is hard, Ctd

In May 2014 David Baddiel (@Baddiel) spoke on Radio 4, Open Book with Mariella Frostrup and said:

"I am very distractable. I could get empires built in literary terms if I didn’t constantly get distracted. Constantly look at the Internet."

He wrote in 2010:

"I make sure I write something every day but it comes after hours of p***ing about, making tea, reading stuff on the internet and taking the children to school. A lot of the time I just look out the window. I listen to music on Spotify a lot, which takes 25 minutes to choose what to listen to then another 25 minutes of listening to Spotify's suggestions. Dave Gorman said the problem with writing now is the internet is there, it's a window on the world and you want to look through it especially when there are a lot of naked women through that window. It's incredible anyone gets anything done any more."

Edna O’Brien said:

"[The book] was hell to do. They’re all hell to do." - 

A good blog is your own private Wikipedia

Writing in the New Yorker, Ian Crouch (@iancrouch) wrote an article with an interesting headline, 'The curse of reading and then forgetting.' Ian Crouch explained a recent experience of reading and suddenly remembering:

"Recently, a colleague mentioned that she had been rereading Richard Hughes’s “A High Wind in Jamaica,” which was first published in 1929 and is about a group of creepy little kids who become the unwanted wards of sad, listless pirates. She praised it, and her recommendation sent me to Amazon. The title was familiar, as was the vibrant cover of the New York Review Books reissue. One cent and $3.99 for shipping, and the book was on its way. A couple of weeks later, I opened to the first page and started reading. By the fifth page, I realized that I had read this novel before, and pretty recently, about three years ago, when another colleague had also praised it and lent me his copy."

Guest post - Wifeless

Jason O'Rourke giving a reading in Belfast city centre

I am waiting outside Botanic Station. I had been in Bangor earlier, playing some music for a charity event in a bar near the seafront. It was hosted by a TV sports journalist with a face made for Widescreen; it was, unexpectedly, even flatter and broader in the flesh than it looked on the news. I thought you were supposed to look bigger on the telly, not the other way round. He was very friendly and professional. I did my bit, got paid, and cleared off. Despite the offer of free pints, there would be no drinking for me – my wife and I had made plans for the afternoon, and soon she would be coming to lift me in the car.

It is busy outside the station, with ones going into the hairdressers and cafés, students getting carryouts from the off-licence, and music-lovers going into the second-hand record store over the road. I love that shop; it has a great selection of vinyl LPs and cassettes as well as CDs, and it’s not too pricey. Next door is a brilliant place that has an array of mops, clothes-pegs on cardboard, buckets, rubber washing-up gloves in packets, step ladders, laundry baskets, and all manner of other useful stuff, suspended and stacked around the door. The entrance entices with promises of an Aladdin’s Cave of plastic goods inside. I vow to go in and explore when I have a minute.

The Influence of Andrew Sullivan, Ctd

Ross Douthat wrote of Andrew Sullivan in The New York Times here:

"The day the gay marriage rulings were handed down I raised the possibility, on Twitter, that Andrew Sullivan might deserve to be remembered as the most influential political writer of his generation, and I was happy to see Tyler Cowen flesh that argument out:                           

Doesn’t... Sullivan have a reasonably strong claim to that title, especially after the recent Supreme Court decisions on gay marriage? Sullivan was the dominant intellectual influence on this issue, from the late 1980s on, and that is from a time where other major civil liberties figures didn’t give gay marriage much of a second thought, one way or the other, or they wished to run away from the issue. Here is his classic 1989 New Republic essay. Here is a current map of where gay marriage is legal and very likely there is more to come.

Ross Douthat continued his analysis of Andrew Sullivan:

"No writer of comparable gifts was on the issue earlier, pushed harder against what seemed at the time like an unassailable consensus, engaged as many critics (left and right, gay and straight) and addressed himself to as many audiences as Sullivan. No intellectual did as much to weave together the mix of arguments and intuitions that defines today’s emerging consensus on the issue — in which gay marriage is simultaneously an expression of bourgeois conservatism and the fulfillment of the 1960s’ liberative promise, the civil rights revolution of our time and a natural, Burkean outgrowth of the way that straights already live. And no intellectual that I can think of, writing on a fraught and controversial topic, has seen their once-crankish, outlandish-seeming idea becomes the conventional wisdom so quickly, and be instantantiated so rapidly in law and custom."

I wrote an earlier post on the influence of Andrew Sullivan here. New York Times post in full here.