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 Michael Stutz @MichaelStutz
Writing and music are together, are one. That’s how it’s always been for me — I started to make music at about the same time I began writing, and in perfect synaesthesia they’re both ways of painting out the colors inside me. I have an acoustic in my workoom and most days, when I get up for a sec from the keyboard, I’ll play it — when you’re working on something that takes years to complete, it’s no small exhilaration to grab a guitar and make a new song in like 48 seconds, which I literally do all the time.
My new book Circuits of the Wind is the story of a life — Ray Valentine, a slacker who grows up online. It’s a big, serious, literary history of the net generation, taking place over three decades — from the 70s through to 2000, which is far enough back to be pretty nostalgic now. There’s plenty of music along the way, but the writing itself’s also directly informed by it – often some piece of popular music will haunt a gestating scene, and in the process of writing I’ll pick up on it.
In the beginning, for instance, about 23 pages in, there’s a scene that goes on for a while in what I call a rhapsodic soundmovie – it’s a sweeping vision of Christmastime and what that means to little Raymond in the suburban America of the 70s and 80s. When preparing to write it I’d recalled The Carpenters’ 1978 version of The Christmas Waltz, a song originally written by Jule Styne and Sammy Cahn. I knew that somewhere in that world I was trying to capture, this song was playing — and now when I hear it, I think back to that passage.
I love Karen Carpenter. I love her so much, I mean, man, she could sing — what she and her brother were doing so perfectly well was also anachronistically against the whole hulking motion of postmodern culture, and in that sense is just how I feel about my own place in it now.
Styne and Cahn are among the best of the best of those songwriters that make up what they call the great American songbook — to which I’d include Burt Bacharach and Hal David, Johnny Mercer and Henry Mancini, John Blackburn, Johnny Mandel, Mitchell Parish and two dozen more. This stuff’s in my blood thick and for a long while I thought for sure I was going to be one of those guys, until I realised that I needed to go to an emotional space where songs don’t quite reach, where you need long narrative prose to arrive.
But one piece of music needs to be mentioned because it literally sparked the book. The idea for Circuits of the Wind came to me, complete and whole, while listening to this divine recording of Sarah Vaughan and Clifford Brown’s performance of Lullaby of Birdland, written by George Shearing and George David Weiss.
Something unforgettable happened that night, incredible, that showed me the end of the book and everything that led up to it. It was late and I was alone and it was like the whole world around me melted away — I mean I actually saw this, like Allen Ginsberg’s vision of Blake over Manhattan there was this real, physical, external experience of reality bending right back, and everything melting; even my own heartbeat stopped at one point and I saw that not only was the world a big dream but me too, because I’m in it, and therefore I didn’t hold or own anything, not even myself – when Sarah was scatting in the middle of the track I knew that she and I were both fast nothings forever in the same big lonely dream universe.
To think I’d hoped to look into eternity for so long and here suddenly whoah, I was actually doing it, where now a whole book was neatly laid out for me ready to go. It was originally subtitled ‘a ghost story’, which is probably about as much as I can say without giving it all away, and that’s plenty – because after all what’s writing anyway, but us ghosts in here singing?
GIVEAWAY Michael is excited to give away a copy of Circuits of The Wind to anyone who shares this post on Facebook, Google Plus or Twitter – each platform counts as one entry with a maximum of one entry per platform. To let him know, leave a comment here. You can also enter by leaving a comment here! The prize is either a print or an ebook edition – you choose.