Dear Readers, As The Kureishi Chronicles hits its nineteenth month, I would like to thank you, my audience, for all your love and attentiveness. With a following of twenty-eight thousand people, we are one of the largest Substacks in the country, and that is down to you.
I was a teacher for 33 years. Writing was always the hardest and the most interesting thing to teach. When teaching writing, you feel more like a coach. I didn't presume that I was better at this thing...just older and more experienced. My job was to listen, to elicit what the writer's goals were, to provide suggestions (if desired), to provoke more thought. Ultimately, the writer had to work through the process.
Recently a video by a 1990s, Washington DC-based band called Velocity Girl washed up in my YouTube subscription feed. When I delved into the reasons why a 30-year-old song had suddenly surfaced among the shark footage and the creepypasta greentext (purportedly true supernatural tales sketched out in disjointed sentences), I discovered that Sub Pop records were poised to re-release the first Velocity Girl record - Copacetic.
I like about half of Copacetic and find the other half irritating. The fifty-percent of the record that I do like, I like a great deal. The first song I heard from it - Crazy Town - seems to me fully-realised, in that it achieves what it sets out to do and I can't think of any way that it could be improved without upsetting the creative balance. Evidently the band disagree with me on this point as the reissue of Copacetic is an overhaul of the original mix; an attempt to present the songs as they wanted them to sound, while adhering to a 1990s aesthetic.
Copacetic was originally produced by Bob Weston. I like Weston. He keeps it real as an engineer and as a musician. In the promotional spiel for the reissue/remix of the album, the band diplomatically state that he did exactly what was asked of him and that it was their inexperience in the studio that resulted in the record falling short of their expectations. In the wake of reading this, I pondered the role of the record producer. It is one of those dark arts, I would think similar to teaching writing: There is a band/artist who has a creative vision, but who may be uncertain of how to get from A to B. It is possible that they cannot even articulate what they are trying to achieve, as it exists beyond words. In these cases, it is the job of the producer to identify what the artist is aiming for and to assist them in homing in on it.
Some producers are very hands on. Brian Eno's fingerprints are all over the albums he works on. I doubt that Coldplay would have made the leap of faith that was necessary to write 'Viva la Vida or Death and All His Friends' without his encouragement. They recorded an album that sounds like a cache of hitherto unknown William Blake poems set to music; songs that embody nativity, joy and hopefulness in a way that is almost religious.
Other producers are more hands off. Steve Albini, who died recently, regarded himself more as an engineer. He would meticulously set up the studio to best capture the sound of a band, but wouldn't directly involve himself in the creative process. He wouldn't stop a band from pursuing a bad idea, but he would make it very clear that he thought that it was a bad idea. Luke Haines, formerly of The Auteurs, recalled Albini's silent imitation of a hippie taking a long drag on a joint while a tossing a Frisbee, that he would enact whenever he felt that the band were veering off-course. This condemnation, delivered sarcastically through the medium of mime, was enough to rein them in.
When producers fail to understand what makes a band good, it can be an outright disaster. During the 1990s, there was a local metalcore band called Above All who seemed to be poised on the brink of success. I am not really into hardcore - a lot of it strikes me as performative rage underscored by metronomic finger-wagging. Having said that, I did like the energy of Above All's live shows. They signed to Roadrunner records which was huge. It should have been the beginning of a career. I remember listening to their over-produced first album and thinking 'they've blown it'. All of the rawness was gone. All that a producer needed to do with that band was get them riled up over the state of the world and then let them loose, and get as much of that energy down on tape as possible.
The thing that made me want to write novels was an offhand remark made by Henry Rollins regarding his book 'Get In the Van' - his account of touring with Black Flag during the 1980s. He said that, when he started assembling material for the book, he knew that, a year hence, he would still be working on it. I wanted that for myself; that big project. Also, by then I knew I wasn't going to make any headway in mainstream publishing. The only other option was to self-publish. I wrote a short novel about the spiritual journey of an atheist and released it through Amazon. In a month, with no planning or research, I wrote a 60,000 word espionage novel set in the Soviet Union of the 1980s. I wrote almost 300 pages of chapter and character notes for a novel concerning an African community in Hammersmith that is facing a crisis of leadership. I was about to begin writing it when I was temporarily kicked off of Amazon for reasons that remain unclear. Afterwards, I didn't have the heart to go back to the book.
At present I am eye-deep in a psychedelic pirate novel. It is a very ambitious story and I have certainly bitten off way more than I can chew. There is a massive cast of characters. On two occasions, the narrative pivots significantly. A few people might read it. However, the real value of a project to me lies in the process - the writing of it, the editing of it, the designing of the cover, the getting of it out into the real world.
On the wall of our home there is piece of framed Jesus-themed embroidery dating to 1882. It was stitched by a 13-year-old girl named Emma Cornish, who is a distant ancestor. According to our family tree, Emma died a spinster, which is where Jesus-themed embroidery will get you. Her needlework is probably the only remaining part of her left in this world. It is her statement that says 'this is who I was'. If a handful of over-ambitious paperback novels, of somewhat questionable quality, legally deposited in the British Library, are all that will remain of me long after I am gone, then I will be happy with that.
I don’t really have much to comment, I am a painter not a writer but I really like what you write, the tone, the content and have a very similar attitude in my work. Thank you
Paasion is contagious. As long as I have a passionate teacher who tells good stories, I am inspired to attempt almost, almost anything. You have inspired me to read on, Hanif. That was the beginning -to me- of a larger life.
Who knows where any of us will be in November 2024, when your book will be delivered, according to Amazon. I was quite happy to read that so many writers never took creative writing courses. Taking courses works for some, not for others. A teacher of mine said, "I don't learn how to do things, I just do them." That works for me. As for writing as therapy, yes, it works well that way. People invent characters and plots which are ostensibly not autobiographical. I am reading "Lublin" a marvelous book by a US born author Marya Wilkinson about 3 young Jews in Poland in the early 1900's. How do we know enough to write characters so not our own? I'm sure you are a brilliant teacher and that having that personal interaction with you elevates the students' writing, and also inspires them to live better lives. What you say about the work of writing is important to hear. As a friend of mine said, "That's a first draft- that is not a finished piece of writing." So many people write better than they live. I am cherishing the opportunity to read your fresh pieces on this blog- as I am the opportunity to read what some of your followers write. That thing you said, that what makes a real writer is that people respond to what they write, is important. Being willing to write, then put it out there for others to read or not read, is a daunting step. Daunting to take it, and take what comes from it. And then find out if there is a reason to keep doing it. Some of your followers here are amazing- not necessarily the short pieces they write though those are stellar, but the comments.
“The return to the novel is not unlike the present rebellion against late-capitalism’s production of trash; junk food, junk pop, cheap clothing and electronics, barren hook-ups. The age of kitsch and synthetic bargains is over; we are experiencing a necessary correction, people want that which is authentic, lasting and real.”
— this reminds of what Substack is compared to social media in general, a community of people who crave authentic and more intellectually stimulating forms of media.
Forgive the stupidity of this observation, but this piece could be about teaching any creative form (i am thinking of painting particularly as that is my area of ‘expertise’). I am currently talking to a group of young artists and what is true for them is that their arts degree, from a very prestigious school, is worthless; they already had the compulsion to make art before they started university. What they had hoped to gain was technical skills, seemingly a no-no in modern art education. I feel deeply sad that their vastly expensive degree is now the financial millstone they must carry for years, possibly decades, to come when their innate drive and talent could have got them to exactly the same place but without the debt.
You make some very sweeping statements about HE arts education by calling it 'worthless'. How might you think that might make those working in the sector and dedicating their working lives to their student's feel?
I mean no disrespect to those who teach in HE, but I do have an issue with young people coming out of art school without the technical skills to execute their ideas. Where that decision is made does not lie with teachers but with those who envision the future of their schools.
This made me wonder if teaching writing or music, which I teach, or any art is different from say, teaching plumbing? Some people will always be better at some things than others, some plumbers will be born rather than made too. And some people can also never learn plumbing well enough to trade as one. Do we perhaps exaggerate this idea that you either 'have it' (already) as an artist or not?
I taught writing for many years and I smiled in recognition at the types of students. Many--most--never published much, but a number also found niches in the writing world where they fit and were part of the "tower of story" (aka Leonard Cohen's "Tower of Song")
Writing workshops are primarily affordable ways to receive recognition and feedback. The response from a teacher or peers in your same situation will always be more tempered and benign than the relentless wall of the publishing industry. And the demand to access that idealized Olympus of writers has created another subindustry of courses and books that 'teach' how to write. These are usually mediocre books with continuous references and examples from the books that truly need to be read and studied, but alas, there's no time for that.
The habits of mass production and consumption of literature—with the advent of AI, it's going to get even more ridiculous—are leading to imitation and absolute mediocrity. This is a business, ladies and gentlemen, we charge for flashy covers and synopses upfront. The content matters little; who is going to return the book once purchased, especially with such good reviews? If the author—or 'celebrity'—is in the spotlight, the savings in marketing will be considerable, the brand sells itself, they can publish anything. The bar is so low that you only need to look at the winning novels of contests (which are rigged as soon as their commercial impact and prize money increase), authentic odes to emotional or intellectual boredom. In my city, for example, which annually holds a modest but prestigious noir novel award, they have declared the prize void twice in the last five years, with a commendable effort of honesty. We're talking about none of the more than 300 novels submitted—mind you, many professional writers participate here—deserving to be awarded.
So dear Hanif, I think you are too optimistic about the publication of good, enduring literature. Talent is buried under pressing offers, and the classics are relegated to 'when there is time.' It's like finding a genuine pearl in a costume jewelry factory. Fortunately, we have a few reliable and authentic authors left. Thank you for staying there and teaching us by example.
Fabulous, Hanif! On those very few occasions I have held a workshop, this is how I do it, too. The idea rules, the impulse governs as it can't do anywhere else. Walls to existence are necessary. We need some places to scratch our backs and surfaces like that at 'Clochemerle' to piss up against. Without walls we're pissing in the wind, but may each person find their own walls, because, although theirs may have something in common with yours, they won't be yours and all you'll get is the spray from the next person's wee as it blows your way. Spray is interesting, but piss is all your own. xx
I always read your stuff. You have a peculiar name is it a pen name ?
The remark of how the book is often never read : I published my book "Metaphysics and The New Age" on Amazon. Nothing from the publishers for years , and not recognising it is selling at twice theirs in the UK. The subject matter is becoming more significant lately as Truth is being revealed more as in exopolitics.org, for example.
It is good for you to be able to teach. I am a retired GP and after a few years used Acupunture.
After meeting a Cosmic Master, Dr.George King (1919-1997) in London 1958, I had a go teaching Metaphysics with the "3rd.Age University", here in Geelong Australia, until it attracted the attention of church goers on the committee. I was summoned by a contrived tribunal which I ignored, but finally attended after repeated calls. It was the end, I was quietly omitted from the program, after 3 years.
I am a few weeks short of the century, still active apart for being crippled from a fall in 2017 and fractured the neck of my femur. At present confined in an excellent home for the aged after a few stays in hospital, on continued medication for the first time in my medical history, and unvaxxed.
My book is "Metaphysics and The New Age" and blogs on : kasselmain.com "The Divine Heresies".
This piece, more than any of your others, is encouraging me to get back to writing. I am currently in therapy partly in the hope or expectation that it will break the damn that is blocking my ability to put honest thoughts on the page.
Thank you for such an honest account. It gives me great hope to read your methods & views because I love your style of writing. But have never ever thought - I want to do it like that. Appart from engaging a reader & sketching such 3D characters... so it is a breath of fresh air to hear how you got into teaching/coaching & great hope that I can carry on down my weaving path until I have a tale I hope others will embrace! 🙏
I was a teacher for 33 years. Writing was always the hardest and the most interesting thing to teach. When teaching writing, you feel more like a coach. I didn't presume that I was better at this thing...just older and more experienced. My job was to listen, to elicit what the writer's goals were, to provide suggestions (if desired), to provoke more thought. Ultimately, the writer had to work through the process.
This.
Recently a video by a 1990s, Washington DC-based band called Velocity Girl washed up in my YouTube subscription feed. When I delved into the reasons why a 30-year-old song had suddenly surfaced among the shark footage and the creepypasta greentext (purportedly true supernatural tales sketched out in disjointed sentences), I discovered that Sub Pop records were poised to re-release the first Velocity Girl record - Copacetic.
I like about half of Copacetic and find the other half irritating. The fifty-percent of the record that I do like, I like a great deal. The first song I heard from it - Crazy Town - seems to me fully-realised, in that it achieves what it sets out to do and I can't think of any way that it could be improved without upsetting the creative balance. Evidently the band disagree with me on this point as the reissue of Copacetic is an overhaul of the original mix; an attempt to present the songs as they wanted them to sound, while adhering to a 1990s aesthetic.
Copacetic was originally produced by Bob Weston. I like Weston. He keeps it real as an engineer and as a musician. In the promotional spiel for the reissue/remix of the album, the band diplomatically state that he did exactly what was asked of him and that it was their inexperience in the studio that resulted in the record falling short of their expectations. In the wake of reading this, I pondered the role of the record producer. It is one of those dark arts, I would think similar to teaching writing: There is a band/artist who has a creative vision, but who may be uncertain of how to get from A to B. It is possible that they cannot even articulate what they are trying to achieve, as it exists beyond words. In these cases, it is the job of the producer to identify what the artist is aiming for and to assist them in homing in on it.
Some producers are very hands on. Brian Eno's fingerprints are all over the albums he works on. I doubt that Coldplay would have made the leap of faith that was necessary to write 'Viva la Vida or Death and All His Friends' without his encouragement. They recorded an album that sounds like a cache of hitherto unknown William Blake poems set to music; songs that embody nativity, joy and hopefulness in a way that is almost religious.
Other producers are more hands off. Steve Albini, who died recently, regarded himself more as an engineer. He would meticulously set up the studio to best capture the sound of a band, but wouldn't directly involve himself in the creative process. He wouldn't stop a band from pursuing a bad idea, but he would make it very clear that he thought that it was a bad idea. Luke Haines, formerly of The Auteurs, recalled Albini's silent imitation of a hippie taking a long drag on a joint while a tossing a Frisbee, that he would enact whenever he felt that the band were veering off-course. This condemnation, delivered sarcastically through the medium of mime, was enough to rein them in.
When producers fail to understand what makes a band good, it can be an outright disaster. During the 1990s, there was a local metalcore band called Above All who seemed to be poised on the brink of success. I am not really into hardcore - a lot of it strikes me as performative rage underscored by metronomic finger-wagging. Having said that, I did like the energy of Above All's live shows. They signed to Roadrunner records which was huge. It should have been the beginning of a career. I remember listening to their over-produced first album and thinking 'they've blown it'. All of the rawness was gone. All that a producer needed to do with that band was get them riled up over the state of the world and then let them loose, and get as much of that energy down on tape as possible.
The thing that made me want to write novels was an offhand remark made by Henry Rollins regarding his book 'Get In the Van' - his account of touring with Black Flag during the 1980s. He said that, when he started assembling material for the book, he knew that, a year hence, he would still be working on it. I wanted that for myself; that big project. Also, by then I knew I wasn't going to make any headway in mainstream publishing. The only other option was to self-publish. I wrote a short novel about the spiritual journey of an atheist and released it through Amazon. In a month, with no planning or research, I wrote a 60,000 word espionage novel set in the Soviet Union of the 1980s. I wrote almost 300 pages of chapter and character notes for a novel concerning an African community in Hammersmith that is facing a crisis of leadership. I was about to begin writing it when I was temporarily kicked off of Amazon for reasons that remain unclear. Afterwards, I didn't have the heart to go back to the book.
At present I am eye-deep in a psychedelic pirate novel. It is a very ambitious story and I have certainly bitten off way more than I can chew. There is a massive cast of characters. On two occasions, the narrative pivots significantly. A few people might read it. However, the real value of a project to me lies in the process - the writing of it, the editing of it, the designing of the cover, the getting of it out into the real world.
On the wall of our home there is piece of framed Jesus-themed embroidery dating to 1882. It was stitched by a 13-year-old girl named Emma Cornish, who is a distant ancestor. According to our family tree, Emma died a spinster, which is where Jesus-themed embroidery will get you. Her needlework is probably the only remaining part of her left in this world. It is her statement that says 'this is who I was'. If a handful of over-ambitious paperback novels, of somewhat questionable quality, legally deposited in the British Library, are all that will remain of me long after I am gone, then I will be happy with that.
I don’t really have much to comment, I am a painter not a writer but I really like what you write, the tone, the content and have a very similar attitude in my work. Thank you
Paasion is contagious. As long as I have a passionate teacher who tells good stories, I am inspired to attempt almost, almost anything. You have inspired me to read on, Hanif. That was the beginning -to me- of a larger life.
Who knows where any of us will be in November 2024, when your book will be delivered, according to Amazon. I was quite happy to read that so many writers never took creative writing courses. Taking courses works for some, not for others. A teacher of mine said, "I don't learn how to do things, I just do them." That works for me. As for writing as therapy, yes, it works well that way. People invent characters and plots which are ostensibly not autobiographical. I am reading "Lublin" a marvelous book by a US born author Marya Wilkinson about 3 young Jews in Poland in the early 1900's. How do we know enough to write characters so not our own? I'm sure you are a brilliant teacher and that having that personal interaction with you elevates the students' writing, and also inspires them to live better lives. What you say about the work of writing is important to hear. As a friend of mine said, "That's a first draft- that is not a finished piece of writing." So many people write better than they live. I am cherishing the opportunity to read your fresh pieces on this blog- as I am the opportunity to read what some of your followers write. That thing you said, that what makes a real writer is that people respond to what they write, is important. Being willing to write, then put it out there for others to read or not read, is a daunting step. Daunting to take it, and take what comes from it. And then find out if there is a reason to keep doing it. Some of your followers here are amazing- not necessarily the short pieces they write though those are stellar, but the comments.
“The return to the novel is not unlike the present rebellion against late-capitalism’s production of trash; junk food, junk pop, cheap clothing and electronics, barren hook-ups. The age of kitsch and synthetic bargains is over; we are experiencing a necessary correction, people want that which is authentic, lasting and real.”
— this reminds of what Substack is compared to social media in general, a community of people who crave authentic and more intellectually stimulating forms of media.
Forgive the stupidity of this observation, but this piece could be about teaching any creative form (i am thinking of painting particularly as that is my area of ‘expertise’). I am currently talking to a group of young artists and what is true for them is that their arts degree, from a very prestigious school, is worthless; they already had the compulsion to make art before they started university. What they had hoped to gain was technical skills, seemingly a no-no in modern art education. I feel deeply sad that their vastly expensive degree is now the financial millstone they must carry for years, possibly decades, to come when their innate drive and talent could have got them to exactly the same place but without the debt.
You make some very sweeping statements about HE arts education by calling it 'worthless'. How might you think that might make those working in the sector and dedicating their working lives to their student's feel?
I mean no disrespect to those who teach in HE, but I do have an issue with young people coming out of art school without the technical skills to execute their ideas. Where that decision is made does not lie with teachers but with those who envision the future of their schools.
I apologise for any offense.
This made me wonder if teaching writing or music, which I teach, or any art is different from say, teaching plumbing? Some people will always be better at some things than others, some plumbers will be born rather than made too. And some people can also never learn plumbing well enough to trade as one. Do we perhaps exaggerate this idea that you either 'have it' (already) as an artist or not?
I taught writing for many years and I smiled in recognition at the types of students. Many--most--never published much, but a number also found niches in the writing world where they fit and were part of the "tower of story" (aka Leonard Cohen's "Tower of Song")
Writing workshops are primarily affordable ways to receive recognition and feedback. The response from a teacher or peers in your same situation will always be more tempered and benign than the relentless wall of the publishing industry. And the demand to access that idealized Olympus of writers has created another subindustry of courses and books that 'teach' how to write. These are usually mediocre books with continuous references and examples from the books that truly need to be read and studied, but alas, there's no time for that.
The habits of mass production and consumption of literature—with the advent of AI, it's going to get even more ridiculous—are leading to imitation and absolute mediocrity. This is a business, ladies and gentlemen, we charge for flashy covers and synopses upfront. The content matters little; who is going to return the book once purchased, especially with such good reviews? If the author—or 'celebrity'—is in the spotlight, the savings in marketing will be considerable, the brand sells itself, they can publish anything. The bar is so low that you only need to look at the winning novels of contests (which are rigged as soon as their commercial impact and prize money increase), authentic odes to emotional or intellectual boredom. In my city, for example, which annually holds a modest but prestigious noir novel award, they have declared the prize void twice in the last five years, with a commendable effort of honesty. We're talking about none of the more than 300 novels submitted—mind you, many professional writers participate here—deserving to be awarded.
So dear Hanif, I think you are too optimistic about the publication of good, enduring literature. Talent is buried under pressing offers, and the classics are relegated to 'when there is time.' It's like finding a genuine pearl in a costume jewelry factory. Fortunately, we have a few reliable and authentic authors left. Thank you for staying there and teaching us by example.
Fabulous, Hanif! On those very few occasions I have held a workshop, this is how I do it, too. The idea rules, the impulse governs as it can't do anywhere else. Walls to existence are necessary. We need some places to scratch our backs and surfaces like that at 'Clochemerle' to piss up against. Without walls we're pissing in the wind, but may each person find their own walls, because, although theirs may have something in common with yours, they won't be yours and all you'll get is the spray from the next person's wee as it blows your way. Spray is interesting, but piss is all your own. xx
I always read your stuff. You have a peculiar name is it a pen name ?
The remark of how the book is often never read : I published my book "Metaphysics and The New Age" on Amazon. Nothing from the publishers for years , and not recognising it is selling at twice theirs in the UK. The subject matter is becoming more significant lately as Truth is being revealed more as in exopolitics.org, for example.
It is good for you to be able to teach. I am a retired GP and after a few years used Acupunture.
After meeting a Cosmic Master, Dr.George King (1919-1997) in London 1958, I had a go teaching Metaphysics with the "3rd.Age University", here in Geelong Australia, until it attracted the attention of church goers on the committee. I was summoned by a contrived tribunal which I ignored, but finally attended after repeated calls. It was the end, I was quietly omitted from the program, after 3 years.
I am a few weeks short of the century, still active apart for being crippled from a fall in 2017 and fractured the neck of my femur. At present confined in an excellent home for the aged after a few stays in hospital, on continued medication for the first time in my medical history, and unvaxxed.
My book is "Metaphysics and The New Age" and blogs on : kasselmain.com "The Divine Heresies".
Gratzite
Dr.Peter H Daley (LeedsMB.ChB.1949)
This piece, more than any of your others, is encouraging me to get back to writing. I am currently in therapy partly in the hope or expectation that it will break the damn that is blocking my ability to put honest thoughts on the page.
Nine years, not ten, Hanif.
Thank you for such an honest account. It gives me great hope to read your methods & views because I love your style of writing. But have never ever thought - I want to do it like that. Appart from engaging a reader & sketching such 3D characters... so it is a breath of fresh air to hear how you got into teaching/coaching & great hope that I can carry on down my weaving path until I have a tale I hope others will embrace! 🙏
I was thinking almost exactly the same things about Middlemarch today. ....