And the plot gathers pace. And as the pace gathers, so the complications begin. Making a list of people I’d like to have been able to duet with/battle with/trade solos with/thunder along to my tracks with is relatively easy, as, it appears, is persuading them to say yes. Persuasion is the wrong word, perhaps. I ask, they say yes, I’d love to. There’s already a roster of great players, known and unknown, who want to play with Pete1995. And that’s the wierd thing. They’ll be playing with the me of 23 years ago, but being ‘produced’ by the me of now. This is quite odd. Continue reading
Several years ago, in what now appears a different age (geologically speaking, as I was underground most of the time), a student asked me one of those questions. You know, the ones where you say ‘sure,’ as they are leaving and then, as the door shuts, you look at yourself. Sternly. ‘You said what?’
You said yes. Continue reading
If it takes a historian to bring an exciting but little-known character back to life, the historical novelist can imagine them a new one. But how does this work, and what are the pitfalls? Continue reading
I recently finished a novel of the historical hue, called Killing Beauties. Set in 1655/6, slap bang in the middle of the interregnum, when Cromwell was Lord Protector of England (and brutaliser of Ireland, amongst other places) and Charles II was in exile, the book follows the adventures of two women, Susan Hyde and Diana Jennings, both of whom were she-intelligencers, or spies with broad portfolios. Continue reading
There is no more eloquent testimony to the miracles of modern gerontology than the Rolling Stones being on tour. Well, some of them are – and the truth is that few but the cognoscenti would even notice if the 76-year old Charlie Watts (who once allegedly punched Mick Jagger for saying he was ‘only my drummer’) were to lay down his sticks. To most people, the Glimmer Twins are the band.
It’s an intriguing and at times nerve-wracking business being involved in a journalistic event such as the guardian’s disability diaries and the accompanying interview by Frances Ryan. One of the reasons for this is the fear of the comments section. It’s some irony that my contribution revolved around the articulation of how it feels to be fundamentally invisible in disability terms, and several comments seemed to have completely ignored both my presence and that of Craig: Continue reading
Every so often, we make a decision that reaches out and grabs all sorts of unexpected things by the ankles, and drags them kicking and screaming into our living room. Naturally, we have no idea what these things actually are until they recover from the shock of being accosted, shake their legs free and unfold to their full height. They look around the room for the offending ankle-grabber, but the decision is long gone. It just invited a whole tribe of beasties round for tea before scuttling off into the past. Via the back door. It’s only you left. And the beasties are big and wildly pissed off. Continue reading
Here are two samples of my dramatic work, Bowling at the Death and Shakespeare Must Die!, written for the radio and stage respectively. You never know, you might find them amusing.
Bowling at the Death is a play for the radio rather than the stage, and it based around the great game of cricket. The protagonist is a batsman denied his first century by what he considered a wild miscarriage of justice at the hands of the umpire. The ‘outrageous’ LBW decision to which he he falls victim unleashes years of pent-up jealousy and fury, with murderous results.
Shakespeare Must Die! is a response to the slew of conspiracy theories surrounding the authorship of William Shakespeare’s plays. The most common idea is that the plays were truly written by Christopher Marlowe, who subsequently faked his own death in order to escape censure at the hands of the authorities for his many and various sins, and that Shakespeare was a cloak. The play takes as its premise that Shakespeare is in fact being employed by a shady cabal to write political works under the name Christopher Marlowe. An altercation in a public house leads to a fundamental shift in the playwright’s firmament.
Many years ago, in a land far, far away (Nottingham), a young man sat with a guitar on his lap, his hands poised to play a new (and fiendishly difficult) composition. Luckily he was exceptionally able. When the red light screamed ‘recording’, however, his hands failed him. Time and time again he tried, but he simply couldn’t play it. Several bottles of beer later, and with the lights switched off, he flew through it perfectly. He just needed to realign his head. Continue reading
The lights started to come back on. At first they were incandescent bursts which ripped through her unconsciousness before fading back into darkness. Then, slowly, the bursts became less violent, longer-lived, until she began to see.
The pain at the back of her neck was sharp, visceral and raw, and yet this pain seemed to lie on top of a dull, heady ache. She rubbed at it with the palm of her hand and winced as the pain increased, intensified, sharpened.
She pulled herself up onto her knees groggily and looked at her hand. There was blood. A wipe of fresh, glistening blood alongside the crust of the earlier bleed which her hand had disturbed. Her head hit the floor hard as the lights went out once more. Continue reading