I've written a new ghost story for this Christmas.
It's called 'Plum Porter' and I'll be reading it in full at three atmospheric and immersive live events at Levenshulme Old Library this winter.
Tickets can be purchased here.
I have a new book out. It's called Waiting for the Gift: Stories Inspired by Low.
This is an anthology of stories, each of which takes its title and inspiration from a track on David Bowie's 1977 album Low.
Contributors include Wendy Erskine, Preti Taneja and Rowan Hisayo Buchanan, among others. It also contains a graphic collaborative piece between artists and designer Zoe McLean and actress and musician Keeley Forsyth.
This is the second in a series, following We Were Strangers, in which each of the stories responded in the same way to Joy Division's Unknown Pleasures and featured work by Toby Litt, Sophie Mackintosh and Jessie Greengrass, among others.
Waiting for the Gift is published by Confingo and can be ordered here.
Whenever I put together these occasional end-of-year posts I always seem to find myself writing 'I've not actually read that much this year'. I think I must conclude that I'm just not much of a reader as, once again - guys - I've not actually read that much this year.
Of those books I did read, the one I enjoyed the most was A Passion for Poison by Carol Ann Lee. Originally a biographer of Anne Frank and her family, Lee shifted into true crime with One of Your Own, her mesmerising 2010 biography of Myra Hindley which I've written about before and has approached a number of other subjects with the same care, detail, research and control. While not quite as bracing as that book, A Passion for Poison, which concerns Graham Young, the Teacup Poisoner, does a great job of bringing into sharp relief what an incredible and terrible story his life contained. At the moment the book has gone unreviewed in any of the usual places - a faintly absurd situation. Lee is such a fantastic writer I'm surprised her reputation hasn't exploded beyond the true crime genre.
I also very much enjoyed Sam Mills' Fragments of My Father, her memoir-essay about being her dad's carer. It surprised me to think how scant caring features in literature - this is a wonderful examination of the topic, all of which is centred around Mills's own experiences of her father's catatonic schizophrenia. This memoir actually came out last year. Since then Mills has produced two a subsequent books, an essay titled Chauvo-Feminism: On Sex, Power and #MeToo, and The Castle, a horror novella published under Dead Ink's Eden Book Society project (with which I was also involved). As all of this no doubt suggests, Mills is an author who brings a signature intelligence to diligent and varied output. I've not yet read those two subsequent books but plan to in the new year. I also really like This Must Be Earth, a short story published in a standalone chapbook by the great Nightjar Press - I've only encountered a scant handful of stories by its author, Melissa Wan, but each has haunted me long after I've finished reading, and this was no different.
However my personal reading experience of the year was a short story called 'The Chicken' by RZ Baschir, a writer I'd never heard of until this story was shortlisted for The White Review Short Story Prize. This is an award which I tend to follow quite closely as it produces a great shortlist each year. When I first read this year's shortlist, I thought each of the stories was very good, but 'The Chicken' immediately stood out to me as the natural winner and I very much hoped that would be born out. Because it's an excellent story, but also because, previously, winners of The White Review have found their victory has given them a leg-up into fruitful careers - Sophie Mackintosh, Nicole Flattery, Julia Armfield. It would be a shame, I thought, for the author of this mysterious and disgusting story not to have the same opportunity as these White Review forebears. Thankfully it was the winner. You can read the story here - and I wholly recommend keeping tabs on Baschir, whoever she is.
I think 2021 has been a very good year for music.I've certainly listened to more music than most other recent years, and a wider variety.
If I had to choose an all-out top album, it's Low's HEY WHAT. I've loved Low for nearly 20 years now and with the release of this, their 13th album - both the record and its reception - feels like a culmination of their distinct creativity. As with the past couple of Low albums, the sound feels as though it's on the outer edge of what its possible to do with music, as though it couldn't possibly be pushed any further, but there's a fascination knowing that that's not actually the case and there will - or at least one hopes - be more Low albums. There's some links to some of the other music I've enjoyed this year.
2021 has also been a year in which I listened to Public Image Ltd a great deal, something which was a hangover from 2020 when I frankly listened to little else. All of this led me to my year's most surreal moment - sitting in my car very early in 2021, so my kids wouldn't interrupt me, shivering with the cold while I phoned John Lydon at his home in LA as part of my research for a piece on the 40th anniversary of The Flowers of Romance. Despite all the terrible attention-seeking of late, I can't help but be fascinated by Lydon, both as a performer and a persona, if those two things can be unknotted, and I thoroughly enjoyed writing this piece. And despite listening to Flowers more than is healthy I still enjoy the album.
However, the artist I found I listened to most - in fact my Spotify Wrapped stats show in lurid detail how epically they dwarf all other artists - this year is no less than Simply Red. Yes, that's right - Simply Red, the sophisti-pop embarrassment from the 80's and 90's. I started listening to them earlier this year as 2021 saw the 30th anniversary of Stars, their gargantuan third album which conquered the charts and swamped the pop consciousness. I had an idea of something I wanted to write - an anniversary-piece-cum-memoir which would take in the album, its background, composition and contents. But it would be more than that. It would also be more broadly about the 1990s, about my own time as a child and adolescent in the Lancashire suburbs during that time, about the chintz and the analogue technology, the inertia and the security, the loneliness and the claustrophobia. It would have consisted of snapshot memories - being driven by my dad to the bus stop in the morning, sitting in the Food Giant car park with my mum after pick-up in the afternoon, watching The National Lottery with a takeaway in the evening - through which the songs from Stars would be playing in the background. It would have been about how, although those days are now gone - the family house lost, the parents divorced, the character of each of the players warped by the torrent of time, the all-out humdrumness of those days tilted by the crackling disaster that no-one could have known was lying in wait for us in the future: Covid Covid Covid. It would have acknowledged how this is all somehow so sad - sad that it happened and sad that it was taken away -and yet it would also have been about how my mind can't accept this, how it still feels as though that life is only a train-ride away, a train ride which would result in the past being bridged, order restored and this overwhelming sadness being rectified. That house, that family, that life. And how Stars acts as a kind of beacon held aloft in the past and shimmering with promise - songs of joy and love and hope, all broadcast from a past which seems more authentic in its hopefulness than our present day.
Perhaps unsurprisingly, none of the people I pitched to were interested in this baroque piece which went unwritten. Indeed, the 30th anniversary of Stars went largely un-commemorated, beyond my own personal tribute in the form of a year of listening. Which is a shame. For most people, Simply Red remain the embodiment of naffness but they are keenly due a reappraisal. Yes, their music is smooth pop, the ultimate cringe, but at its strongest Simply Red's songs are powered by an edge of desperate energy. A good example is the title track from Picture Book.
2021 was a lean publication year for me. As well as writing the PiL piece, I also published a single short story - 'Oblio' which I was commissioned to write for Out of the Darkness, an anthology of dark fantasy and horror fiction loosely themed around mental health. I also brought out a new book. Writing the Uncanny is co-edited by myself and Dan Coxon and contains essays on writing uncanny fiction from the likes of Jeremy Dyson, Robert Shearman, Rowan Hisayo Buchanan and loads more.
Here's some other music I liked...
I have a new book out. It's called Writing the Uncanny. It's a collection of essays co-edited by myself and the great Dan Coxon.
It's about the Uncanny. Anyone who happens to be familiar with these blogposts (anyone??) will be aware that my obsession lies in this area: not quite horror and not quite not-horror, but some strange un-genre which lies outside of neat categorisation.
Despite its curious, liminal standing, the uncanny has a wild, subterranean popularity: The Loney, The Essex Serpent, Inside No. 9...
But what exactly is The Uncanny? What can a writer do to ensure their fiction haunts the reader’s imagination? Are there approaches? Techniques? Who are the key uncanny writers and what is it about their work that... works...?
Here to answer all your questions, Writing the Uncanny sees some of the best contemporary authors explain what drew them to horror, ghost stories, folklore and beyond, and reveal how to craft unsettling fiction which resonates.
Authors include Jeremy Dyson, Alison Moore, Rowan Hisayo Buchanan, Catriona Ward, Robert Shearman and loads more (including, sadly, my arch-nemesis Jenn Ashworth) share their insights on psychogeography, fairy tales, cultural tradition and the supernatural, and offer practical, useful advice on their different approaches to this murkiest of genres.
An essential guide for both the aspiring writer of strange tales and the casual reader, I don't think it's overstating things to say Writing the Uncanny is set to become the beach-read smash of the summer.
You can order it from Dead Ink here.
Last year, as I listened to this album, I would be in the supermarket, the drums insistent in my earphones as I wandered past the bare shelves; I would be making lunch for my children with it playing in the background; I would listen while we did crafts, making cardboard puppets of our friends or drawing pictures of the party we planned to have when all of this was over; it was there pulsing in the back of my mind during our daily walks around the park; I would tap out its rhythms while I watched the news late into the night; it was there throbbing in my mind as I struggled to sleep.
I wrote about Public Image Ltd's The Flowers of Romance for The Quietus, on the occasion of the record turning 40 years old.
I spoke to John Lydon, Martin Atkins and Nick Launay about its context, recording and legacy.
You can read their reminiscences alongside my general wittering on the topic of its resonance in our terrible Covid-age on The Quietus here.
‘Oblio,’ she said, ‘You should like to see Oblio?’
I have a new ghost story out. It's called 'Oblio' and will be published in Out of the Darkness, an anthology of dark fantasy and horror fiction loosely themed around mental health.
One bit of practical advice I always offer whenever I’m leading a creative writing workshop is this: if you can, set your story on a holiday. ‘Oblio’ is set on holiday. This isn’t because I’m a writer who particularly enjoys (or is skilled at) writing descriptively about a story’s settings. Rather, the appeal is an environment in which the characters are largely contained, mercifully shorn of the context of their daily lives, able only to interact with one another in any meaningful sense. As well being a handy way to bring these characters into sharper relief, a holiday setting also allows for tension to be built up with a ready plausibility, as the unfamiliar surroundings and encounters can slide smoothly into the ominous.
And, as anyone who has attended one of my workshops may well remember, I also have a habit of trying to crowbar a harmonium into pretty much everything I write, invariably for it to be removed during the edit. This story, I'm thrilled to announce, does feature a harmonium.
Briefly: ‘Oblio’ features two sisters who also happen to be a musical duo called Taurig. They are touring Europe to promote their debut album and we find them in Palermo, Italy, home of Carrie Viner, a reclusive and long-retired pop-star whose music had a great influence on Taurig. So they set out to find her. But overshadowing their jaunt are two things: the first is memories the narrator has of a traumatic trip her family took to Palermo she was a child. The second is her sister’s depression. There are also, for those who find such things interesting, connecting incidents between ‘Oblio’ and an earlier ghost story of mine called ‘Kloya and Klik’ which also concerns two people who find they are at odds with one another while holidaying in Europe.
Writing about music and musicians is something I’ve developed an interest in over the past few years, and when I was tasked with writing a story which touches on both the supernatural and depression, I was immediately put in mind of one musical artist in particular: Nico.
Nico is best remembered as a member of the Velvet Underground and for her austere performance on their 1967 debut album. After leaving the group to record the soft-rock Chelsea Girl in the same year, Nico embarked on a career that saw her create a new sound, one defined by cryptic lyrics, stark, spectral arrangements, droning harmonium and an overwhelming sense of doom. I’m not sure who described Nico’s music as ‘not so much music you get into, more a hole you fall into’ but I’ve always thought it an accurate summation, not just of her records but of also of a certain broader strata of culture of which Nico are just a small constituent part. Indeed, it also seems an apt way to describe a certain mode of depressive thinking. Nico’s music follows its own terminal logic, alive with a strange, frightening sense of mourning: it’s there in her wintry vocals and accompanying harmonium, a handheld reed organ which gives her music a pre-modern feel. It was this haunting, haunted sensation I wanted to capture as best I could in ‘Oblio’.
The aim of Out of the Darkness is to raise awareness of mental health issues and funds for Together for Mental Wellbeing, a charity that helps people affected by mental health issues work towards independent and fulfilling lives.
We all have mental health and it’s positive that the topic of mental illness is far more publicly discussed a topic than in the past, increasingly free of its taboo and stigma. However, the reality can often be far more alienating than the discourse suggests. For many, their mental wellbeing can come with a history of behaviour which is alienating and involves a loss of dignity which is hard to live with, both for them and for their loved ones. For these people medical and clinical interventions become an essential aspect of their lives. The current ‘hugs and chats’ discourse, while serving most people well, masks a mental health provision which is suffering from years of systematic underfunding. As the past year has seen widespread isolation, unemployment, record deaths and disruption to these services, the opportunity to create any kind of art which plumbs the mire of the human mind is a gift.
Out of the Darkness is published by the great Unsung Stories and also features fiction by Alison Moore, Nicholas Royle, Verity Holloway and others (and some no-mark called Jenn Ashworth).
It's currently available to pre-order on Kickstarter with a variety of rewards including a critique service from top notch editor Dan Coxon.