Posts Tagged Joni Mitchell
The Undercover Soundtrack is a series where 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 novelist and screenwriter Michael Golding
Soundtrack by Bach, Sufi Music of the Dervishes, Joni Mitchell, Henryk Gorecki, Laura Nyro, Billy Child
I’ve always been a writer who needs silence to write. Even when I’m at home, alone, I close the door to my study and slip on my trusty Bose sound-cancelling headphones. The gentle whoosh provides a background against which the sounds of the world of my novel can come alive. In the case of my most recent work, A Poet of the Invisible World, those sounds were the sounds of 13th century Persia, Spain, and North Africa — all the more reason for me to block out all signs of the 21st century.
But I can also bring quiet to my mind by listening to music. And nothing works better than the brilliant, textured sounds of Johann Sebastian Bach. When I hear The Goldberg Variations or The Unaccompanied Cello Suites, the chaos in my head begins to recede. When I listen to The Unaccompanied Sonatas and Partitas for Violin — my recording of choice is Henryk Szeryng’s 1954 version—the fury in my heart takes on new meaning. Bach brings order. Clarity. Calm. A few pieces from The Well-Tempered Clavier and I’m ready to plunge into my fictional world.
I often listen to music while I commute from my home in the foothills of the Sierra Nevadas to the college where I teach, about an hour’s drive each way. And in order to will myself into the world of the Nouri—the four-eared protagonist of A Poet of the Invisible World, who at an early age is orphaned and taken into a Sufi order—I would listen to an album called Sufi: The Music of the Dervishes. Its undulating ney evoked the mystery of another time and place. Its sinuous rhythms allowed a host of exotic images to rise up.
Anthem for a wandering spirit
One of the main sources of inspiration for my novel was more contemporary. For while the spiritual path doesn’t require the traveler to actually leave home — think of Emily Dickinson, who covered vast inner distances without leaving her family home in Amherst — Nouri’s path takes him on a long, arduous journey, and no one writes better about the road than Joni Mitchell. All I Want, from her album Blue, is the anthem of the wandering spirit. And Hejira, one of my favorite albums, is filled with deep observations about what it means to head off in search of the truth. Both of these albums are part of the soundtrack of my life. And they both helped Nouri along his way.
There are moments in the novel when Nouri experiences great suffering. In the third section of the book, after a particularly harrowing experience, his heart has sealed tight. He feels raw. He feels numb. While writing this section, there were times when I could barely lift my pen to face Nouri’s pain. A pathway in was Henryk Gorecki’s Symphony No. 3, also known as the Symphony of Sorrowful Songs. Like most people, I love the 1991 recording by the London Sinfonietta, conducted by David Zinman and featuring the rich, plaintive singing of Dawn Upshaw. The deep, mournful urgency of Gorecki’s music evoked the state of sorrow I imagined Nouri to be in.
Immediacy and passion
Another inspiration was the music of Laura Nyro. A constant companion throughout my life, her work has an immediacy and passion I find thrilling. Songs like Timer and Gibsom Street and Sweet Lovin’ Baby always take me to a particular place inside myself, where feelings are naked and words have the power to surprise. In addition to Nyro’s trio of iconic albums — Eli and the Thirteenth Confession, New York Tendaberry, and Christmas and the Beads of Sweat—I also listened to Billy Childs’ recent tribute album called Map to the Treasure: Reimagining Laura Nyro. Jazz-tinged and eclectic, it showcases artists like Renee Fleming, Yo Yo Ma, and Ricki Lee Jones offering their takes on Nyro’s haunting songs. Childs feels like a kindred spirit when his piano urges its way into her riffs and sudden time-signature changes. When I want to tear open the doors of my heart — and Nouri’s journey required me to do that many times — Laura Nyro is always there to lend a hand.
Michael Golding’s first novel, Simple Prayers, was published in 1994 and has been translated into nine foreign languages. Benjamin’s Gift, his second novel, was published in 1999. He is also a screenwriter, whose works include the adaptation of Alessandro Baricco’s Silk. He lives in the foothills of the Sierra Nevadas in Northern California. A Poet of the Invisible World is his latest novel, published by Picador, and you can contact him at his website.
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’s guest is Clare Flynn @ClareFly
Soundtrack by Artie Shaw, Debussy, Ravi Shankar, Noel Coward, Pasadena Roof Orchestra, David Gray, The Civil Wars, Joni Mitchell, Martha Wainright, JJ Cale, Robert Plant, Alison Krauss, Dean Owens, the Beatles, Fairport Convention, the Black Keys, Pussycat Dolls
When writing Kurinji Flowers I had to spend a lot of time inside the head of my character Ginny Dunbar – not always a good place to be. I tend to work in silence but music plays a massive part in my writing. It helped me get close to Ginny – and sometimes to get away from her. It also took me to Ginny’s world: 1930s England and colonial India.
When the book opens Ginny is 17 and a reluctant debutante, in thrall to an older man who seduced her at 14. Rupert Milligan is playing Artie Shaw in his studio when Ginny’s mother finds out about their affair. The song here is Cole Porter’s Begin the Beguine. We had the old 78 RPM disc of this when I was a child so it was nostalgic as well as mood enhancing.
Ginny’s honeymoon is in the Grand Hotel, Eastbourne, from where the BBC broadcast its popular radio show From the Palm Court. In 1936 the orchestra was led by a violinist, Tom Jones. Here he is playing with his ensemble in the hotel in 1933.
The sound of the orchestra had kindled a sense of romance in me but it had failed to move my husband”
I visited the Grand and the bedroom where Ginny would have stayed. It has a balcony looking out over the sea and is known as the Debussy suite. The composer had an extended stay in the hotel in 1905 and composed La Mer there. Ginny stands on the balcony, watching that same wintry sea and reflecting on her marriage.
Most of Kurinji Flowers is set in India so I played a lot of Ravi Shankar to create the ambience in my head – this is Raag Jog. As an ex-pat, Ginny had no immediate access to the indigenous culture and was forced to show up and fly the flag at the Planters’ Club, so I listened to Noel Coward, whose classic Mad Dogs and Englishmen fits perfectly, as well as the Pasadena Roof Orchestra – here singing Me and Jane on a Plane.
Love, Loneliness, Lies, Letters and Loss
David Gray’s Sail Away is particularly poignant as it is a declaration of love and a desire to escape with a lover – but Ginny’s husband sails back to India ahead of her and she follows, alone, weeks later. The song conveys what she would have liked but didn’t get.
When Ginny does find love, it doesn’t bring the happiness she’s dreamed of. I was listening to Barton Hollow by the Civil Wars while I was writing the book. Their version of Leonard Cohen’s Dance me to the End of Love is romantic but also plaintive and sad. The harmonies the duo create are a perfect combination of two voices. Sadly they broke up in 2014 – which makes it even more fitting.
Ginny’s loneliness is existential. She’s full of good intentions that always backfire. She desperately wants to love and be loved. Joni Mitchell’s All I Want sums it up well – she’s on a lonely road looking for something but doesn’t know what it is – just like me at the same age – when it was one of my favourite songs. I tuned into Ginny’s misery via Martha Wainwright’s Bleeding All Over You:
Grief, pain, betrayal, gnawing me away like a rat devouring me from the inside. Killing me slowly.”
Most of the men in Ginny’s life lie to her. JJ Cale’s Lies captures the I’m-mad-as-hell-and-I’m-not-going-to-take-this-any-more moment and the anger and liberation that comes out of it. Ginny feels that anger when she discovers the truth that has been hidden so long.
I’ve always loved using letters. Unlike speech, which is transient and capable of misinterpretation and memory lapse, the words of letters are frozen on the page. The act of writing a letter conveys significance to an event. It allows the writer to say exactly what he is thinking and get it across without interruption from the recipient. Please Read the Letter by Robert Plant and Alison Krauss was a perfect song to channel what my letter writer was feeling.
I was listening to Dean Owens when I was finishing off Kurinji Flowers. One of my dearest friends was dying – and Dean’s music was important to her. Evergreen is all about bereavement and the memories of love.
I had no photographs from that day to draw upon. Only my still vivid memories.”
And I Still Miss Someone, Dean’s version of the Johnny Cash song, captures how the hole love leaves is never filled.
The passage of time
The last section of the book is set in the 1960s. Ginny revisits the pub where her husband proposed to her 30 years earlier. Like so many of her generation, she is out of her time in the swinging 60s. The war changed everything and she is an alien in a strange country. She hears the Beatles song playing on the juke box as a couple are snogging in the seat where Tony proposed to her so formally in 1936.
Yes, love was all I needed but it was everything I hadn’t got”
The incomparable Sandy Denny of Fairport Convention with Who Knows Where the Time Goes? worked perfectly to give me a sense of time passing, of aging, of loss, of change. A kind of weariness.
When I’m writing about sad stuff I need a pick-up at the end of the day. Sitting at a desk in front of a computer means my bones need shaking up too, so my soundtrack has to include music to listen to with a glass of wine, cooking my supper and dancing round the kitchen. What better than Lonely Boy from The Black Keys – the YouTube video features some classic Dad Dance moves. And to go with it, but with a nod to the Indian setting, is AR Rahman’s Jai Ho by the Pussycat Dolls – a celebration of life – and a good fit for the end of the book.
Clare Flynn is the author of A Greater World and Kurinji Flowers. After a career in marketing, working on brands from nappies to tinned tuna and living in Paris, Milan, Brussels and Sydney, she is now happily settled in West London. Co-founder of the popular website, Make it and Mend It and co-author of the 2012 book of the same name, her next novel, Letters from a Patchwork Quilt, will be published later this year. Find her on her website, Facebook, and Twitter as @ClareFly.
My guest this week says she writes about love and hope – and that her writing is in thrall to songs about finding or losing love. She describes her novels as urban fantasy for anyone who longs to discover they are extraordinary, and her musical companions are a soulful, heartfelt ensemble – Joni Mitchell, Red Hot Chili Peppers and Leonard Cohen. She is Kim Cleary, she has published her first novel Path Unchosen, and she’ll be here on Wednesday with her Undercover Soundtrack.
The Undercover Soundtrack is a weekly series by writers who use music as part of their creative process – special pieces that have revealed a character to them, or populated a mysterious place, or enlarged a pivotal moment. This week’s post is by literary writer Jessica Bell @MsBessieBell, author of String Bridge
Today I’m not only going to talk about how music influenced the creation of my debut novel, String Bridge. I’m also going to talk about how String Bridge influenced the creation of its own soundtrack, Melody Hill: On the Other Side.
Melody, the main character in the novel, is a musician, who struggles to revive her passion to pursue a career in music after the role of mother and wife stunted its growth. The songs that appear in the book started off as poems. But then I thought, wouldn’t it make more sense for them to be song lyrics? And so, I converted the poems into lyrics. Then it occurred to me that I could create and produce an album conceptually written by Melody. Being a singer/songwriter/guitarist myself, and having written and recorded countless songs over the years, meant it was a task that I could definitely undertake. But I became even more convinced of the idea after listening to one of my mother’s songs on YouTube, which conveniently portrayed my main character’s mindset.
Now, I was more than inspired.
Push and pull
The lyrics of this song are about the push and pull a mother feels from her family to her desires, from her need to be a ‘good’ person, to the pit of guilt and depression that haunts and feeds the creative mind. ‘Do you really want to be this famous?’ is the last line of the song—a question I’m sure every potentially famous person asks themselves at some point or another. Is there anything in this world worth the sacrifice of one’s true identity?
I eventually rerecorded this song with my own voice for my book trailer. It’s also in the album. (Thank you to my mother, Erika Bach, once again, for allowing me to do this.)
Once I finished the final revisions to String Bridge, I sat down with my guitar and wrote music to the four songs that appear in the book by channelling Melody’s musical influences (PJ Harvey, Patti Smith, Nick Cave, Joni Mitchell, Nightmares on Wax, Enigma) and combining their styles of rock, pop, folk, and ambience to create an atmospheric grunge CD that is also a visceral lyrical story. Once those were done, I wrote five more songs in the same vein to complete the album, and had the album professionally recorded and produced. You can hear samples on iTunes.
I’m often asked whether being a musician benefits my writing. And I have to say yes. For one, I think sound is a very difficult thing to describe. And even for me, it is not easy. I spent a long time trying to perfect the parts of the novel where music is illustrated. I didn’t only want the words to describe music; I wanted them to sound like music. Being a poet also, I adore playing around with different words and sounds and hearing how they roll off my tongue like a velvety tune. I thrive on constructing sentences with cadence. It’s like singing without a melody—writing to a tempo.
That being said, writing also benefits my songwriting. Over the past seven or so years, since actively writing novels, I’ve noticed a huge change in the way I approach writing lyrics. So I suppose both skills feed off each other. I can’t imagine my life without either of them.
And do you want to know something funny? I need silence when I write. If there is music playing, all I want to do is sing.
Jessica Bell is a literary women’s fiction author, poet and singer/songwriter who grew up in Melbourne, Australia, to two gothic rock musicians who had successful independent careers during the ’80s and early ’90s. She spent much of her childhood travelling to and from Australia to Europe, experiencing two entirely different worlds, yet feeling equally at home in both environments. She currently lives in Athens, Greece, and works as a freelance writer/editor for English Language Teaching publishers worldwide and is the Co-Publishing Editor of Vine Leaves Literary Journal. Jessica has published a book of poetry Twisted Velvet Chains, and a novel String Bridge, with Lucky Press, LLC. A full list of poems and short stories published in various anthologies and literary magazines can be found under Published Works & Awards, on her website. From September 2012 Jessica will be hosting the Homeric Writers’ Retreat & Workshop on the Greek island of Ithaca, home of Odysseus. Please visit the site to register. Find her on Facebook and Twitter @MsBessieBell