Get any of Alan McCluskey’s novels in ebook format for 30% off as part of Smashwords Authors Give Back Sale. The sale lasts till April 20th 2020.
Authors Give Back Sale
In recent days as the global Covid-19 pandemic unfolded, several Smashwords authors reached out to Smashword’s founder Mark Coker, asking him to run a special sale for readers. The idea being to use books to help mitigate the emotional and economic hardship faced by citizens of every country, many of whom are now forced to stay home and self-isolate. The hope is that you, your friends, and your family might find redemptive strength, comfort, and enjoyment from these books. (Adapted from the Smashwords Newsletter)
“When I look at a girl, all the girl’s in the choir, for example, what strikes me is that being a girl comes natural to them. They don’t have to think about it. It’s what they are. If I were a girl like them there would be nothing special in dressing or acting as one. But for me there is something special about being a boy who dresses as a girl. I’m attracted to girls, I identify as a girl, I feel like a girl, especially when I’m dressed as one, but I am not prepared to go the whole road and become a girl. In a strange way, that ambivalence is an important part of who I am.” – Peter talking to Kate in the first chapter of We Girls Show the Way
As I embark on a third book in the Boy & Girl series, We Girls Show the Way I cannot help but revisit the way the ineluctable pair boy-girl or male-female necessarily orients all questions of gender, even for those who refuse the division. I hesitated a long time about writing a follow-up to In Search of Lost Girls. Why? Because the older Peter gets, the greater the pressure on him to chose between girl or boy when in fact he would prefer to put off that choice for ever. Unlike his namesake, Peter Pan, he has no NeverNever Land to fly away to, outside time, where he can remain eternally young, basking in the gender ambiguity that pre-adolescence affords. He has bought some time by living with the Lost Girls in Lucern and by the use of experimental hormones, like magical fairy dust that spares him from becoming a man. But that borrowed time cannot last. Especially as other forces conspire to oblige him to return to England, to cease using hormones and to conform to the male body he was born with. In 1960, when the story takes place, people were even less tolerant than today. A boy became a man. That was that. A boy who dressed as a girl was not only an ‘aberration’, but a threat to the unchallenged certitude of every man about his gender.
A brief detour via China
The left hand is cupped, palm upwards. At a casual glance it appears empty, neglected, insignificant even, yet, rather like the silence that whispers all secrets, it is full to the brim, pregnant with energy. The right hand is raised, in motion, slicing through the air, powerful, dynamic, determined, the fruit of intention. It attracts attention. It makes a statement that forces admiration. Yet, paradoxically, in that assertion it is spent and in need of replenishment. In Chinese lore, the former is yin, the latter yang. Female and male. Neither can exist separately. Without the overflowing energy of stillness, the arrow of movement cannot fly. Returning to the Western world, the vision is different. Male and female lead no such inseparable coexistence. On the contrary, they are distinct if not antagonistic.
The words we use
Female and male. The two permeate our way of seeing the world. They underlie our language, our thoughts, our being. In Western thinking, we see them as separate, distinct. She or he. Certain religions make a doctrine of what they see as the god-given distinction between the two. They even go so far as to use brute force or torture to ‘rectify’ any confusion or ambiguity.
Language gives us only ‘he’ or ‘she’ or ‘it’. However, the word ‘it’ conjures up not so much the ‘in between’ or ‘indeterminate’, an alternate, multiple gender, rather the inanimate, the neutral, the neuter, the genderless. Various recent linguistic constructs seek to propose alternatives, but they lack the adhesion and ease of use of the existing personal pronouns. Like water, language invariably flows in beds born out of long use and as such work against change and transformation. In addition, the paths followed often depend on the language spoken.
The other side of the Channel
In French, every object, every noun is either masculine or feminine. A dress is feminine, ‘sa robe’, whether it is worn by a boy or a girl. The gender of the object masks the gender of the wearer. In English, the word dress is associated with the gender of the wearer, ‘his dress’ or ‘her dress’. However, the word ‘dress’, despite the absence of an article to flag the gender, is associated with girls and women. This is also the case in French, although the gender ascribed to words is often arbitrary.
Contrary to what one crossdresser said, many clothes have gender. It is the inherent feminine nature, culturally speaking, of certain clothes that makes them attractive to the crossdresser. ‘His dress’, as Peter calls it in Boy & Girl when he dons his sister’s clothes, immediately signifies a transgression which if translated into French would require a circumlocution to express. To what extent do these differences in language colour our attitude and understanding of gender? More generally, how does the deep-seated division perceived between what it means to be a man or a woman influence our perception of the world? Does it not engender an either-or, black-white logic that carves a hard and fast line through a world that, in reality, is a multitude of shades of grey or rather a rainbow of brilliant colours? Much of the confusion lies in mistakenly thinking that gender is synonymous with sex as defined by genitalia.
A binary strike
I can’t help feeling uneasy about the idea of a women’s strike, like the one that took place recently in Switzerland. Not that I question the need for political action to redress the balance between women and men. There is an absurdity if not a violence in the feeling of superiority that many men bask in and the advantages they take for granted. Yet all those for whom the clear-cut division between male and female is problematic must necessarily feel uncomfortable with a women’s movement that gets its identity from that very division. One of the participants at the demonstration had put on his best dress, high heels and makeup to support the cause. What better way to show your solidarity than by dressing to celebrate your womanhood? Yet, in reality, her presence was frowned upon by a number of women present, or at best ignored as an unfortunate embarrassment. Why? Because that ambiguity is seen to challenge the clear-cut division between man and woman on which the movement is founded. When you are trying to make a point, as the women’s strike was seeking to do, clear-cut arguments and easily identified divisions are more readily communicated and defended. Nuance and ambiguity are necessarily weaknesses in a polarised political landscape. The would-be woman completely misjudged the situation. What she saw as an occasion to proclaim her attachment to femininity, was in fact a political movement opposing men and women in a struggle for domination which had no time and place for expressions of gender ambiguity.
The Boy & Girl Saga
Boy & Girl – Imagine Peter’s delight when he finds himself in the head of a girl, he who secretly dresses as a girl. Yet, despite his wild hopes, that girl is not him. She’s Kaitlin, the daughter of a mage in a beleaguered world. Peter has his own problems when a new girl at school threatens to reveal his girly ways. Becoming friends, Kate and Peter confront their problems together.
In Search of Lost Girls – In search of Kate, his lost soul-mate, Peter is beset by individuals hell-bent on stopping him dressing as a girl and besmirching the name of all those who befriend him. Meanwhile Kate has been dumped into a girls’ orphanage where, despite constant abuse and mistreatment, she emerges as a decisive figure in the rescue of her fellow orphans.
We Girls Show the Way – Peter is beset by an existential choice, retain his androgynous ambiguity or say goodbye to his girlish self. Circumstances, however, force both him and Kate to take up other challenges. By straddling the line between child and adult, between carefree creativity and weighty responsibility, between play and work, they find imaginative ways to confront far-reaching problems on which adults persistently turn a blind eye. (Yet to be published)
Shhhhh! Writing. New book. Follow-up to Stories People Tell. Annie promoting local voices. Seventy-five chapters so far. Eighty thousand words. Coming soon.
Writing local voices. Sneek peek!
A feral chant greeted Annie as she threaded between the barriers separating the platform from the concourse. A pack of guttural voices growled “Witch!” or was it “Bitch!” repeated over and over. Alarmed, she dropped Kevin’s hand and squeezed in front of her girlfriend, her eyes darting this way and that in search of trouble. The train had been packed and a throng of panicked commuters elbowed their way forward as if the station were on fire. Borne by the flow bursting from the gates, there was no turning back. If only her bodyguard, Xenia, had been there.
Annie spotted a dense knot of women brandishing placards some yards away when something hard struck her in the face just below her eye. Smashing as it did, a viscous liquid trickled down her cheek, letting off a foul smell of rotten eggs. She sank to her knees, instinctively putting up her hands to protect her head. Kevin screamed and ducked, cowering behind her.
Sensing danger, the crowd stampeded, bowling over the two crouched figures and would have trampled them to death had not firm hands grasped the girls and heaved them to their feet. Xenia. Thank heavens. No one would dare jostle her. All the same, Annie couldn’t stop trembling as the woman summarily wiped the mess from her face before wrapping her in a strong embrace. Nearby, Kevin was blotted in the arms of Leonor, sobbing. “…like animals…” Annie heard her mutter. (…)
I have just finished listening to the audiobook of La Belle Sauvage by Philip Pullman. Having been a fervent reader of the stories about Lyra, I was delighted to hear Pulman was to write a trilogy set in Lyra’s world. I will probably write more about La Belle Sauvage but in the meantime let me say that I was carried away by the story and couldn’t put it down.
To mark the launch of La Belle Sauvage, the first book of Philip Pullman’s new trilogy, The Book of Dust, Pullman answers questions of readers and famous fans for the Observer.
Read about narrative impulse – the constant flux to and from the character currently at the centre of a story. The movement flows from the particular to the general, from the individual to the relational, from the deeply personal to society at large, from extreme emotions to cold, hard facts, from heartfelt presence to time immemorial. The narrative impulse is the essential throbbing of narration that instils life into stories, conferring them with depth and breadth, with warmth and colour. It quickens or slows the pulse of the reader that beats in sync with the story. Read the full article.
In its reaction to Kazuo Ishiguro being awarded this year’s Nobel prize for literature, The Guardian writes: The author is a worthy recipient of the Nobel prize for continually finding his voice – and discarding it for a new one.
Photo source: Ben Stansall/The Guardian/AFP/Getty Images
It is those very words, used by the butler to reflect on his life and his work and to perform his duties to their utmost despite the extreme circumstances that assail him, that both convey the intimate fabric of the world at that time, and reveal by omission that which is steadfastly left unstated by Stevens, the underlying emotions that animate the staff and visitors in this stately hub of English society. (…)
By a cunning use of repetition and returns to the past, Ishiguro, weaves a mist around the reader who, at the slightest moment of inattention, loses track of where she is and flounders in an undivided sea of impressions. It is in those moments, cut loose from time, that a panic seizes the reader leaving her grasping for familiar landmarks. (…)
At a time when a wood is inspiring me, it seems appropriate to return to the masterly writing of one who was deeply inspired by Duncton Wood, John Horwood. If you haven’t read the Duncton tales, I highly recommend them. His descriptions of places are magic and the story he tells is both thought-provoking and moving.
If you read my last post, you will know a lot of the writing on my new novel has been done in the forest. Should it rain while I’m out walking, and that seems likely as the weather has changed for the worse, I can always shelter under one of the arches of the funicular (see above) to write.
I suspect the first extract from the draft of the new novel I posted a few days ago may have given the impression that it’s all about a young guy called Jake. Well it is, but there is also a girl called Isla and she doesn’t have a very high opinion of Jake after their first brief encounter. Here’s an extract from the beginning of chapter two. Remember this is a draft. Remember also that things aren’t always as they seem…
Isla cupped her hands under the fountain for the third time and swilled water round her mouth unable to rid herself of the taste. What if the boy had some dreadful disease? She’d bitten him, damn it! There’d been blood and he stank. Spitting the water onto the ground, she straddled the monoPod ready to ride off and pulled out her Tab. If she’d been a normal girl she’d have denounced the attack. The boy was frankly dangerous. She’d thought he was going to rape her.
Her heart pounded as she recalled how he’d flung himself on top of her. He’d been about her size, but he was much stronger. She’d felt his muscles. His chest. His arms. His legs. His weatherbeaten face had been so close. She could still feel his breath on her cheek. The whiff of mouldy cheese had almost made her gag. And the wild look in his eyes. Like a cornered beast. No. More lost and perplexed. As if he thirsted for an answer.
Isla ran her fingers over the screen of the Tab. It had been hidden in the saddlebags of the monoPod she’d stolen. She had immediately disarmed the location software of both the Pod and the Tab, but using the latter to notify the Trackers was still risky, if not plain stupid. They could trace the call and would want to know how she came to be alone in such a remote spot when she was supposed to be at school.
School? Reform school they called it. A pretty name for a prison for youngsters. A school where teacher was synonymous with warden and learning meant sweeping the floor or clearing away the cardboard Boxits each and every meal was delivered in. A place where brawls were commonplace and abuse, especially of girls and the young and weak, was the norm. In her short stay, she’d spent her time trying to go unnoticed. If they sent her back she’d be in trouble. Inmates didn’t appreciate kids who tried to escape. As if escaping insulted those left behind. She’d bear the brunt of years of pent-up anger. Especially with her being so different. Few could read or write, let alone programme screens. The authorities would surely have twigged she’d busted wide open their precious system. They’d never let her near a screen again.
As I reached the end of the draft of my latest novel, Stories People Tell, I was concerned that no idea for a new book sprang to mind. Normally I have to put a brake on the new ideas that jostle to be heard as the current book nears completion. But this time nothing moved, even if I nudge and prodded it. What if my source of inspiration had dried up? A worrying thought I tried set aside. I was three-quarters through the first edit of Stories People Tell before an idea came for a possible novel and in unusual circumstances.
My hip had been playing up and rather than try to rest, I decided to start daily walks, hiking first four then eight kilometres early every morning. On the second day, as I neared the eight-kilometre mark I came across a clearing off the well-used track. Littered with moss-covered rocks and some felled trees, the place had a magic quiet to it that appealed to me. I sat on a rock (see photo below), pulled out my iPad and began writing a story that took shape in a very similar place to that one. Every day I paused to sit on that rock and write, except the one day in the month when it was raining.
It was not immediately clear where the story was going but now I have written twelve chapters (of about one hundred to be written), the direction is becoming apparent. Unlike most of my other books, I have not immediately decided on a title. I just call it New Book. It will be my twelfth novel.
Here’s a short extract from the beginning of the opening chapter. Remember this is a draft and it will probably change before the book gets published.
To think he’d walked so close to the ruins on his foraging trips, never suspecting they were there. Jake glanced at the scattered slabs of stone covered with moss and rampant ivy. Despite its dilapidated state, the sacred ring was discernible amongst the trees, culminating in a majestic menhir that towered over the others.
There was an inner peace to the place, like an insistent silence that called to him. He took a deep breath, closed his eyes and bowed his head. Easing onto a rock, he shrugged off his backpack. The miles of trekking were taking their toll. His legs ached. He stared at the sullen standing stone, undecided if it were welcoming or hostile. At least the site, nestled in a hallow in the ground that hid it from the main track, offered shelter to break his fast.
He pulled a slice of bread and a chunk of cheese from his bag. The bread was stale and the cheese dry. If only he had some pickles. The moment the thought crossed his mind, he berated himself. The priest would have called him twice cursed, for covetousness and gluttony. The sour-faced man was very free with his condemnations, especially when it came to Jake. All the same, he had to agree. Craving more in the circumstances really was a sin.
A tear trickled down Jake’s cheek at the memory of his mother sneaking into the castle kitchens. Begging her to cease filching food was pointless. How else was she to feed them? The pittance she earned as a kitchen help was far from enough. One day he’d walked in on her spreading ointment on wheals on her back. The sight of the swollen gashes had made him sick. Never had she complained of the whippings. She was lucky, she said, not to get beheaded like other thieves. He brushed the tears angrily from his face and returned the remaining lump of bread to his bag.
Jake was reaching for his water bottle when he froze. In the distance, approaching fast, a group of horses cantered along the main trail sending birds squawking into the air. The Baron’s men. No other group could be out in such numbers. Surely they couldn’t be looking for him so soon. He shouldered his bag and searched for a place to hide. They were bound to stick to the well-used trail, but better to play safe.
He was wrong. The first mounted man trotted between the stones just as he ducked behind the largest of them. The horses snorted when their riders pulled them to a halt. There was a telltale click of buckles and stirrups as the men dismounted. “He must be here,” a gruff voice said. It was the captain of the guard, a thin-faced, vicious blighter called Jurgen who was the terror of the young in the castle, boasting as he did of eating little children for breakfast. Story or no story, the voice so close made his skin crawl. (…)
The Guardian has just published a short teaser from Philip Pullman’s forthcoming book, La Belle Sauvage, the first of the Trilogy, The Book of Dust. In an interview posted by Random House Kids on YouTube (see below), Pullman calls the new book a companion to the earlier trilogy, His Dark Materials. This first volume is to be published on October 19th, 2017 in print form, electronically, but also as an audiobook.
What appeals to me in this short extract, apart from the evident air of family with the earlier trilogy which I immensely enjoyed, is the unassuming language. No fancy frills. Just words in the service of a story.