Time Ain’t On My Side

Look at them all – Virginia Woolf, twenty-three or twenty-four years, George Eliot, twenty years, Jane Austen, twenty years, Dickens, twenty-four years, Thomas Hardy, fifty years of writing, but less than half that novels, James Joyce, D. H. Lawrence, F. Scott Fitzgerald, William Faulkner, Miguel Cervantes. Short short short. I had meant to write my whole life. Surely modern life and modern medicine and modern day care and modern technology and modern publishing would make Henry James the paradigmatic novelist, not Jane Austen. I wondered if novel-writing had its own natural life span and without knowing it, I had outlived the life span of my novel-writing career.

Jane Smiley: 13 Ways of Looking at the Novel

Daggers Drawn!

Following on from my recent post about this year’s Crime Writers’ Association Daggers Dinner at Kings Place – and my own victory in the short story stakes, here, to add to the crazy picture of myself in celebratory mood recently published on Twitter https://twitter.com/John_BHarvey, are a few more restrained images from the occasion, all courtesy of Ayo Onatade.

Me & Molly Ernestine

Me & Molly Ernestine

Us Again

Us Again

Sarah, Molly Ernestine & Me

Sarah, Molly Ernestine & Me

Why Blog ?

… people ask. Not as a prelude to anything in particular, and not because they woke up that morning with the question burning on their tongues, but most usually in an off-hand, vaguely curious kind of way. A sort of hiccup between silences. Why blog?

Initially, because a friend who knows me well and has done for a long time suggested I mark my 70th birthday by starting something different, something new, something that would harness a few at least of my many and varied interests. And I suppose I responded positively because whereas nowadays I am quick to castigate anyone who wastes precious time reading the many columnists who litter our newspapers and magazines [with the more than honorable exception of Deborah Orr and, just occasionally, Gordon Jack] I would confess to writing, back in my Goldsmiths’ days a column for the college’s weekly newspaper, filled, I imagine, with the usual opinionated diatribes and slanderous waffle. Called, unless my memory yet again deceives me, In a Mellotone. So, there you are, I had some form. And once started, I found I liked what I was doing. On days when I was writing nothing, shall we say, professionally, it gave me something to do with my fingers and the keyboard – and, more importantly, I began to realise whenever I’d gone to a concert, a movie or an exhibition that I was likely to want to write about it, the effect was that I concentrated more on whatever I was listening to or seeing; some part of my brain was asking, How would you describe this then?, while another part was scrabbling for answers. In other words, the possibility of writing about it enhanced my experience, made me more conscious, more aware, made me think – if only a little.

This all came to mind when I was leafing back through Geoff Dyer’s book Zona, about Tarkovsky’s film Stalker, before slotting it finally on the shelf, and found this passage that I’d underlined. [Actually, that's not strictly true – what I'd done was mark the page with one of those natty little transparent sticky strips with different coloured ends you can buy in Muji.]

Besides, of mankind were put on earth to create works of art, then other people were put on earth to comment on those works, to say what they think of them. Not to judge objectively or critically assess these works but to articulate their feelings about them with as much precision as possible, without seeking to disguise the vagaries of their nature, their lapses of taste and the contingency of their own experiences, even if those feelings are of confusion, uncertainty, or – in this case – undiminished wonder.

So that’s what I’m doing then, trying to articulate my feelings about this and that – and occasionally, the other. When I began I made an informal arrangement with myself that after 1000 posts I would stop – and this is 1001 – I guess I’m going to carry on a while longer yet.

Harvey Wins Short Story Dagger!

When they had first met, amused by his occupation, Kate had sent him copies of Hammett and Chandler, two neat piles of paperback, bubble- wrapped, cowrie-delivered. A note: If you’re going to do it, do it right. Fedora follows. He hadn’t been certain exactly what a fedora was.

Thus begins ‘Fedora’, the Jack Kiley story first published in Deadly Pleasures, edited by Martin Edwards and published by Severn House in 2013, and last night proclaimed the winning story in the CWA Short Story Awards for 2014. Somewhere there’ll be a photo of me grinning a little lopsidedly and brandishing the Short Story Dagger.

http://thecwa.co.uk/the-daggers/categories/short-story/

 

 

Kurt Goodbye

With the final episode of the Swedish Wallander series this last weekend, we arrived at the culmination of one of the most sustained pieces of character acting in recent television history. A vastly experienced actor of stage and film, Krister Henriksson has inhabited the character of Henning Mankel’s Kurt Wallander with ease, natural authority and a certain awkwardness of grace that has made the programmes – despite their occasional deficiencies of plot – compulsive viewing. And in this final series, in which we watch Wallander – angry, frightened, bemused – struggle to come to terms with the onset of Alzheimer’s Disease, Henriksson has been superb, never overplaying, always eliciting our compassion.

Cover_of_Wallander_(Swedish)

It will be a long time before I forget his farewell speech to his colleagues (just as well, as he himself says, as he will) or the moment at the end of the second (I think) episode when he pulls aside the clothes in his wardrobe to reveal the snapshots of friends, family and colleagues he has fixed to the wall, along with their names.

I shall miss his performance, his presence. Buy the box sets: start again.