I’ve completed the first draft of my new novel and I feel drained. There’s been no huge rush to it, no deadline, it’s not even under contract, but it’s left me completely drained, more than the ones that have gone before it.
Why, I wondered last night? What was so different about this? It had been very hard to write in parts, quite emotional, and trying to convey what my characters were thinking without going over the top was a challenge. That was part of it, certainly. But more than that, it’s a book that’s taken me into some very dark places inside myself and forced me to explore them. I’m told that my novels are quite dark, although I’m not sure I’ve always seen it. This time, however, I wanted to look into the shadows, and it appears I’ve succeeded. That’s not necessarily a bad thing. There can be plenty of truth in those places. And without truth there’s no point to a novel.
Now I’ve put the book aside for a month. There are plenty of things that need to be changed in it, and small additions, changes to language, and all the other things a revision does. I’ll have a better idea of how well it all works when I read it through. For now, my brain is pretty much on empty. And I’m glad.
Monday, 23 April 2012
Monday, 9 April 2012
Mônica da Silva
Mônica da Silva
Brasilissima
Socialite Fiasco Music
Mônica da Silva’s second outing (which actually dates from 2010 but is still well worth covering) showcases not only her Brazilian roots and MPB sensibilities, but also her life in America. She’s a luscious, sensual singer, whether in English of Portuguese, but much of the credit here goes to partner Chad Alger, who shares in the compositions, and whose guitar is the underpinning to much of the music. Yes, there’s bossa and samba here, with some wonderful warmth (witness “Canta Coração”), and the mood can also become soft and languid. Made by the duo with just a smattering of guests, there’s some excellent rhythm programming. It’s a disc that connects the north and south of the Americas; Alger has a feel for Brazil, but there’s also a mildly indie sensibility lurking in there, while da Silva herself is close to her roots but still influenced by modern – and classic – pop. “Somewhere,” for instance, could easily have wandered off a vintage Stevie Wonder album, with its driving clavinet, and much of the production reflects. As a singer she’s more Maria Bethânia than Daniela Mercury, but still capable of a wild edge. All together, it makes for a very satisfying disc, with the hope that there’ll be more soon.
Brasilissima
Socialite Fiasco Music
Mônica da Silva’s second outing (which actually dates from 2010 but is still well worth covering) showcases not only her Brazilian roots and MPB sensibilities, but also her life in America. She’s a luscious, sensual singer, whether in English of Portuguese, but much of the credit here goes to partner Chad Alger, who shares in the compositions, and whose guitar is the underpinning to much of the music. Yes, there’s bossa and samba here, with some wonderful warmth (witness “Canta Coração”), and the mood can also become soft and languid. Made by the duo with just a smattering of guests, there’s some excellent rhythm programming. It’s a disc that connects the north and south of the Americas; Alger has a feel for Brazil, but there’s also a mildly indie sensibility lurking in there, while da Silva herself is close to her roots but still influenced by modern – and classic – pop. “Somewhere,” for instance, could easily have wandered off a vintage Stevie Wonder album, with its driving clavinet, and much of the production reflects. As a singer she’s more Maria Bethânia than Daniela Mercury, but still capable of a wild edge. All together, it makes for a very satisfying disc, with the hope that there’ll be more soon.
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