Posts Tagged Greek islands
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by former actor and theatre director Paul Adkin @AdkinPaul
Soundtrack by Paco de Luia, Oasis, Mike Flowers Pops, Miles Davis, Schubert, JS Bach, Natalie Imbruglia, David Bowie, Stockhausen, Robert Schumann, Clara Wieck, Brahms, Leonard Cohen, Radiohead
When Sirens Call is replete with musical references, but the real musicality of the novel is in the writing itself. Through my work in theatre, as a writer and director, I very quickly saw the relationship between theatricality and music. In the composition of the novel When Sirens Call, I wanted to create a juxtaposition between its two protagonists and music helped me find it. In musical terms, the plot was a seductive struggle between the classical and the contemporary. Between the traditional and the actual.
Protagonist A is Belinda Babchek. A young Australian traveller, in Madrid, on her way to Greece. It’s summer. To locate the mood of the foreigner in Spain I listened to a lot of flamenco (Paco de Luia Entre Dos Aguas). I live in Madrid and frequent the flamenco bars, but I wasn’t listening to it to imbue Belinda with it. Quite the contrary. Flamenco is an alien concept to the young Australian. She is displaced and floundering before the backdrop of the Spanish guitar. Flamenco isn’t a music that one can lie back and relax with. It’s stirring and passionate, but also a disturbing symphony.
And this is Belinda’s mood in Madrid. She is walking a knife-edge between her own pop-culture of the here-and-now and a yearning for something deeper. Even though she has no idea what that deeper thing could be.
In Madrid she befriends Charo, who is more sensual than Belinda and full of jazz as well as flamenco. Charo has an American boyfriend, Troy. He is completely superficial. When drawing him I thought of Oasis’s Wonderwall, but in the cheesier, Americanised Mike Flowers Pops version.
Through Charo and her American lover I wanted to create a crossing. A little bridge inspired by Miles Davis, bleating his deeply sad Solea . Even at the beginning, the final tragedy can be sensed. Belinda, like the Solea is intense and suffering.
Protagonist B is Robert Aimard. A middle-aged British writer and hotel owner on a small Greek Island. As an antithesis to Belinda he is a classical man. A lover of Schubert and Bach. He reads Schopenhauer and like Belinda he has his demons. He is separate from a wife and daughter he still loves. Nevertheless, he is comfortable in his island exile. At home in the timelessness of it. The Greek music that flows around him is traditional, a sad drinking song , the perfect theme for his own melancholy.
The melancholy is what will eventually unite Belinda and Robert, and to bring them together I had to build another bridge over that which naturally separates them. A music connection. Although at the first glimpse, their tastes are completely different. Belinda’s own pop is Australian and 90s. She is Torn by Natalie Imbruglia and disturbed by her Australian boy friend’s Bowie. Is she running into life on her world trip or away from it?
Between Madrid and Greece she goes to Cologne in Germany. Suddenly the double mask of contemporary Europe confronts her. A mask of pop and a mask of heritage manifesting itself in the monstrous music of Stockhausen. Is this heaven or hell? In Germany she is reminded of her own musical training. Her piano classes. This was the vital detail I needed to construct that musical bridge between her and Robert Aimard. So, I made a classical bridge via the Schumanns. They had their own bridges: Schubert inspires Schumann who inspires Clara Wieck who inspires Johann Brahms. Art rolls into and through itself and the music flows and gushes through the entire process. There are other connections as well: Schumann was a manic-depressive and Belinda is a manic-depressive. She fears death by water like Schumann, like Shelley. A strong romantic theme now grows in this undercover sound track. Meanwhile Robert Aimard’s bridge to the romantic and unto Belinda is in his passion for Leonard Cohen.
All of this sounds so sad and it is, but the landscape is the Aegean. It sparkles full of life and love, and a profound simplicity. The backdrop is the life of the Greek taverna and the spectacle of the traditional Greek wedding. For the most part When Sirens Call is set on this Greek Island and its spirit is the bouzouki , grilled octopus and a glass of ouzo with ice.
Music as sublime tragedy
It is essentially a Greek book and it does end in its own Greek tragedy. For the final scene I turned to Radiohead for inspiration and their Pyramid Song. The piece is bleak but also ethereal and sublimely poetic. Both lyrics and music were perfect to set the mood for my own finish. When Sirens Call is that song.
Paul David Adkin was born in England and grew up in Melbourne where he obtained a degree in literature and drama from Rusden. Since then he has worked in the theatre, directing and writing plays. Paul moved to Madrid where he has formed three theatre companies. He his wife holiday in the Greek Islands. His short story Kalimera won the Eyelands competition in 2012 and was translated into Greek. He has three novels published: Purgatory (2012), Art Wars (2014) and now When Sirens Call. His website is here. Find him on Facebook and on Twitter as @SirensCallNovel @AdkinPaul
My guest this week has a background in acting and theatre directing. When he had the idea for his novel, he was very aware of music helping him to create the setting, the characters and their tensions. Flamenco gave him the unease in one protagonist’s heart; Greek drinking songs suggested another’s melancholy temperament; Miles Davis and Bowie suggested a bridge between them. He is Paul Adkin and he’ll be here on Wednesday with his Undercover Soundtrack.
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by Chrissie Parker @Chrissie_author
Soundtrack by Elena Paprizou, Glykeria, Beth Nielsen Chapman, Charlie Worsham, Massive Attack, Portishead, Jem, The Moxy
I love music, my ipod goes everywhere with me, and I always listen to music when I write. Everything I write ends up with its own playlist, and certain songs on that playlist define the work, and its characters. Among the Olive Groves was no different. Whilst writing it my brain filled with so many songs that I love. They saw me frantically pouring my heart out onto the page, breathing life into it, and for me they have become an integral part of the book that will always remain.
A magical island
Among the Olive Groves centre’s around two women, Elena and Kate, who live in two different periods of time. They are both affected by similar issues; strained relationships, uncertainty in their lives, and outside factors that control and dictate their lives. Even though parts of the book are set in Bristol and Cornwall, the majority is set on the Greek Island of Zakynthos. Αστέρια (Stars), by Elena Paprizou, is a modern Greek song that reminds me of everything I love about Zakynthos; the high cliffs, sweeping beaches, crystal turquoise seas, green mountains and the history of the island. The song binds them together perfectly.
I fell in love with the island when I first visited, it’s a magical place, and it’s the reason I chose to set the book there.
Greek friendship that turns to loneliness
Greek music played a huge part in this book, especially when writing about Elena my Greek war heroine. I listened to many traditional Greek albums writing this book, but one track stood out. Tik Tik Tik by Glykeria is a great up-tempo Greek song, it’s very like Elena’s character happy, feisty and a little mischievous. The Festival in Macherado is full of dancing and Greek tradition, and in that scene Elena longs to dance with Angelos, the man she has become good friends with, but knows that she can’t. Instead they sneak off to the outskirts of town and talk while the sounds of the festival waft around them.
Eventually Elena and Angelos fall in love, but they’re from different backgrounds and know that they will never truly be together. When Angelos’s father forces him into a relationship with another woman. It’s in this moment that Elena realises she is alone and always will be. Sand and Water by Beth Nielsen Chapman, is a hauntingly beautiful song that epitomises Elena’s unending feelings of loss and loneliness. Listening to the song, I see Elena wandering through the olive groves, sitting on the beach or standing on a cliff top staring out at the sea mourning the loss of her one and only true love.
Relationships to last for decades
Love Don’t Die Easy by Charlie Worsham is a song that belongs to Kate and Fletch and their relationship that spans over a decade. Despite spending much of that time apart their relationship remains the same. Hardship and struggles may have defined the people they have become but their love didn’t die and is stronger than ever.
There were times though when I just couldn’t get into Kate or Fletch’s head at all, and wanted to feel closer to them. I thought that maybe listening to music from the area where they lived would help and it did. Protection by Massive Attack, Glory Box by Portishead, and Missing You by Jem, really stood out and became favourites. They reminded me of all the things I love about Bristol, and the West Country. They define the young, life and surf-loving characters.
When the Germans finally capture Elena, Angelos is heartbroken. He feels guilty and wishes that he could have done more to protect her. As he hides in the grass at Keri watching the Germans taunt her, he is completely torn. He desperately wants to save her from their enemy, but knows that if he does he will get arrested or die trying. Save You by The Moxy, was a song that really struck home while writing this scene, so much so that it’s an emotional listen. The equal guilt and fear from the two characters are so present in the music and the lyrics, it’s as if the song is saying exactly what Angelos longs to say to Elena.
Chrissie Parker lives in London with her husband and is a production co-ordinator in the TV, documentary and film industry. Her thriller Integrate was released in October 2013 and her historical novel Among the Olive Groves was released in July 2014. Other written work includes factual articles for the Bristolian newspaper and guest articles for the charities Epilepsy Awareness Squad and Epilepsy Literary Heritage Foundation. Chrissie has also written a book of short stories and poems, one of which was performed at the 100 poems by 100 women event at the Bath International Literary Festival in 2013. Her website is here, her Facebook page is here, her Facebook group is here, her blog is here and she’s on Twitter as @Chrissie_author.