Always Crashing in the Same Car

I’ve been diagnosed with depression.

Oh, hooray.

To be honest, this is not a massive shock. I’ve been having major sleeping problems for the last few months (some of which has been down to problems with my bed, but not all), I’m still living a life where I’m spending 95% of my time completely alone, I’ve been extremely busy, and I’ve had a very hard knock in the book being turned down – more so, simply because of the fact that I could really do with something significant in my life changing. And right now, it isn’t going to. Simple as that.

The last couple of weeks have been really hard, and it’s been getting difficult even to concentrate – I’ve been nowhere near as efficient as I usually am in getting work done, and life has generally been getting on top of me. The failure of my marriage has been back lurking in the background of my head ever since October, and it’s like the book being turned down has just turned the volume up. The only way I’m going to get myself out of this situation is by being determined, working hard, and getting myself on. There’s a whole selection of things that I need to do in my head, and I’m damn well going to do them.

But I’m also realising now that the next few months are going to be quite hard. I’m going to be getting some counselling, and I’m not ruling out other options as well. The last few days have been really difficult though – I’ve felt at times like I’m crumbling into bits, and it’s rather hard to keep myself together. I haven’t had much energy for anything other than the bare minimum I need to do to get through the day – being ill with a very unpleasant cold that’s essentially been hanging around my system for three months doesn’t really help either. And, to be honest, that’s one of the reasons why this blog has been dead quiet. I don’t like posting here when the only thoughts I can think of to write down are miserable ones. I’m kind of bored of being miserable, and lonely, and feeling broken. It’s too much like hard work. And I’m not going to let it completely control my life.

I am at least doing some sensible things as well. I’m going back to Cornwall for two weeks, and I’m extremely glad I’m doing it now. There were a couple of moments where the idea of being down there felt like a little too long – I tend to get cabin fever if I’m anywhere longer than a week, and while staying with family is always lovely, there’s also often a point where you start counting down until you leave. But right now, knowing that there’s only eighteen days until I get on a plane, and then I really don’t have to worry about anything and am going to be looked after for two weeks is really, really nice. I’m going to try and get plenty of writing done over those two weeks, but I am also going to actually (shock! horror!) relax.

I don’t want to define myself by what happened anymore. I want to be able to feel like the happiness I once felt, a long time ago, is something I can get back. That it’s not dependant on being with someone, that I’m capable of being happy on my own. I want to remember how to be happy. And I want to move on.

I’ll try and update like this a bit more. And, whatever happens, I will be okay.

Saxon Bullock. Sturdier than he looks…

On the Road

The briefest of brief updates…

I’m actually doing okay in the wake of the Book being turned down. I have a plan, and I’m going to follow it whatever happens.

I’ve been spectacularly busy.

I looked at my bank balance recently, and it actually made me feel good. Things are still tight, but actual progress may be being made.

I’ve seen a lot of good television. And some bad as well.

I’m also rewatching Lost, something I’ll be talking about at length at some point. Short version? S1 is still great, although it’s a major culture shock going back to the gently paced character/adventure show after the plot-heavy madness of S5. And you can almost feel the problems hit in S2 as early as episode 4.

I’m off to London for the next three days, for much socialisation and adventure. Hope it’s going to be fun…

And – to wrap things up – something that made me smile. A lot.

See you soon….

“This cat is no more! It has ceased to be! It has expired, and gone to meet its maker!”

Well, I’ve opened Schrodinger’s Box, and it turns out the cat didn’t make it.

Bugger.

For all those not in a Quantum Mechanic-related mood, I heard back about my novel today, and the absurdly lengthy saga of the Rewrite and the Editor Who Shall Remain Nameless has, unfortunately, ended up with a rejection. And, mustering a bit of the Dunkirk spirit, I may be down but I’m not out. I’m officially giving myself the day off, going into town, eating some nice food and possibly watching some completely nonsensical disaster porn courtesy of Roland Emmerich (The f/x in 2012 look wonderful – whether any of the stuff around it is even bearable may be a completely different story…). In short, I may not have gotten the result I wanted, but I’m going to pick myself up, dust myself off, and keep on going.

Onwards…

Schrodinger’s Novelist

The start of another week. And this time… well, there’s a possibility that I might actually know what’s going on with my book once I get to the end of it. Of course, I might not. This whole process (since the build-up to the rewrite, the rewrite itself and the wait since then), has gone on for a very long time. And I’ve still got to face the possibility that out of the two alternate futures facing me, I could end up in the one I don’t want. But, to be honest, it would be very nice to just settle the uncertainty, open up the box, and find out whether the cat’s alive or dead. There’s a lot of uncertainty lurking around in my head, looking for somewhere to go. At the least, I’ve also got plenty to do – the next six weeks, working up to Christmas, are going to be pretty busy. And I’m spending Christmas in Cornwall, and will be out of Manchester for two whole weeks, which is another unexpected but extremely nice turn of events.

What I’m trying to say is that by the end of this week, I could be a bit upset, and a bit miserable, but generally dusting myself off and readying myself to move onto the next challenge. I could be both happier than I can ever remember being, and gulping in slight terror at the size of what I’m about to take on. Or, I could still be stuck as Schrodinger’s Novelist, wondering when my waveform is going to collapse.

Only one way to find out…

Forever Autumn

Sometimes, it’s all about saying something at the right time. One of the downsides of being in Manchester is the obviously limited amount of green, and the fact that I don’t have a car means it isn’t the easiest thing to just go “right!” and disappear off into the Peak District. Mooching about across hills and wildernesses isn’t something I get to do very often, so I try to enjoy them when I get the chance – but it’s very easy to assume those chances aren’t going to come along very often. Anyway, I was mentioning to Anna (who I lodge with – describing her as ‘my landlady’ would just sound bizarre) that the book I’m currently working on meant I’d need to go and have a wander around a stately home at some point – I knew there are a few in this area (not always easy to get to, of course), but the main location for my current book is a really big 17th century hall surrounded by miles of sprawling grounds; it needs to feel real, and wandering around a place like that would work wonders. I mentioned this, and Anna’s immediate response was ‘Tatton Park!’ It’s a stately home that’s open to the public, with gigantic grounds – and she drives past the main entrance to it every single day she goes to work. Just like that, I had transport there and transport back, and a few days later – yesterday, to be precise – I was on my way. I was there from 8.30am through to about 5.15pm, and it’s genuinely one of the nicest days I’ve had in a very long time.

It’s a big place – the house grounds are probably just under three miles from top to bottom, and they spread out in a lot of different directions. And one of the best things is that outside the very formal and controlled gardens, it has a distinctly wild feeling to it. There’s grass as far as the eye can see, and trees, and scrubland, and gigantic lakes where ducks, swans and other birds cruise up and down. There’s also deer – within half an hour of arriving, I’d sat myself down by the biggest lake in the park and was simply soaking everything up, when I looked to my right – and about 200 metres along the side of the lake, there were three stags with absolutely gigantic antlers gently munching on the nearby vegetation. My jaw dropped, and I simply sat there, staring. There’s something about seeing animals like that when it’s quiet, and you’re the only one around – and I saw plenty more deer later, on my way back from the house; a massive herd of them, quietly minding their own business. It’s the kind of parkland that goes on for long enough and is arranged so that you can sometimes forget that you’re not that far from civilisation – at least, until the next plane roars by overhead (the park is unfortunately smack-bang on the flightpath of Manchester Airport). Looking around the house was both fascinating and tremendously useful, but it was the walk in the park and the gardens that I enjoyed more than anything. I even timed it right – it’d be beautiful in the summer, but with plenty of autumn leaves on the ground, there were places where the whole place was a mass of shades of golden and brown.

I got to explore – it’s the kind of area where unless there’s a ‘PRIVATE’ sign (and there aren’t many of those), you can go where you like – and it reminded me how much I love exploring, just the whole experience of going somewhere new, and finding out what’s over the next crest of the hill. It’s been a long time since I’ve been able to indulge in that kind of wanderlust, and it was wonderful. And, in a small kind of a way, it was a little sad at times as well. There’s something about times like that which make me wish I wasn’t just experiencing them on my own – that I had someone to share them with. The last month has, to be honest, been rather hard at certain points – hitting the one year anniversary of my separation from George was difficult, and it (along with a few other incidents) has dredged up a lot of darker feelings deep inside my brain. And it’s hard being somewhere like that, because George has got so much of a love of the countryside and the natural world (I feel like I notice an awful lot more because of the way she’d stop and spot things). Wandering along paths through wooded groves, or exploring the various twists and turns of the gardens and staring at some of the truly beautiful trees from all across the world… it feels wrong to be doing it without her. It feels like I want to be able to turn, and point something out to her, or tell her about something. And she’s not there. And she’s never going to be there again.

I don’t want this to sound like the whole day was completely melancholy – it really wasn’t. Some of this is simply autumn happening, the evenings drawing in, the leaves gradually vanishing from the trees, and the knowledge that winter is only just around the corner. And some of this is simply being tired – I spent virtually all of yesterday walking (after a day in the park, Anna and I went shopping in Sainsburys, and the results virtually wiped me out for today as well), and being tired easily makes me prone to sadness. There are just times when it’s really sad – and times when it’s really boring, like you’d really like to be able to scoop all of this out of your head and forget about it. And I think, it’s partly because what I went through in 2007-2008 is starting to fade in my mind a bit and not seem so vivid… so it’s easy to forget how bad it was. I still miss George, but I think part of what I miss is the version of George I had all those happy memories with. Recollections can get terribly distorted after a while. And it probably doesn’t help that I’m still living in a land of uncertainty with so much in my life, waiting and hoping for stuff to happen. Until it does, I’m stuck in the middle of a ‘time passing’ montage, and waiting for the story to really kick into gear again.

But whatever happens… I had a good day yesterday. I wish I could have gone with someone – but also, being on my own gave me complete freedom. It gave me the ability to spontaneously say “I want to go to a stately home” at the beginning of the week, and then a few days later be actually doing it. I’ve soaked up tons of history, I’ve seen deer, I’ve sat by a lake and watched the world go by. And hopefully, not too far in the future, I’ll go find some more wilderness and do a little more adventuring.

I may be a little down. But I’m a long way from being out.

The Heart of the World (Or, the Utter Bewildering Craziness of Guy Maddin)

Sunday’s entry made me realise that while I’d made a brief reference to Canadian filmmaker Guy Maddin, it’s very likely that anyone who read that post would have just gone “huh?” as he’s one of those little-known cinematic eccentrics who very few people actually know about. So, needing no excuse to introduce anyone who wants to know to the stranger things in life, Guy Maddin is a writer-director who’s the absolute definition of ‘cult’ – he’s occasionally described as the ‘Canadian David Lynch’, but the only things they really share is an absolutely personal and distinctive way of doing things. He’s got his own very particular style, and his stuff is most definitely going to fall into the love-or-loathe category with most people. He’s made a variety of short films and features, during which he’s evolved a particular way of storytelling – basically, he hi-jacks silent movie filmmaking grammar, mixing ludicrous melodrama with German expressionism and the kind of completely nutzoid editing you only get in Russian propaganda, along with a whole selection of his own bizarre storytelling pecadillos and some of the most hilariously OTT silent movie-style intertitles that you’ll ever see. He even shoots his stuff in a way that perfectly captures the look of silent film – grainy, black-and-white, dream-like images that feel like they’re coming from another universe.

The first film of his that I saw – The Saddest Music in the World – is one that I didn’t quite enjoy – it was visually beautiful, but I wasn’t quite in the right mood for it (It was something I saw at a film festival, which can sometimes be very wearing experiences), and I simply didn’t get it. However, the next one I saw – on BBC2 one Christmas, at about 1 in the morning, was Dracula: Pages from a Virgin’s Diary, which is something that sounds utterly insane – a filmed version of a ballet adaptation of Dracula – and yet was absolutely brilliant. I was kind of amazed to find that out of all the versions of Dracula I’ve seen, it’s the one that’s most faithful to Bram Stoker’s original, capturing that really odd mixture of Victorian melodrama and sheer sexual panic, managing to be both oddly beautiful and absolutely hilarious at the same time. I also managed to track down Brand Upon The Brain!, which is his ‘autobiographical’ film, but also finds time for mad science, ghostly teen detectives and weird experiments. In a world where film can often be homgenous, it’s good to celebrate the absolutely strange – and while I need to track down more Guy Maddin stuff (especially his acclaimed psuedo-documentary My Winnipeg), I did find a short film by him on Youtube that’s one of my favourites of his. It’s an absolute distillation of his entire style, and crams a literally brain-melting amount into six minutes. It was made for a film festival in 2000, and it’s a celebration of the entire Silent Movie era (which is about the only explanation for the significance of the word ‘KINO!’ in the last minute or so) – it’s called The Heart of the World, and it’s one of the most deliriously mad things I’ve ever seen. It’s also extremely, extremely bizarre, with moments that rank as both slightly disturbing and completely inexplicable, so… WARNING: if a story involving morticians, actors, star-crossed love, orgies, apocalyptic destruction, mania, large sinister Russian men, phallic symbols, religious hysteria and SCIENCE doesn’t sound like your thing… well, don’t click on the embed below.

For anyone else who’s still left, here’s the sheer cinematic delirium of ‘The Heart of the World’:

Turn Off Your Mind – Relax and Float Downstream…

And following some silence, some talk about music.

The Beatles back catalogue has been re-released, and in a move that is typical of me, funky packaging and ludicrously priced box-sets suddenly start getting me going “Ooooh…” I don’t think I’ve ever qualified as a Beatles fan – in the same way that I have a huge fondness for Star Wars and can acknowledge it as a hugely influential bit of SF cinema, but if you gave me a choice I’d pick the colourful camp nonsense of the 1982 version of Flash Gordon every time. They’re one of those bands who had such an absurdly gigantic effect and whose music at various points has been so bloody omnipresent that you can almost forget that they were just a band. And so, despite the hilariously expensive box-sets eyeballing me (especially the collectors-only ‘Beatles in Mono’ set – £200 is a ridiculous price, and yet there’s a tiny, very silly bit of me that covets it…) I decided to dip my toe in the water. Beatles-wise, I’ve always been more interested in listening to their later, experimental phase, so I went for Revolver, which is now looked on as the actual barnstorming classic that’s overtaken the ever-so-slightly overrated (but still revolutionary) Sgt. Pepper. And, I have to admit that I liked what I heard. The quality on the remastering is great, with an awesome level of clarity, and it’s good to be able to actually sit back and realise that these really are excellent songs – you can listen to tracks like Taxman, Eleanor Rigby or Got To Get You Into My Life and hear the level of artistry at work in them, the way they still sound modern and adventurous even now (and not simply because so many bands have ripped them off). It’s bonkers and psychedelic in a whole number of ways, from the full-on sitar action of ‘Love To You’ to the absolutely mind-blowing galaxy warp of ‘Tomorrow Never Knows’, which basically sounds like a Chemical Brothers track done in 1967. You can argue about exactly how much they did and didn’t do, but it simply isn’t possible to listen to Revolver and not be slightly in awe of what the Beatles acheived.

A side-effect of my current life is that I’m kind of isolated from new pop music. I don’t listen to the radio, I don’t have access to any music TV channels (which I used to watch a ridiculous amount, so maybe part of that is a good thing), so it’s very easy for things to pass me by. This is why, essentially, I hadn’t heard a single track by eighties-throwback-synth band La Roux, despite the fact that I was aware they were doing the kind of synthy-electro pop that would distinctly float my boat. I was aware they were around, I was aware that the front girl (it’s actually a two-person set-up, although the vocalist is the ‘face’ – like Goldfrapp, but without the bloke occasionally lurking in the background while Alison Goldfrapp does her spookily sexy thang) had a fantastically stylised and ever-so-slightly ridiculous scarlet Eighties quiff, and I was aware their album got nominated for the Mercury Music Prize, but I hadn’t actually heard any of their stuff. It was a mash-up that did it – I listened through to a track, and I can’t recall what it was mixed with, but the instrumental (along with a bit of the chorus) was ‘Bulletproof’ by La Roux. I liked what I heard – not in a “I must purchase that at once!” manner, but enough to file it away for further reference. And then, I was scrolling along through Youtube – there was a long period where various music companies got snooty about the idea of music videos being on Youtube and either pulled them or flagged them with a ‘not available in the UK’ tag, and about three weeks ago, purely by accident, I discovered that this was no longer the case. So, searching around on the various pages and channels, I happenned upon a link to the video of ‘Bulletproof’:

At that point, my brain went “Ooh!” It’s partly the groovy CG work (which heavily reminds me of the computer game Portal – I love it when CG really isn’t meant to look realistic), it’s partly the fact that it’s like having the Eighties surgically injected into your eyeballs, and it’s partly the fact that I’ve always had a liking for odd female vocalists who are very determinedly doing their own thing (even if it’s being a bequiffed Eighties tomboy with Toyah-esque make-up that at various points in the video has me shrieking “Tone down the eyeshadow! TONE DOWN THE EYESHADOW!!!”) It’s a great song, there’s certain bits in the video that I adore, there’s a whole selection of eye-searing fashions of the kind that have me filing concepts and looks away for further reference, and I found myself playing it quite a few times.

Then, I found the video to their previous single, Quicksand:

And at this point, my brain went “Ooh!” even more, and also went “Find the make-up artist and/or stylist on the Bulletproof video, and KILL THEM!” Maybe that’s a slight exagerration, but I can’t think of the last time when I saw make-up and a slightly different hairstyle making such a difference – I mean, if anything, it’s just a very good example of the kind of change that can happen just if you shoot someone a different way. I mean, aside from the slightly-less kooky hair, I don’t know that I would have even known it was the same girl on the first watch – again, she’s still slightly odd and tomboyish here, but in the kind of way which, back in the late eighties, would have completely bowled me over and had me nursing a completely unrequited crush. Bizarre, but true.

After this, it wasn’t long before I tracked the video for ‘In For The Kill’ (which I can’t find an embed for, so click here), which I liked even more, if only for the fact that it’s so completely retro and Eighties. Even the video is retro – aside from the slick photography and the occasional bursts of funky digital effects, it’s exactly the kind of oddly stylised nonsense that was being pulled back on Top of the Pops circa 1981 (hell, shoot it on video and it’d be a dead ringer for a Toyah video, especially thanks to her willfully eccentric hair).

The practical upshot of this is that I spent the next few days regularly watching all three of the above tracks to an extent where it was getting slightly ridiculous, and I essentially had to order myself to get the hell down to either Fopp or HMV and actually buy the album. (Yes, there are times when the Youtube media model actually works). So, I did, and I’ve been listening the hell out of it ever since I got it. She’s an interesting and slightly odd vocalist – I get the feeling that for some people she’ll be the audio equivalent of Marmite, as there’s a spiky sharpness to her voice on some tracks, which is kind of increased by the deliberately treble-heavy and extremely Eighties-style production (Apparently the technical term for this is ‘gakky’, if you needed to know…) – there are occasional points where it borders on too much, but it’s a great album that doesn’t comit the sin of going on too long (slice the bonus track off and it’s barely 40 minutes), and it’s the exact perfect mix of beats, synths, attitude and occasional melancholy for my current mood.

It’s also an album I can easily listen to all the way through – something that isn’t quite the case with the debut album of Ladyhawke. Also very eighties-orientated, she’s slightly more of the rock persuasion, and her self-titled debut does have some very good tracks on it, although it’s one of those albums where certain tracks tend to blend together, and you can’t help feeling they could have lost at least a third of the whole album without making too much difference. However, one of my favourite tracks on the album is the opening track ‘Magic’ – it was what made me want to get the album in the first place, regularly listening to it on one of the listening posts at HMV in Picadilly last October, while I was suffering through the trauma that was my final London Film Festival. It’s a brilliant, storming piece of pop, and I was kind of amazed on one of my Youtube searches to see that it was actually being released as a single, and had acquired a video. “Great!” I thought.

Then… however… I actually watched it:

Oh. My. God. Can’t quite believe it, and can’t think of another example of a song I like matched to an absolutely bloody terrible video. I mean, conceptually it could have been okay – kooky silent movie Georges Melies-style melodrama can be incredibly effective – but there’s so much in this that just makes me want to hunt down the director and do something exceptionally painful to them. With hammers. If it isn’t the grinning tribal maniac, it’s the fact that the whole rambling quest seems to revolve around rescuing a very bored looking Puerto-Rican sailor, who doesn’t even seem that excited to be rescued. Hell, all they needed to do is go watch some Guy Maddin movies to find out how you do that kind of thing right, but they didn’t. A brilliant song, an absolute bloody mess of a video.

So, to cheer myself up and stop myself growling in the corner, here’s something that’s much, much, MUCH better – the Georges Melies-inspired video to ‘Tonight Tonight’ by the Smashing Pumpkins.