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Lorna Hoey: The last bus to Belfast

November 13, 2010

Lorna Hoey: The last bus to Belfast

 

Many years ago, when my brothers and I were small children, something strange happened one dark winter evening. Our home in those days was a big old house that stood alone on a narrow path near a country road. There was nothing around it but fields and woods and at night the darkness was pitch-black, with only the occasional peep of light from a faraway hilltop farm. For some reason that night I couldn’t sleep, and I lay listening to the wind whine and moan in the telegraph wires.

I needed a drink of water. Steeling myself to place my bare feet on the icy lino, I slipped out of bed, wrapped an old coat around me and hurried downstairs. My mother was complaining to herself as she clattered around in the kitchen at the end of the passage. I heard something about the deep snow in the yard, and I knew she had just come in from checking on the hens in the hen-house.

I slipped past the sitting-room door, careful not to disturb my father as he dozed lightly in front of the blazing fire, his sock-soles stretched out to the warmth. In a corner the radio played softly. Soon my mother would bring in a tray of tea and toast and they would settle down to listen to the nine o’clock news.

All at once there was a heavy knock on the front door. And another. I dived back into the sitting-room, where my father was now fully awake. An unexpected visitor after half-seven on a winter night was unheard of.

‘Daddy! There’s somebody at the door!’

The knocking came again: three sharp, urgent, loud bangs.

‘Will I open it?’ My father was talking to himself more than to me. ‘Ah, maybe it’s only somebody wanting directions. You, stay here,’ and he fumbled for his slippers and shuffled out to answer the knock. I pressed my ear to the sitting-room door, but I heard only a few mumbled words before there was the clunk of the heavy outer door closing, and my father came back in to the fire. At the same moment my mother entered with the tray of tea and toast.

‘A man,’ he said, ‘asking the time of the next bus to Belfast.’

‘What? Who?’

‘The man at the door.’

‘Was there somebody at the door? I never heard a knock,’ she said.

‘You never heard it? Sure, how could you not hear that racket?’

‘I never heard a thing,’ she said, putting down the tray. ‘Well, he was lucky anyway. Only two buses a day here and the next one’s due just after nine o’clock…’she glanced at her watch ‘…in twenty minutes, in fact.’

My father nodded. ‘I told the man he’d need to hurry, as it’ll take him at least ten minutes to get up the hill to the bus-stop, with all this snow on the ground.’ And he sat down in front of the fire.

Almost immediately he sat up again. ‘He had an accent I couldn’t place,’ he said. ‘And, now I come to think of it, odd clothes. Not a coat exactly, more a kind of cloak. Long, down to the ground. It was dragging in the snow as he turned away. That’s another thing; he seemed to be shielding his face. He had a black hat, with a wide brim. All in black, he was.’

‘He wouldn’t be going to a funeral at this hour surely?’ My mother began pouring tea.

‘I hope he makes it to the bus,’ my father said, worried. ‘I wouldn’t want him to miss it on a freezing night like this. At least it hasn’t snowed since six.’

‘You gave him clear directions?’ My father nodded. ‘You’re sure you told him to turn left at the end of the path?’

‘I did. I’m sure I did. But…’ My father stood up, biting his lip anxiously. ‘A stranger might miss the bus-stop in the dark. Maybe I’ll just go up the road after him and check he gets the bus. It’s the last one after all.’

‘No,’ said my mother. ‘Don’t go. It’s too cold out there.’

‘And what if the driver doesn’t see him, and goes past?’  He went out to the hall and quickly pulled on his wellingtons and thick coat. My mother and I hurried after him.

‘Don’t go,’ she pleaded. ‘Please. Don’t go out. You’ll catch your death in that cold.’

‘Take a light, daddy,’ I said. ‘Take the hurricane-lamp.’ But my father had thrust his old torch into his coat pocket, and he closed the door behind him.

My mother stood for a moment, teapot poised, and then she spied me standing by the radio.

‘What are you doing down here?’ she said, ‘Bed, this minute. If I see you down here again, you’re for it.’

I hurried back to the bedroom, the glass of water forgotten. I wrapped myself in my bed-cover and made my way to the top step of the stairs. I couldn’t wait to find out more about the man in the cloak who hid his face. It seemed like an eternity before my father came back, but the minute he stepped into the hall my mother was by his side.

‘Well?’

I leaned over the banister to listen.

He had walked, he said, out of the house, down the path to the gate, and turned left up the hill towards the bus-stop. He could walk fast as he knew the road, and the torch had helped. He was sure he’d overtake the man at any moment. At every third or fourth step he shouted out ‘Hello!’ but there was no answering call.

The bus-stop was deserted. A sudden moan startled him, and he swung the torch about, but then realised it was only the wind in the old beech-tree that bore the sign ‘Bus Stop’. He walked back to our gate, up the road the other way, then back to the bus-stop again, stamping his feet in the freezing cold.

At length the brightly-lit bus heaved into sight, grinding its way up the hill. Seeing my father at the stop, it clanked to a halt. My father urgently asked the driver if he’d seen a man on the road wearing a long cloak, but the driver only laughed and shook his head.

He was sure now that the man had missed his way, or had fallen and was lying in a snowy ditch somewhere. Trudging carefully home, he checked the hedges on either side of the road. Here and there a dark shape loomed up at him; but it was always nothing but a shadow. Once he heard the unmistakable sound of breathing, a gentle huff-huff. He hurried forward, sure he’d found the man, but it was three sheep, sheltering under the hawthorns.

At the bottom of the road the torch battery died, and at that moment a curious feeling came over him. He began to think there was someone behind him. He swung round but there was no-one there. He was sure he heard the sound of someone shuffling through the snow. He shouted ‘Hello!’ but there was no reply. He began to hurry towards the gate. Now it seemed that someone was walking beside him. ‘Are you there?’ he shouted, but his words only echoed up the empty road.

In the darkness he nearly missed the gate, no doubt cursing the heavy shutters on our windows that allowed no light to escape. Once on the path the faint yellow glimmer of the porch light welcomed him back, and he relaxed. Sure, the dark played tricks with the imagination. Then, as he stood on the steps knocking the snow off his boots and looking back down the path towards the road, he noticed something strange.

‘What was it?’ whispered my mother.

There was only one set of footprints, his own distinctive wellington-boot treads. He checked carefully. His own, down the path. His own, back again.

My parents stood in the hall, looking at each other. Then,

‘At least you’re back safely,’ said my mother. ‘Come in to the fire. You look frozen.’

‘Yes,’ my father sighed. ‘My feet are numb,’ and when he had pulled off his boots they went into the sitting-room. I had to hear more, so I hopped down the stairs and followed them in.

‘I need a drink of water,’ I said. My mother looked at me and sighed.

And then came a knock at the door, followed by another.

‘It’s him!’ my father cried, relief in his voice. ‘He’s back. I knew he’d got lost.’ My mother leapt across the room and grasped his arm.

‘Don’t answer it.’

The knocks came again: three loud knocks, bang, bang, bang.

‘Why the heck not?’ He shook off her hand but –

‘Michael!’ she said, grabbing him by his elbows and pulling him away from the door. ‘Think! One set of footprints?’

He glared at her, incredulous, and then I saw the first flicker of fear in his eyes. He sat down abruptly, and I noticed that his hands were shaking.

I turned and ran upstairs to the landing window which overlooked our front path. I undid the heavy brass clasp and wrenched aside the tall, stiff shutter. As it swung back, a sudden terror shook me, and I screwed up my eyes tight shut. I couldn’t look. I leaned towards the cold glass, counted to three and opened my eyes. The faint glow of the porch light shone on the front steps, the path and right down to the gate. There was nobody there.

Copyright Lorna E. Hoey November 2010

 

 

 

Killing off a character Marion Rose

November 10, 2010

 


This week I’m in mourning – for a character I’ve come to know, and absolutely love. No, it’s not Jack Duckworth from Coronation Street, though I gather millions are missing him like one of their family. My grief is for a character in the children’s novel I’m reading. A loveable voice that is still in my head – funny, loyal and utterly real.

But as well as sadness I’m feeling a little bit angry. Did this death really have to happen? Is it justified? It’s making me ask what DOES make a ‘good’ death in fiction? There are some deaths I can think of that are completely heart-rending yet also absolutely right for the storyline. Charlotte in ‘Charlotte’s web’ for one. Private Peaceful is another.

In both those cases, the character dies to give life to others. And that is also true of this character. And yet for me, this death does not satisfy. For one thing, it’s left me thinking less of the characters who do survive. But much, much worse, the world of the novel left behind is so much duller, in fact positively impoverished, with this character no longer there. (Writer beware!)

I haven’t mentioned the character’s name in case you have not yet read  “The Knife of Never Letting go” by Patrick Ness, the first of a trilogy. This first book tells the story of a boy’s flight from everything he knows. It’s set in a strange and highly original world where men’s thoughts cannot be kept private but are out there as Noise. In all other respects I thought this novel exceptional – brave and fresh and very compelling.  Read it, if you haven’t already. My hope is, that the next two novels may cast a redeeming light on this (for me) too-early death.

Meanwhile, I’d be interested to know if anyone else has strong feelings about the killing of a character – be it your own, or someone else’s?

On fiction and non-fiction – KQ

November 7, 2010

I’m nearly at the end of nine months hard slog on my first non-fiction book for adults. Not a cheery subject either – disability hate crime is grim – as my children keep telling me. They want me to write something cheerful next – and I don’t blame them. But they have read the odd extract, including a poem by a disabled woman, who, as a child, saw a friend of her being drowned by nurses, like an unwanted kitten. And I don’t apologise, either, for sharing it with them – children of their age, who I met when I was filming in Rwanda, had seen torture and genocide. Indeed, when I was translating testimonies for a Rwandan charity after the genocide the one that struck me most was of a woman who had witnessed the Hutu militia strew chilli pepper in the houses of the wanted, so that children, hiding behind furniture and under beds, could be hauled out and murdered. We can’t shield our children from all that, not for ever, not in a networked world where the concept of the watershed has all but gone, but we can teach them how to live with it, understand it and be part of the generation that says: “never again”.

So I’m looking forward to writing something cheerful next, and going out filming again instead of writing this hard, every day. But I’m also wondering how we show children, in our prose, our poetry, our fiction and our non-fiction, a vision of how the world ought to be, as well as how it is. A modern utopia, so that when they read about the everyday harassment of disabled people they can also see a world beyond that, a world where people are taking down walls and ceilings(thank you Judy, for your wonderful thoughts on the walls in our minds) rather than putting them up – shaking hands, rather than striking each other.

Comments please!

My Leeds Experience – RITA MITCHELL

November 4, 2010

On the 26th July 2010 I spent a delightful day at Blackgates Primary School in Leeds.

I was the guest of tutti frutti, a production company for young children theatre. The company tour and perform in a variety of venues in Yorkshire and Lincolnshire. I was privileged to see a grand performance of Hue Boy. It was dramatised using the captivating title of UNDER THE PARASOL.

I played my part by contributing a basket of Hue Boy’s favourite , exotic fruits for the children to taste. The play was brought to life by the able acting of Stewart Thomas who intelligently interpreted the essence of the story.

I cannot praise the performance too highly, and was gladdened by the dedication and pleasantness of the production team.

UNDER THE PARASOL – HUE BOY. It’s the best production I have seen for the children’s age – Cleethorpes Library

Elizabeth Hawksley: Children’s author, Ann Turnbull

October 21, 2010
 

Ann Turnbull

Ann Turnbull’s books have been short-listed for the Whitbread Children’s Book Award and the Guardian Fiction Prize amongst others, and I have long been a fan of her writing. Last weekend, I had the pleasure of hearing her speak at the Historical Novel Society conference in Manchester. She was talking about her three latest books, young adult novels set during the English Civil War, including Alice in Love and War.

She showed us some of the maps and old prints she uses in her research, as well as printed material. The explosion of printing in the Civil War meant that, for the first time, we can hear the voice of the common man. Research is a difficult area for historical novelists; I have read too many books full of glaring ‘information dumps’. Sometimes, I can even tell which history books the author has been reading.

Ann Turnbull’s research, however, is unobtrusively woven into the story with great subtlety. It illuminates both the political and military backgrounds and the mindset of the time. She is interested in how war affects ordinary people, especially women.

Alice in Love and War opens in 1644; sixteen-year-old Alice is thrilled when handsome Royalist corporal, Robin Hillier, shows an interest in her and she persuades him to take her with him when his regiment leaves. She’s sure he loves her and that they’ll be married one day. It is a terrible mistake ….

 Alice soon finds herself in a very vulnerable position. We both admire her for her courage and are deeply concerned for her as she rides through the countryside full of marauding soldiers, happy to plunder, rape and murder, and hostile villagers for whom Alice, a despised woman from the baggage train, is ‘vermin’. Alice has much to learn about men, love, and the brutal realities of war – and Ann Turnbull does not pull her punches.

I am always interested in how other writers work, and I was fascinated to learn that Ann writes in longhand, in pencil, (she finds it more comfortable) and uses small notebooks for a time line and notes on various things she thinks she’ll need.      

I was delighted to meet Ann and to have the opportunity of hearing her speak. Her website is: www.annturnbull.com

Elizabeth Hawksley: A Disaster

September 22, 2010

One of my favourite books as a child was ‘A Child’s Day through the Ages’ by Dorothy Margaret Stuart. One of the stories, set in Athens in 438 BC, tells of the arrival of a baby brother to ten-year-old Ageladas and his little sister, Doricha.

It is a time of rejoicing. Their father hangs a garland of olive above the front door to tell everyone that a son has been born. But, as Ageladas’ tutor adds, ‘There is little joy when a girl is born and they hang up a fillet of wool so that their friends may know that there will be no great merry-making.’

Poor Doricha has a rotten time, ‘Already she had been taught that girls must always give way to boys, as women did to men; already she had been made to understand that her part in life would not be to have fun and do interesting things, but to learn to weave and bake and spin, so that some day she might be a good housewife like her mother.’

However, there is one thing Doricha does which sounded really exciting. And that is play on a see-saw – Greek style: ‘Greek children did not sit on either end of the see-saw; they stood up-right, on their toes, keeping perfect balance and timing their jumps to the second.’

There was a see-saw at my Primary school on the edge of the play-ground, next to a rockery. So I tried see-sawing the Ancient Greek way, standing up. Unfortunately, I didn’t have Doricha’s perfect balance or timing. I fell onto the rockery and ended up in hospital having my head stitched.

‘What on earth were you doing standing up?’ asked my mother, crossly.

How could I possibly explain? I spent much of my childhood living as somebody else in my head, in other times and other places. I’d been there, with Doricha, enjoying her feeling of freedom as she timed her jumps perfectly. I still bear the scar – but perhaps it’s a small price to pay for the gift of imagination.

Images 34

September 8, 2010

Pop along to Elephant and Castle to see Images 34, organised by the AOI (Association of Illustrators), at the London College of Communication. The exhibition has a special section for work commissioned for children’s books, jackets and interior illustrations.

Images is the UK’s definitive jury-selected illustration competition, annual, awards show, and touring exhibition dedicated to showcasing the very best contemporary illustration published in the UK.
At least that’s what the AOI says, and who am I to disagree – especially as yours truly has two pieces, from It’s Magic and Motor Mouse, featured in the aforementioned Children’s Book section. One of these is also in the exhibition.

Images 34 is open to the public from 8th – 14th September. Entry is free.

JOHN O’LEARY

Elizabeth Hawksley: When I was Eight

August 22, 2010

When I was eight, I wrote the following poem. It is called ‘Macbeth’.

  ‘Double, double, toil and trouble,

Fire burn and cauldron bubble.’

  This is what the witches sang

Dancing round a great black can.

  Suddenly, they turned around

And a strange observer found.

  He came to ask for their advice,

For he thought them very nice.

  They told him, ‘If you ever should

Look at yon fair Birnam Wood,

  ‘If it should move, one day soon,

Macduff will slay thee by full moon!’

At school, we were taught that poems had to rhyme and to scan, that is, the rhythms and stresses must be regular. I didn’t know that you could write poetry that didn’t  rhyme or scan.

So, I had four rather plodding iambs per line, except for the occasional extra weak stress at the beginning of a line, as in: They told him, ‘If you ever should , which I needed for it to make sense. And it rhymed.

I remember writing it. I struggled to find a rhyme for ‘sang’. Reluctantly, I came up with ‘can’, which I wasn’t happy with. It felt banal – though I didn’t know that word, then. I was also worried about ‘nice’ rhyming with ‘advice’ for the same reason. I really wanted a word which meant ‘scary’ but I couldn’t think of one.

I was proud of the ‘Macduff will slay thee by full moon’ bit, which I thought was both poetic and dramatic (I liked the ‘slay thee’). But the line which really impressed me was ‘And a strange observer found.’

I needed a rhyme for ‘around’ and, in desperation, I showed my poem to my Uncle Freddy and asked for his advice. He suggested, ‘And a strange observer found’. I saw at once that his line was much better; it not only made the line rhyme, it also, somehow, made it more exciting, but it worried me that ‘found’ was in the wrong place.

Uncle Freddy told me that you were allowed to change the word order in poetry. It was a revelation. His explanation taught me something important: that word order can change the emotional colour of what you write. He didn’t laugh at my poem, he took me seriously and he helped me on my way as a writer.

This little piece is my thanks to him.

For your information by Lynda Waterhouse

August 3, 2010

Multicultural Picture Books – recommended titles

On  www.eileenbrowne.com  you’ll find an ongoing list of over two hundred recommended books. It’s for teachers, librarians, bookshops, publishers of children’s books, parents, carers, and everyone who is interested in books for children aged 0-11+ years. 

Eileen says, ‘This project began years ago, when I realised that by publishing on line, titles could be continually added. Making and managing this website in my ‘spare’ time has been a long and painful process.’

Thank you Eileen for creating this valuable resource

Elizabeth Hawksley: Adèle Geras on ‘Young Love’

July 21, 2010

I was fortunate enough to hear children’s author Adèle Geras speak earlier this month on ‘Young Love – how to write it and who it is for’.

 She began by pointing out that if you aim your love story at teenagers and your main protagonist is, say, fifteen, then your readers will be both young teenagers, roughly the age of your protagonist, and ‘aspiring’ teenagers of about nine plus. And they will be looking for different things.

 The younger readers will be reading for information: what happens, how do you do it, and so on. Think readers’ manual. It’s important that you, the author, don’t assume any prior knowledge on their side. Adèle believes that children know about strong emotion from a very early age: love, hate, fear, jealousy, rage etc. Authors don’t have to pull their punches here; children are quite capable of coping.

 Teenage readers, on the other hand, will be struggling with the emotional turmoil of young love: the agony of those tentative approaches; feelings of inadequacy; what happens when you fancy someone; how to get out of a situation you don’t want; coping with unrequited love and so on. They won’t be worrying about how a third party in a love triangle feels, say, which is a more adult concern.

 She pointed out that teenagers also face problems adults don’t, for example, privacy. So, a writer’s first job is to get rid of any parents. Whether your characters are after an adventure on Dragon’s Island or some sexual experimentation, they certainly don’t want their parents around!

 Adèle prefers not to go into the physical details; what interests her is love and conflict, emotional tangles, obstacles in the way. These can vary: parental disapproval, a Romeo and Juliet situation, the eternal triangle, self-inflicted barriers, etc. She reminded us that teenage readers would probably also be reading adult novels. She sees her job as showing that reality in love is very different from the fantasy world of romance. It is more conflicted and messy, for a start.  

 Finally, she advised us to take the market into account. Publishers like books which could develop into a series, for example. They are also looking for a strong plot and three-dimensional characters. Books can be first or third person but, if first person – and teenagers love the first person – you will have to airbrush the language to remove most of the ‘like’s’ and other teenage stabilisers. Thanks to the J. K. Rowling effect, any length is now acceptable.

 Altogether, it was a most interesting and illuminating talk which stimulated a lot of discussion afterwards.

 Adèle’s website is www.adelegeras.com