Tag Archive | "short stories"

Issue 111 – France

From the Editor

 

The relationship of the English with the French – our one-time conquerors, trade rivals, enemies, allies, and nearest neighbours in Europe – has always been complicated. Since 1066 France and the French have been a powerful influence on England, and many aristocratic families still carry the noble Norman “de” before their surnames. French is classy; French is posh; French, above all, is chic.

 

The Brits have always envied the French for their fantastic food, effortless style (Chanel, Hermès, Balmain, Cardin, Givenchy …), clever, sexy films, and what we see as their laissez-faire, not to say louche attitude towards sex and life in general. Our own language borrows heavily from French to express what English has no word for – as I’ve just demonstrated. The clichéd (another French loan-word) image of the Frenchman may be a beret-wearing Breton sporting a string of onions, but in reality we’re far more likely to picture the elegance of Catherine Deneuve, Toulouse-Lautrec’s fin-de-siècle can-can paintings, or a smouldering Alain Delon.

 

French literature has always had plenty to offer, from the swashbuckling sagas of Dumas to the science-fiction adventures of Jules Verne; from Francoise Sagan’s teen cri-de-coueur Bonjour Tristesse to, more recently, the mischievous metamorphoses of Marie Dariussecq. In the following pages you’ll see another side of novelist Michel Houllebecq, one of the best-known contemporary French authors, who contributes two poems; we’re also proud to present a new nonfiction translation of Francophone Haitian writer Dany Laferrière, who was in Port-au-Prince when last year’s earthquake struck, and writes about his experience sharply and profoundly in Everything around me is shaking.

 

Other emerging and established French writers featured in this issue include hip French-Algerian enfant terrible Faïza Guène, radically different short story writers Marcel Aymé and Pierre Michon, and Agnès Desarthe, with a moving extract from her prize-winning novel The Foundling. Susanna Crossman, a writer living in North-West France, contributes a meditation on family and loneliness in The Pull of the Moon, and we’re also delighted to publish La Maison de Dieu, a story of faith and redemption from this year’s winner of the Litro and IGGY International Short Story Award, Layla Hendow.

 

There’s plenty more great writing to explore on our website at www.litro.co.uk, where you’ll discover tourists, bohemians, artists and even a new take on Joan of Arc in our online-exclusive Ones To Watch and audio stories, updated weekly.

 

C’est tout! Au revoir – until next issue,

 

Katy Darby

Editor

November 2011

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‘Kerouac Drank Here’ by Gary Siebel

Kerouac Drank Here

Gary Siebel

Photograph taken by Gary Siebel

I am a stinking drunk, old, dissolute, grizzled, unkempt; a writer. Like so many other decrepit desperadoes in search of their long-lost orgasm, the bars and strip clubs of North Beach, San Francisco, are my domain. The center of North Beach is the intersection of Broadway and Kearney, where sits the City Lights bookstore, publishers of Ginsberg’s Howl, in the 1950′s.

Nowadays, post-2000, City Lights is mainly an object to be photographed by tourists. Artists and writers long since moved elsewhere. They can’t afford the rent. These days North Beach is running mostly on fumes of alcohol, so I fit right in. If tourists ask where I live, so as to photograph me as one of the locals, even asking me to stand a bit more upright, if they want me in the photo, or perhaps move a bit more to the left, if they want to crop me out, I tell them, “Just up the street a few blocks.” I neglect to mention my address is a cardboard box.

I may be a drunk but I still have a keen eye for beauty, and it always wanders. On the street, Friday and Saturday nights, girls dressed like street urchins in dark, hooded sweatshirts, filtering their way through the masses, wearing jeans to camouflage their bods, are the strippers. The girls that dress like hot ho’s, with short-short dresses in the chill wind, and exposed cleavages that draw the eye, are the regular girls on their way to and from the bars and dance clubs on Broadway.

Photograph taken by Gary Siebel

I relentlessly bar hop, and prowl the strip clubs. I avoid the regular dance clubs because the lines are too long and I wouldn’t get in anyway. I dress one grade above “street.” The bartenders all know me but the strippers ask my name. They do that to create the impression they might actually be interested in the customer. I tell them my name is Don Quixote. They ask if I am waiting for a particular girl. I tell them I seek Dulcinea. Some get it, some don’t. The other night I found, let’s see now (it’s so hard to keep track without notes), one beauty at Little Darlings, another at Hustler, three at Centerfolds, a truly outstanding performer at Showgirls, and about 25 guys and three girls at the Hungry I, a true dive.

Despite my stinking drunkenness, if I shower just enough to keep from actually stinking (just try it outdoors in the middle of January in San Francisco, with a bucket of water, and a chill breeze off the ocean), I can still get lucky. But it is an increasingly rare occurrence when a young girl finds me attractive, especially if she is sober. Did I mention it can be hard to keep up appearances when you are sleeping in cardboard? (Refrigerator boxes are the best, of course, but street people fight over them, so when you leave for the day in hunt of food or, God forbid, work, by the time you return your house will have been dragged off to some troglodyte’s cave from which you are kept at bay by a puny, relentlessly barking dog, and an outrageous stench.)

One such lucky occurrence transpired with a girl who was actually reading Catcher in the Rye while sitting on a barstool in Vesuvios, a bar next to the City Lights bookstore. She had been fired from the Hustler strip club an hour earlier for failure to tip everybody on a previous night, despite the fact she made no money herself and had gone home early because she felt ill. Strip clubs work off the tip system to avoid paying anybody anything over minimum wage, if they even pay them at all. The D.J., bouncers, and doormen all have their hand out. Some girls make lots of money, some don’t. I sympathised with her, noting how the clubs are ruthlessly exploitative, but even though we are exploited, we keep coming back, especially the stinking drunks. We like having our fantasies exploited. We search in vain for Dulcinea, but enjoy the search, nonetheless. There are so many beautiful Dulcineas the search can last a lifetime.

She was a bright little wisp of a thing, with a pleasant giggle, nice bod, and a long way from her original home, in Florida. Long blonde hair. Laughing at my jokes is always a plus. I bought her some drinks and our literary sort of conversation proceeded swimmingly. Alcohol provided lubrication, of course. I held forth that Holden Caulfield was ridiculous; that the story was unrealistic; that Phoebe, his little sister, was really some sort of secret code for incest (I made that up on the spot). I amazed myself, and surprised her, by recalling scenes and names that I had read over 30 years previously. I wanted to be sure she knew how old I was. She didn’t balk, or bat an eyelash. I asked if I she wanted to know how Catcher ended? She said no. When she got up to use the restroom she rubbed her crotch firmly against my thigh. Our eyes locked. When she returned I suggested we go. I neglected to mention I would have to get a room for the night.

Then my luck went normal. I really had been tilting at a windmill after all. We got outside and another stripper, her friend, suddenly appeared, right there in that alley between Vesuvios and City Lights, where the tourists ask me to either stand up, or move a bit more to the left. Her friend obviously decided I needed to move a bit more to the left. They hugged. To my chagrin, before long her friend offered her a place to stay that very night, and for a few weeks, if necessary. Needless to say, my girl jumped at the lifeline. I couldn’t really blame her. After all, I am an old guy, a stinking drunk, dissolute, grizzled, and unkempt. But as she walked away I yelled, “Holden kills himself in the end!” He should have waited until he was living out of a cardboard box.

Photograph taken by Gary Siebel

 

Gary Siebel is an American writer. His book of black-and-white photography, Photos of Naked Girls, is currently available on Kindle – the title is self-explanatory. Otherwise, Kerouac Drank Here is his first publication in decades.

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‘Tuesday Afternoon’ by Lynsey Miller, read by Skye Bennett

Photograph taken by Kirsty Hall

 

 

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A small-time neighbourhood hoodlum shows some compassion for one of her victims.

 

Lynsey Miller

Hailing from Scotland, Lynsey Miller writes short stories and makes short films in the hope of one-day supersizing both.  Her stories can be found on websites such as this and her films can be found doing the rounds on the international festival circuit.  Her day job is in production at Ruby Film and Television and most recently Lynsey has been chosen for Channel 4′s Coming Up scheme which has it’s participants direct a half hour original piece for television to be broadcast on Channel 4. One day soon she’ll make a website.

 

 

 

Skye Bennett

Skye Bennett is a 16-year-old actress who has appeared in a number of acclaimed television and stage productions and is probably best known for her roles in Channel 4′s Any Human Heart and The Pillars of the Earth. Her numerous television credits include Skellig, Boy A, Torchwood and Ballet Shoes.  Theatre credits include Polar Bears at the Donmar Warehouse and Burnt by the Sun at the National Theatre. Skye’s film credits include Last Night, Shadow Man and The Good Night and radio credits include De Zhivago for BBC Radio 4, I’m an Alien Beam me off here and Mother Spy, both for BBC.

 

 

 

 

Posted in Featured, Litro Spoken WordsComments (0)

Tales of a Modern Writer – Part Nine

Pushing myself to try new things is one of the most important exercises as a writer.   For me it is like skateboarding, I spent ages learning how to ollie and it was great, but I had to try something else or I’d have gotten bored of just jumping up and down kerbs.  Pushing myself can be anything from writing a different kind of story, trying a different genre or simply altering the way I physically write.

It took me maybe a year initially to learn how to write in a way that I was happy with, however, after some time I felt the stories I was writing were becoming too formulaic, becoming less interesting.  When this happened first I tried writing in a different way but unfortunately the cycle came round again to formulaic and uninteresting.  I had got into a rut of writing stories in the same kind of format with the same kind of voice and it wasn’t exciting me anymore.  To fix this I deliberately tried writing in different styles.

The most exciting style for me is that of old-school crime writers and hardboiled dialogue.  I got into hardboiled detective novels after watching a fantastic movie called BRICK, incidentally my favourite film of all time.  When talking about the movie Rian Johnson mentioned Dashiell Hammett’s Red Harvest as inspiration and said he told all the cast to read Hammett before shooting.

I thought I would search out some Hammett, along with some Raymond Chandler, and give them a read.  I had never read a crime novel before so didn’t know what to expect but was utterly amazed by them; Red harvest is now one of my favourite novels ever.  The writing is so strong and the dialogue so witty and almost dangerous.  I love how fast paced they are and how each little bit of exposition leads you to think one thing only for the next bit to make you doubt yourself.

The dialogue is what absorbed me most of all, I loved it so much that I wanted to try and write something that I could lend this hardboiled style to.  A few months ago I started writing a story currently called “My Brother’s Tale.”  It is a story written from the perspective of a boy who has been watching too many old Noir movies and is acting like a detective, trying to discover what has happened to his brother.  I won’t go into too much detail but it starts with the line:

“Last night my brother may or may not have killed someone.”

Trying to emulate a very specific style and tell a story not considered congruent with that style has been a significant challenge, one which I’m still not sure works, but it has undoubtedly given me the confidence to experiment further with voices and characters and ways of telling regular stories in irregular ways.

Alex Thornber

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