Welcome to Textum

The Latin word Textum means 'web'. The written word, like any spider's web, is intricate with patterns. Good writers weave a web of words from which we are unable to escape unscathed.

Textum Magazine publishes established writers alongside the previously unseen. It is our aim to promote our writing and your writing, helping to create an audience for new writers.

"Fiction is like a spider's web, attached ever so slightly perhaps, but still attached to life at all four corners."

- Virginia Woolf

Thursday 8 November 2007

Cover the Mirrors by Faye L. Booth


Textum contributor Faye L. Booth has just published her first novel. Herewith a synopsis and brief review.

Molly was fifteen when she began working with the dead...

It is 1856 and Spiritualism is at the height of its popularity. Molly Pinner has left behind her childhood in the Preston slums and inherited her late aunt Florrie’s mantle as Preston’s most successful medium. It soon becomes clear that her aunt was something far more cunning than a magnet for the spirits of the dead, but Molly puts aside her qualms and takes well to her new trade.

Molly’s relationship with her oldest friend, Jenny, is jeopardized when she begins a passionate affair with local businessman William Hamilton. Before she knows it, Molly finds herself married to a man she cannot love, and pregnant with a child she does not want. In desperation, she makes a decision that will cast her relationship with William in a completely new light.

Trapped and traumatized, and longing to regain her friendship with Jenny, Molly is about to receive a blow that will turn her life upside down. It seems Aunt Florrie lied about more than just her ability to commune with the dead: a truth hidden for years is about to emerge, and it will threaten not only Molly’s livelihood, but her very life.

Cover The Mirrors is a dark and zesty historical novel of distorted truths and suppressed Victorian desires.

... and my thoughts:

Addictive and unique writing, this novel immediately pulls the reader into protagonist Molly's world. It is a Victorian world, and Molly is a `real' Victorian girl, far flung from any stereotype. Molly is at once strong and vulnerable. She makes decisions not all of us would agree with, but even in this Molly remains likable and we understand her motivations right the way through the book.
This novel is unafraid to deal with the unsavoury side of birth and motherhood, life and death. It is a book of contrasts concerning those who are maternal and those who are not, those who are rich and those who are not. It is a human and raw story, fast-paced, evocative, colourful and distinctive. I recommend this book highly, read it and savour it.

Available here
and from your local bookshop.

Sunday 28 October 2007

The Kitten Wedding by Faye L. Booth


‘Mee-yow!’ The call came from a boy on the other side of the road. Tess considered hurling a pie at him, but Pa’d go mad if he found out. Besides, there was a carriage in the way now, blocking her aim. As Tess stood at the roadside, her tray of pies heavy around her neck, the horse raised its tail and released a steaming pile onto the cobbles.
It wasn’t the first time she’d had cat noises made at her, which was how she knew who the meowing was meant for. When she was five, and Pa had decided that the shop would do better if Tess sold some of the pies on the street to passers-by, she’d assumed that the animal sounds – usually coming from other children, but occasionally from ruddy-cheeked men with ale on their breaths and smiles too big for their faces – had nothing to do with her. It was only when she’d mentioned all the meowing and bow-wow-wowing to Ma that it had been explained.
‘’Tis a joke told too often to still be funny, child,’ Ma had said. ‘There’s tales of piemen cooking up cats and dogs to save buying proper meat, and now everyone thinks we’re all at it.’
‘I sometimes wonder if folk’d notice if we did,’ Pa grumbled, hauling a tray out of the oven, releasing the familiar smells of mutton and gravy that always made Tess’s mouth water. ‘It’d save me a penny or two.’
Remembering that, when a little boy had crowed at Tess from behind his mother’s skirts that there were rats in her pies, she had gone home and asked Pa if he’d ever thought about buying rats off the ratcatchers.
‘You must be bloody joking,’ he’d said. ‘They go for threepence each to the pubs for the terrier pits – they’re more expensive than owt else.’ Tess shrugged. She’d only suggested it because Aunt Martha had given her a sugar mouse one Christmas, and she’d been hoping that rat pies might taste as sweet. When she heard the song about blackbirds baked in a pie, she thought of enormous pies with crusts that crumbled away to reveal hoardes of dogs, cats and rats, chasing each other in circles.

After selling pies on the street for eight years, Tess was well used to the sight of cats, slithering like furry snakes around carriage wheels and horses’ hooves. When she was tiny, she thought cats looked like streaks of black-and-brown fluff, because although they often sneaked through the open door into the bakehouse, they were never around long enough for her to get a better look. Pa would always emerge to chase them away, bawling and sometimes slinging a ham bone for good measure. Ma only upbraided Pa for two things as far as Tess could remember: throwing good bones away to be eaten by strays instead of making soup with them, and taking Our Lord’s name in vain, which he also did at the sight of cats. Aunt Martha had scolded him for that, too, saying that Tess would never turn out right if she were brought up to think hellfire was just something you shouted at animals.
Nowadays, Tess thought that perhaps Aunt Martha was referring to the two girls who sometimes came into the shop; the ones who had pink cheeks and lips no matter how cold the weather, and lots of layers of ruffled skirts and petticoats. Tess had seen them first when she’d popped back to get more pies for her tray, and now she looked for them whenever she went into the shop. One of them had dark hair and eyes, and never seemed to notice Tess. The other was blonde and cheery, with the lilting Irish accent that Pa usually responded so warmly to. Ma, Pa and Aunt Martha liked the Irish, and Tess liked the girl with the blonde curls, who had winked at Tess once as Pa pressed her change into her palm. Pa had been furious afterwards, telling Tess that she wasn’t to even think of turning out like that, and kicked up such a stink that Ma came out from the bakehouse to see what all the fuss was about. Pa muttered something about “damned cats”, and Tess wondered why he thought of the pretty girls as cats when he never chased them out of his shop, and was even quite nice to them when Ma wasn’t around, but he was so furious that nobody said anything else until late at night, when Ma came to tuck Tess into bed and check she’d said her prayers. Tess didn’t tell her that she’d prayed for the pretty girls, although she didn’t expect the baby Jesus would mind. In fact, she thought that He’d like the girls, especially the smiling one with the golden hair. They seemed like the kind of women He’d enjoy the company of. Instead, she asked why Pa had been so upset.
‘Oh, he just doesn’t want you getting any ideas about that sort of girl,’ Ma said. ‘They didn’t turn out right, and none of us want you ending up that way.’
‘If Pa doesn’t like them, why does he let them in the shop? He doesn’t let that man in who pokes his fingers through the pastry to see what’s in the pies.’
Ma sighed. ‘Don’t think I haven’t asked him that myself, dear. But at least they don’t ruin things they haven’t paid for, and they always have plenty of money to settle up.’
That night, there were cats making a racket in the street outside, growling and screeching into the darkness.

Tess liked to look in the windows of the good shops, where the Quality bought teapots with roses painted on them, thick sheets of creamy writing paper and beautiful dresses like those worn by the ladies who sent their maids to buy pies from Tess’s family. She particularly liked the taxidermist’s shop, because his window was filled with lots of different animals and birds that stayed still so that Tess could look at them properly. He had a big fish, too, mounted on a board, but Tess didn’t like that because she couldn’t understand why anyone would want such a smelly thing on their wall. She hated the smell of fish, especially on Fridays, when her tea seemed even less appetising after she’d been breathing in the aroma of gravy all day. Today, though, the taxidermist had something new in his window – a kitten wedding.
Peering through the glass, Tess studied it a little closer – a painted church scene on two boards nailed together at an angle, with pews of kittens in their Sunday best watching unblinkingly as a kitten priest (or a minister of some sort; not a proper priest) stood frozen in the act of pronouncing a kitten in a suit and a kitten in a white frock man and wife. The little congregation looked absurd among all the other animals in the window, like fairies at the bottom of a garden filled with sensible beasts like foxes and badgers and pine martens.
Perhaps this was where Aunt Martha got her ideas about witches’ cats, like the one that belonged to the women they’d hanged up at Pendle in the old days. When Tess was a small girl, Martha told her about the black cat, who was called Satan because that’s who he was, and he just pretended to be a cat so the people in Pendle wouldn’t notice.
‘Witches liked cats,’ Aunt Martha had assured her, ‘because cats smother babies in their cribs. The witches used to offer babies’ blood to the Devil, and make candles with their fat.’
‘Like when Ma dips the rushes in dripping when it goes dark at night?’
‘Don’t be ridiculous, girl, it’s not like that at all.’
There had been a short silence, and then Tess had a thought. ‘But what about those drawings of Our Lady and the baby Jesus with a cat? Did Our Lady not worry about cats smothering the Christ child in his manger?’ Aunt Martha had said that Tess was not spending enough time in prayer, and that she would have words with Ma.
Tess didn’t like the kitten wedding, she decided. The kittens’ faces looked swollen and their glass eyes were too big, as though they too were saddened by their predicament and blamed Tess for their ridiculous clothing. Hoisting her tray, she turned to head home.
A short walk down the road, a woman stopped her and bought all but one of the pies she had left. With one hand clasping her small daughter’s, she pulled the coins from her purse to pay Tess, before holding out her basket for the pies. As they walked away, Tess realised she was stood outside the church where she went with her parents and Aunt Martha on Sundays, and so she bobbed a little curtsy as she passed the door, which stood ajar, revealing the familiar statue of the Madonna peering out into the street.
‘Papist!’ the woman’s little girl spat over her shoulder, before following her mother and disappearing into the crowd.

Back at the shop, Tess walked around to the back door with her solitary leftover pie. A tabby cat with ragged whiskers and half an ear missing was loitering outside the bakehouse, craning its neck to see if anyone was on guard inside. Tess regarded it for a moment, before glancing around to see if Pa was about. Breaking her last pie in half, she crammed a piece in her mouth, and threw what was left to the cat.



Faye's novel Cover the Mirrors is published on 2nd November 2007.

For more info: http://www.fayelbooth.co.uk/

Wednesday 24 October 2007

Lost and Found by Rebecca English


“You’re not listening to me at all, are you?” she says again, clattering the glass onto the table and filling it with water. I nod my head but to tell you the truth I’m finding it hard to concentrate. If I twist my head, I can still see it: a small silver key gleaming in the light from my reading lamp. I want to hold onto the feeling of suspense for a bit longer so I don’t look at it too closely in case I remember how it got there. I don’t mean how it came to be on top of the sideboard because of course I put it there amongst the detritus of receipts and shrapnel I found in my pocket. How it came to be in my pocket is the question. I’m almost certain I didn’t put it there.

“I don’t think I’m asking much. I just wish you’d take more care,” she says interrupting my thoughts. With one brisk motion, she wipes a dishcloth over the surface of the table, moping up the dribble of gravy that runs from my plate.
“I didn’t do it deliberately,” I mumble, lifting my plate out the way so she can wipe underneath.

“I know, but it doesn’t take much to clean up after yourself. It was the same thing yesterday, I come in after a hard days work and there’s towels all over the floor and the water’s running over the edge of the sink.”
I look down at my plate and push the carrots underneath the soggy mashed potato. She knows I hate carrots. “I said I was sorry. But my film was starting. I must have forgotten I left the tap running.”

“I should have known: you and your bloody films. I wish you’d think about something else for a change.”

“What else have I got to think about Lyn?” I say, frowning at her. “I’m stuck in this house all day; I can just about make it to the paper shop. All I have to look forward to is you coming to see me, and it’s not like you do that every day.” I have to admit I throw the last bit in to sting her a little. It works as she stops throwing my plates into the sink as though they’ll bounce and comes and sits down in the chair opposite.

“I know Dad, it’s awful for you. I’m just worried. I’m not exactly thrilled about you walking to the paper shop either. What would happen if you collapse on the main road? People don’t stop to help any more, you know. They’d just think you’d been drinking.”

I shake my head and cross my arms. It always comes back to this. “I can make it to the paper shop to get my fags. You’re not going to get them for me are you?”

“No I’m not! Horrible things. Seriously though, I’m sorry I snapped. I’ve just had a bad day. The girls got in late last night and I was tearing my hair out, they didn’t even phone. Then I overslept and had to go to work without a shower,” I stopped listening to her but smiled across the table in my best fatherly manner. Lyn was always a serious child, too much like her mother. Neither of them ever laughed at my jokes. She was one of those little girls who seemed to delight in pointing out your faults, “Daddy why don’t you stop smoking? Daddy why did you forget my birthday? Daddy why did you make mummy cry?” I suppose it was natural she would join the police, though it’s had the unfortunate effect of making her all the more aware of other people’s failings, especially mine. Now it seems like all her worries are pressing down onto her forehead making two deep frown lines between her eyes.
I lean over to pat Lyn’s hand, “Well I think you work too hard. You should relax more.”

“Relax? I have a full time job, two teenagers and you to look after, remember. I don’t have time to relax.”

“You don’t need to worry about me. I’m fine.”

“No you’re not, Dad. You hadn’t even noticed the water was running upstairs and last week you nearly burned the house down. We have to start thinking about options.”

“Options?” I say. The word sounds ominous.

“You know you’re not going to be able to live here by yourself forever.” I make a noise like harrumph and stand slowly to shuffle to the next room.

“You can’t avoid the subject forever,” she calls after me.

I settle into the armchair and switch the telly on. I turn up the sound, not because my hearing is bad as it’s the one thing that hasn’t disintegrated yet, but because it makes talking impossible. I’m tired of talking now and just want to be alone to think about my key. I take it out my pocket where I hid it from Lyn. I try to think through the last couple of days to work out where it came from but it’s like running through snow. I met an old friend at the shop this morning (at least I think it was this morning). We worked together in the factory making wing nuts while the kids were growing up. Bill was his name. Bill Wyatt or Williams or it might have been Will Bryant. I always thought he had a thing for my Jenny. Funny how you forget the names but the emotion clings on, as soon as I saw him that old jealousy filled my mouth like bile. Still it was good to see an old face, to talk about the past.
He told me it was my anniversary; I married Jenny sixty years ago. I had forgotten. My memory is mangled and broken; the warranty expired years ago so there’s no hope of a replacement. How soon will it be before I forget Jenny’s name, or forget Lyn is my daughter, forget I ever had a daughter? Not long I think. She’s a good girl really. I wish she’d sit down and watch a movie with me.
Of course, if I want the mystery of my key solved, the best thing would be to ask Lyn. But there’s a part of me which doesn’t want to find out straight away, it’s nice to have something interesting to think about for a change. The key is so very tiny, the size of my thumb from the knuckle to the nail. It’s too small to actually be of use. It reminds me of the story about the little girl who fell down a rabbit hole; perhaps it’s the key to a miniature door. If I ask Lyn, there will be some mundane solution. In fact, it’s likely she put it there to remind me of something, she does that sometimes, the way we used to put knots in our handkerchiefs. These days my memory is such a slippery, sliding kind of thing, I’d be scared not only that I would forget what the knots were for but also that I have a handkerchief or a nose to wipe it with.

It’s a strange thing, memory. In the factory, they called me Stato, I could remember every capital city in the world and the position of every team in the football leagues since 1944. I was celebrated for my vocabulary; I could recite whole pages of definitions from the dictionary. Yet it was the words that went first. I would be talking and suddenly the word I was trying to use would go completely out my head. ‘Tomorrow’ was the first to vanish, as if the shortening days ahead of me no longer needed a label. I can remember the word ‘yesterday’ clearly enough, there’s a whole lifetime of the damn things following me around; I suppose it’s natural I dwell on them.

Time, so pernicious, has always been an enemy. When I was a child, I was greedy for the tomorrows, stuffing them hungrily into my mouth. I was always pushing on to the next thing, pushing forwards; not realising that time would eventually be eaten up until I’m left desperately scrabbling for the last crumbs. Increasingly I find it’s not just tomorrow which is fast retreating but also today, and that’s more of a worry. Only last week, I left a pan of water boiling on the stove until all the water evaporated away. I was reading the newspaper when Lyn burst in screaming like a siren. Of course, she was right, the house could have burned down, but she didn’t have to shout so loud.

Lyn has come in with a cup of tea and is still talking about her day. Her story seems to have got more interesting. “Of course that will teach me to leave without checking I had everything first,” she says, pausing to sip her coffee. “It was such a stupid mistake, the thing you joke about that you must never forget. Honestly, I was so embarrassed. There I was handcuffed to the desk in front of thirty hysterical ten year olds. I’m supposed to be teaching them how to keep safe and all they learnt was that police are stupid. I had to wait half an hour before they brought the spare. I’m never going to live it down. The guys on the shift thought it was hilarious.”

“What on earth were you doing handcuffed to a desk?”
“I’ve just told you dad, weren’t you listening? The strange thing is I still can’t find it. I thought I must have left it in my locker but I looked and it’s not there.”
“Well in my day police officers wouldn’t be caught doing that sort of thing.”
“I hardly intended it to happen,” she says, tilting her eyebrows, looking just like Jenny. She gets up and takes the cups into the kitchen.

I look at the key again. Perhaps Bill gave it to me this morning; if so I wish I could remember what it’s for. Perhaps he asked me to do something for him, open something small, a safe deposit box with his savings inside. Perhaps it’s for my own safe deposit box. I’ve never trusted banks: who knows what they do with your money. Perhaps it was something that belonged to my wife, a locket or a diary. If so, it makes me cross to think how Bill got hold of it. I’m getting sleepy by the gas fire and the last thing I think is perhaps it unlocks that final door, the one that waits for us all.

Lyn comes in the room and pulls the blanket over my knees. I feel her warm hand rest on my cheek and half open my eyes. I see her pick up the key and put it in her pocket.

Saturday 13 October 2007

Edith Wharton in France by Karl Orend


Karl Orend
Edith Wharton in France


Edith Wharton was in love with France and the French way of life. It provided the antidote to the shallowness and materialism of the wealthy, elite New York Society into which she was born in 1862, and later satirised in The House of Mirth. Edith said of her close friends "we never think or feel as Americans do". Two of her great-grandparents were French and her family's gaze was always set on Europe. Edith lived with her family in Paris at 61 Avenue Josephine between 1868-1870. She first spoke French at 4 years old, and later became fluent in German and Italian. While in Paris, and still unable to read, she discovered how to unleash her imagination, pacing the floor and "making up"; she composed stories out loud whilst holding a copy of Irving's Tales of the Aihambra from Galignani's Press. Upon her return to New York, having learned to read, she read extensively in French. Her mother, a cold, insensitive beauty, indifferent to literature, forbade her modern books, and she read so many classical texts that her spoken French became "pure Louis Quatorze". Edith grew up lonely and bookish, shy, and insecure about her looks. Books were her refuge. Her other great joy was the yearly arrival of "our trunk from Paris" with its resplendent dresses. Through these years she wrote poems, stories and then her first novel at 16. She revisited Paris at 18 when her father often took her to the Come die Francaise, her love of which resurfaced in The Reef.
Her first literary friend was Walter Berry, a Franco-phile cousin whom she met in 1883. She secretly loved him throughout his life, and he would later help her with editing her books. Seeking an escape from family life, she married her older brothers' friend Teddy Wharton in 1885. Henry James would call the marriage "utterly inconceivable". Teddy suffered from manic depression and, an inferiority complex due to Edith's greater wealth and education. They were very unhappy. France was never far from her mind, and John Winthrop, a family friend, educated her in all the modern French writers, historians and critics. She constantly tried to balance the demands of la vie mondaine with the life of the spirit, something she eventually came to feel was only possible in France. Her friendship with Paul Bouget, a French novelist, in the 1890s would help her understand the intricacies of French society.
Edith's life as an expatriate in Paris began in the winter of 1906. She felt the difference at once, "in Paris no one could live without literature, and the fact that I was a professional writer, instead of frightening my fashionable friends, interested them!" She began to try to write in French. She sought friends who shared her tastes and as she came to know more of French society, realised she had at last found a milieu which shared her sensibilities. Her profound, dormant love for France had awoken.
For Edith, the French woman was more grown up than her American counterpart, who believed only in short cuts to knowledge, materialism, and tragedies with happy endings. The French had understood that men and women complete each other mentally and physically, and they grew up mature, in contact with the material realities of living. To her, the French were a race of artists. They were educated to have the Seeing Eye.
For someone who loved artistic expression more than anything, Edith felt at home in a society where the idea that art and knowledge could be subordinated to material concerns was incomprehensible. However, she wasn't blind to the less readily appealing aspects of French life, such as their clinging to rules and precedents which had become meaningless, their selfishness. This, she explained, was due to the fact that they had nearly 2000 years of history and culture to conserve, which led them to recoil from the new, be conservative and lack spontaneity, to "shun the outer darkness of risk". Women played a much more central role in French life. They were often their husband's business partners and ruled their families with a fierce conservatism. Marriage was more a business contract between two families and, in order to preserve their fortunes intact, couldn't be allowed to be at the whim of transitory emotions such as passion and love. Hence marriage was founded for the family, not the husband and wife. They left love out of marriage because there was no room for it. They were neither instinctively generous, nor trustful. This explained the normality of love affairs in French life, the independent strong role of women. The French were realistic, but at the same time passionately romantic. Amour was not simply love, but rather all the "complex of sensations and emotions which a man and woman may inspire in each other."

Throughout the pre-war years, Edith mixed with a circle of important literary and political figures and members of the Faubourg Society she had written about in Madame de Treymes.
Edith always made sure her work was translated into French and her standing in Paris as a writer was assured.

During the Great War, Edith did much for the war effort, working for charity and opening her own charity for shunned tuberculosis patients in 1917. She also continued writing. Unable to write fiction, she also turned her literary gifts to the war effort. Her descriptions of Paris and France under war conditions, which appeared in Fighting France (1915), did a lot to bring America into the war. Combining the acute sensitivity of a travelogue with the moral authority her social work had given her, she was the first American writer to provide and account of the events at the front line. She made four trips to the front in early 1915. Nothing prepared her for what she saw. She felt at times a "sense of being at the very gates of hell."

By the end of 1918 Edith had decided that she must leave Paris. The world she had known was gone, and the Great War had destroyed the Faubourg Society. Paris had become associated in her mind with illness, worries, loneliness and the continual demands of the sufferings she had tried so hard to relieve.
Edith had been sketching an idea for a novel about old New York. Written in seven months, this was The Age of Innocence (1920), her best loved book. It sold 115,000 copies in the first year in America and even film rights were sold. She was awarded the Pulitzer Prize in1921 and compared to Jane Austen, Joseph Conrad and de Maupassant. But she was only able to bear short trips back to Paris. In 1920 the French Academy awarded her the Prix Montyon, the gold Medal for Virtue, for her war writings. Paris by this time had become "simply awful" and was filling up with Americans, eager to exploit the buying power of the dollar. The days of the Lost Generation were approaching.

Edith Wharton died in August 1937, following a heart attack. As was her wish, she was buried in the cemetery at Versailles. There were flowers from her beloved garden and a guard of honour formed by old soldiers and the war wounded. The inscription on her grave reminds us of her late adopted Catholic faith- a Latin inscription meaning 'Hail the Cross: Our Only Salvation'. This is a coded reference to a now forgotten play by Strindberg, which opens in Montparnasse cemetery, the lines spoken by a woman who loves much more than she is loved.
For the people of France Edith Wharton lives on. In St Brice a street bears her name, she is widely studied in schools and universities, and remains one of the most loved 20th century writers. Loved not only for her books, but also for her generous heart and her defence of the French way of life.

Friday 12 October 2007

Writers on Writing - Poppy Z. Brite


POPPY Z BRITE
Inspiration

Writing comes naturally to me... I am inspired by all the arts, not just other writers - films like Sunset Blvd and Blue Velvet, music from Tom Waits or The Beatles, images by Dali or Bosch. As for inspiration from books, there are too many to list! I'll mention Nabakov, Stephen King, Carson McCullers and William Burroughs. Comic book writing can be just as inspiring as literature; Neil Gaiman, author of The Sandman is also a great inspiration to me.
Travel can be inspiring too. My favourite place to be is Amsterdam, but perhaps the best place to write is at home. At home I am inspired by a vase of roses on the window sill or the soft fur of my oriental shorthair cat, Nathan. I would describe myself as a cranky, obsessive and voracious writer - but my favourite novel is always the next one...

Writers on Writing - Graeme Williamson


GRAEME WILLIAMSON
Pay Attention

I liked to read from a very young age and started to make up stories for friends when I was eight or nine, so the impulse to lie for amusement began at an early age. In one or two of the schools I went to I met English teachers who brought literature to life for me and showed how it related to the world outside the classroom.
After a time I began to wonder what sort of people wrote books. I admired the ability of these strangers to speak across space and time, to create the illusion of intimacy with the reader. I admired the solitary craft, the endurance of writers -- also the skill with which they played with the language and made a beautiful game of something as simple as human speech.
I read a good deal of Chinese poetry early on and started to write poetry. Some Oriental poets in particular seemed to have found a way of keeping the present moment alive indefinitely. This seemed to come about through an ability to vanish from the foreground and leave the clear view for the reader. Reading their work was like travelling through time. I began to feel that the 'real point' to writing -- if there is such a thing --- is just to pay attention. Last week I was reading an old interview with William Burroughs in which he said the same thing. When you walk down the street, how much do you notice?
I was of course also motivated by a desire for money. At a certain point I took up music, wrote songs and played in bands with the aim of acquiring wealth quickly. However, despite my determination to get rich, the main success I gained as a musician was enjoying playing music whether it made money or not. The process was beneficial in other ways. Through practice I became quite skilful at writing music and lyrics and learned about form and rhythm from songwriting. These skills helped me when I started writing prose fiction.
These days, I would say that I write because I can't imagine not writing. I would like to bring something to the conversation that writers have with the world and with each other. Human life is a prodigious phenomenon and the more versions, interpretations and eyewitness accounts of it there are, the better, I think -- So writing is a good enterprise. The chaff gets blown away and what's left can tell us who we are.

Writers on Writing - Zoe Strachan


ZOE STRACHAN
Compulsive Writing

As soon as I knew how to, I made things up and wrote them down. It comes from reading, and loving books. When you get a good one, a book’s better than anything else. Sometimes it’s entertainment, or learning, or excitement, or escapism. Nothing gets you out of your head like a book. It’s wonderful being exposed to so many ideas, having so many adventures, meeting so many people, the world all swirling around you. All in the comfort of your own home. The idea of children not being able to read or not having access to books horrifies me.
Real life intervenes though, and I went through a period of about five years without writing a word of fiction. It got so I wasn’t very happy, and I think in part it had something to do with not writing. There’s a lot of creative people out there who aren’t doing what they should be doing, and I’m sure they all feel pretty miserable. And it’s usually because they don’t have time to do anything but work, and can’t afford not to, so it’s a vicious circle. Leave it too long, and you’ll stop even rattling the chains.
Writing’s a compulsion too, once you get started, you just can’t help it. It’s true that occasionally it’s a real pain in the arse, when you’re working to a deadline and desperately want to get out and live life a bit rather than staying in, hunched over your computer. But then there are other times, usually very late at night for me, when it’s the best thing in the world, the most fun you could ever have. Maybe I should get out more, but nothing beats it when you’re on a roll, and you’re typing away like crazy, so that when you finally stop your hands are numb. Like all your thoughts and ideas are flowing straight from your brain down your arms and through your fingers onto the page. I love it.
I don’t think much about people actually reading what I write, because I still find that a bit freaky. All the same, I hope they do.