Crossings

 

Dark Angels Masterclass, Oxford 2017

by John Simmons

My Dark Angels partner, Jamie Jauncey, was struggling to translate the title of my novel Spanish Crossings into Spanish. ‘Crossings’ has more than one possibility. Perhaps it would be even trickier to translate it into Basque, that mysterious language of the country where much of the novel originates.

I was thinking about origins in more than one way too. My own family origins; the origins of Dark Angels; the university’s origins in the 13thcentury in the buildings where we were staying. This was a rich mix of emotions because I was running – with my Dark Angels co-founders Jamie and Stuart and new associate partner Elen – the fifth Dark Angels Masterclass, possibly for the last time. And it was also publication day for Spanish Crossings.

We had a talented group, ten fine writers with the Dark Angels spirit. By which I mean we set them writing exercises, often with seemingly impossible constraints (not least of time) and of course they all rose to the challenge.

Oxford itself was a large part of the experience. Place is always important to inspire writing on a Dark Angels course and this time that seemed more true than ever. Visits to colleges, to museums (Ashmolean, Weston, Pitt Rivers), briefs inspired by fantasy and reality inspired an amazing diversity of writing. To be moved to laughter, then to fears and tears, by a ghost story was just one of the writing feats. (Hats off to Jeannie.)

 

From a purely personal viewpoint, I had the added poignancy of an ending combined with a beginning. Thursday was the official publication day for Spanish Crossings so in the evening I was asked to give a reading and talk to the group after dinner. I concentrated on what writers might learn from my own experience of writing the novel. The importance of:

  • The opening words, particularly if they can suggest the theme (“Mother declared herself happy”.
  • The focus provided by the concentrated experience of a Dark Angels course (I had written the Prologue during one of our courses in Spain).
  • Structure providing the framework to shape and direct the writing.
  • Research, particularly provided by books and visits to significant locations.
  • The stimulus of family stories, memories and photographs.
  • The story behind the story.

I have told some of that story behind the story in previous blogs: the Spanish Civil War; the bombing of Guernica; the evacuation of 4000 Basque children to Britain; the adoption by my parents of one of those boys. Eighty years ago. Since I had written those blogs, more information had emerged about Jesus Iguaran Aramburu thanks to the help of new Basque contacts via Twitter. My special thanks are given to @gurimousen and @uaiartza who enabled me to track the story of Jesus Iguaran a little further.

Now Dark Angels moves on to the next courses www.dark-angels.org.uk and now the novel Spanish Crossings is published. You can get a copy here goo.gl/9jVJCM I’d love to hear what you think of it. And I’d be interested to hear any translations of the title into Spanish, Basque, French or any other language. For what is a translation but a form of crossing?

Fiction is the true alternative

by John Simmons

I cannot imagine that anyone reading this blog is a supporter of Donald Trump. The new president glories in the absence of books in his life, revels in his lack of reading. That might be the scariest fact about him, and it’s not an alternative fact. The adapted version of the classic Penguin 1984 cover speaks to me about the times we are currently enduring.

I’ve blogged here before that art and creativity have to be the best counters to dark forces like Trump. I’m just reading Colson Whitehead’s brilliant novel The Underground Railroad set in slavery-era America. It’s impossible to read that novel then support Trump. Fiction really is the most powerful antidote to Trumpism because it nurtures our empathy for other human beings.

Last week I was proofreading my novel Spanish Crossings that will be published in April. The story involves the 1930s rise of fascism, the Spanish civil war and the child refugees from that war. When I began writing it I had not anticipated that it would have such an uncanny relevance to our current times. If I had anticipated that, I might have recoiled in horror and become more polemical. I’m glad I didn’t because the novel – any novel – has first to be a human story not a political treatise.

Proofreading has given me this strange experience. I finished writing the novel nearly a year ago and since then I’ve been concentrating on other work (including another novel). So I came to the proofreading task with fresh eyes and open mind, and I read the book as if it had been written by someone else. It’s a very weird feeling. When I came to the ending I had tears in my eyes. Am I allowed to cry at my own book? I remembered Jamie Jauncey’s favourite quotation from Robert Frost: “No tears in the writer, no tears in the reader.” Here I had been both writer and reader.

If you want to pre-order the book you can do so here >> I’m pleased to say early readers of proof versions have been very enthusiastic.

So 2017, for me, promises to be a creative year, my own antidote to Donald Trump and all his works. It is appropriate in a way that I will be running the first American Dark Angels course in New Bedford, Massachusetts in October. I’ll be doing that with my good American friend Richard Pelletier and you can read about it here >> The location has literary links to Herman Melville and Louisa May Alcott, fiction writers who linger in the minds of millions who have read them over the past centuries.

Out of the blue, and so appropriately, I was sent the image shown below by Anita Klein, who collaborated with me a few years ago on The angel of the stories. She calls this new linocut ‘Angel protecting an acorn’. It seemed to me the perfect image for our Dark Angels venture.