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.

TV EYE: Classic Who Overload (Part 5)

Okay, it’s been a slightly odd week for me. A combination of anniversaries have left me feeling a tad melancholy, I’ve been swept off my feet by a broadside of work, and I’m also still in one of those frustrating grey areas where I could get news that’s either exceptionally wonderful or kinda disappointing at a moment’s notice. And so, naturally, my reaction is to write some more about Doctor Who. Brace yourselves…
Arc of Infinity, Carnival of Monsters

Tomorrow Never Knows

Twelve months ago today, my life changed.

It’s been exactly a year since I moved to Manchester, since I separated from my wife, and since my life changed in a whole variety of significant ways. My current torrent of work hasn’t given me much time for reflection, which is possibly a good thing – but above everything else, I think I’m just proud of the fact that I made it through the last twelve months. Back on September 29th 2008, I had no idea exactly what I was going to do, whether I was going to be able to earn a regular living from proofreading books (considering that I’d only done it about three times) and – once the dust had settled from the move, and I had a chance to actually understand what had happenned, the main thing I can remember is just the horrible feeling that I didn’t know what my life was for, anymore. I was on my own, and I felt so horribly broken that I didn’t think I’d ever be able to put myself back together again.

And you know what? I survived. It wasn’t easy – and there are still plenty of times when I really don’t like being on my own, but I’m coping with it and, in my own way, I’m enjoying it. The most important thing I’m telling myself is to make certain the positives outweigh the negatives, and while there might be a lot I’d like to change about my current existance, I can happily say that there is more good than bad. And I’m engaged in a whole series of projects and activities to try and get myself the life that I truly want – they may take a long time, but I think I’m okay with that right now. I’m doing well – I’m surviving both psychologically and financially, and I’m making new friends and acquaintances – my life may not be a social whirl of non-stop activity, but I am fitting in my fair share of fun, and one of the nicest things about the Gollancz party last Thursday was simply being able to spend an evening hanging out with an extensive crowd of people, a large proportion of which were really happy to see me.

In short, I’m doing well. I’m surviving. And while there are points where the echoes from last year, and from the rest of my marriage, still hurt – but they don’t hurt as badly. The injuries are healing. They’re never going to completely go away, but they are gradually fading, and I’m feeling like I can cope. I don’t know where I’m going to be in 12 months time – but considering I survived the last twelve months, I have a certain degree of confidence. And if I am still staying with Anna, still chipping away at the bigger problems in life, still inhabiting the wilds of Manchester… then that’s okay. I’m liking Manchester more and more – to the extent that, if and when I’m able to get a place of my own, I might actually settle in Manchester for a little while, if only as an interim stage. Nothing definite, of course, but I’m leaving lots of possibilities open.

So tonight, I’m relaxing, and drinking a pleasant glass of white wine. Things may go up, or they may go down – but I’m going to survive.

I’m happy tonight. And I hope you are, too.

Zoooooooooooooooooooooooooooooooooooooooooom

The sound you can hear is me breaking the sound barrier. At least, it damn well feels like I am at the moment.

Had a wonderful, wonderful time at the Gollancz party. You know you’ve had a good time when the evening just seems to end far too quickly. Met tons of people. Had some wonderful conversations. Wish I could do a more in-depth report, but I’m too busy and too tired at the moment – so here’s some that other people did here, here and here, and some from the lovely Liz of the My Favourite Books blog (in which I get a very nice mention) here.

There’s proofing to be done. There’s articles to be finished. There’s reading to get through.

It’s all good. But wow, it’s busy.

There will be a proper update soon, when the world stops spinning.

It’s All Too Much

I’d very much like at this point to tell you all about Fantasycon, and my insane workload, and all the things I’ve gotten up to over the past few days. But I’m limited by the fact that I am absurdly, ridiculously tired. I’ve had two solid days of work, I’ve got another tomorrow, and then on Thursday I’m speeding into London for the Gollancz party. I’ve got a mountain of proofreading to do, I’ve got two mini-articles to do for SFX, and everything is busy, and dazzling, and life seems to be being reduced to a dizzying blur. It’s good, but it’s all a bit fast.

And so, Fantasycon in quickly delivered bullet points:

* My first visit to Fantasycon. Had lots of fun, although I think I prefer the slightly sprawling and more wide-ranging programme of Eastercon.
* Nottingham is a slightly odd mixture of everyday British town and serious history. Visited Nottingham Castle, and saw lots of Robin Hood-related statuary.
* Played a wonderful game of pool, where I actually succeeded in potting a few balls. More to do with fate than skill, I think…
* Met a wide variety of fun people, including an New Zealander ex-singer turned writer (Jordan Reyne) who used to do fascinating ‘narrative soundscapes’ (or concept albums) based on bits of New Zealand history. She gave me a CD, and it’s actually very good stuff.
* Attended the con Banquet on the Saturday, and discovered that while the company is good, hotel banquets aren’t always the best choice for decent food…
* Stayed up late. Had fun. And didn’t spend too much money.

Now, I must away. Too much to do. Not enough time to do it…

Station to Station

And I’m back. A very good weekend has been had – it all went extremely quickly (which is usually a good sign), hung out with some splendid people, soaked up an atmosphere of eccentric politeness, and generally had heaps of fun. To be honest, it was just enough to see everybody’s costumes – the amount of effort people put in was quite staggering, and despite taking my camera I didn’t actually take a gigantic number of pictures simply because it was almost a case of overload – everywhere you looked, there was something amazing to look at, from uniforms to waistcoats to a boggling number of corsets. I’m certainly glad I wasn’t able to spend much money, as the dealer’s room could easily have been very financially painful if I’d let it, and like all events that are being run for the first time there were moments that worked and moments that didn’t, but it all went very well – except for the bit where, thanks to a hideously complicated bit of tomfoolery on my part, I got myself locked out of my accomodation for the night. Thankfully, I was able to come up with a solution quickly and didn’t spend the night wandering the streets of Lincoln, but it was certainly proof that (a) you can expect the unexpected and (b) there is no end to the ways I can find to make my life more complicated.

Four days of frenetic proofreading will follow, and then I’m off to Fantasycon. And then I’m back for three days. And then I’m off to the Gollancz party.

Gulp…

Drop the Pressure

I’m currently experiencing the general sensation of that bit on a rollercoaster where you ease slowly up to the first very big dip – basically the last chance you have before your thoughts get reduced to a fairly primal level of “AHHHH!!!!” Admittedly, life isn’t quite that extreme at the moment, but I am staring straight at two phenomenally busy weeks – tomorrow, I’m setting off for a weekend at The Asylum, a steampunk weekender that’s taking place in Lincoln (for some shots of me in the final version of my costume, go here). Next weekend I’ve got Fantasycon in Nottingham. The week after that, I’m speeding down to London for an incredibly swift visit, and the yearly Gollancz Autumn party. And inbetween all this, I’ve got to fit in a massive amount of proofreading – a delayed bit of work (which I was supposed to spend most of this week doing) didn’t turn up until yesterday, and it’s also nearly 150 pages longer than I expected (and my expectation was pretty damn large already). So, my life is going to be work, and socialising, and very little else. I have the feeling I may spend most of October lying in a corner making dazed noises. I’m looking forward to it, though, and while I will attempt to update whenever I can, be assurred that if there’s silence for the next two weeks, it isn’t because I’m miserable, or because nothing’s going on – I’ll just be waiting for the world to slow down so I can finally catch my breath…