Hooked on History

Two Men in Osh

This was originally posted to my Long Ago & Far Away blog in August 2013. I thought I should include it on this site since it explains how I came to this adventure:

Most people can testify to at least one teacher who made an otherwise dreaded subject come alive. I had several excellent English teachers but already enjoyed literature and drama. History required a master storyteller. I’ve forgotten his name but he made American History sound like it had happened to him. Last week. He knew all these tidbits and side stories that were not in the text book. He transformed a dull, irrelevant topic into entertainment for junior high students. This miracle might qualify him for sainthood.

But my true love of history occurred much later. Why are so many of us hooked on history only after we reach adulthood? I think it is then that we ask new life questions. It’s no longer, “Why can’t I borrow the car?” but rather, “Why do people behave this way?” Or, for me, “What happened here?”

I became interested in Christian history around 1987. I was back to church after several years of distraction (college) and wanted to understand the development of my own traditions and theology. I’d been taught the Bible since I was a child but wondered how we got from those stories to the present. At the time, I was a temp word processor for a major corporation. Work was slow so I brought in reading material. On my desk sat, Here I Stand (a bio of Martin Luther), and a stack of Puritan history books. People kept asking me if I was taking a course. They were mystified when I confessed I was reading for pleasure.

My next phase came when I moved to London. Try to walk around London for a day and not long to spend the rest of your life exploring every layer of the past hidden in each cubic inch of that soil. So, for the next few years, I devoured British history. I lived in the East End surrounded by Bengali, Pakistani and Somali immigrants and I built deep friendships with many of the women. Over time I became fascinated with early Islamic history. I asked the same questions of Islam that I’d asked of my own faith – where did this come from? How did what I saw in 1990s London come from what happened in the seventh century Near and Middle East?

Meanwhile, I had been a painter, a theatre designer, and an inner-city community worker. The accessibility of London gave me opportunities to travel: Africa, Central Asia, Eastern Europe and the newly dismantled USSR – every location steeped in stories. Can you stand in the open air markets of Fez, Morocco or Osh, Kyrgyzstan without feeling you’ve just experienced time travel? Without imagining the sights and sounds of a thousand years? I found a new love for old travel books – stories of The Great Game and intrepid Victorian women – but writing, of any sort, was not on my radar.

Not yet.

Squeezing in Some Reading Time

This is a repost from my Long Ago & Far Away blog. (And pardon the weird formatting. Not sure why it’s happening, but I’ve no time to fiddle with it. I need to be writing my own novel just now.)

Wilber Smith’s River God and The Quest – Some Observations

In my efforts to expand my exposure to Long Ago & Far Away historical fiction, it was past time that I read some Wilbur Smith. His novels of ancient Egypt intrigued me so I picked up River God and ventured in – as always without reading the back cover, reviews, etc.

From the first page I knew that Smith was writing my kind of historical fiction: accent on adventure and mostly fictitious main characters allowing lots of room to play. I am observing that, the more locked to historical figures, the more difficult it is to craft a satisfying story. (Though the likes of Sharon Kay Penman and C. W. Gortner do it with aplomb). Call me low-brow but I like heroes and villains and adventure rooted in some other world than ours – historical fiction, fantasy, sci-fi, etc. For historical fiction I want the context to be accurate but after that, I just want a good story.

So, River God: the most compelling aspect of this work is not so much the story as the voice of the main character. Our first-person hero, Taita, borders on the fantastical – no, is fantastical. He is a Renaissance Man in extreme: playwright, architect, administrator, military strategist, physician, mural painter, jeweler, hydraulic engineer, embalmer, musician – what have I missed? There are chariot battles, damsels in distress and adventures into sub-Saharan Africa. I know so little about the history or geography that, besides the epic exaggerations, I had to largely take Smith at his word on the basic facts. But it’s Taita’s voice that carries this book. His voice will stay with me when the story is forgotten.

Imagine my shock when I opened The Quest and found a third-person narrative, mostly in Taita’s point of view, but also from other characters and even much use of the omniscient. I had skipped two books in the series, so I knew there would be story I’d missed and I expected subtle changes in the author’s style but I grieved the loss of Taita’s voice for 100 pages before I finally let it go.

Also, by the time you reach The Quest, there has been a shift in genre from imaginative historical adventure to what is essentially a fantasy set in ancient Egypt/Africa. Taita is no longer simply skilled at everything. In the interim he has become a mage and a long-liver. Rather than the natural enemy of an invading force (River God) Taita is now pitted against a thousand year old witch.

I read fantasy so it should have been easy to make the transition, but it took me about as long to let the historicity go as it did to relinquish Taita’s voice. I do not want to be the one to pigeon-hole writers into strict genre distinctions but I really struggled with it. I like historical characters to take on as much of their own worldview as I can possibly comprehend, and the people of ancient Egypt would understand the world very differently from me, but that’s not what The Quest is. The Quest is fantasy – best to make that mental switch in your head before you start page one.

It would be interesting to read the interim books and observe when and how Smith makes this transition. I suspect it is gradual and would not have shocked me so if I had read the progression as written. I’d love to hear from folks who have read all four to learn if this is the case or if The Quest was a leap in style and or genre.

And, a warning about The Quest: this story is sexually visceral. For the most part, the sexuality is rooted in the themes of power, identity and transformation that run through both books, but there were bits that seemed gratuitous.

River God: Recommended – here is it’s review page on GoodReads (interesting that the reviews are mostly divided between love it/hate it. Few in between.)

The Quest: Recommended with caution – here’s it’s review page on GoodReads (also very divided opinions). And one from the Historical Novel Society.

Running Battles

Copying a post from my catch-all blog:

Running Battles

As I mentioned here, I was tossed a great independent adjuster gig and so I’ve been at that for 25 days running. I leave the house at 8:15am and return around 8:30pm – seven days a week. It doesn’t leave much time for painting or writing. My hair is becoming an over-grown mop and the dust bunnies are staging a coup.

I am, however, working towards a plan in which I spend a few minutes in the wee hours of the morning painting some pieces for display and, hopefully, sale, at my booth in the Avonlea Antiques mall. So far the plan has been thwarted by electrical failures and dirty litter boxes but I am zeroing in on the target.

Last fall I spent an afternoon wandering around downtown Jacksonville taking pictures of architectural details. I have culled some decorative motifs that I will paint as trompe l’oeil panels and canvases. I can’t wait to get started. I will post the results once I am finally under way. I just have to convince the dust bunnies to let me down into the basement where I have set up a work table. Then I will paint from 5:30-6:30am while enjoying my tea and ignoring the siren call of the neglected laundry.

Day Jobs and Ice Storms

I want to let those who are following know that I have not forgotten this blog.

I am currently reading The Gift of Rain by Tan Twan Eng (WWII Malaysia) and will report back on it once completed.

In the meantime, my two day jobs have consumed me. In early January, I completed a large mural project – which can be seen here.

Yesterday I was called up for an independent adjusting gig which means long days sitting in a cubicle. I have no idea how long it will last. It depends on the weather. Maybe one week. Maybe 6 months.

I have various posts for this blog brewing which need to be clarified. I promise I will return as soon as I am able.

My eventual goal for this blog is to involve other lovers of the Long Ago and Far Away. So, if you are interested in contributing, please let me know!

Sneaky Exposition

The Gift of Rain - Tan Twan Eng

The Gift of Rain – Tan Twan Eng

One purpose of this blog is for recording observations on the nitty-gritty of writing.

I am currently reading Tan Twan Eng’s The Gift of Rain – longlisted for the 2007 Man Booker Prize. As I picked up the book this afternoon, a few paragraphs in Chapter 6 stood out as worthy of a little dissection.

The text reads as follows:

We walked to the temple near her house. The crowd was thin, as it was still a few days before the actual festival. We entered the grounds of the temple and walked past the stone statues of snarling, serpentine dragons and mythical birdmen, all painted in brilliant hues of turquoise, red, blue, and green.

The temple was constructed in 1845 by the Siamese community on an extensive piece of property granted by Queen Victoria. Built in the traditions of Siamese architecture, it was trimmed generously in gold and maroon.  Stone reliefs of the Buddha decorated the walls in a repeating motif.  We walked past two guardian dragons on long concrete plinths, their bodies curling like waves, and left our shoes by the entrance, where a sign in English warned: “Beware of The Thiefs!” Aunt Yu Mei was disgusted at the misspelling.

I wish I could scribble lines and arrows to explain my thoughts but I will try to break this apart with text.

I have included the first paragraph to show the context of the second: that the writing is in first person and that the next paragraph takes place during some activity of the Point of View character.

So, to pick apart the main paragraph:

The temple was constructed in 1845 by the Siamese community on an extensive piece of property granted by Queen Victoria. Built in the traditions of Siamese architecture, . . .

This one and one-half sentence stretch is straight exposition. But it sneaks in without feeling like author intrusion because the reader already knows that the POV character is familiar with the building, and so, can believably bring this information to mind. Being in the first person, there is a sense of narration to the text which allows retelling by the POV character, so exposition becomes part of the storytelling.

But that’s all there is. Just one and one-half sentences of backstory. It must have been tempting to run on with more historical information about the temple’s history, etc. But instead, the 2nd half of the 2nd sentence and the next one: . . . it was trimmed generously in gold and maroon. Stone reliefs of the Buddha decorated the walls in a repeating motif. . .  —  describe the environment presently experienced by the POV character and anchors the observations in the here and now. It is informational but it feels more like a sensory perception.

Next we are right back to the movement or action of the characters: We walked past two guardian dragons on long concrete plinths, their bodies curling like waves, and left our shoes by the entrance, . . . — descriptive detail tied to the moment’s movement and, therefore, sensory rather than intrusive telling.

Finally, Mr. Eng ties the descriptive detail — . . . where a sign in English warned: “Beware of The Thiefs!” . . . to a wonderful character expression in, Aunt Yu Mei was disgusted at the misspelling.

There is also the feeling of the paragraph going from a wide to a telescopic lense focus: wide angle for the bit of backstory, zooming in on the general description and drawing closer to follow the characters’ specific movement and then the close-up of Aunt  Yu Mei.

I have no idea how conscious Mr. Eng was of writing technique while composing this paragraph – whether it was deliberate and hard won or flowed subconsciously from a well practiced craft, but it is fun to pick apart and shows there is much to be gained in a few sentences.

The History of Byzantium Podcast

I just posted this on my Long Ago & Far Away blog:

I’ve been meaning to start a Resources page for this blog and will do so tonight.

But first, I want to highlight The History of Byzantium Podcast as it is a rich source of information as well as entertainment for treadmill duty or long drives up I95. I am partial to it since the eastern provinces of the old Roman Empire are my current focus, but I am convinced any lover of history will find them fascinating.

The blog posts include imagery, links to maps and to the related Facebook and Twitter sites. A few episodes are for sale – $5.00 – in order for the podcast’s creator, Robin Pierson, to help fund his otherwise voluntary effort. At this writing, the collection is up to 42 podcasts, the last of which covers AD 606-608.

Mr. Pierson began this project with the intent of continuing the efforts of Mike Duncan’s, The History of Rome podcasts – which started in July 2007 and ran to 179 episodes! I have linked to the first post/podcast, so you can start at the beginning.

Both of these sites have links to bibliographies and additional history podcasts.

Please let me know if you enjoy them or if you have other resources for our new Resource Page.

—- I will build a Resources Page for this site as well.

Happy listening!

Elizabeth Gilbert Discusses Hilary Mantel’s Wolf Hall in WSJ

Great discussion of Mantel’s Wolf Hall. (Read the book. It took me about 100 pages to make sense of the voice but it was worth it. I then blasted through Bring Up the Bodies. Great stuff.)

http://online.wsj.com/news/articles/SB10001424052702303848104579308452275966122?mod=trending_now_5

Getting Your Work Done

I am fascinated by the methods other people use to get their creative work done in the midst of life’s demands. I am especially amazed at people who can produce art while enduring the worst of this life’s burdens – their own or loved one’s illness, broken relationships, war and death. Not trying to be morbid, I’m just amazed at how some people manage to carry on.

Even the daily routine of better days fills life to the edges with activity – all urgent and consuming.

Most artists/writers advocate getting up in the wee morning hours to get the writing/painting done and I have found it to be true for myself. Once the regular day begins there seems no way to disengage.

So, up early. And what else? Creatives establish little rituals. For me, it’s a humongous mug of PG Tips (that’s English tea) with half & half.

And goals. Many writers have daily word count goals. I have been participating in an online group of writers whose only connection is a commitment to write 250 words per day, every day. When you’ve done your words, you enter your daily total into an online Google document. People with the longest unbroken stretches and highest word counts get to be in the leader board. That’s it. No prizes. But, we cheer and spur each other on. It works wonders.

Last Spring I managed 53 days in a row. Then I went into research mode and then was consumed by my resurrected painting business.

That’s 250.

Whew. Made it for the day.

How do you do it? How do you make the time, energy and emotional space to do the creative work only you can do?