‘Mature People’ comes from my recently published collection of short stories, Twenty-Twenty Vision. It could well have been the title of the entire collection since the overarching theme is the experience of late middle-age reckoning; the backward glance on life, love and the whole damned thing.
Some of the action of ‘Mature People’ takes place in Trinity College Dublin – so there’s also a sly echo of Sally Rooney’s Normal People in the title. However, this is Normal People for oldies.
I knew immediately that I wanted to write about tenderness: what it was for me, how it has affected my life, and how I might inhabit it as best I can for the remainder of my life. There is less life to be lived now than before, so tenderness was a term that enabled me to look back as if telescopically and isolate certain moments I now see might be called moments of ‘tenderness’. Suddenly I was seeing tenderness everywhere. It deferred a new authority on my inner life. All the things I had thought about, reflected on, through moments of happiness and moments of disaster, could be pulled out of their tight casement and seen for what they were: the simplest moments of tenderness.
‘Take Away’ is about a Hannah, a fifteen-year-old struggling with ME in small town Sussex in 1990. It’s a personal story, as I was ill with ME in my mid-twenties during the same period. Hannah suffers disbelief and hostility about her illness, sometimes from classmates, but mostly from some care professionals, doctors and social workers.
As a visual artist I am trained to see the detail in things. As a geometric abstract painter, I’m interested in paring back to shapes, pattern, colour and design in composition. When I began writing poetry, after I took a break from painting and did an MA in Creative Writing in Dublin, my tutor told me my poems were Imagist. I had read Haiku more than any other poetry form but when I took the poetry module and found I could author a poem, I was thrilled. Words have become a new medium that allows me to express myself more figuratively. The poems complement the paintings, and my life is now enriched by my engagement with both.
Contributors to The Lonely Crowd pick their favourite books of 2024. John Lavin The Letters of Seamus Heaney (edited by Christopher Reid) is surely an important book, giving the reader a more unfettered insight into the mind of the great poet than the equally essential Stepping Stones (Heaney’s autobiography-by-interview with Dennis O’Driscoll). Immediately the lapsed Heaney…
Contributors to The Lonely Crowd choose their Books of the Year…
Contributors to The Lonely Crowd choose their favourite books of 2023. Part two follows next week. Mary Morrissy Thunderclap: A Memoir of Art and Life and Sudden Death by Laura Cumming is a portrait of Carel Fabritius, the Dutch painter whose reputation rests on the ‘The Goldfinch’ (a painting that formed the centrepiece of…
Angela Graham introduces her trio of poems The Magi Remember by reflecting on the link between dreams, imagination and action. In the Christmas Nativity story, the Three Kings, far from being wise men, display astonishing political naivety. They congratulate Herod, the local supremo, on the arrival of a superpower and expect him to be thrilled…
Contributors to The Lonely Crowd choose the books they have most enjoyed this year. Jo Mazelis It seems I am always catching up with myself, so the books I read are often lagging behind the times. For example, in 2022 I finally read The Driver’s Seat by Muriel Spark perhaps it was, by then, too late…
Contributors to The Lonely Crowd choose the books they have most enjoyed this year. Part Four follows tomorrow. John Lavin In Ruth, the central character in Loved and Missed, Susie Boyt has created a multi-faceted portrait to rival the work of one of her literary heroes, Henry James. If the novel’s early pages are notable…
Contributors to The Lonely Crowd choose the books they have most enjoyed this year. Part Three follows later this week. Livi Michael Manchester Uncanny is the fifth collection of short stories from master craftsman Nicholas Royle. As suggested by the title, all the stories are set in Manchester, although it is a Manchester made…
Contributors to The Lonely Crowd choose the books they have most enjoyed this year. Part Two follows next week.
I look every day at Irish behaviour, listen to Irish talk, and as predictable as it is most of the time, when I examine a lot of it, and I do, it seems so ludicrous to me a lot of the time. Predictable behaviour shouldn’t seem so frequently bizarre, and yet it does, and that was the seed the poem germinated from. The idea of leaving is questioned. The belief that this is freedom is questioned. The idea that the best prisons are the ones we don’t ever know we’re in is there in the poem. I could go on and on here but won’t. It’s in the poems. Have you read them yet?
After reading each story once from beginning to end, I collated a list of sixty ‘maybes’. These were stories that would be read time and time again, though even at the early stages, there were some works that lingered long in the mind. Stories that would not go away. Even now, I have one particular story that rises to the fore, when I think of the whole batch I received. Whether readers would agree, I don’t know. That again, is the nature of this role, and the luxury of subjectivity. At this point, I had to become ruthless in terms of a writer’s control of the form, and also address how the fourteen stories would sit together as an anthology. I had to reject some stories, that although were good and would have otherwise made the cut, were too similar in theme with others that I deemed ‘better’.