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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 Yasmin Selena Butt @YasminSelena
Soundtrack by Jeff Buckley, Death in Vegas, PiL, The Smashing Pumpkins, The Pixies, Nine-Inch Nails, Skunk Anansie, Garbage, Portishead, The Cure, Interpol, Cocteau Twins, Editors
If I hadn’t have become a novelist with a 36G chest, I would have been a rock star. I’m serious. You try learning electric guitar when you can’t see the strings, it’s dead tricky. Music is huge for me, HUGE. When I was 15, I made a decision not to live abroad because you couldn’t buy Smash Hits in Pakistan. Music back then was the only thing keeping me alive. It fuelled me. I couldn’t risk losing it.
It was a huge, creative fuel when penning my debut, Gunshot Glitter. The title might be familiar to you if you’re a fan of the singer, Jeff Buckley. If you’re not, it was a bonus track released on his posthumous album Sketches for my Sweetheart the Drunk. I loved the song, and, if I’m honest loved the title more. The song itself is lo-fi, distorted, wobbly but utterly impassioned.
Crime drama morality tale
In my novel, Gunshot Glitter is the name of an infamous London burlesque club. How would I describe the story? It’s the genre-bending story of an incinerated boy who never quite goes away; a morality tale, broadly a crime drama. I was thrilled it was shortlisted as a self-published read by The Guardian last year, along with the tome of my kind blog host Roz Morris. (Thanks! – Ed)
This year, I hope to give it the launch it deserves. It hasn’t had that yet for good reasons. Last year, I almost died of anaphylactic shock at a club on the launch of the print edition. It was a surreal way to discover you now possess a lethal shellfish and nut allergy. This year I hope to do the novel justice.
While writing it, I used mainly alternative music as a fuel to take me to the places where the characters go, especially Celine, the protagonist. And some of the songs I played also feature in the novel. When I listened to them, I got so immersed in the music, the songs become little stories within themselves, almost like an operetta with tragedy and pathos in spades running riot in my head. I made two CD compilations ‘Black Glitter’ and ‘Angry Glitter,’ depending on where I needed to go creatively, each featuring 18 songs. Black Glitter was achingly emotional, gut wrenching and tender.
Bands featured on Angry Glitter included Death in Vegas, PiL, The Smashing Pumpkins, The Pixies, Nine Inch Nails, Skunk Anansie. Garbage’s Vow from their debut album is amazingly powerful. I played this song literally on repeat when writing some of Celine’s pivotal scenes when she made some of the darkest decisions of her young life. Portishead’s incredibly sexy Strangers ended up featuring in a bittersweet memory for Cornelia:
She had been obsessed with Strangers with its melody full of dark, sexy suggestion. It turned her on. She even choreographed an examination piece to it. Cornelia put it on and, when it kicked in with its sleazy, dark electronic riff, she winced. Now she hated it. It reminded her of all she’d lost. It’s just music, she said fiercely through gritted teeth, ‘just music!’ Music could never punish her like her own guilt could.
The Cure is a band that bonds lovers Anis and Celine. I played Disintegration heavily when writing their more intense scenes. And Interpol’s Narc rears its head in the aftermath of their sex, like a shadow in the background on the wall. Other songs such as Blind, Dumb Deaf by The Cocteau Twins, was just powerful, no intelligible words as Liz Fraser doesn’t use them, but you can’t help but feel a strong sense of foreboding when you hear it, and, when I was getting inside protagonist’s Cornelia Friend’s twisted head this track made me think of her. It made me think of someone splintering on the inside, as did Editor’s Munich.
There is a darkness, intensity, danger, sorrow, passion and fury that dominates the music that literally leaches out onto the pages. When you have great music, fuelling your fingertips, you’re almost obliged to create an impressive result to justify the privilege of what you’re listening to.
When you read the behemoth or listen to the soundtrack, I’ll let your ears and eyes decide if the fifteen year old girl who grew up to write that novel, made the right call to coming home to grow up in London. I hope you believe that she did.
Yasmin Selena Butt was born and lives in London. She has worked in the Maldives as an English language trainer, freelanced in marketing and been published by The Times as a music writer. She has also written over a thousand poems, exhibited her fiction and photography and performed her debut reading at Proud Galleries in Camden. She adopted ‘Selena’ as her middle name in 2000, after meeting a concierge who told her the story of the naming of his own daughter, Yasmin Selena. She has since repaid the favour by naming a character in Gunshot Glitter after him. Gunshot Glitter is available from Amazon, Kobo and Smashwords and in print from her website. Tweet her as @YasminSelena
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Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s guest is multi-award-winning young adult novelist Tabitha Suzuma @tabithasuzuma
Soundtrack by Rachmaninoff, Shin Suzuma, Bomfunk MC, Eminem, Charlotte Church, Lea Salonga, Mozart, Katherine Jenkins, Serge Gainsbourg, Charlotte Gainsbourg, Philip Glass, Gabriel Faure, Amy Winehouse, Garbage, Lana Del Rey, Paloma Faith, Marilyn Manson, Gabriel Yared, Christopher Duffley
The music came before the idea, before the very first book, before the whole career. I was working as a school teacher and spending most of my salary on tickets to concerts at the Royal Albert and Royal Festival Halls. My debut novel, A Note of Madness (2006), was born out of my lifelong obsession with music, mainly classical, and in particular Rachmaninov. The novel is about Flynn, a teenage piano prodigy who falls prey to bipolar disorder as he struggles to master the notoriously difficult Rachmaninoff’s Third Piano Concerto. So the piece, as well as my own struggles with the illness, inspired the whole book. I have always loved music and used to skip lessons at school to sneak into the music room where I started teaching myself the piano. My brother, concert pianist Shin Suzuma, was born when I was 14 and started picking out tunes on my keyboard before he could even walk. I was determined he should have every opportunity to become the concert pianist that I felt he was destined to be, so began teaching him. Today he is finishing his studies at the Royal Academy of Music and embarking on this very career.
The sequel to A Note of Madness came a couple of years later. A Voice in the Distance (2008) was dedicated to my brother, mainly because his music room was above my study, so he provided me with a live soundtrack to my book. He was learning the equally ambitious Rachmaninoff’s Second Piano Concerto at the time, a piece which features prominently in the book, and shortly after finishing it, I finally got to see my brother perform the piece with his university orchestra. The two books also feature Bomfunk MC’s Freestyler and Eminem, which I would listen to when writing Flynn’s manic episodes. His girlfriend, Jennah, is a singer and performs Summertime (performed here by Charlotte Church, On My Own (performed by Lea Salonga) , and Mozart’s Laudate Dominum (sung by Katherine Jenkins) – three of my favourite songs that I listened to on repeat.
So music and writing, for me, have always been irrevocably entwined. The first thing I do every night when I sit down to write is sort out my playlist. My last book, Forbidden (2010), is a tragic love story about an incestuous relationship between a brother and sister. Because of its subject matter, it was a harsh, frightening and lonely book to write. It wasn’t a plot I could discuss with family or friends, I had no idea if it would ever be accepted for publication, I was teaching by day and writing by night, so it was very intense. I was often in tears, and a combination of severe clinical depression, stress, insomnia and sleep deprivation led me to having breakdown soon after finishing it. The music I wrote it to reflects both the tone of the book and my state of mind at the time. Lemon Incest and Charlotte Forever by the late Serge Gainsbourg and his then teenage daughter Charlotte Gainsbourg are both songs about father-daughter incest, and understandably created a great deal of controversy and anger when they were released in the mid-eighties. Philip Glass’s amazing soundtrack to my favourite movie The Hours was also permanently on my playlist, along with Faure’s Requiem and Mozart’s Requiem, which I listened to throughout writing the extremely painful final chapters of the book.
After Forbidden, I was forced to take a break from writing for health reasons, but have finally finished writing my sixth book, Hurt, out this September. It was an equally tough book to write, dealing with a similarly difficult, controversial and painful subject matter. I wrote it to Back to Black by Amy Winehouse, Only Happy When it Rains by Garbage, Born to Die by Lana Del Rey, Lose Yourself by Eminem, Play On by Paloma Faith, and a very haunting cover of The Beautiful People by Marilyn Manson. These songs helped me get into the detached, heavy-hearted and depressed moods of Mathéo: a talented, privileged teenager who on the surface appears to have it all but deep down, harbours a terrible secret that threatens his life as he knows it, as well as the relationship he has with the only girl he has ever loved. It is one of the harsher, grittier and more difficult books I have written, and the soundtracks to the films Sylvia and Never Let Me Go also helped me reach the levels of distress experienced by Mathéo as he battles with his secret, his past, the consequence of his actions, and ultimately attempts to achieve forgiveness and absolution.
I am about to start writing my book for 2014. I can’t say what it is about yet, but I can say that it will be written to the soundtrack of the heart-wrenching voice of 11-year-old Christopher Duffley, and in particular his rendition of the song Open the Eyes of my Heart which I have already started listening to on repeat.
Tabitha Suzuma is an award-winning author of six books. Her most recent, Hurt, is due to be released in September 2013. Her last book, Forbidden, a controversial and hard-hitting book about sibling incest, was translated into six languages and won the Premio Speciale Cariparma for European Literature Award as well as being nominated for a number of others. She has won the Young Minds Book Award and the Stockport Book Award. Her books have been shortlisted for the Branford Boase Award, the Lancashire Book of the Year Award, the Catalyst Book Award, the Stockport Book Award, the Jugendliteraturpreis Book Award and nominated for the Waterstone’s Book Prize and the Carnegie Medal. For more, visit www.tabithasuzuma.com, add her on Facebook: www.facebook.com/tabitha.suzuma, or find her on Twitter: @TabithaSuzuma
GIVEAWAY: Tabitha has signed print editions on offer for the three most interesting comments. If you enjoy her post, let her know here!
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Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week, spoken-word poet and novelist Dan Holloway @agnieszkasshoes returns with the soundtrack to his latest collection
i cannot bring myself to look at walls in case you graffiti them with love poetry is, according to the blurb I put together for it, ‘a lyrical, heartbreaking, but ultimately joyous picaresque across the neon-soaked night cities of the world in search and celebration of lost friends’. It is about a feeling – one that blends joy and nostalgia and sorrow and celebration and neon piercing the night sky and damp bridges and lives that spring fully and tragically formed from the concrete. The times I’ve seen that done best have both been through powerful connections between image and soundtrack – in the 70s, Bernard Herrmann’s oppressive industrial backdrop to Taxi Driver, and from the 90s the marrying of the dazzling colour of East Asian cities and the Mamas and Papas classic piece of nostalgia California Dreaming.
So music was right at the front of my mind from the start as I was putting it together. It’s also an accompaniment to my first solo spoken word show, which will premier at Cheltenham Poetry Festival on 24 April. So rhythm, cadence, pulling the audience through sound through a rollercoaster ride of the emotions were all right there at the fore. And with the multimedia background to the book, that initial draw towards the neon, nostalgia and grime of the cinematic city soundtrack was the perfect place to begin getting myself into the right place to construct and compile the book.
Rhythm is all
The thing about a collection – and a show for that matter – is that at every level rhythm is everything. Not just within the pieces but within the whole. Every dazzling, intense, searing effect you create is diminished by the wrong amount of repetition, enhanced by the right number of carefully placed repetitions, burnished or dulled by what comes before, after, a similar distance from the beginning, from the end. Every piece must hang together and flow effortlessly just like a perfectly-constructed album. This sense of flow, rhythm, shape is essential to all forms of the written as well as the spoken word, but it amazes me how little I see writers refer to beautifully-crafted albums as their exemplars.
Prog rock and poetry
Being the age I am, married to whom I am, of the musical persuasion I am, and someone who calls himself a prog rocker of the poetry world, there really is only one album to turn to for the perfectly constructed emotional and sensual journey. Pink Floyd’s Dark Side of the Moon is perfect in just about every way, and makes as great a live show as it does an album. From helicopters to gloriously crashing waves of sound via alarm clocks and lunatics on the grass, every step is in just the right position in relation to every other to make the journey an almost mystical path to enlightenment.
And yet, steeped in Bernard Herrman and Pink Floyd, I have the path mapped out before me but it’s still not enough. Still not the mix of anger, desolation, joy and nostalgia and, well, neon-soakedness all in one that I’m looking for. Which is why playlists are so fabulous.
I’ve always loved playlists, ever since as a seven-year-old I’d endlessly sort through my dad’s 45s making little stacks to play in order. And there is nothing better for keying you into the rhythms of whatever you are writing than a playlist the follows your work’s rhythms. So, get your headphones and have a listen to what is, in essence, my latest book.
We begin with the wistful recollective regret of Garbage’s You Look So Fine and the haunting Red Hot Chilli Peppers classic Scar Tissue we find the brutal, angry, relentless drumbeat of The Kills’s No Wow as the reality of loss loses its romanticised edge and gives way to a despair that becomes exhaustion at the nadir of Nine Inch Nails’s stunningly dissonant Hurt and Portishead’s Roads with its pitch perfect association with the film Requiem for a Dream. From that low point we emerge to appreciate the preciousness of the memories with Tracy Chapman’s Fast Car and Eagle Eye Cherry’s celebration of the intense, fleeting joyfulness of life, Save Tonight. But the celebration is only temporary and gives way to the bitterness and desperation of the pounding beat in Portishead’s Machine Gun before, exhausted and scarred but unbowed we emerge with Melanie Pain’s Bruises and finally lay down our heads, our lives and lost friendships streaming ever slower before our eyes as we fade into the night with Emily Barker’s Pause.
Dan Holloway is a novelist, poet and cultural commentator. He runs 79 rat press through which he publishes his own conceptual books and will, in June 2013, be publishing debut collections from five of the most groundbreaking new voices in poetry and prose. In the picture he appears with Diophantus, one of the 79 rats. He blogs at Authors Electric and is a member of the League of Extraordinary Authors. Find him on Twitter @agnieszkasshoes
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- 'Constant murmur of pouring rain, piano chords and a stormy sea'
- 'A spellbindingly good yarn'
- 'Simple, beautiful - gripping'
- 'So original it's in a class of its own'
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
- Carol is a concert pianist until an injury threatens her career. Desperate for a cure she discovers her future incarnation - or is he a psychological figment? And can he help her recover?
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What is The Undercover Soundtrack?Sleeve notes here
For the soundtrack of My Memories of a Future Life, you'll need Chopin's Sonata in B Minor, Rachmaninov preludes, lashings of Grieg's piano concerto in A minor and The Clash's Rock the Kasbah (they go together well).
You'll also need Samuel Barber's Dover Beach on piano, although that doesn't actually exist so do the best you can.
And the novel's undercover pieces. You can find them here
- What's on their soundtracks? Zip down to the footer and you can search by artiste or composer. See who shares your taste in inspirational music
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- 'My Memories of a Future Life is a poignant story steeped with melancholy, edged with a desperate hope, and twisted throughout with darkness and humor'
- 'Some of the sharpest writing I've read in a long while'
- 'The feel of a modern-day witch trial with a tense romance'
- 'Clever when you think about it afterwards; haunting and engrossing while you're reading'