A Literary Scavenger Hunt Around Paris

Join me for my Paris vlog - invited there for an event, I took the opportunity of checking out a couple of Paris' most famous literary spots. Musing on art and death in Montparnasse Cemetery and generally being an Englishmen abroad. Enjoy! 

Can A Writer Also Be An Activist?

I salute the authors and publishing professionals who responded to the Grenfell Tower disaster by setting up an online auction which raised three and a half times its £50,000 target. An impressive, heartfelt humanitarian response. Yet not a political one. Indeed the victims have said that funds are not the issue, instead demanding answers as to the causes of the tragedy and lobbying Sir Martin Moore-Bick’s inquiry for the widest terms of reference possible. Society-wide terms so that they can determine their place and value in a society where the Grenfell fire can rage in so devastating a manner. 

The word author is hard to yoke to the word activism. Writing is a sedentary occupation, save for the odd writer like Hemingway standing up to write in a physicality vaguely suggestive of a manual trade. Potters are also sedentary artists, but in addition to their hands, one of their feet is working to rotate the wheel. Writing retreats are very popular with authors, the opportunity to get away from the distractions of the everyday world in order to pen your words within the cocoon of Nature, Wordsworthian or not. I can’t see how this would foster the atmosphere of a gritty urban thriller, but then I don’t write them.

Musicians don’t seem to be so hamstrung from activism. After all they are most active in their stage performance, they are bound by distinct rhythms (unlike the rhythms silently imagined by the author sat at their desk) and slogans can be handily and catchily bound up in simple chants drawing on popular songs. Jeremy Corbyn gets a rousing reception at Glastonbury, while in London’s inner boroughs, Grime artists will tell you it was them what mobilised the youth vote for their main man MC Jezza. However, the audience for books is a discrete one, since reading is undertaken alone and rarely does an author have a stage bringing together the numbers to convene the significant assemblage of a band in concert or at a festival.

Authors don’t have to be excluded from being viewed as activists. In France, Sartre, de Beauvoir and Camus were at the head of any 1960s political demonstration going. Novelist André Malraux had a stint as  the Minister of Cultural Affairs. But Britain lacks for much of a recent history of activist authors. Harold Pinter and Lady Antonia Fraser were notable exceptions, but part of their activism occurred through high end dinner parties. JK Rowling publicly expresses her political views through social media, but was recently rounded on by fellow author Joanna Trollope for such action representing a mere indulgence of ego. Or worse, that exploiting her popularity to leverage support for a cause, somehow strikes at the gravitas of serious wordsmithery. 

It’s not hard to write a political novel. But it’s hard getting the timing right for its relevance, seeing that a week is a long time in politics and issues perpetually change and move on. So if you wanted to sit down and write a book provoked by the tragedy of Grenfell Tower, it would be ready to hit the bookshops probably only marginally before any official government inquiry had reached its conclusions; yes that long! Firstly it takes at least a year for an author to write a complete work from scratch and that’s assuming they either have it plotted out, or a pretty good idea of it if they tend to eschew planning. Then if they have a deal with one of the big publishing houses, their work will probably be slated for release two years hence, so far in advance are publication schedules. A seemly group of pop stars can gather in a recording studio and record a song to highlight a cause in a single working day, digitised and downloadable within the same week. Of course an author can take to Kindle and swiftly publish a single short story, or publish it on their own website, but it’s just not going to have the same impact. And save us from another hastily put together rapid response anthology of stories, that bear no relationship to one another, let alone to the cause espoused in the introduction. 

But then timing is always an issue in any art form that seeks to engage with the world. JG Ballard wrote three books between 1973-75 inspired by the very urban landscape and architecture of that part of North Kensington where Grenfell Tower is situated. “Crash”, “High Rise” and “Concrete Island” are seeped in the trunk road The Westway, around which North Kensington’s tower blocks stand upright and austere. Each book involves a political and psychological analysis pertinent to the issues of the area, that were finally laid bare by the flames that engulfed Grenfell Tower. Yet Ballard’s vision predated even the hand wringing and finger pointing back to the politics of the 1980s by a full decade. Yet Ballard was not overtly an activist. And that is the point of the political novelist, the activist writer. You have to be in it for the long haul. You can’t simply dip in and out when a single issue gets your political gander up and provokes you into a literary (or fundraising) response. You’re never writing about your themes completely from scratch, but as part of your continuum of subjects. Ballard's artistic and philosophical influence continues through the writers and film-makers who channel his ideas today. 

The true activist author keeps chipping away with his or her critical vision, with their constant commitment to looking beneath the surface of society and one day maybe, their ideas come into fashion for their ‘timely’ resonance. An activist author can address rallies, go on “Newsnight" to debate with an MP, take to Twitter, or pen an opinion piece for a broadsheet. But ultimately, their activism is really their sustained body of work in the political sphere, using fiction to speak to truth. 

For my piece on just how we end up at a Grenfell Tower disaster, read here. 

Mid-Life Crisis = Standup Comedy Routine

So in September my twin boys went off to University and suddenly my wife and I had the house to ourselves again for the first time in eighteen years. Empty nest syndrome? Not on your nelly. Mid-life crisis (my parents divorced after 25 years once their only child disappeared off up to uni), no, not on your life. I don't just seem to have a richness of free time, I seem possessed of more focus and energy with them gone. After not a single live reading through until the start of September, by Christmas I would have hit double figures. I've written a lot, including starting a new project and coincidently landed a first publishing deal for one of my novels with a small independent publisher (more of which in future). So I guess I'll be busy with preparing a marketing and promotion campaign for the book in the new year.

So business as usual for me, except maybe more so. Only... a couple of nights I performed my first ever stand up comedy routine. Now that surely is a symptom of mid-life crisis, bursting out into new territory, trying something completely different from what has gone before? Except writing and performing a comedy routine really wasn't that much different from writing and reading live. Unless you're one of those comedians like Tim Vine who just gets up on stage and tells joke after joke without much in the way of narrative, comedians are story tellers. More often than not, their stories are based around the character of themselves that they project on stage. So in many ways little different from a protagonist created by an author in any novel. Except that there is this tension between the character they present on stage and the true life person, as the audience try and figure out how much of the act is an act and how much they are really like the persona coming through the mic. I make the same calculations as a writer, because I believe no matter how far seemingly removed from yourself a fictional character may be, it still represents some part of your psyche. So for my routine, I did draw on my own life and then had great fun playing and distorting it into, well a fiction. The character is a 50+ year old geezer (that'll be moi) looking back to his youth and the influence of punk rock. That much is true, as is maybe the character taking a slightly sad hypocritical, non-dewey eyed look at what he is now compared with the ideals of punk. But in doing so I exaggerate for comic effect a lot of that tension between then and now, (for example this character talks about no longer being able to pogo on account of a skiing accident, when in fact I have never been skiing in my life). I also bring punk ideals up to date in a way that is probably completely specious, in talking about them in the context of Trump's election and the influence of social media. The Jam get a hammering in the routine but at the time they were the band I saw play live more than any. Sham 69 getting a pasting is in fact representative of my true feelings about them.

In terms of the genesis of the routine, I was watching a live show by my favourite standup comedian Stewart Lee, who deconstructs his comedy even as he performs it (echoes with plenty of my own fiction writing). And in the middle of it - I can't remember the exact prompt - I started composing a routine about punk lyrics (I know, heresy to be writing material of your own when watching your favourite standup performing his act). I mean these were songs I've been listening to and occasionally singing aloud for the past 40 years, so I was able to put my hand on to their lyrical content and started imagining performing a running commentary on some of them. Added into the mix was a couple of twitter hashtag puns I'd made in the past when the hashtag is band or lyric themed and suddenly a whole routine was coming together. Was I really going to try and perform this myself, live in front of an audience? Well if it stood up to the test of me writing it out and it still seeming like a good thing then I already had the perfect open mic night for trying it out. So on my tube journey home from Stewart Lee I wrote out in my notebook what had been in my head in the course of that Thursday evening. On the Saturday I sat down to transcribe those notes and write a full version. Since that was completed by Sunday, I felt this thing was a goer. Now the only thing was to memorise it.

That is the main difference between performing comedy and reading prose live. You don't have the book/script in your hand. Now I'm used to acting out my own stories with gesture and expression, so that aspect didn't pose me an issue. But here I'd had to learn 1500 words perfectly, because as all good comics show, the exact word choice can be very important and funny in itself. So I rehearsed all week. At night with my head on my pillow, I went through the routine in my mind. Didn't get much sleep last week. But I managed to memorise it all and at the show last Friday was pretty much word perfect and raised a few sniggers and snorts from the audience. A couple of people came up afterwards and said they enjoyed the set. I don't think this represents a career change, but was both a really useful thing to do from a writing point of view and though I don't have a bucket list, I think it was something I'd always had a sneaking desire to do at least once.

One final point, I knew that if I was going to perform it live, I would also record a version back home to put on YouTube. Yet there is a huge difference between performing into a microphone where you only get one shot at it in real time and recording to camera where just a few hours after I'd been word perfect in front of an audience, it took about 15 takes just to get through the first 2 of 7 sections. There's is nothing quite like the prod of a microphone and an audience to keep you tightly focused.

So here is the probably one-off standup routine for your delectation and pleasure.




The songs referenced in the routine:

Sex Pistols "God Save The Queen"


The Clash "White Man In Hammersmith Palais"


Talking Heads "Psychokiller"


Ramones "Sheena Is A Punk Rocker"


The Adverts "Gary Gilmore's Eyes"


The Jam "Down In the Tubestation At Midnight"


Gang Of Four "Guns For Butter"