Soup Of The Day: With Author Jack Wolf
Hello! Mrs Albert Baker here, otherwise known as The Last Witch Of Pendle. Obviously there is no Pendle any more, since The Chronic Agronauts utterly destroyed it with treacle and sprats, but I’ve set myself up quite nicely here in Lancaster, running this little soup kitchen for the street urchins. There certainly are a lot of them and I’m always looking for helping hands to cook up and serve something delicious!
Good morning to you Jack! Thank you so much for coming to help me in my soup kitchen today, may I take your coat and hat? It is certainly very frosty out there today but the fire here in the bakery is lovely and warm. How was your journey here from your own dimension?
Not too bad – the skies were fairly clear and the traffic was ok.
I’m very glad to hear that! This cold snap seems to have the Skyway Men clinging to their fires which is a mercy! And have you brought some soup with you today to share with the orphans?
I make something called Bungitin Vegan soup, which is basically a load of chopped veg – 1 onions, 2 carrots, 1 tin’s worth of tomatoes, 1 pepper, half to a whole tin’s worth of chick peas and/or other legumes, and anything else I can find in the kitchen fridge – 1-2 courgettes are good. Add at least one clove of garlic or a teaspoon of garlic paste – this is really important – and a mix of herbs and spices to taste. The italian herbs are good for this, so oregano, basil and sometimes a little black pepper. I don’t usually add salt, but you can, if you want. To cook, brown the onions and begin to soften the carrots by stir-frying in vegetable or sunflower oil for about 4-5 mins, then add everything else and about 3/4 pint of vegetable stock, and let it all simmer until everything is soft and it tastes really rich. Don’t let it burn or get too dense, as this can make the flavour too strong – you have to keep tasting it.
Oh vegan soup recipes are always here, what with the dairy rationing and such, thankyou very much! Now while that is simmering away nicely, why don’t you have a seat here by the fire and tell us about your book The Tale Of Raw Head and Bloody Bones, and its main character Tristan Hart? I see you have brought a copy with you to show the orphans..
The cover art is stunning! I confess to very much enjoying the book myself, not least because of the cunning use of magic, folk lore and the world of faerie to support the narrative – tell me, have you always had an interest in the relationship between our own everyday ‘stories,’ and the magical and mythological frameworks we use to make sense of our ‘real world’ experiences?
I’ve been drawn to faerie tales, and faeries in general, for a long time. I’m also fascinated by human psychology, and the idea that humans create our own conceptual worlds out of the stories – and I use that word extremely broadly – that we tell ourselves. To an extent, the ‘real world’ of our experience is something we invent – a story we tell ourselves every moment of every day.
And the story of Raw Head, that is a real British folk tale isn’t it?
Yes and no. It’s a recorded folk belief, but I haven’t found any complete tales concerning it – with a beginning middle and end, and so on. It’s likely that the original RH&BB is more a general bogeyman than a character, in the way that, say, the Wolf in the Three Little Pigs is a character. I think he was a personification of the threat of drowning in a culture where only a tiny minority of people knew how to swim, and nobody knew how to perform cpr on a drowning victim. The idea was, I think, that the fear of RH&BB would keep the kids away from the waterways in a way that a simple explanation of the danger would not. References to the figure seem to peter out in the UK after the 18thC, so I guess superstitions moved on.
But oddly enough, in the US the image seems to have persisted, and mutated – there’s a legend in the Ozarks of RH&BB where a creature by that name appears as a monstrous pig. It may be co-incidental, of course. But I drew on this alternate image a little bit as well in the novel; Tristan’s dread of Joseph Cox becomes focused on the fact that Cox works as a pig-keeper.
Ah yes! I didn’t recognise that wonderful little twist but that certainly makes sense! I had also thought it reminded me of the La Lorona mythos and more localised ‘Maggie O Th’Well’ tales. Tell me, what particularly drew you to use that tale as the focal point for Tristan’s story?
I’m fascinated by bogeymen, and the idea that one of the tools we use to keep ourselves safe is actually terror. But the name “RH&BB” is also a wonderful metaphor for what a human being is – mind and body brought together in this messy, contradictory way – and trying to make sense of that conundrum is Tristan’s most prevailing obsession.
Raw Head is by no means the only myth you reference in the book, what other prominent faerie figures feature in the narrative?
Well, I also draw heavily on the idea of the Glanconer – the Irish Faerie seducer – or as we might now acknowledge, rapist. He’s the dark Faerie who lies at the bottom of the myth of the Elf Knight, or as I call him in the book, the Goblin Knight. In numerous folk songs such as The Outlandish Knight and Steeleye Span’s The Elf Knight (which was the first place I encountered him) he is a seducer and murderer of young women who lures them to their doom sometimes by drowning, like RH&BB, or more simply by stabbing or strangling them. But of course as a Faerie Knight he’s also part of the court of the Faerie Queen, so she had to come into the book as well – and the image I’ve used to represent her is that of the shapeshifting barn owl. I’ve called her Viviane, of course, which is a nod to the Arthurian tradition.
Of course, and very nicely done indeed! Now, in some modern / mythpunk re-workings, the world these tales and archetypes belong to is something that is a step removed from the protagonist’s reality but in your book the world of faerie doesn’t just run alongside Tristan’s human world does it?
Well, I don’t see the worlds as being separate in the way that a lot of modern fantasy does. I’m much more drawn to the Alan Garner or Susan Cooper school of world building in which the two realms are in constant communication with each other. It’s much closer to the way I experience the world, as well.
Well, I for one can certainly identify with that, Dear! I very much liked the way that, by giving each of the main characters both a human identity and, simultaneously, a faerie-self, you seemed to re-imagine (or perhaps ‘release’) some of those ancient beings in a way that made encountering them a very fresh, real and emotive experience.
Do you think that it is important to keep exploring these tales and releasing these characters into the collective consciousness?
Yes. I think it’s vital, actually. In the last couple of hundred years, we have built an industrial society that demands that we deliberately reject older, deeper ways of thinking, and more intuitive ways of experiencing ourselves and the world around us, in order to be considered full, ‘rational’ individuals. It’s a form of madness, I think – cutting off a very ancient, nourishing, and protective part of the psyche. We need to find stories that allow us to reconnect with who we really are as a species. I think faerie stories do have the capacity to do this.
I certainly think you are right on that point!
The book is set at an important liminal moment in British history – revolutions in the worlds of medical science and industrial technology are bringing a ‘great awakening’ of so called rational thought, but at that same time, aspects of the collective consciousness seem still to be slumbering in the ‘dream world’ of spiritual / magical understanding and superstition. Did you deliberately choose this time period as one that would reflect the turmoil within Tristan and some of the other key characters?
Absolutely. The period stands exactly on the cusp of the modern world – and Tristan, in particular, is a character who represents – even embodies – the confusing contradictions inherent in that historical moment.
The character Katherine Montague uses the story of Raw Head And Bloody Bones to communicate and cope with her traumatic life experiences and Tristan uses it to understand and make sense of his own fragmented reality… do you think that, to some degree, we are all prone to using the language of faerie / magic to feel secure and form an understanding of our often confusing or frightening world?
I think there is a human tendency to perceive the world through stories – and as I said above, I think that, right now, we need better ones than we currently have. It is a form of magical thinking, in a way – constructing one’s own reality through images, words and ideas. But we don’t all draw on the language of faerie to do this: we all construct our own stories out of whatever conceptual material we have to hand. In Katherine’s case, this happens to be the language of faerie tales: the abused girl, the wicked mother, the stolen child, etc are all common tropes in the folk-awareness of her time. A modern character in her situation would most probably use different stories to try to make some sense out of the dreadful things that have happened to her, and around her. But a modern character would hopefully have more psychological support… Katherine literally can’t speak about what she has gone through unless she displaces it onto a faerie tale – which both enacts and subverts another faerie trope, the magical silence. For her, magical thinking really is a survival mechanism.
For Tristan the situation’s slightly different, because the whole thing goes so much farther – for him, the worlds of faerie, story and rationality collide in a way that is quite traumatic in itself. He may be using the story, but there is also a sense in which he is also being used – and abused – by it.
While this ‘magical toolkit’ for understanding the world may be useful to the individual utilising it, it can lead to fear, suspicion and ultimately persecution of individuals who are seen as liminal themselves – the ‘outsiders’ if you will, whose lifestyle or beliefs set them apart as ‘abnormal’ can’t it?
We still don’t live in a particularly tolerant society – even though in many ways it is, of course, much more accepting than it was in Tristan’s time. But it’s true that standing out from the crowd in ways that the crowd don’t understand, or even fear can bring about terrible persecution – I’m thinking of Sophie Lancaster’s murder here, but there are other examples.
When it comes to holding a magical or otherwise ‘fringe’ understanding of the world in some way, I have found that intolerance has tended to manifest as ridicule, rather than fear or violence. I am a panpsychist, for example (a highly unusual position here, but actually one that was most likely the norm throughout most of human pre-history, and which is still common in certain non-westernised societies), and most educated Westerners simply cannot grasp the principles behind it. So they mischaracterise and then dismiss it. The author Emma Restall Orr went through exactly this experience years ago on BBC Radio 4 with Michael Gove. She responded by writing The Wakeful World, which is a fairly decent introduction to the concept, I think.
Viviane, for example, is a character whose ‘otherness’ allows Tristan to see her as quite unreal and therefore excuse and ‘explain’ his misconduct towards her using the framework of faerie mythology. This use of faerie / magical lore against women (and often, as you highlight marvellously in the book, against Rromani women) is a very real phenomenon isn’t it?
It was very much a problem in the 18thC, where it did become, in addition to other things, a cloak for racism against the Romani (not that the concepts of racism, or even sexism, existed then). It’s less obvious now, and here, of course – that’s thanks to the Enlightenment convincing the populace that magic is not real – but it still endures verbally in slurs – “Witch” etc – and in cultural assumptions about the overwhelming sexual allure of women’s bodies. “She put a spell on me, your honour” isn’t really that far from “she was wearing a short skirt,” in my estimation. Both rely on the belief that a female body – a woman in a body – somehow exudes some sort of mystical aura that overcomes a man’s ability to control himself, and provides him with the excuse to, as you say, explain away his misconduct.
But Tristan isn’t deliberately demonising Viviane in order to take advantage of her, is he? He is genuinely grasping at the threads of, what for him is, a confusing multilayered reality and this manifests to those around him as a form of madness – demonising him, in turn.
Yes, Tristan is completely oblivious to the cultural programming that’s going on beneath the surface; and he’s certainly not demonising Viviane on purpose. As far as he becomes concerned, she is wholly the Faerie woman of his dreams and nightmares – if she ever had a real, human self, he can’t acknowledge that.
Again, the demonization of those ‘outsiders’ who come to be labelled ‘mad’ is something that has always been a frighteningly real occurrence hasn’t it?
Yes, it has – and it is still going on today. When I was writing Tristan I was very conscious of the stereotyping that leads to people with severe schizophrenia, or similar disorders, becoming objects of fear. People have been taught to expect the mad to behave like monsters. It’s dehumanising – demonising. if you like. it’s also statistically untrue.
Perhaps especially unsettling is the fact that what is termed ‘madness’ to one particular culture or at one point in history, can later come to be understood as a natural phenomenon – the hormonal surges of menstruating or pregnant women, for example, and those whose sexuality is anything other than heterosexual…
Absolutely – the boundaries of what is considered ‘sanity’ are shifting all the time. I really do believe that in a couple of hundred years – assuming any humans are still left by then – a lot of the beliefs and habits we hold to now will be seen as dangerously crazy. I don’t, of course, know which ones these will be. I have my hopes, but I don’t see history as an inevitable march of “progress”, either technologically or culturally, so it may be that some very dark definitions of sanity/insanity will come to dominate. Hopefully we won’t go back to a time when women were locked up for being disobedient, but it could happen.
I suppose it all comes down to who has the cultural upper hand at the end of the day? Here in Ire, for example, a person is considered dangerous and ‘mad’ if they crave a cup of tea or a slice of cake!
Now, you see, I think anyone who doesn’t drink tea or like cake must be completely crazy.
Power is certainly a theme that you explore rigorously in the book isn’t it? – The power we may have over the people, animals and natural world around us, the power others may have over us and that which we have over ourselves, our actions and our perceptions…
Yes, it’s one of the major themes of the novel. It’s connected with the idea of disconnection and displacement – that the less integrated we are as beings with each other and the natural world, the more our relationships become aligned along power lines: power over, rather than power with. Katherine’s and Tristan’s relationship is really an example of mutual power in flux, rather than power over, on either side, although it may not look like that superficially. The dynamic between them is nothing like, for instance, Jane and Barnaby’s marriage, or the sibling relationship between Tristan’s father and his sister.
The power that women have over their own bodies is something that you explore in a number of ways through the different female characters in the story, is this something you feel strongly about?
I’m very passionate, actually, about the right of a woman to inhabit and control her own body. It is still a shocking truth of our society that women aren’t always accorded physical autonomy – look at the abortion debate, for example.
Looking at the #metoo phenomenon in your own dimension recently, it seems as though we are still very much in need of stories which explore this issue?
Very much so. We need, as a culture, to reclaim and then rewrite the ballad of the Elf Knight. I think we actually are trying to do something like that, in this historical moment, at least. I was delighted to read that in the latest production of Carmen, in Italy, Carmen shoots Don Jose, not the other way round – and there’s also that new prize for Crime Fiction that doesn’t focus on dead female bodies. There are other stories that can be told. When I started writing RH&BB, several of my early readers imagined Tristan was going to kill Katherine. Er, hardly! But that tells me how deeply embedded some of these unhealthy cultural assumptions about what love is, and what women can and should expect from men who love them, actually are. I was writing against those expectations then, and I will continue to write against them.
Such important subjects but oh my goodness! I do ramble on don’t I? I must apologise, the kettle has long been singing at us and I haven’t offered you a cup of tea! What is your poison, dear, and how do you take it?
Builders’, soya milk, no sugar. Thanks!
Here you are. Now then, moving away from The Tale Of Raw Head And Bloody Bones for a moment, what can you tell me about your own involvement in the world of faerie and the enigmatic character of Lord Crow?
That’s an interesting question. Of course, being bound by the laws of Faerie, I can’t tell you very much! But I suppose in one way Lord Crow is an idea; in another he’s a being-in-himself. I want to explore the possibility of writing from the point of view of the non-human, and he is my voice and my persona when I do that. I guess there are similarities here with the faerie co-walker, who is a figure I’ve come across occasionally in various modern “guide to faerie” books – though to be honest, I don’t tend to read those sorts of books. The older stories speak to me much more clearly – and also, there’s a tendancy in more modern writings to try to group faeries into species, or even races – which is a hangover from the Victorian obsession with scientific classification. The faeries I know – so to speak – would wet themselves at the thought that any human being should be able to classify them into any sorts of types – especially along such spurious lines as ‘light’ and ‘dark’. They would also probably explode at the notion that they should show any real interest in helping human beings. Faeries are wild. Humans, on the whole, are not. Faerie, as I understand it – in a modern sense, moving away from some of the ways it has been perceived historically as a concept, place, or whatever – has its essence in the flow of energy through complex systems – it can’t be fixed into any stable form. The best way I have found to get to know it is to get to know the natural world, and really fall in love with that – truly, madly, deeply, without reservation, fear, or any desire for power-over it.
I think Lord Crow is quite unlike me, personality wise, though other people disagree. He’s wilder, darker, cleverer, less forgiving, and much less patient. Given the current state of our relationship to the natural world, I don’t find this in any way surprising.
‘Re-wilding’ is an important concept that is, happily, growing in popularity as regards our physical relationship with the land isn’t it?
Yes; it’s a wonderful development, but it has a long way to go. I’m hoping that it represents the beginning of a tectonic shift in the terms of that relationship towards integration and respect and away from exploitation and power-over. It’s great that people here are slowly becoming accepting of the idea that we should live alongside beavers and – to an extent – wild boar, but I also want to see lynx in every suitable habitat across the UK, and I think some research should be done into reintroducing the wolf in Scotland, to balance the red deer population and give the Caledonian forest regrowth a fighting chance. (And besides: wolves! Wow!) Just as importantly, I want to see a new ‘wilding’ of cities. Bath, where I live, is an ideal habitat for peregrine falcons, because of the many urban pigeons. It’s also a breeding site for herring gulls, which are now in serious decline. People love the peregrines and loathe the gulls. I want to see the gulls welcomed alongside the more charismatic falcons. Urban foxes, too. For one thing, more foxes can mean fewer urban rats; and it’s not so hard for the city to provide fox and gull-proof bins. For another, there’s a moral case, I think, for opening up cities to creatures that can safely live alongside us.
Humans are a bloody invasive species. They need to learn to share.
That’s Lord Crow, now, interrupting. I knew once he heard the conversation he’d be unable to resist joining in with it.
And a very warm welcome to you Sir!
All right, Crow.
Do you think that it also concerns our spiritual or psychological relationship with the land as well?
I don’t think one is achievable without the other. If we don’t change our overall attitude toward the land, then we will never effect meaningful changes in our behaviour. This whole “man must overcome nature” narrative has got to change.
Or it will be changed.
Is that a warning, Crow?
Just an observation.
Well thank you so much, both of you, for coming to help out in the soup kitchen today, Jack, it’s been wonderful to chat with you!
I know you are probably eager to be off and explore our wonderful Lancastrian Frost Fair that is just coming to an end at the moment but, before we start dishing up this wonderful-smelling soup, would you like to tell us about any of your current projects and where we can find more of your marvellous work?
I’ve got several projects on the go at the moment. I’m working on something with Lord Crow, of course, but obviously I can’t say too much about that, especially now he’s sitting in the kitchen with us. Faerie law. We’ll see what develops. I’ve also finished my second novel, which is currently looking for a publisher. I’m actually quite strongly drawn to the idea of putting it out via Unbound, as I like the idea of having full editorial control over my own work, and Unbound looks like exactly the sort of model I think both writers and readers want and need – grassroots, down to earth, writer and reader-centred publishing, which doesn’t have to pander to the rather limited tastes of the big London houses. But again, we’ll see what happens. Watch this space!
We certainly will! And I hope that you will come back and talk to us about your marvellous work again soon. Well now, I must say that soup really does smell delicious. I think it must be about ready and the little urchins are starting to get fidgety so shall we start serving it up?
It’s been lovely to visit! Thank you for the conversation, tea and cake!
And thankyou to you all for joining us in the soup kitchen today! If you would like to read more of Jack’s wonderful works and keep up to date with his new releases, do visit his website and blog at: https://jackwolfauthor.wordpress.com/
This entry was posted on February 14, 2018 by Penny Blake. It was filed under Soup of the day, Uncategorized and was tagged with authors, Faerie, faeries, fairy takles, feminism, fiction, gothic, Gypsy, historical fiction, history, interviews, mental health, Pagan, pain, Panpsychic, psychology, religion, Romani, soup, Spirituality, witches, women, writers, writing.