Preparing the soil for Brexit, or whatever

With under a month to go before the UK makes its momentous decision, claim and counter claim are reaching hysterical heights. Still stuck in the UK, but with my postal vote already waiting in Spain I am woken each morning by the Today radio programme and the latest astounding announcements. We are told that wages will fall and prices will rise, or taxation will fall and democracy will rise. Meanwhile yet another large group of experts have simultaneously written a letter saying that we should stay whilst a survey shows that small businesses think we should go. Barrack barracks whilst Borris buffoons, David directs as Nigel neglects his position as a proportionately elected MEP.

Sequestered in Stow, permanently on the verge of departing for Spain, I miss the intellectual stimulation of Oxford and ponder whether anyone, yes anyone, is intellectually capable of making this complex in/out decision. Yet we all have a vote! One of my many casual pub acquaintances told me that no rational person could think of voting to leave, and addressed the migrant question by informing me that he once had a Romanian boyfriend so they are alright.

Meanwhile, as my wife waits anxiously, and impatiently, for yet another grandchild to arrive, I’ve not been idle. I’ve been doing my bit for Britain by upping our food production capability ready for our departure from the EU or our continued membership of it. We currently own part of the field behind our house and are engaged in a long legal tussle to get the lot and, regardless of the outcome, I have extended the vegetable plot. This has introduced me to a new skill: post and rail fencing. Hard work, but it looks nice provided that you don’t look too closely. That done I then had a large area full of weeds to deal with and chose the cardboard and muck solution: covering the whole area with flattened cardboard boxes to rob the weeds of light, then spreading five tons of cow manure (muck) onto it to keep the boxes down and provide the goodness to grow potatoes and onions over the dying weeds. Perhaps the answer to the question – to leave, or not to leave – will emerge from the darkness of my manure heap where, beneath the light excluding cardboard, the weeds are screaming “to leaf or not to leaf”.

A local beef farmer brought the muck in two large trailer loads and, on each occasion, turned off the tractor’s engine once he had dumped the stuff in order to chat – he doing most of the chatting.  His diatribe covered everything from the modern tendency for women to tend allotments through the various means of catching rabbits to, of course, Brexit. On that subject he told me that his heart wanted to leave, but his mind wanted to stay – a common dilemma. He explained that he depended on the farming subsidy he received and didn’t trust the UK government to keep doling out the money. Meanwhile he thought that the EU would continue to feed the farmers “cos them Frenchies and Gerries knew how to ‘old ‘em to it”.

There are so many points of view and perhaps the answer does lie in the soil: mud’s thicker than water. Most of the foreign groups that I show around Oxford do think that we should stay, though one Italian I met whilst passing through France suggested that we should leave saying, “You were never really part of Europe anyway.”

You can still try my Brexit calculator if you wish, just click here. Based on the small number who have chosen to share their results with me its showing -0.75. An absolute outer would score -4 and an absolute inner +3. So it’s tending towards out at present – but not by muck, oops, I mean much.

Are modern novels novel?

I trained as a telephone engineer. In my day this required a practical understanding of electricity and electronics and the honing of relevant skills in wiring, soldering, fault finding, etc, etc. Anyone of average intelligence could become telephone engineer, but only those with an interest would commence the lengthy process and only those with an aptitude would stay the course.

In writing I am an amateur. My teachers, after leaving school at the tender age of sixteen, were Isaac Asimov, Arthur C Clarke, George Orwell, W Somerset Maugham, Graham Greene – to name but a few, and I have often wondered if those greats of literary fiction were trained? Did they attend creative writing courses or take degrees in writing?

Training to be an engineer, scientist, bricklayer, plumber, doctor, or whatever seems to me entirely different to training to be a writer. When I decided to write my first book (a non-fiction on voice systems) a colleague asked me, “Can you write?”

I was stunned. Everyone, I thought, well almost everyone, can write – just as everyone can speak. I had by then written countless research reports, articles for magazines and learned journals plus many stories for my children. Of course I could write. But that was not what he meant: he meant, could I write well – well enough to warrant the publication of a book? I wasn’t sure, so I recruited the help of my old boss, then retired, the son of an English teacher and a stickler for good grammar. Hugh became my editor for that first book and subsequently the editor of a newsletter that I ran for some years.

Recently I attended a lecture on editing. It was not what I was expecting. Rather than providing tips on improving ones output by removing solecisms, typos, etc, this worked at a higher level. The lecturer was an excellent presenter. He targeted three early chapters of novels currently under creation, making points about mood, the consistency of metaphors, the choice of words, etc. To me this seemed like literary criticism, or the sort of advice provided at creative writing courses. And it worried me.

Though I am a teacher of sorts I could never teach creative writing because I have not created a successful novel. On the other hand, publishing a successful novel does not make you a good teacher. Furthermore I do not really believe that creativity can be taught, the very idea seems to me to be an oxymoron. Encouraged yes, but taught no.

As often, I find myself well out of step. There is now a whole industry built around creative writing plus bringing the resultant masterpieces to the eyes of agents or publishers. And, failing publication via the traditional route, there are heaps of companies to help you publish your own book, design the cover and distribute it. Yes, there are kits, courses, consultants, critics, and lots of other things beginning with ‘c’ – all at a price.

And the output? Why, a new creation which is a page turner, where the characters are well-rounded and leap off the page, which has a subtle back story, gripping first line, a beginning, middle and an end, is  full of fresh metaphors and singular similes and has a riveting and unpredictable plot scattered with innumerable smoking guns. A novel that is unique, original and, well, possibly, just a little formulaic.

Sour grapes? Possibly. I must say that most people I have met who have been on creative writing courses seem to have thoroughly enjoyed themselves – and that cannot be bad. Some complain that they spend too much time critiquing the work of the other budding novelists on the course, but all agree that it was a sociable experience.

Oh, and in all honesty I do not know the answer to that question posed by my colleague over a quarter of a century ago. Perhaps I should take a course?

A ton of weightless books

I topped the ton on a motorbike years ago on a stretch of the ruler-straight Roman road that crosses the Cotswolds Hills called the Fosse Way. I passed the ton in a flashy, silver Mazda car rocketing along one of the unbelievably unrestricted sections of a German autobahn. And just today I clocked the ton in the “Books Read” section of my Kindle. If you are not from the UK this might all seem very odd, but, colloquially, a ‘ton’ here simply means one hundred: a. hundred miles per hour or a hundred books or whatever

A hundred books would weigh about a hundredweight, i.e. about one hundred pounds in America, more in the UK and roughly fifty kilograms in Europe. A strong man can carry a hundredweight bag of cement under each arm. I can manage one with difficulty – in other works a ton of books is pretty heavy.

One estimate I’ve found reckons that you can make 20 to 30 books from a 10 inch (25 cms) thick tree so my one hundred books would have required the death of four trees if they were paper, plus all the energy involved in felling the trees and transforming the wood into pulp. In the Kindle my books weigh effectively nothing, and cost virtually nothing to produce. What’s more they only take up a quarter of the Kindle’s available storage – so plenty more reading yet.

Actually my Kindle, just like my offices in the past, is a mess. I do have a section for “Books Abandoned”. There are 37 currently lying, sad and rejected, in there. Then I have the equivalent of my desk top where books lie about in good order, but actual disarray. There are well over a hundred books there patiently awaiting the push of my finger. Some, like The Diary of Samuel Pepys, I’ve been nibbling away at for years. Others are samples that I have yet to look at, others are in some intermediate state where I cannot bring myself to abandon them, but probably should. Still others are simply forgotten or ignored like a volume that has slipped from sight at the back of the sofa.

How can I be so messy? Well all of those books hanging around on my desk top, and those that I’ve abandoned and read are in that quarter of storage that I’ve used so far, so I can afford to be a little lax. Besides no one else sees my mess.

Where do all these books come from? Almost all are from Amazon of course, but the problem there is finding books that you like at prices that you like.  Here’s where Book Bub comes in. Every day it send me an email with news of eBooks on special offer that I might like and so I have a queue of books that I have sampled or bought by this route adding to the mess on my desk top. And I love it. My greatest fear is to be without a book to read - no fear of that nowadays, the problem is to find the time to read them.

My one hundredth book was The Fictional Man by Al Ewing. It was interesting. The gimmick here is the production (not explained in any detail) of fictional characters in the flesh who then play their namesakes in TV series etc. Yeah, it’s an odd idea, but it allows the author to debunk racism and question our own versions of reality. Not surprisingly it introduces the touchy subject of sex between ‘fictionals’ and ‘real people’ and ends with the odd concept of ‘real people’ who want to be ‘fictionals’. Perhaps not so odd in fact.

An amusing launch of a very small book about a very large one

At an unusual book launch this week Peter Ashby, a local entrepreneur, read the definition of the word ‘Abbreviator’ from the first volume of a rather special book. It was an early copy of the Oxford English Dictionary which Peter had been given whilst transforming the dictionary into a compact version via microfiche. He had in turn generously given the many volume Dictionary to the nearby Frewen Club and had borrowed back the first volume for the evening.

The definition that he read from the Abbreviator entry was ‘An officer of the court of Rome, appointed...to draw up the Pope’s briefs’ possibly proving that the ardent compilers of the great Dictionary had a sense of humour – or a blind eye!

Rob Walters, local guide and author, in launching his new book on the history of the Dictionary explained that the great book took nearly seventy years to complete. It was issued in parts by the Oxford University Press which took over publication in 1879 and ‘Abbreviator’ appeared in the very first section to be issued covering A-Ant. This miniscule fraction of the Dictionary was released in 1884 when already five years into a ten year contract. With half the A’s and all of the rest of the letters to do the task seemed ‘mission impossible’.

It was James Murray, a self-educated Scotsman, who nursed, guided and cajoled the Dictionary through its many years of near extinction finally arriving at Volume 3 which took the struggle up to the end of the E’s. It was at this point that the tide turned and the whole country, the University and the Oxford University Press  put their backs behind this grand and entirely uneconomic project. Rob explained that Murray died working on the letter T in 1915 in the full knowledge that his great work would be completed. Robert Bullard, local author of the popular Business Writing Tips read from a job application letter written by Murray which demonstrated the man’s phenomenal knowledge of the languages of the world.

Rob explained that the Dictionary had its true beginnings in 1857, but was not completed until 1928 with the publication of the first edition. However, this was not the end. The voluntary readers who scanned the thousands of books for quotations on which the dictionary was based continued their work through the near seventy years of compilation and so there was a backlog of new words leading to a supplement issued in 1933. And this is the story of the Dictionary’s life – the work never ends as new words are added and old definitions updated. Fortunately updating is much easier nowadays and the third edition of the Dictionary exists entirely on the Internet.

The evening finished with a rousing rendition of the ‘The Dictionary Song” by local musician and composer, Peter Madams, lead singer of the much missed Oxford group Veda Park.

The book is entitled A Concise History of the Oxford English Dictionary and is available from the Visitor Information Centre, the Book House, and Amazon. The launch was held on 21^st March at the St Aldates’ Tavern, Oxford.