Andrew Michael Hurley « neverimitate

On Monday evening I attended my first book event at Waterstones Bookshop in Bath, and what a lovely venue this turned out to be. I was there to catch the John Murray Waterstones Book Tour, to meet three of the publisher’s prize winning authors and to “discover a future classic”. The three authors on the panel, Lisa McInerney, Andrew Michael Hurley and Jessie Greengrass, have between them won the Baileys Prize, the Desmond Elliot Prize and the Costa Book Award. With such a line up in my local area, how could I resist.

The event host was Waterstones Senior Bookseller, Steve Andrews, who tempted the audience with mention of future events before introducing his guests. The panel were compèred by Richard Kerridge, a creative writing tutor at Bath Spa University. A good number of his students were in the audience.

Lisa gave the first reading from her book, ‘The Glorious Heresies’, before talking of how she developed her characters’ voices. They talk in the vernacular, which is how Lisa talks herself. She advised all writers to read their words aloud to ensure they have caught the rhythms they seek.

Andrew then read from his book, ‘The Loney’. He talked of finding it easier to write a character who spoke with an accent, although for him voice develops as relationships are firmed. His plot is written organically, aspects coming from characters as they are formed. This is a slow process but one he finds works for him.

Jessie read the first short story from her collection, ‘An Account of the Decline of the Great Auk According to One Who Saw It’. She does not write dialogue, or give characters names, but talked of the perspective of the narrator, the effect of events, and how she believes these have more impact than what is actually happening. She sees voice as a starting point to development of plot and writes instinctively. She regards the rhythm and cadence of the narrative as vital in telling her tales.

Having heard from each of the authors, Richard had a number of questions to put to the panel and a lively discussion ensued about inspiration.

Andrew mentioned the bleak landscape of his setting, Morecombe Bay, and of the horror to be found in religion. There is the fear of hell, the gruesome art depicting suffering, the wars fought, and the permission religion gives followers to behave in horrible ways. He does not believe he could write as he does had it not been for his Catholic upbringing.

Lisa suggested that ruthlessness is a quality necessary in literature. She placed her cast of characters on the outside of society and told their story through a lens of black humour. This is a method many use to cope, to wrest back control when situations seem bleak.

Jessie added that details of small acts may seem acceptable at the time but, when looked back at alongside everything else going on, are shown to be brutal. She wished to explore how her hunters were not aiming to drive the auks to extinction, although the bird’s passivity enraged them. The horror of what they did is hard to comprehend yet they did not hold themselves responsible.

Each of the three books are award winners yet are difficult to categorise. Richard asked if avoiding genre was deliberate.

Lisa has no wish to be categorised and pondered if this were snobbery. She wishes to avoid formulaic writing.

Jessie believes a book can carry more emotional weight if not constrained by genre, although as her book is a collection of short stories she could offer an eclectic mix of styles.

Andrew wouldn’t wish to impose limitations on himself when writing, although recognises the challenges this can present when pitching to agents.

The audience were invited to ask questions which included “Does your own writing horrify you?” and a discussion on influences.

Andrew talked of not so much being horrified as being taken to places where he was not comfortable, exploring unfinished business from his personal experiences, and wondering what dark recesses certain ideas had come from! He writes using trial and error to see what works, what gets him to where he wants to be. Some characters take time before they seem real. His influences included Philip Larkin, Thomas Hardy, Shirley Jackson and Flannery O’Connor, but he felt all experiences counted – reading, films, and conversations.

Lisa questioned if she pushed herself hard enough when writing. She wishes to capture the many facets of even the most horrible people, few of whom are entirely bad. Her influences included Flannery O’Connor but she also mentioned films, songs and photographs. ‘Heresies’ started as a collection of short stories which came together. Her original plans for the book changed.

Jessie finds her stories sad more than horrific, although as time passes she sometimes wonders what she had been going through at the time to prompt such writing. Influences included David Foster Wallace and Philip Larkin, but more important was to read widely and frequently.

The evening concluded with an invitation to purchase the authors’ books and to have them signed. It was good to see so many in the audience doing just that. It was a fascinating event.

Each of these books is published by John Murray, and is available to buy now.

The tour continues…

The Loney, by Andrew Michael Hurley, is a masterfully written gothic horror which disturbs without the need for graphic detail. Set in a remote village on the north west coast of England it takes beautiful countryside, mixes it with inclement weather, and creates a dark and brooding setting. Religious extremism and the rumour of historic witchcraft stir up a cauldron of emotions as visitors cross paths with locals and grapple with belief, ritual, fear of truth, and change.

The narrator of the tale is a man named Smith. When the book opens he is middle aged, living in London, and recalling events from his childhood. His mother barely noticed him except as a conduit for her ambitions. Her elder son, Hanny, was a mute who was mentally impaired. She believed that Hanny’s problems were a test for her faith, that if she could prove herself before God then he would be cured.

From the first page this book is chilling. When the religious ferocity of the mother and her friends are introduced it becomes clear that reason is unlikely to prevail. What draws the reader in is the use of language as each scene is brought to life.

The brothers meet a drunk at a bus stop:

“Hanny and I couldn’t take our eyes off him. We gorged ourselves on his dirtiness, on his brutal, alien smell.”

Driving through what their mother considered a bad part of London:

“aproned women stood and screeched obscenities at the men stumbling out of corner pubs. It was a safari park of degradation. What a world without God looked like.”

As a child, Smith and his family spent a few days each year on a religious retreat up north with their parish priest and a handful of other parishioners. When the old priest dies these trips cease until his replacement is appointed. The group then return to the setting of this tale for what turns out to be a final time.

It is important to Smith’s mother that the habits of previous visits are maintained but the new priest struggles to meet her expectations. Her husband seems more interested in a hidden room discovered within the old house where they have always stayed than in her preparations for their son’s cure. With emotions running high they encounter locals who resent their presence, especially when the boys stumble upon their secrets.

I enjoyed the interplay between the varying beliefs, how threats and lies were deemed acceptable if they kept disciples within the fold. It is interesting to consider where the evil lies, what a blinkered mother may be willing to sacrifice to achieve her own ends. After all that had gone before, the macabre denouement was perfect.

A dark and spooky read where not everything is fully explained. As in life, revelations may be ignored if they do not fit with the desired narrative. I thoroughly enjoyed this book and recommend it.

My copy of this book was provided gratis by the publisher, John Murray.