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BOOK REVIEW: If Women Rose Rooted by Sharon Black

Tuesday, August 08, 2017



If Women Rose Rooted: The Journey to Authenticity and Belonging – Sharon Blackie

The Blurb (from GoodReads):

'Rising high up on the heather-covered moorlands, seeping through our bogs, flowing down our streams and into our rivers and out onto the sandy strands of the rock-strewn Atlantic seaboard, are the old Celtic myths and stories … waiting to be reclaimed and re-visioned for the modern world.'

Aged 30, Sharon Blackie found herself weeping in the car park of the multinational corporation where she worked, wondering if this was what a nervous breakdown felt like. Somewhere along the line, she realised, she had lost herself - and so began her long journey back to authenticity, rootedness in place and belonging. 

In this extraordinary book of myth, memoir and modern-day mentors (from fashion designers to lawyers), Blackie faces the wasteland of Western culture, the repression of women, and the devastation of our planet. She boldly names the challenge: to reimagine women's place in the world, and to rise up, firmly rooted in our own native landscapes and the powerful Celtic stories and wisdom which sprang from them.

A haunting heroine's journey for every woman who finds inspiration and solace in the natural world.


My Thoughts:
I have never met Sharon Blackie but we are twitter friends, sharing a love of storytelling, fairy tales, mythology and psychology. Our common interests caused us to occasionally touch minds across the geography that divides us, and so I became aware of her book If Women Rose Rooted as she tweeted about it. The title is inspired by one of my favourite poems by Rainer Maria Rilke: 

If we surrendered
to earth’s intelligence
we could rise up rooted, like trees.

Instead we entangle ourselves
in knots of our own making
and struggle, lonely and confused.

So like children, we begin again...

to fall,
patiently to trust our heaviness.
Even a bird has to do that
before he can fly.

It sounded like the kind of book I would love, and so I ordered a copy and began to read as soon as it arrived.

If Women Rose Rooted is a beautiful, intelligent and unusual book. It combines a breathtakingly honest memoir about one woman’s journey towards wisdom, with tales drawn from Celtic mythology and folklore, and interviews with fascinating and inspiring women who are all working to live in harmony with the earth. Unashamedly political as well as spiritual, this is a book which celebrates the strength and power of women, and connects modern-day feminism with ancient gynocentric mythologies. 

It is also beautifully written:

‘If women remember that once upon a time we sang with the tongues of seals and flew with the wings of swans, that we forged our own paths through the dark forest while creating a community of its many inhabitants, then we will rise up rooted, like trees. And if we rise up rooted, like trees … well then, women might indeed save not only ourselves, but the world.’

I’m hoping this book will become the anthem of our generation, encouraging all women to surrender to the earth’s intelligence and rise up, rooted, like trees. 


You may also enjoy my review of Big Magic by Elizabeth Gilbert.

Please leave a comment - I love to know your thoughts!

SPOTLIGHT: Cat Weatherill, author of Barkbelly, talks about storytelling

Wednesday, August 14, 2013

I'm very excited to be welcoming Cat Weatherill, author and storyteller extraordinaire, to the blog today.

Cat Weatherill is one of Europe’s leading performance storytellers. She has been creating and telling stories to adults and children for twelve years. She is also a best selling children’s author, with books translated into ten languages.   




This is what Cat has to say:

When it comes to writing novels, being a storyteller has its advantages and its disadvantages. In this blog, I will focus purely on the positive! The benefits. How I think it has helped me. And in talking about my writing, I hope to show how you might lift your text from the page and set it dancing in your readers’ ears.

The main advantage to being a storyteller, I think, is having a very distinctive ‘voice.’ It has been formed organically, through hours and hours of live performance. It is this voice that people hear when they read my books and, because it is a storyteller’s voice, it means the books read aloud extremely well. I also have a cinematic imagination – I use words to paint pin sharp images - and I evoke atmosphere in a multi-sensory way.

I am sometimes asked whether I tell the story out loud then write it down. No, I don’t do that, but I do think visually. This is what storytelling is about – creating a string of visual images. You have an image in your head, and you send that image to your listener’s head via spoken words. The image will reform in a different way – it comes through the listener’s personal filters before it reassembles – but that is the joy of it. The uniqueness. I use the same approach to the written word. I imagine a narrative as a necklace: there are beads linked by a thread. I spend time polishing the beads so they shimmer and captivate the reader. And I bring in sounds and smells to evoke the atmosphere fully. Here is an example of a ‘bead’ from Barkbelly:


By evening, the circus was ready to open. Barkbelly left the cottage at dusk and cut through the orchard toward Farmer Gubbin’s land. A low mist was rising. The air was still and curiously charged. He walked on, his heart drumming with excitement. And when he emerged from the shadow of the trees and saw the massive Stardust Palace rising from the mist, he caught his breath and bit his lip. It was too wonderful for words. As he walked through the long grass, his legs grew damp and sticky with seeds, but he didn’t notice. He was looking at the lanterns, bright as beads, strung between the wagons. He could hear the hum of the crowd, the roar of a lion, the crack of a whip.

As he drew closer, he could smell cotton candy and hot honeyed nuts. Sausages. Soap. Woodsmoke. Tobacco smoke. Sharp, sulphurous gun smoke!

Barkbelly was lost in a joyous, bewildering chaos of colour and sensation. His fingers closed around the money in his pocket. Three precious coins that would buy a ticket into the heart of this paradise.

I also love playing with language, and think rhythmically. Sometimes I put these rhythms directly onto the page. When they are read aloud, they add vibrancy to the text and feel delightful on the tongue. It saddens me when these lovingly crafted rhythms are lost in translation, along with my alliteration. And my character names! In the Danish version of Barkbelly, he is called Traeskind, which means ‘wooden child.’ That’s just not the same! The warm, cosy humour of the word ‘belly,’ the alliteration, the image of the bark-textured belly – all lost in one translated word. Hmm! Sometimes you just have to let these things go, but it’s a shame. These are my characteristic ‘flourishes’ as a writer. My style.


Here is an example of rhythmic writing, again from Barkbelly, when pirates suddenly attack the ship he is on: 


Chaos and confusion! A bell ring, foot stomp, Flynn fly, do-or-die, panic-stricken sailor cry, chaos and confusion!

And polished alliterative language from Snowbone, when the character Blackeye is flying across the ocean by night:


Over the waves, under the moon, into the east he went. Over sailing ships that snailed across the ocean, leaving their trails behind them, silver as starlight. Over islands, secret-sleeping, scattered like cushions on the wakeful waves. Over sage whales, barnacle blue, singing sea songs older than time.

I am very fond of sound effects in my books. As a storyteller, I use them all the time because they bring a story to life. When I write a book, I add the sounds I would make as a teller, spelled out phonetically. Not only do they bring the text to life, but anyone reading the book out loud will find themselves spontaneously making the sounds too. Children love to hear grown ups making sound effects, but adults often lack the confidence to do it, thinking they will look silly. By adding them to the text, I gently overcome resistance. Here’s an example from Wild Magic:


Finn reached for an arrow, set it into his bow and let if fly: ffoooooo!

But ENOUGH about my writing! Let’s look at how you might bring a storyteller’s sparkle to your work. 


1 Make more magic
I have a comments book. At the end of every adult show, I encourage people to write in it. And the same words appear time and time again: magical... spellbinding... enchanting... captivating. This is not coincidence. I believe the job of a storyteller is to conjure magic: to create a world from a single breath and transport the listeners there, captivating them so fully, they won’t notice the time that’s passing. They will be lost; entangled in the tale.

And that is how we want our readers to be, isn’t it? Gripped! Enthralled. Fervently page turning. And yes, strong characters and great plotting play essential parts in achieving this, but I think a vividly imagined world is vitally important too. As a writer, you journey through a created world and you invite your readers to walk with you. The more ‘alive’ this landscape is to you, the more alive it will be to them. This is where magic comes in.

Set aside some time to explore your world. I find this easiest in a darkened room lit only with fairy lights. I sit in a comfortable chair, close my eyes and start picturing the world of my story. In India, storytelling is sometimes referred to as the Cinema of the Imagination, and this is what you are doing here: running a private movie of your novel’s landscape. Step into it... explore it... experience it. Allow yourself to be surprised by it.

This technique can be used for looking at a specific scene in your book. Picture the setting then bring your characters into it. Note how they move, the expressions on their faces, the power dynamics at work – how they are relating to the space and each other.

This can be an extraordinarily revealing exercise – and very powerful. Some months ago, I worked on an oral story about a very sick girl who was given a pretty dress for her birthday. I had imagined her as frail and wasted, but it wasn’t until I did this exercise that I saw she had no hair. I was shocked. How could I have overlooked something like that? As I watched the scene unfold before me, the girl’s mother tenderly slipped the red woollen dress over the thin body, and I clearly heard her whisper: ‘You’re beautiful.’ I started to cry. In that moment, it had become so real.


2 Get physical

This is taking the above one stage further – getting out of the chair and joining in. I am a very physical performer and have an acting background, so it’s often impossible for me to stay sitting down! I am driven to explore the scene physically. 

Again, this can be very revealing – sometimes in a very practical sense. You might find, for example, that it is physically impossible for your hero to do what you had him doing. 

Charles Dickens frequently acted out scenes from his books. His daughters would hear him hotly arguing with someone in the next room and rush in, only to find him alone. I seem to recall reading that he threw himself into his dramatics with such vigour, his rehearsals of the death of Nancy scene from Oliver Twist (in readiness for a live speaking tour) so badly affected his own health, he died before the tour began. 


3 Read your work aloud
If you want a book to read well aloud, you must read it aloud! Better still, get someone else to read it aloud for you. Make a note of any words or phrases they stumble over, and then change them. With children’s books, ask a child to read and listen to how they pronounce the character’s names – if they can read them at all. With Barkbelly, I was shocked to find my eight year old test reader couldn’t pronounce the name of the very first character named in the book. Page one! What a terrible impression to give: this book will be hard to read. I changed the name instantly.


4 Be playful
... with language and images. A sense of moderation must prevail, of course, or the book will become over-written and florid. A good editor will help judge if you’ve gone too far. But certainly in the first draft, which should be written for yourself (‘with the door closed’ as Stephen King wonderfully puts it) I think you should have fun. It’s easier to cut later than add later.


Well – that’s it! It’s time for me to make yet another cup of tea. I cannot write without it!


Happy writing,


Cat

Cat's author website
 
I love Cat's writing - please go on and read my reviews on Barkbelly  and Wild Magic. I also totally agree with her in regards to the importance of playfulness in writing - I wrote a blog for BOOKTOPIA about that very subject - you can read it here.  






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