Call me Ishmael... In defence of 'Moby Dick'

I'm quite a slow reader, and life is short. For this reason, long novels often put me off. I find them intimidating, and will more often than not go for a shorter option instead.

But if, given a truly bizarre set of circumstances, I was invited onto 'Desert Island Discs', Herman Melville's Moby Dick (600 pages) would be my book of choice. I would happily while away the hours with it, in my homemade hammock, enjoying some coconut juice and a cooling sea breeze.

Moby Dick is much-maligned: I've more often heard it criticised and described as 'unreadable' than I've heard it praised and celebrated. And the mission of this post is to stick up for this lovely book.

To summarise... Ishmael, our narrator, and his new friend Queequeg, sign on with the whaling ship Pequod, whose captain is the imposing and haunted Ahab. He has one leg missing below the knee, courtesy of a huge white sperm whale - Moby Dick. Ahab's quest for revenge on the whale becomes more and more fevered, until the great climax of the book - a three-day battle of wills between the whale and the crew of the ship.

But Moby Dick is so much more than a book about whaling. My first reaction on reading it, was that it was a sort of 'encyclopaedia of the sea', such is the detail with which it treats it subject. There are chapters dedicated to pen portraits of the crew-members, Nantucket and its inhabitants, the joys of chowder, and a comprehensive classification and description of different types of whale, all in beautiful, engaging detail.

And as with any great novel, all human life is here. The characters are richly portrayed and their relationships with each other are often humorous and touching. My favourite passage has nothing to do with whaling: it speaks of the friendship between Ishmael and Queequeg, who first meet when they are required to share a bed in their temporary lodgings:

... I had felt a strong repugnance to his smoking in the bed the night before, yet see how elastic our stiff prejudices grow when once love comes to bend them. For now I liked nothing better than to have Queequeg smoking by me, even in bed, because he seemed to be full of such serene household joy then. I was alive to the condensed confidential comfortableness of sharing a pipe and a blanket with a real friend. 

Yes, this is a long book. But in its favour, the chapters are very short - many of them just a few pages - making it more manageable. And it really does reward our attention. It is full of humanity and tiny, fascinating details, and makes for really compelling reading.

I do like to include pictures on the blog whenever I can. But I don't have a picture of a whale. So here is another view of John Kindness's 'Big Fish':

 

A big fish! Not as tenuous a link as you might imagine:

Ishmael refers to Moby Dick as a fish, rather than a mammal.  

If I've whetted your appetite and you think you might give the book the benefit of the doubt, I won't spoil the ending for you. I remember standing at a Metro station in Newcastle, half-way through the book, and an elderly lady saw what I was reading. 'I've seen the film,' she said. 'Gregory Peck. He gets him in the end, you know.'

Ah yes, but who gets whom...?

The Happy Meal

I had always imagined that my blog would be a place where I would mainly post pieces of short fiction, and perhaps a poem or two. Well, like a lot of creative endeavours, it seems to have taken on a life of its own, and become a place for my musings on writing, music, art and life generally. 

Nothing wrong with that, I suppose, and I am enjoying it all immensely. But I thought it was high time that I started posting the occasional piece of short fiction, and that's what I'm here to do today. 

'The Happy Meal' came about as a result of a casual remark I heard on the radio, which made me reflect on the huge potential for melancholy of the humble Happy Meal. This was one of those happy occasions when something just clicked, and I sat down and wrote the first draft of the piece almost on automatic pilot - a fabulous, if elusive, sensation which comes highly recommended!  

The Happy Meal

As if a flabby hamburger and a plastic dinosaur could possibly nourish body or soul, he muses sadly as he watches his son across the table. The colourful cardboard box promises much, but delivers little. A bit like life, he thinks, before he has time to stop himself.

How can a ‘Happy Meal’ ever mend the damage that’s been done? I’m a useless father. She was right. He’ll never be able to forgive me. It’s me he’ll blame, not her. Probably for the rest of his life.

He stares, awe-struck, at his little boy, and marvels at his innocent perfection: the unblemished softness of his rosy cheeks, the neat back-to-school haircut, the fingers with their clipped nails, sinking into the burger bun. And the love that surges through him promises to break his heart, and he wonders if he hasn’t been punished enough already.

He picks up the plastic toy between finger and thumb, and prowls it across the table, trying to distract himself from the tears prickling at him. Deep breath. Triceratops. He remembers it from his own childhood, his fascination with these strange creatures, his need to learn the long names, to list, to categorise. Just like his son.

The boy watches as the dinosaur furtively approaches his bag of chips. The hint of a smile plays across his lips, moist with grease from the burger. He picks out a chip, twists it in his tub of ketchup, and holds it to the dinosaur’s open mouth, his beautiful fresh face level with the monster’s.

‘He’s a herbivore. So he likes chips. But not hamburgers.’

The man smiles. He makes the sort of low, satisfied growling noise he imagines a triceratops might make, in demolishing its favourite meal of French fries doused in ketchup.

‘Daddy?’

‘Yes, love?’

The little boy fixes him with big blue eyes as clear as a sunny winter’s morning.

‘Dad, what’s the matter?’

‘… Oh look. He’s covered in ketchup now.’

But the boy just gazes at him.

‘How d’you mean? Nothing. Nothing’s the matter.’

He takes another deep breath, ragged this time, not quite within his control. He picks up a paper napkin and busies himself in wiping the sticky tomato sauce from the dinosaur’s vacant face.

‘You look sad.’

Oh, no. He’s noticed. No. Every other weekend. That’s all you have. You promised yourself you’d make the most of it. You promised. And you’ve screwed it up. Loser.

‘I’m a bit… tired, that’s all. I’m… I’m sorry.’

He tries a smile, but is unconvinced by it himself. Then he tries a yawn instead, grabbing at the opportunity to rub his eyes as well.

‘Dad?’

‘Yes?’

The little boy frowns and bites his lip.

‘… What is it, son?’

‘We will always do things together, won’t we? You will always want to?’

The sweet, sharp unexpectedness of the question catches at his breath.

He suddenly feels the need to blow his nose. He reaches into one jacket pocket, then another, but there’s no handkerchief there – he knows there isn’t, and the reason why: he hasn’t done his ironing. She told him he was hopeless, the day she left. Maybe she was right.

He is aware of his son watching him, concerned, his sweet head tilted slightly to one side. He dares to meet his eye. But he doesn’t find what he’s expecting there - no derision, no intolerance, no bitter, crushing disillusionment. Because he’s nothing like his mother. Those wise blue eyes are gleaming at him, understanding him better, more deeply, than they should ever have been allowed to do. Loving him.

The boy licks ketchup from his fingers and gently hands his father a fresh paper napkin. The man swallows hard, takes the napkin as calmly as he can and blows his nose into it.

‘I hope so. I’d like to. That’d be great, wouldn’t it?’

His son seems relieved, as if an unbearable weight has been lifted from his tiny shoulders, and he beams at him, a big, sunny life-raft of a smile. 

‘Now. I think I could eat some ice-cream. How about you?’

Ariel

I was delighted - no, let's say 'stunned' - this week to be awarded first place in Newcastle Theatre Royal's 2011 Creative Writing competition. The brief was to write about a favourite Shakespeare character, in prose, poetry or script form.

I decided to write about Ariel, after he has been released from servitude by his master, Prospero. I began with prose, but quickly found that I couldn't say what I wanted to say in that form. I found myself channelled towards poetry instead - against my will, I might add, because I don't regard myself as a poet at all, and feel very self-conscious about the whole process!

This was a bit of a lesson in the gritting-of-teeth-and-just-getting-on-with-it. With two days to go before the deadline, and feeling disheartened and lacking in confidence, my choice was clear: did I give up and let myself down, or did I just chip away at it until I'd got something I could submit? I chose the latter option. I hope you enjoy the result!

Ariel

‘My Ariel, chick,
That is thy charge. Then to the elements
Be free, and fare thou well.’

The Tempest, Act 5, Scene 1


You are roused by the sunrise, airy spirit,
curled up snug within a cowslip’s bell,
yawning and stretching, and breathing in
a freedom you have only ever dreamed of.

Blinking awake, you eagerly refresh yourself
from pure, new dewdrops, sweet and
sparkling in the rosy light of dawn,
reflecting back at you your blissful liberation.

Brushing away the pollen grains that
hang about your lustrous skin,
you take to the air on opalescent wings
alive as springtime, dazzling and unseen.

Creature of fire and magic and
mystical music, you flit invisible
through Prospero’s beloved library,
brushing his happy cheek as you pass by.

You swoop and soar with swallows on their journey
north, watching fields and trees surge back to life
beneath your flashing wings, leaving Milan,
Naples, far behind and heading for the sea,

and England, and the Thames, until
you find the special shape you’re searching for.
On whirring wings you spiral round that
legendary Wooden O, your destiny close by.

Backstage, a bearded man sleeps soundly
when he should be working. Quill in hand,
he’s slouched across a ripe, blank page,
waiting for inspiration. Words. A Play.

You have your servant now, quaint Ariel:
Will Shakespeare, here, to do your bidding.
So settle on that noble shoulder,
dainty sprite, and whisper to his dreams.

Tell him of incarceration, slavery, and honest,
faithful servitude, of raising a tempest,
setting aflame the topmast of a ship, and
leaving everyone unharmed, as you were tasked.

Tell him how wrongs were righted,
treacheries revealed and yearned-for freedoms
finally delivered. And watch him stirring in his slumber,
a gentle smile tickling that fine face.

And then, brave Ariel, ask him: ‘Was’t well done?’