Posts Tagged authors

‘Music is a ritual of invocation’ – Alice Degan

for logoI find it so interesting how one novel’s soundtrack can absorb so many styles.  My guest this week has written a supernatural mystery wrapped up in a 1920s comedy of manners and her soundtrack is a glorious tour of classical, folk and madcap jazz. Even more interesting, she uses Thomas Tallis – as my guest did last week – but with such a different outcome. We all operate in our own key of creativity, which is one of the wonders of this series for me. Anyway, this week you’ll be entering the classical, folky and knock-bones skelly-shaking jazzy world of Alice Degan – and her Undercover Soundtrack.

, , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Leave a comment

The Undercover Soundtrack – Paul Connolly

for logo‘The power of music and friendship’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is a capella singer and debut author Paul Connolly @ACappellaPaul

Soundtrack by The Beatles, Van Morrison, The Beach Boys, Thomas Tallis, John Barry

 The Fifth Voice is about the power of music and friendship, and the incredible influence both can have on our lives. The four main characters are struggling in various ways with what life has thrown at them (an illness, a betrayal, a bereavement, a mid-life crisis), but when they sing together none of that matters. Together they embark on a journey of self-discovery and self-healing, as they go in search of the mysterious and elusive Fifth Voice.

PaulC-TFV-promo photoIt’s all about the music

My very first memory is hearing Help! by The Beatles playing in an amusement arcade when I was just five. Listening to the song as an adult, I remember what it was like to feel happy and carefree as a child on holiday, being transported by music for the very first time. Coincidentally, John Lennon said he wrote the song at a time when he’d completely lost himself and was harking back to when he was much younger and everything in life was much simpler.

Aside from the obvious connection (four singers), The Beatles inspired The Fifth Voice by providing two of the protagonists, Vince and Danny, with the material for their opening dialogue, arguing about their favourite albums around a pub table. They don’t see eye-to-eye when it comes to The Beatles, Vince referring to the Sergeant Pepper album as ‘a pile of over-contrived, trippy nonsense’. Danny hits back by informing his friend that ‘when Sergeant Pepper was released, Kenneth Tynan in The Times said it was a decisive moment in the history of Western civilization’. And so the tone is set for the emerging friendship between the two.

Oh, and there’s dance too

One of my own favourite albums is Astral Weeks by Van Morrison, which features the song Ballerina. It’s a haunting evocation of a love unrequited, or perhaps broken in some way. Listening to it, I get a sense of fragility, of a man who is yearning for this perfect vision of a woman to be his. The fact that I was once married to a ballet dancer means that those feelings have the ring of truth, and both the song and my personal experience compelled me to include a character in the book who was once a ballet dancer.

Margaret, the mother of Neil (another of the quartet) is a smart, sensitive, worldly and compassionate lady of a certain age. She has suffered the loss of her eldest son, which both she and Neil are struggling to come to terms with. She has every right to be bitter, but instead she throws all her energies into looking after her husband and remaining son, helping local charities, and running a ballet class for the senior citizens of her village. In her early years she lived a rarefied and exotic life as a dancer in Paris and was, without doubt, held in as much esteem as the ballerina in Van Morrison’s achingly beautiful song.

Finding their voices

One of the first songs I learned to sing in four-part harmony was a Beach Boys medley featuring the ballad In My Room. It made a big impression on me, as the harmonies are delicate and easy, and yet powerfully moving. I had to make it the first song the quartet in The Fifth Voice sing together, the one that makes them and their assembled company realise that their voices blend beautifully and that they could have a future as a quartet.

The song doesn’t always serve them well, however. When Ken, their eccentric vocal coach and mentor, invites them to explain what the song is about, Vince suggests ‘a bloke in a room’. Frustrated by his lack of imagination, Ken replies

Well, that certainly explains things. From the way you sang just now, I’d guess that the room is painted entirely white. Featureless. And I’d say that the bloke in question is probably wearing a straitjacket, that the walls are padded, and that the door is heavily bolted from the outside.

Perfect harmony

The book is about the search for harmony, not just in the musical sense. Ken inspires the quartet to discover a curious vocal technique called The Fifth Voice, which has the promise to deliver a prize much greater than anything they can imagine.

This idea was inspired in part by listening to harmonies on a grand scale, in the form of Spem In Alium, a 40-part Renaissance motet by Thomas Tallis. Composed in the 16th century for eight choirs of five voices each, this majestic piece is mind-blowing in its complexity and beauty, and no wonder it is widely considered to be the greatest piece of English early music.

TFV final cover-300dpi-mod1The big picture

A piece of orchestral music I return to often is The Beyondness of Things by John Barry. Barry’s late signature sound of richly textured strings and reflective, romantic melodies has a wooing effect, and I find myself drifting away whenever I listen to this piece. But it also delivers a genuine sense of beyondness, of there being more to life than the here and now. And that’s the essence of what The Fifth Voice is about. Listening to Barry helped set the tone for the metaphysical aspects of the story, as when Ken first tells the quartet about The Fifth Voice:

Listen to a top quartet ringing chords, and the room will fill with harmonic overtones. And at a purely physical level, you could say that those harmonic overtones are themselves an independent voice. A fifth voice, so to speak. But that’s only part of the story. Any competent quartet can create a fifth voice, but very few find The Fifth Voice. That’s something that goes beyond the physical. Something that comes from inside each of you. Something you have to search for.

Paul Connolly was born and brought up in Liverpool. After studying biology at Manchester University he worked for many years as a technical author in the computer industry, the foundation of his writing career. Paul sings bass with award-winning a cappella group The Royal Harmonics, which provided the inspiration for his debut novel, The Fifth Voice. He lives in Berkshire, visits Lundy Island as often as possible, supports Everton FC, and has a grown-up daughter. He is currently working on the sequel to The Fifth Voice, and you can connect with him at www.paulconnollyauthor.com and on Twitter @ACappellaPaul. The Fifth Voice is available as a paperback and ebook.

 

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Leave a comment

‘The power of music and friendship’ – Paul Connolly

for logoMy guest this week is another writer with music in his very bones. His novel features four friends who keep their troubled lives on an even keel by singing in a quartet, and is inspired by his own experiences singing bass with an an award-winning capella group. In the novel, his characters are in search of a state of harmony called The Fifth Voice, where all the hearts and minds are playing as one entity. He is Paul Connolly and he’ll be here on Wednesday with his Undercover Soundtrack.

, , , , , , , , , , , , , , , , , , , , , , , , , , ,

Leave a comment

The Undercover Soundtrack – Natalie Buske Thomas

for logo‘Music to grieve by’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is painter, singer-songwriter, humorist, mystery/suspense and time travel novelist Natalie Buske Thomas @writernbt

Soundtrack by Enya

Grandpa Smiles is an oil painting picture book about how Grandpa watches over a boy throughout his life, though he can be with him only in spirit. My father lost his battle to cancer when he was 37 years old. I told my son that my dad was a cardinal in the tree, watching him laugh and play. Grandpa Smiles is a sweet timeless story: family is forever, love lives on. But how could I communicate the beauty of loss in so few words when my heart had so much to say?

Author Headshot High Res croppedMy Undercover Soundtrack for the writing and painting of this project was Enya, and only Enya. Nothing else would do! As you can probably imagine, it’s hard for me not to get pulled into the music when I paint. My paintbrush tends to ‘dance’ to the beat, so there were a few Enya songs that I couldn’t listen to because the music was too distracting. But if I didn’t play the songs that made it into my ‘loop’ I froze!

Music to grieve by

One illustration combines two oil paintings onto one page. The boy (a painting created for the book) looks at a picture of his grandpa (a painting created previously). The picture of Grandpa is an oil painting of my parents’ wedding day. Dad is wearing his military dress uniform, he was leaving soon for the Vietnam War. The painting was featured in a gallery exhibit called ‘Touched by War’. My dad has been gone a long time now, over 25 years. My mom is gone now too. I didn’t realise how overwhelming it would be to paint a portrait of their young selves in their wedding clothes. I was doing fine until I painted their eyes, that was when I lost myself in Enya’s It’s in the Rain.

Beauty in pain

Sometimes the art came to me first and other times the words did. I needed a seasonal picture, so I looked through my son’s photo box for inspiration. I found a picture of my son jumping in a pile of leaves on our old hobby farm. The property was a beautiful five-acre parcel that my husband and I built into a home for our young family of five, but we had to sell it seven years later, when layoffs and pay cuts hit my husband’s company hard. Around this same time, my mother had passed. It was time to move on. We left behind the land where our children played. As I painted the image of my son playing in the leaves, my heart was breaking. My little boy was now a young man. Where had the time gone? (Only Time, says Enya.) But through the color of my paints, he is forever that child who laughed in the leaves. No matter where he goes, his moment of joy in the leaves lives forever. (On my Way Home)

Love lives on 

One of my favorite pictures in the book says ‘The child leaps’, followed by ‘Grandpa helps’ on the next page. I painted an image of my son in his Superman costume with his arm outstretched, his fist pumped, and his eyes sparkling. Grandpa is portrayed as the face in the wind that lifts his cape so that my son can fly. (Hope has a Place.)

Grandpa Smiles paperback coverLetting go

Grandpa Smiles was meant to be a heartwarming story, nothing more. My career as an oil painter was exhausting. I didn’t want to do gallery exhibits anymore. I already had a career as a novelist, why was I running myself ragged? What if I combined my art with my writing? It was meant to be that simple. But watching my son’s face when he saw the book for the first time was like witnessing him receiving a message from heaven. Later, I brought a few copies with me at the Doctor Who convention in Minneapolis. I expected to sign my time travel fiction, but people were more interested in Grandpa Smiles. Strangers flipped through the book in front of me and became emotional – I had no idea that my book could touch people like this. Besides strangers, my dad’s family was moved to tears. My aunt asked me to send a gift copy to a family friend I hadn’t seen in over 30 years. This family friend sent me a handwritten thank-you note. In the note she mentioned that the painting of my parents was very recognisable. I didn’t realize how important it was that I capture my parents’ likeness until I read her words. A project that had a simple concept, simple words, and simple pictures turned out to be anything but simple.

Natalie Buske Thomas is an oil painter, singer/songwriter, humorist and the author of over a dozen books. She is currently working on her first album Painting my Songs that will combine her music, writing, and art into one project. Watch Natalie paint, try one of her Serena Wilcox books for free, or learn the secrets to her success in her new book Nice Authors Finish Last. Find her on Twitter @writernbt

 

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

3 Comments

‘Music to grieve by’ – Natalie Buske Thomas

for logoMy guest this week is writing about a very personal project – a book of oil paintings that contain a story where a young boy is watched by his grandfather. She was inspired by her memories of her father who died tragically young, and she struggled to do him justice in a medium that allowed her so few words. Her guide was the music of Enya, and certain signature tracks carried the emotions she was looking for as she painted and wrote – love, loss, the swift march of time, letting go and still loving. She is Natalie Buske Thomas and she’ll be here on Wednesday with her Undercover Soundtrack.

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Leave a comment

The Undercover Soundtrack – Lindsay Stanberry-Flynn

for logo‘Music, grief and sibling rivalry’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is award-winning author Lindsay Stanberry-Flynn

Soundtrack by Beethoven, Dolly Parton

Music is at the heart of my most recent novel – as you might expect from its title The Piano Player’s Son and the image of a piano on the front cover! Music is often a force for unity, as in the songs of the First World War or the Last Night of the Proms, but in The Piano Player’s Son, it soon emerges as also a divisive, destructive force. The piece which gave me inspiration for the complexities of the relationships in the novel is Beethoven’s Moonlight Sonata.

DSCF0038 copyMoonlight

I love this piece, especially the first movement, but the more I listened to it while I was writing, the more I was pulled in different emotional directions: romantic and compelling, on the one hand, haunting and dark on the other. The piece seems to have the capacity to inspire thoughts of love and beauty, leading the German critic, Ludwig Rellstab, to identify it with moonlight flickering across Lake Lucerne, hence its popular title. But its eerie, unsettling quality also means it is sometimes chosen as the soundtrack in horror movies. In the film Immortal Beloved with Gary Oldman as Beethoven, it is used to powerful but painful effect in relationship to the composer’s deafness. And this emotional dichotomy is exactly what I wanted to capture in the novel.

The book explores family dynamics in the wake of a death. Each of the four grown-up children deals with their father, Henry’s, death in a different way. Isabel and George share their father’s love of music, particularly the piano and appear to have been closest to him. The day after Henry’s death, Isabel listens to George playing the Moonlight Sonata:

It was one of their father’s favourites and the music filled her head. She held a tea cloth to her face, forcing the thick towelling material against her lips. Why couldn’t her fingers tempt such sounds of exquisite melancholy as George’s?

Despite their shared love of the piece, and grief at their father’s death, sibling rivalry underlies Isabel’s response.

The other brother and sister, Rick and Grace, are excluded from this musical bond. Rick blames the emotional distance he’s always felt from his father on his inability to master the piano:

It was ridiculous that he’d spent so much time craving his father’s attention when all it would have taken was a few plinkety plonks on the piano.

After Henry’s death, Rick vows to learn. All his problems will disappear if only ‘he could learn to play the Moonlight fucking Sonata’. The choice of language is deliberate with Rick – even at the moment of vowing to learn, and therefore becoming closer to Henry – denigrating his father’s favourite piece.

Inheritance

The Piano Player’s Son is also about inheritance and I chose Henry’s piano as the focus for the enduring war between Rick and George. Both brothers claim it as theirs, Rick as the eldest son, George as the one who shared his father’s passion for music. I didn’t want the dispute to relate to money, but to be about something of personal and emotional significance – in this case, each brother seems to be claiming their worth in their father’s eyes. I chose a piano because, like books, it is a thing of beauty which furnishes a room, but which also has the power within it to feed the mind and soul.

While he is waiting for his father’s piano to arrive, Rick buys a second-hand one and starts having lessons, but his progress is painfully slow. When he tells his teacher that he wants to play the Moonlight Sonata, she informs him he’s nowhere near ready for that.

Rick thought of his father’s stubby fingers. ‘I shouldn’t have been a piano player,’ he used to say, ‘not with these fingers.’ And yet, here Rick was, a piano player’s son, and he’d never master the instrument.

The piano and the Moonlight sonata encapsulate all that was wrong with his relationship with his father.

References to classical music enhance the novel – Beethoven, Debussy, Mozart, Bach, all play a part. But when Rick chooses a piece of music that sums up his relationship with his darling American wife, Deanna, he turns his back on his father’s beloved classical pieces and instead it’s Dolly Parton’s Islands in the Stream that sums up the closeness and joy of their relationship. I love Dolly Parton – there is something inspirational in her continuing love of singing and her passion for music.

the pian player's son v.8 flatBut I have to finish with the key piece for my novel, the Moonlight sonata. Although I’ve concentrated on the first movement, the three movements together convey something of the story structure, building towards the final, furious movement. The Moonlight Sonata helped me explore the emotional complexity of the novel to such an extent that I had to include it at my launch. I managed to persuade my husband to play the first movement, and you could feel the emotion in the room as he played.

If you’d like to listen to another version of the Moonlight sonata, here’s Daniel Barenboim.

Lindsay Stanberry-Flynn is a novelist and short story writer. Her novel Unravelling, published in 2010, has won three awards, and her second novel The Piano Player’s Son,. Her website is here and you can also connect with her on Facebook.

GIVEAWAY Lindsay is giving away one paperback copy of The Piano Player’s Son. To enter the draw, comment here and share the post. Extra entries if you share on multiple platforms – and don’t forget to note here where you shared them so we know to count you!

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

10 Comments

‘Music, grief and sibling rivalry’ – Lindsay Stanberry-Flynn

for logoMy guest this week used the Moonlight Sonata to guide her through her latest novel. A central character was a pianist, and the story explores the emotions and reckonings that emerge in the wake of his death. She says the Moonlight pulled her in surprising directions, peeling off the layers of a family’s bonds and rifts, and illuminating a complex web of relationships and resentments. The piece became so significant that when she launched the novel, she persuaded her husband to give a performance of the first movement. She is award-winning author Lindsay Stanberry-Flynn and she’ll be here on Wednesday with her Undercover Soundtrack.

, , , , , , , , , , , , , , , , , , , , , , , , , , ,

Leave a comment

The Undercover Soundtrack – Paul Sean Grieve

for logo‘Plundered people and rotten exploitation’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is debut thriller writer Paul Sean Grieve @PaulSeanGrieve

Soundtrack by Midnight Oil, Eddy Grant, Peter Gabriel, Christina Aguilera, The Police, Kenny Rogers, Animotion, Katrina and the Waves, Gotye

Before Roz asked me to contribute to The Undercover Soundtrack, I’d never consciously thought  about how deeply Poison, my debut thriller, had been shaped and inspired by music.  In retrospect, this is almost unbelievable, because every time I think of a scene in the book, the music from which I drew inspiration reverberates so loudly in my head I wonder how anyone can read it without hearing it too.

5607416_origToxic

Set primarily in Toronto and Honduras, Poison tells the story of Drew Freeman, an idealistic young toxicology student who uncovers a research file so explosive it could shatter the globe-spanning empire of a massive agricultural conglomerate.

If there is one song I feel captures the ethos of the story from the protagonist’s perspective, it is Beds are Burning by Midnight Oil.  This is the song that inspired the ideas which eventually coalesced into the story and it’s the tune I played on Youtube when I needed to get myself into Drew’s head. It’s a very political song interpreted to be about the plight of aboriginal peoples and the long-ago theft of their lands, but I’ve always taken it to be about the plundering of earth’s resources and the exploitation of its less fortunate people.  What made the song resonate for me as the ‘anthem’ for this novel and its main character is its undercurrent of anger at gross injustice and its explicit call to action. Until Drew exposes the truth, his bed may as well be burning.

Transitions

His ex-girlfriend Claire, on the other hand, is a somewhat more complex character, one we learn has gone through a gut-wrenching transition in her life.  Formerly a muckraking firebrand of a freelance journalist, Claire was driven by disillusionment and the increasing prospect of life-long poverty to earn an MBA in pursuit of a new career in business. As my ideas about Claire gradually developed, three songs helped me to understand her headspace in three key segments of the narrative respectively.

The song of her back story was Eddy Grant’s Electric Avenue, an angry but upbeat protest song that echoes a hopeful ‘we’re not going to take it any more’ sentiment.  I can’t listen to this song without wanting to start a (peaceful) revolution, and it’s the song that played in my mind when I peppered the book with subtle hints about what sort of person Claire used to be years before we meet her.

But this former Claire is not the same woman who ascends in the the glass elevator to meet the CEO of the Fortune 500 company she desperately wants to work for.  As she undertakes the walk on eggshells she hope will lead to her dream job, Eddy Grant is nowhere to be heard. Now, it’s Peter Gabriel’s Big Time, a song which to me suggests powerful ambition and lust for material success. Its unapologetic, in-your-face brashness helped remind me how revved Claire was about the new job that was her ticket out of desperation and how reluctant she therefore was to heed Drew’s dire warnings. But Big Time only took me so far.  As Claire reluctantly comes to realise that, in spite of her new glamorous job, she is nothing more than a shill for an evil corporate empire, I sensed the energetic confidence of Peter Gabriel’s song start to ring hollow and gradually fade out, to be replaced with the theme song from the film Moulin Rouge, Voulez-vous coucher avec moi?  As I wrote the speeches Claire delivers in support of the corporate propaganda machine, I imagined this song about soulless prostitution forcing itself on her like one of the unwelcome hecklers in the audiences she addresses.

poisonFemme fatale

In fairness to Claire, she is not the only one engaged in prostitution. Desperate for money, Drew tutors a maths-challenged female student for a chemistry credit she desperately needs. Unable to afford the number of hours she requires just to gain a fingernail grasp the basics, Scarlett (the student) resorts to the only resource she can count on – her feminine wiles. Unfortunately for Drew, who, lonely and frustrated, still secretly pines for Claire, this sultry femme-fatale proves irresistible.  Imagining Drew’s obsessive longing for Claire brought to mind the melancholy classic Every Breath You Take by the Police, which, while to reminding me of the character’s painful isolation and emotional desperation, helped me intuit how a such an ideological man would be so keen take solace in Scarlett’s brand of comfort. (As an aside, the name Scarlett came from Kenny Rogers’ song about an exotic dancer titled Scarlett Fever, one of my favourites when I was a kid). In spite of a few minor ethical qualms,  he almost forgets his longing for Claire as this ‘forbidden fruit’ hangs ever lower on the branch.  As I crafted  the story of Drew’s burgeoning attraction toward his beguiling student, I couldn’t help but hear the fiery passion of Animotion’s 1980’s synth-pop hit Obsession, and when he finally gives himself over to her, knowing full well it meant the end of his desperately needed stream of income, I imagined him none the less on cloud nine, strutting down the street to the tune of Katrina and the Waves’s Walking on Sunshine.

But, alas for poor Drew, when the relationship sours in a way that slams back into the conspiracy plot and Drew is left wondering what went wrong, I can just hear Gotye’s super-awesome Somebody I Used to Know blasting from the loudspeakers in his tortured mind. It played (delightfully) in an endless loop in my own mind every time I worked on the scenes post-Scarlett, particularly the cathartic and highly significant confrontation with her on the street (the outcome of which provides Drew with a vital clue).

Paul Sean Grieve has written and directed short stories, but prefers the medium of the novel as it is a more complete work. Poison: A Novel is his debut. It is free for a limited time at Smashwords, B&N and the iBook store (or $0.99 from Amazon).  Or he says you can email him for a free digital copy as he loves to hear from readers. His website is here, and you can connect with him on Twitter @PaulSeanGrieve.

 

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

3 Comments

‘Plundered people and rotten exploitation’ – Paul Sean Grieve

for logoMy guest this week had talismanic pieces of music in his mind while he wrote his debut thriller. Indeed he says the music was such a guiding force that he cannot imagine how anyone reading the book could not hear it too. He chose anthems to embody his characters, their state of mind, their dilemmas and the way they change in the story’s events. They are protest songs, wry looks at characters who are abandoning their principles and songs of obsession and downfall. I’m also delighted to report that he includes Peter Gabriel – one of my long-time favourite musicians. He is Paul Sean Grieve and he’ll be here on Wednesday with his Undercover Soundtrack.

, , , , , , , , , , , , , , , , , , , , , , , , , ,

Leave a comment

The Undercover Soundtrack – Amanya Maloba

for logo‘Thoughts circulating in a lyric or a line’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is fashion writer, stylist and author Amanya Maloba @Amanya_M

Soundtrack by Erykah Badu, Tyler The Creator, Peter Tosh, Outkast, Shabazz Palaces, Q-Tip, Florence + the Machine

I’m a notorious lone wolf — I spend most of the day alone. I’m also an avid people-watcher and work best surrounded by movement and chaos. How do I reconcile these traits? People repellents, also known as large headphones, large sunglasses, and an unwavering jawline. These allow me the ability to situate myself in bustling environments and maintain my inner solitude and concentration, without the distractions of small talk. This also means that most of my day is characterized by a continuous flow of music, affecting my disposition and writing. Most of the vignettes in my collection, Harvest, were written as direct results of the combination of the thoughts circulating in my mind with a lyric or mood from one of the many songs I listen to. Though Harvest emerged as a unified collection, the music that inspired it is far from cohesive.

IMG_4778Past, present, future

Harvest follows a young girl, Sukari, as she navigates through different spaces and times, learning about herself through her past, present, and future worlds. I wrote many of the pieces while living abroad in London and traveling throughout Europe, so this sense of transience is one that I’m intimate with. Traveling has always brought me comfort knowing that I get to escape from one place and step into the unknown adventures of a new place. Conversely, constant movement generates a certain sense of anxiety, between wondering if my physical self will be safe in the new place, if my soul will be over or under stimulated, and, of course, the dread that arises when your heart longs for someone thousands of miles away and wondering if they feel the same about you. Window Seat by Erykah Badu conveys the simultaneous comfort and anxiety that comes from wanting to escape, and begs the question whether the constant movement comes from a place of bravery or cowardice. I like to think it’s a bit of both, and like Badu’s voice, the prospect of leaving is at once haunting and mystical.

One of my favorite pieces in Harvest, Dinner is Served (Karibu), is also the most honest and unapologetic. My intention was to write it in such a way that, depending on how much you identify with the protagonist, you’ll either feel like someone is preaching your truth or feel uncomfortable in recognising your role as the perpetrator.

I will kill you with every bite you take, but you will continue to eat because I am the finest cuisine you’ve ever had. I will be your last meal. Dinner is served.

Yonkers by Tyler The Creator echoes the same unapologetic declaration of self between the minimalism of the beat and the (arguably) shocking lyrics. Though I don’t co-sign all of the lyrics, the idea of making people who so desperately want to consume you, your aesthetic, and your culture uncomfortable is one that I do support. The beat of Yonkers along with Tyler’s vocal delivery make you want to nod your head and enjoy the song, however this is nearly impossible if you’re actually listening to the lyrics. This is something that I wanted to achieve with Dinner is Served (Karibu), and to some extent, Harvest as a whole. As a writer I feel no obligation to entertain — I’m not here to make anyone feel warm and fuzzy. My job is convey the truth to the best of my ability regardless of whether the reader feels hurt in facing it.

Heaven

Another one of my favorite vignettes is Complaints from Five Guests of Heaven. The piece is comprised of five different complaints from guests staying at the mythical hotel. Each of room numbers corresponds to the assassination dates of radical thinkers and activists that I admire. I chose to have these people issue complaints that are in keeping with the manner in which they were killed or their beliefs to show that though many people admire them posthumously, their theories and legacies are largely still being disrespected, making it impossible for them to rest in peace. Mystic Man by Peter Tosh is a song not only referenced in the piece, but is also applicable to the nature of any truly great person. The notion of being rooted at once in the past, present, and future expresses the fluidity of time and also the power of thinking beyond the constricting notions of time. Even though these people were physically murdered (directly or indirectly) for their philosophies, their words and power are still present, confirming Tosh’s conviction that he’s a man of the future.

Young love

Another theme that runs throughout Harvest is encountering and navigating young love. I’ve never been a fan of corny ballads or depressing love songs, movies, or books — I don’t find the two lovers coming together in the rain cathartic or applicable to any type of love I’ve ever known or witnessed. Prototype by OutKast and A treatease dedicated to The Avian Airess from North East Nubis (1000 questions, 1 answer) by Shabazz Palaces are two love songs that I can fully get behind. Both speak to the nuances of love rather than some grand notion and both manage to be sensual and sexual without falling into the trap of misogyny. Life is Better by my favorite MC, Q-Tip, manages Harvest-final-cover_frontto beautifully blend romantic and artistic love through the lyrics and blur the distinction between musical styles through its production and composition. The way one type of love illuminates another is true in my own experience and is evident in pieces such as Beignets and Trumpets (I): Visitor, where food, music, and romance are all swirled together with the same sensuality.

Originally the title for Harvest was going to be What the Harvest Gave Me, a nod to one of my favorite Frida Kahlo paintings, What the Water Gave Me. Florence + The Machine has a song by the same name, which is also in part inspired by Virginia Woolf’s suicide. The idea of killing off one version of oneself, in Virginia Woolf’s case wading into water with stones in her pockets, and stepping into another confirms the power of reinvention that Sukari finds with each place she steps into.

Amanya Maloba is a fashion writer, stylist, and author. She holds a Bachelor of Arts in English Language and Literature from the University of Chicago. Her fashion writing and photography has appeared in numerous publications including the Huffington Post, Refinery29, and CollegeFashionista. Amanya has also participated in style campaigns with Finish Line and eBay. Harvest, published in July 2014 by Vine Leaves Press, is Amanya’s first collection of fiction. Amanya’s style and writing is influenced by her Kenyan heritage as well as her time living in London and miscellaneous travels. Find her on her website and on Twitter @Amanya_M

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Leave a comment

Follow

Get every new post delivered to your Inbox.

Join 223 other followers