Tuesday, 24 December 2019

THE TROUBLE WITH GOATS AND SHEEP by JOANNA CANNON


THE TROUBLE WITH GOATS AND SHEEP
BY JOANNA CANNON


THE BLURB:-
Mrs Creasy is missing and The Avenue is alive with whispers. As the summer shimmers endlessly on, ten-year-olds Grace and Tilly decide to take matters into their own hands.

But as doors and mouths begin to open and the cul-de-sac starts giving up its secrets, the amateur detectives will find more than they could have imagined...

THE REALITY:-
I didn't have the luxury of being able to read through this work quickly, as nowadays I have a lot of other things on- namely my MA course, as well as work, my blogging about tourist attractions, and my SuperDean, which all eat into my time.

Perhaps it's because of this busyness that I lost the thread a little, and would maybe benefit from going back and re-reading this book at some point. This novel didn't come across as a story- more of a soap opera, with different chains of events interlinking. The ending was a disappointment, and it was never really explained why Mrs Creasy went missing. I did, however, like the twist in the story, when we find out that (spoiler alert!) it was really sad Mrs Morton who, when dealing with immense grief (for what her life could have been, more than for her recently deceased husband), stole Grace when she was just a baby. I also like the way she managed to pin the blame on someone else (incidentally, I always felt sorry for Walter Bishop; that “someone else”) and get out of her crime by announcing that she'd actually been the one to find Grace. Very clever writing.

Similes and metaphors abounded and some were interesting, such as “His toes were doing a little dance in his sandals. Like piano keys”. And “kneading stoicism into a thick pastry and measuring out spoonfuls of endurance for the mixing bowl”. But I do think there were possibly too many of them, and some I didn't understand. For instance, what does it mean when someone “fire-engined himself out” and “pin pricks started at the side of the saucepan”? If you're going to use phrases like this, make sure they're something someone will understand (or maybe I'm just thick...)

It was easy to relate to the life described in this novel as I was a kid in the 1970s (although a few years younger than Grace and Tilly- incidentally, I loved the latter character). I also like the analogy that the good people are sheep (but does that also mean that they follow the flock? Not so admirable) and that bad people are goats. The conversations held with the vicar also made me take a look at my own (rather lacking ) spirituality, and that's not such a bad thing.

I bought this at an open day at the Ilford Hospital Chapel, and it's certainly a book I'd recommend (mainly because the 1967 parts differentiated from the 1976 parts in that they are written in the third person present tense, and I'm currently working on something constructed in the same way, so it was good learning material for me)- it just didn't blow me away.


Saturday, 14 December 2019

THE ELAINE ROCKETT MANIFESTO


ELAINE ROCKETT
MANIFESTO
I write, therefore I am, therefore I write...

I have described my creative writing as 'opening up my soul and splattering it onto the page'. I truly believe that we connect through our feelings and I want my reader to feel that I have touched a chord within their hearts. My ideal reader may well have suffered. But, even if they haven't, and have led a life that's all sunshine, lollipops and rainbows, I want them to sit up and take note with an, 'Oh, I suppose that can happen as well...'  My writing is designed to make people sit up and think and yes, also to stir things up a bit.
*
Blood is not always thicker than water. Life is long (hopefully) and life is hard. Just because someone is related to you doesn't necessarily mean that you'll instantly, and always, adore them. In fact, the opposite may well be true. Not all of us have familial relationships that are sweetness and light and tickety-boo.
*
Parents, remember: a child is for life, not just for Christmas. Parenting is not a job that ends once your offspring become of an age where they can earn their keep and you can chuck them out. Parental responsibility is not just about putting food onto the table and a roof over their heads- it's also about making an emotional connection. That responsibility begins the moment that sperm hits that egg, and you never know what you are going to get. You're supposed to love them unconditionally, and if you don't feel that you can do that, then stop that sperm from hitting that egg. Nurture them, and do your job properly and they'll be ready to leave the family home somewhere between the ages of 18-21; a capable, well-balanced adult. Neglect that, and you deserve the rejection that will end up becoming your life.
*
I use my characters to show the world how some people suffer, especially when faced with undiagnosed mental illness (maybe their own, or maybe that of someone close to them). I always remember to include some happy, well-balanced individuals alongside the damaged, lost souls to create some balance.
*
I see 16-17 year olds as very vulnerable beings, in that at that age you're expected to behave like an adult, yet are often treated like a child. It's a massive contradiction. You can have sex and get married, but cannot buy alcohol or cigarettes. You can work and pay tax but you're not entitled to a proper level of minimum wage or benefits if you lose your job. You can leave home (or legally be thrown out) but, again, cannot claim any supporting benefits if you're (and this is most likely) on a very low wage. And you have to suck all of this up without the right to vote for the political party whom you feel are best placed to look after you. The exit years at school are just as important as the early years. I put the needs of this often neglected section of society to the fore in my novels, as people need to sit up and take notice.
*
I have been known to use events that have happened to myself, or that I've seen happen to others as a springboard for ideas. I've also based some of my characters on people I've met in real life. This has tended to happen a lot more with the nastier individuals I've had the misfortune to encounter, and their influence has resulted in them being vilified on the page, with every fault blown up tenfold for effect. I've often said, 'Upset me and you'll end up in a novel.' You have been warned.
*
I find it therapeutic slinging my feelings down onto paper (better out than in). I have a compulsion to write and document that's essential to my life. Writing, in some ways is a form of revenge. You can get your own back on those who've mistreated you and laugh with joy as you document their foibles and the misfortunes you're able to create for them. I do take a macabre sense of vindictive satisfaction in imagining them reading about themselves (that's if these stupid people even bother to read books and really, don't you agree that too many people spend too much time looking at flickering screens nowadays?) I let people know what's happened and, in doing so, I exonerate myself from taking all of the blame in a situation. Writing is where you can murder someone and not go to prison for it. Writing is using the page as a psychiatrist. Writing soothes my soul.
*
I'm a lover of art, history, heritage locations, a bit of the supernatural and magic, so I like to include elements of these in my writing. It makes sense to write about what you know. But you also need to stretch yourself and research and write about what you don't know. In that aspect, being a writer is great as you get to be a reader too! I'm a big fan of a happy ending, but I do want to diversify with this, and make the characters do what they would do rather than what I want them to do. I once described story writing as, 'A set of events that you can bend to your will.' But I want to move on from this and allow my characters to control me (even if only temporarily!)
*
As part of our MA induction, we were asked to try the VIA Character Strengths Survey. It will probably come as no surprise that my biggest strength was creativity. But my second strongest point was humour. I always try and inject a sense of fun into my work; maybe with a pithily delivered observation or a hilarious line in dialogue. Not only is laughter a good tension reliever both physically and mentally (as we all should know) but a sense of it helps lighten a story that could otherwise come across as too dark. It also offers contrast to the more serious sections of my writing.
*
I don't mean to offend, but people must meet me halfway with this- I'm quite a direct person who's had a hell of a lot of experience in working as a creative practitioner (as a fashion designer). No is a word I've heard a lot more than yes. Of course it's toughened me up. Those who may have had gentler careers (or lives) have got to understand that there's no reason why I should continually pander to touchy-feely people. However, as I've matured I do try and take a kinder and more diplomatic approach. I don't want to be the fool who rushes in, and do want to take a more considered effect when offering criticism or contradiction. I don't want to let myself down by being too blunt or forceful.
*
Of course I like positive feedback. I'd be a strange being if I didn't. But I also have plenty of time for constructive negative feedback. I love the sense of achievement of having completed a job well. Yes, I am in possession of an ego. But my egotism comes from achievement, not from simply being. I want people to like my work and think of me as a skilled craftsperson, and for that I have to apply the many helpful things I've already learnt during this course.
*
Writing is my means of communicating with the world. I can't turn it off, and neither would I want to, hence I write, therefore I am, therefore I write...to infinity, at the top of the page. I have no choice. I cannot not write. Is it all about me? Yes. Probably. But I want to use writing to both connect and to entertain, and not just shove my opinions and thoughts down people's throats.
*
Being true to myself is also important. In my writing, I like to be honest to the point of being brutal. I have developed my own style, which I'm aware will change over time, like a signature. I endeavour to explore that style, go with the flow and make it my own. I refuse to be afraid of it. A writer doesn't have to be many- or every- type of writer. I would never be interested in writing fantasy or sci-fi, for example. But, in everything that I put down onto the page, my style will peep out. I believe that this honesty will make me a good writer and will make people interested in my work. To me, individuality is essential- it's one of the most important attributes anyone can possess.
*
I keep in mind that image of my bestselling novel in Foyles' window, with me sitting inside during a book signing session as a motivational tool, but I don't always feel quite so positive. Negativity and self-doubt are not always easy to put aside, but they must be worked through and dealt with so that they don't stop me from achieving my full potential. I always remind myself that I am worthy of a place on this course, and also of a successful career. I chant it out loud, if necessary, until that insecure moment passes.
*
At the moment the message on my grave would read 'A great talent, largely ignored'.  Conceited? Maybe. But I'm making steps to re-write my epitaph by undertaking this course, continuing with my blogging, working on my second novel and (in all likelihood) re-working my first novel, and also by searching for a writing job which complements my studies.
*
It's very important for me to be educated to MA level as some employers demand it (especially the more highbrow, fustier kinds of organisations). Yes, I want to work part-time as a novelist but yes, I also want to work part-time in the field of life-writing. I have every intention of continuing with my tourist attraction blog posts, have already had some freelance work in this field and have identified a selection of publishers to approach in the near future.
*
I'm someone who believes that qualifications DO matter (those who say they don't tend not to have any!) and prove that you have worked hard and applied yourself. I truly believe that no one gets very far without hard work and simply 'getting on with it'. That last statement is a mantra I apply to my writing- get on with it, get on with it, get on with it...
*
I'm also aware that I probably don't look like the kind of person who's academic- a glamorous goth would be my way of describing my style! But, I see no reason why I should dress and act in a different way, and perhaps society should learn not to judge by appearances. I wear my big hair, face full of make-up, skyscraper heels, glitzy jewellery and strapless, film star dresses with pride (I'll refrain from adding 'so there' as that would appear childish...) I like to use the same photo across all of my social media (although I'll update this one soon, as it's quite old!) It helps viewers to instantly associate my phizog with the 'Elaine Rockett brand'.
I always intended to post my Manifesto (I always envisage it as having a capital M) on my blog (which is why I've written it in this centre-of-page format, as it fits in with my travel and tourism reviews) as it's not just about letting the world know what I am about and what I believe in- it's also a motivational tool and a letter to self. It's also a reminder to 'keep it light' and take the time to work on my other writing work; that being my book and tourist attraction reviewing posts. And now, I'll sign myself off as I always do on my blog, using my moniker.

TTFN
The Miss Elaineous

Monday, 9 December 2019

MISS ELAINEOUS VISITS THE WELLCOME COLLECTION...

The Wellcome Collection was founded in 2007 and is in Euston, London.  It explores "ideas about the connections between medicine, life and art" and aims to challenge how we all think and feel about health.
It was a long time ago when I visited, but time constraints and prioritising my MA course have meant that I've had to stick my blogging straight onto the back burner.  It seems strange, given that it was bitterly cold last week, to think that we visited here during the halcyon days of the boiling hot summer that we had, peaking with the hottest day EVER on my birthday, at the end of July.  Our trip to central London would have been a couple of days beforehand.
Let's start with a Vain Old Tart photo, and here's me posing on the twisty-turny stairs...

Smoke and Mirrors: The Psychology of Magic is, sadly, over now, having run from between April and September this year.
It consisted of three areas, named The Medium, Misdirection and Mentalism.

We start with The Medium, which is basically an exploration of how Victorians liked their supernatural.  There is a Ouija board at the front of the cabinet and I was disappointed that I didn't get a good enough close-up photo to publish.  I only have myself to blame for that.

Victorian mediums produced paraffin wax hands supposedly modelled around materialised "spirit hands".  I just wished they'd included a section dedicated to Pepper's ghost, which is an illusion technique popularised in 1862 and used in amusement parks and museums.  It consists of carefully placed and managed sheets of glass.

Carter the Great was just one of many performers to do a "spirit cabinet" act...

I took photos of these pictures purely because I liked them.  They were posters advertising Maskelyne and Cook, who had an astonishing 31 year run at the Egyptian Hall in Piccadilly...

...And it was only after uploading them that I realised that that wasn't actually allowed.  Oops!  But what do they actually think I'm going to do?  Blow them up and sell them on eBay as originals?  I don't think so.  People are too precious about these things.

This toolkit belonged to Eric Dingwall, who travelled the world investigating mediums for the Society of Psychical Research...

Doctored photographs...

Misdirection, and here's Harry Houdini's Chinese Water Torture Cell poster...

The robe belonged to Margery Crandon...

...She was a spiritualist who claimed to channel her dead brother, who left his fingerprints in wax (far right).  She was challenged, when it was found that the prints belonged to her dentist!

Another "illegal" photo, dedicated to illusion...

Magic kits which would have been on sale to the public...


This gorilla head was worn by Derren Brown in his show Mind Reader.

Tommy Cooper  was a clever magician who always made me laugh...

Tommy Cooper's fez...

Magic wands...

Paul Daniels used this box in his magic show, sawing his assistant (later to become his wife) Debbie McGee "in half".

Mentalism explored the artistry of Derren Brown, but some of these exhibits were more interactive than artistic.

Hexen 2039 by Suzanne Treister (2006).

We returned back to the entrance hall, where this body is just hanging around...😉

I took this photo just because I found the stairs impressive.

I found this exhibition incredibly moving, as it looks at what happens when the body becomes seriously ill, and  really makes you think about what's important...

SuperDean asked me this question and (after an ill-thought-out answer or two) I answered that underemployment is one thing I'd really love to change...

There is a chill-out zone with lovely, large teddy bears...💗

There's nothing stopping you use these fellas (or should that be gals?) as chairs- or you can always give them a bear hug...😀

It's a very large gallery...

Jo Spence's record of her battle with cancer was really moving...

This section forced you to focus on what's important in life.  For me, it's my health.  Money can't buy any of us that.  The best things in life are free.

Our final section was the fixed exhibition of Henry Wellcome's collection, called Medicine Man.  Wellcome was a pharmaceutical entrepreneur.

Bottles...

These chairs include a birthing chair and a chair well-equipped with blades for performances by mediums.  Nice...

Masks, including Samurai, Sri Lankan and also a death mask...

Operating instruments...

More.  These give me the heebie-jeebies just looking at them...

Examining instruments.  Looking at these isn't doing me much good, either...

False limbs...

Extremity casts...

I enjoyed looking at this picture, but details of all the artworks were contained in little booklets- which were all in use.  I can find no reference to it on the web.  Oh well, I now have an excuse to go back sorted... 

Skeletons...

...And more...

Hairwork mourning jewellery...

Portrait of Dr Gachet, etching by Vincent van Gogh, 1890.

Touchpieces and coconut shell charms.  People thought a monarch's touch could heal the "King's Evil" of Scrofula, whilst charms warded off danger.

Our last port of call was to check out the library.
Pharmacopoeia- Come Dancing (1998), Susie Freeman and Liz Lee.
This is a striking ballgown made up of 6,000 contraceptive pills.

Closing Neural Tube Dress, red fake fur, Helen and Kate Story, 2014 (after 1997 original).
This depicts the early phase of neural development.

You can sit and relax on the stairs...

And that concluded our visit to the Wellcome Collection.
But the day wasn't over yet, as we popped around the corner to the Grant Museum of Zoology and then the Petrie Museum of Egyptian Archeology.
Stay tuned...

TTFN

The Miss Elaineous

XXXXXXXXXXXXXXX
XXXXX
XXX
X