Inspiration and Influence

I read Reunion. And I finally saw how inspirational John Cheever is, because my immediate response to the text was “I want to write a story like that.” Despite studying his work for six weeks (and enjoying doing so), it was only when I read this particular one that I understood his mastery over the short story. In a mere four pages, Cheever unearths so many complex questions of family, human decency and goodwill to all men. I found myself savouring the final sentence.

            One writer I find myself constantly inspired by is Candace Bushnell, author of (amongst many other brilliant books) Sex and the City. Please let it be known right from the off that I am addressing the book, not the successful television show. Whilst that is to be appreciated for its own charm, it shows very little about the perceptive comments Bushnell makes on human behaviour and gender politics within the book. Being inspired leads to aspiring. It is my dream to write a novel that is so comically accurate and philosophically probing as Sex and the City.

            I’m aware of seeking inspiration and the previous influences that emerge almost subconsciously in my creative work. It does make me stop and think about how much influence I am returning to the writing world and if I might be providing inspiration to others without even recognising it.

            One can dream; an idea encourage by my degree, but they are already preaching to the converted. 

Hill

She sweeps in wearing a Calvin Klein shirt, Celine coat, Tommy Hilfiger jeans and clutching a burgundy Mulberry bag. I would expect nothing less from Candace Bushnell.

            We greet in the customary two kiss salute as she dumps her bag on the spare leather armchair.

            “Need a refill?” she says, politely indicating my half-full coffee mug.

            “I’m all set.” I say with a grin. Candace Bushnell just offered to buy me a coffee. My life is now complete.

            As she waits in the queue for her flat white, I can’t help staring at the handbag. The luxury speaks for itself, but my mind wanders to the possible contents of the bag. I put good money on finding a notebook in there. How else could she remember all the unique human traits that resurface in her book? I think it would be a posh moleskin one, the type of notebook a novice writer aspires to be worthy of.

            My idol returns with a large mug of coffee and a blueberry muffin.

            “I feel better already!” She smiles as she takes the place opposite me, the bag slung to the floor. She’s so laid back. “So, what is it you won?”

            “It was a competition to spend a day in the life with your favourite author.” I answer quickly, hoping she won’t notice my fan girl blushes.

            “Well coffee is a big part of my daily life. And a real haven for me. My office is where shit gets done, but it’s these kind of places where the action really starts.”

            She takes a large gulp of coffee before plunging a hand into the handbag to extract a notebook. It’s plum in colour, plus moleskin. I feel that our affinity as writers has intensified.

            “Like that guy,” Candace points subtlety with the tip of her Parker pen. “He definitely doesn’t wear glasses outside of work.”

            “How can you tell?” I ask, enraptured to see the master at work.

            “His hairstyle. He would not spend that amount of time to create that look if it was just for work. He’s got plans for later.”

            “Really?”

            “Maybe. Who knows, who cares. For our stories, what we imagine is what happens.”

            I savour that first nugget of knowledge that Candace Bushnell has bestowed on me. 

This is where the blogging shall continue, if you care to take a peek: http://thedomesticstoryteller.wordpress.com/

An Unwanted Superpower

Why should a writer hide away when they can use their influence for good?

            Their work can prompt a shift in the social canvas, challenge old ideas and bring about awareness for new issues. Although Melvyn Burgess was slammed when his controversial book, Junk, was published, his delicate insight has changed previous misconceptions about drug addicts.

            Similarly, Jacqueline Wilson has also shed new light on domestic issues, mainly through the viewpoint of teenage girls. Her characters have struck a chord with readers who recognise their own reality within the pages. They have stopped feeling isolated and have become empowered instead.

            Terry Pratchett’s public battle with Alzheimer’s has allowed him to single-handedly reduce the stigma previously attached to the disease. As seen in this article, he’s reversed the negative aspect of contracting the disease, to positively raise awareness and fight against it.

            Many writers make monetary donations to their chosen charities, JM Barrie’s support of Great Ormond Street Hospital being a prime example. This could be done anonymously of course, but then there would be no one to admire. There is not much personality to just a name.  By having a public persona, they become positive role models, not only to future writers but to humans in general. I for one think it’s nice to have role models that are not revered purely due to their looks.

            Writers deserve to be recognised for their talents and have a collection of fans. On the other hand, they hold a responsibility to use their powers for the forces of good.  

Grahame

"'Believe me, my young friend, there is nothing - absolutely nothing - half so much worth doing as simply messing about in boats. Simply messing," he went on dreamily."

- Extract from Kenneth Grahame's Wind in the Willows

Disagree

You walk into a book shop, a charity shop even, and pick up a book. For me, it’s not the author you take note of first, but the title of the story and the cover design. The author has a snippet either at the back or front of the book, outlining their prior achievements. On the first page of my copy of Cheever’s stories, his alcoholism and struggles with sexuality are not mentioned and they don’t need to be.

            We are “students of the pen” as my friend, Miss Hobbs, so elegantly puts it, and we have a habit of seeking out authorial information. We turn our Sherlock-esque magnifying glass onto a chosen text and sniff out contexts like bloodhounds. But we are in the minority for doing so. Reading for enjoyment means reading the story as it is in front of you, not reading because an interest in the author drives you to. That may come later with a quick Google search, like you do when you watch a movie and you want to know what else the main character has been in, or how old they are.

            An author’s flaw might be echoed in one of their characters, but this isn’t detracting. It’s purely using personal experience in an imaginative sense to create a well-rounded and believable character. I don’t think of the man Cheever as I read his stories. I’m too enraptured by his wonderful wording and encapsulating symbolism. I have no care for the author, purely a selfish interest in their work. 

Rowling

"'Of course it is happening inside your head, Harry, but why on earth should that mean that it is not real?'"

- Extract from J.K. Rowling's Harry Potter and the Deathly Hallows

No hope please, we're British

John Cheever’s characters are active. Evarts Malloy has seized the opportunity of having his play published with both hands, rushing off to New York with wild abandonment. Similarly, Neddy Merrill begun his quest across the pools in his neighbourhood in earnest. He sticks with it, through the struggles and even when he starts to realise that the eventual outcome may not be the desirable one.

            There is a naive optimism shown in many of Cheever’s characters. The degree of hope that clings to that founding idea in America that hard work can conquer anything. Whether that work involves persuading one’s brother to lighten up or yearning to be the perfect family, America is a nation that is continually striving and Cheever’s characters reflect this.

            British characters, on the other hand, are passive, seeking the familiar norm wherever possible. The Darling family return to their home comforts, despite their fantastical adventures in Neverland. Bilbo Baggins is reluctant to leave at all. The Pevensie children go back through the wardrobe. They all have an air of cautiousness around them so common in British culture. The protagonists are rarely go-getters, more likely to be hesitant underdogs who carry on throughout the conflict by sheer will of clinging on.

            And food. That’s what makes British stories. Feasts in the Great Hall, tea with Mr Tumnus or hot breakfast at 221B Baker Street before a day of investigatory work. And lashing and lashings of ginger beer.