Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Many of us have jobs. Full-time jobs, part-time jobs, weekend jobs, holiday jobs.
I’ve done my fair share of grim jobs. I’ve delivered pizza. I’ve worked in one of the busiest bars in Warrington on New Year’s Eve. I spent one bewildering day trying to sell kitchens. I sorted out an oncology department filing system at a London hospital into three piles: Living, Dead, Dying. I’ve lugged heavy firecheck doors all around a Hackney warehouse. When my dad was an Investigator for a security firm back in the late ’80s and early ’90s, I was offered the chance to spend my summers between college and university terms working as a security guard, usually on a construction site, for £2.50 an hour (thanks, Dad… why couldn’t you have been a chocolate taster, or the owner of a boutique hotel?). Invariably this would involve sitting in a Portakabin or, if I was unlucky, a car, for up to 16 hours a day, mainly ensuring that kids didn’t come to play in the piles of sand.
One summer I wrote the first draft of a novel and soaked up a very nice tan while ostensibly acting as a deterrent in serge on a patch of waste land off the M56 near Appleton. With hindsight I was lucky to have that job, even though it didn’t pay well, because it gave me huge swathes of time to write, or read, with impunity. I wanted to do nothing but be a writer, and I remember being in a froth of panic at the thought that one day I would probably end up with a proper job that stole the hours I would otherwise spend making things up.
When I did get a proper job, my fears came true and I grew so desperate to get my own fiction written that I set the alarm clock for 6am so I could get some pages down before I went into work.
Now I’ve been lucky enough to write full time for a few years. It’s likely not to be a permanent thing, but I’ll take it where I can. It’s all I really know and what I love. I imagine this cycle of writing and work will continue until I’m too decrepit to know the difference between a pen and a mug of Complan (if indeed I ever did). Essentially, I couldn’t stop writing even if I wanted to. It is as much a part of me as my heart or my backbone. I was writing before I realised you could be paid for it, and I think that is key to the kind of writer you eventually become.
Which brings me, somewhat circuitously, to the point of this post. In recent times I’ve stumbled upon (what I consider) strange behaviour among established writers, chiefly Jim Crace and Alice Munro. Both have taken the decision to retire from writing, as if it was, you know, just a normal job and not some ravening compulsion. Crace, clearly, is not what you might call a born writer. He considers writing to be something one should be paid to do and believes that once your popularity wanes, you should pack it in. In an interview in 2008 with the Guardian, Crace first broached the subject of his own retirement. An author’s lot is predicated on bitterness, according to him, resulting in “the elderly novelist who may be writing his/her best books but whose day has come and gone. S/he is no longer fashionable and can only find a marginal publisher and command a tiny advance. The book receives few reviews and is ignored by the public. Bitterness.”
Munro’s situation is all the more baffling because previously, in a Paris Review interview, she’d expressed concern at the thought of calling it a day. You get the sense, though, with Munro (who is 81 compared with Crace, in his mid-sixties), that she feels she’s written everything she wanted to write, that she is, in effect, spent. If that’s the case, then good luck to her. I hope to hell that never happens to me.
I contacted two writers I admire immensely – Ramsey Campbell and Peter Straub – both huge influences on me as I was developing, and both of an age that in other occupations would see them being handed the gold carriage clock and a goodbye handshake, yet both are still going strong.
Ramsey is as prolific as ever, perhaps even more so. Over a career that spans fifty years, he has published such genre classics as The Face that Must Die, Incarnate, Midnight Sun and The Grin of the Dark as well as hundreds of short stories. This year sees the publication of The Last Revelation of Gla’aki, which is, unless I’m mistaken, his 33rd novel.
“I can’t imagine ever retiring as a writer unless that was somehow enforced, say by an illness that left me unable to write,” Ramsey says. “Ideas – I have notebooks full of them, and some have been lying dormant for years, even decades. Now and then I have a browse of them and often discover how to develop one that failed to inspire me at the time. Not long ago I discovered that my original notes that led to my writing ‘The Companion’ forty years ago are so remote from the actual story that there’s actually a complete other tale to be had of them, and I may well get around to it. As to the future, well, they’d better leave me a pen inside the coffin in case I need to scribble a last tale or two.”
Peter Straub, arguably one of the most influential modern horror writers, is the author of Ghost Story, Shadowland, Floating Dragon and Koko. Recent books such as lost boy, lost girl and In the Night Room have garnered awards and critical acclaim. His latest novel, A Dark Matter, was described by the Guardian as ‘understated, literary horror, all the more terrifying… for what he keeps from the reader and for his brilliant psychological portraits of innocents caught up in events beyond their control and understanding. Gripping.’
“I’ve never thought for longer than a couple of seconds about retirement,” says Peter, “but Philip Roth retired this year, and if he can do it, I certainly can. I guess the real motive would arrive one day when I would have to realize that I really was not as good as once I was, and my books really did seem to be growing weaker. For long time now, writing fiction has seemed to be my most dependable way of achieving stability, contentment, inner peace. Yet now I am seventy, and writing has become more difficult, and it goes a lot more slowly. I’d like to think I might have three or four more novels in me. The presence of ideas or the lack of ideas does not trouble me, because I almost never have ‘ideas’. I spin everything out of its own materials. This is a very absorbing process. However, the certainty of embarrassing myself in public would be a powerful incentive to walk away from my desk.
“I don’t think one can think of writing in the same way one would medicine or the law, or any conventional business. It is riskier and scarier, also less tangible than most occupations. And you have to spend so much time alone. It is a very strange, small, displaced aperture through which to see and experience the world, also to explain what you find in the process. On the other hand, it is so unimaginably rich.”
Ten years ago I interviewed Christopher Priest, and at the time he said something about writing that resonated with me. He said writing was like ‘drinking water’. It was just something he did, natural and essential to his life. He could no longer stop doing it than he could stop breathing. And most writers I know feel the same way. Because how do you switch off the tap? Or is it a case of no longer answering the ‘What if?’ questions, ignoring the moments when you think: that would make a good story. Turning away from the fantasies, refusing to engage with the voices in your head – to me (at the moment) that sounds more like death than the real thing.