How do we know what’s true?

When you’re not writing for publication there’s a lot you don’t have to worry about, like mainly the expectations and the tastes of others, and the need to always be better than your last novel. Because you’re just bound to fail eventually, aren’t you? Plus, since it’s as likely my work will be forgotten a hundred years from now as that of any other non-A list author, it’s really not worth putting yourself through it, is it?

WordPress will have been bought out by then, transformed and subsumed into whatever passes for the Internet in 2120, and the self-conscious writings of millions of bloggers will have rotted into the sedimentary layers of obsolescence. Ditto Smashwords and that veritable sea of self-published novels that were all going to make their authors a mint, but never did.

By then historians will be researching the great pandemic of 2020 using as source material the archives of a fawning press, and the evasive, rose-tinted, self-aggrandising memoirs of politicians. Meanwhile, the truth is buried here, at least as people genuinely saw it, along with – and indistinguishable of course – from all the lies, and the spin and the barking madness.

So how do we know what’s true?

When you write as I do, you’re writing primarily for yourself. It is both a cathartic experience, and an exploration of how and why we think the way we do. Our opus is then a map of personal development, charting our footsteps through a world of ideas, in search of originality. It’s about reaching that stage when we can write something genuine from our experience of life, and believe in it. That doesn’t make it important of course, or even universally true. It is only the truth, as we see it, but “as we see it”, is the best any of us have to go on.

I hit my messianic years early, woke up from childhood as an angry young man to a world that seemed bent out of shape. I wanted to straighten it more into an image of my own liking. I think we all go through this phase. The rest of life is about coming to terms with the fact it doesn’t matter how much we shake our fist at it, the world is what it is. And what it is is a mish-mash of events that seem out of control. More than that, the world makes demands upon us that are inconvenient to say the least. We’d much sooner avoid all of that and just do whatever the hell we want.

Thereafter, sanity rests in attaining the mid-point between one’s sense of self-importance and all the inconvenient evidence to contrary. It’s about having the courage to take on the world as we find it, and find a place in it that’s the least uncomfortable for ourselves. There, in the gaps between sleeping and doing stuff we don’t want to do, and if we’re lucky, we’ll find sufficient serenity to know it doesn’t matter much either way. That is, except to say, every moment of adversity is a test of emotional resilience, that progress in life, and truth, is measured by how far you’ve left that angry young man behind.

There’s a lot we could be angry about right now. Indeed, that young man in me is in danger of getting lost in the red-mist again, so we have to maintain some perspective, scan the paragraphs for ire, and root them out, because the truth is never angry.

So we come to my work in progress, “Winter on the hill”, and the lesson that it’s dangerous to write in turbulent times, and with the expectation current affairs can be used as a passive backdrop against which our characters act out their dramas. Because these days current affairs can turn our lives on their heads. Thus, my characters suddenly find themselves scattered and social-distancing, their lives on hold and reduced to emailed dialogue, and no action. It’s inconvenient, but I have to work with it.

It’s odd how the story began with themes of fundamental freedoms, the right to roam, the rout of Leftist politics, being spied on by drones, and the dangers of authoritarianism by stealth. Then, suddenly here we are, confined to our homes, spied on by drones, policemen enquiring into our shopping habits and the necessity of our journeys. There’s also no exit strategy and the population is so terrified of dying from this bug, they don’t care. Subcutaneous RFID tagging from birth? Sure, bring it on, so long as it keeps us safe. You see the problem here? And maybe that’s where my story’s going, but I’m not sure I want to follow it because that’s a dark place. That’s a place so far from the truth it’s almost a figment of the imagination.

In the mean-time I tickle back and forth through the narrative to date, checking the characters are saying what they mean and what that means about the journey of my life. Am I looking like I’m on course for something? Am I still in the flow, or am I straining too hard in a direction that’s going to fetch me up on the rocks.

Of course, it doesn’t matter if I write or not, if I finish or not, if it means anything or not. The only one who needs to find out if there’s anything worth a damn in any of this, is me. In uncertain times, turbulent times, it highlights the fact you’ve really only yourself as a reliable reference point. So be true to yourself, and protect those around you as best you can. But watch out too for that angry young man and don’t let him catch up with you, because he’s a real trouble-maker and for all of his reforming zeal, he wouldn’t know the truth if he fell over it.