Elegy in a Macau Graveyard

Cemeteries are strange things, or rather it is our reaction to them that is often contradictory. The graveyard of an English country church nestled in the heart of the countryside can be a beautiful place, on the other hand I live in a converted church which we would never have bought if the graveyard was part of the garden. Thankfully it is over the road and out of sight. In Hong Kong apartments are cheaper if they overlook a cemetery, while traditional hillside graves are often in the most beautiful locations.

Some have become tourist attractions based on who is interred there. Highgate in London or Père Lachaise in Paris are, of course, the most well-known depending on whether your interest is in radical politics or 1960s music, but the one that speaks the most to me is the Old Protestant Cemetery in Macau. A quiet, peaceful gem in the middle of the city and which started a writing project that for me has become enormously fulfilling.

Old Protestant Cemetery

Old Protestant Cemetery, Macau

The cemetery was founded in 1821 to provide a protestant burial ground in Catholic Macau. Next to the cemetery is Casa Garden, a salmon-pink and white building that was the East India Company’s base when Macau was the centre of its China business.

Casa Garden

Casa Garden

A later addition was the plain, simple white-walled Morrison Chapel.

Morrison Chapel

Morrison Chapel

The result is a haven of peace where the graves and memorials stand in the shade of frangipani trees. Most of those who were buried there were British, American and Dutch sailors and missionaries, but also their families and some of the most tragic are the infants such as Charlotte M Livingstone who died in 1858 aged 5 months and 10 days, and the even younger Charles Hodge who died in 1857 aged 2 months and 6 days. Of course there was nothing unusual in infant death in those days, but there’s something particularly heart-breaking when it occurs so far from home.

At the other end of the scale from small stones to the memory of children are the large, grand memorials such as that to Lord Henry John Spencer Churchill.

The cemetery closed in 1858, by which time most British and Americans had moved to Hong Kong, and gradually fell into disrepair. It wasn’t until the 1950s and 60s that the cemetery was restored and documented primarily through the efforts of the University of Hong Kong Vice-Chancellor Sir Lindsay Ride and his wife Mary. Their book “An East India Company Cemetery” is a testament to their love of the place and to the work they put into bringing the cemetery back to life (as it were). It’s well worth reading if you can get hold of a copy. Lindsay Ride’s own ashes were interred there in 1977.

At a personal level it was thoughts of the cemetery that set me on the course of writing about Macau and realising just how many stories there were to be told about this remarkable city. I am really excited that the fruits of this obsession will be available for all to see in August when Fly on the Wall Press (https://www.flyonthewallpoetry.co.uk/) publish my first short story collection “The Goddess of Macau”. Until then, you can still read my first Macau story (“Sacred to the Memory”), which was directly inspired by the cemetery and this grave stone in particular,  https://www.litro.co.uk/2015/04/sacred-to-the-memory/.

George Duncan

On Bruckner, Writing, and Self-Confidence

I never expected there to be a connection between the music of Anton Bruckner and my writing, but somehow the two have come together in the last few days.

I hated Bruckner in my youth, but in my mid-years he has become more and more important to me. I might even go as far as to say that he is a composer I really couldn’t live without. But this isn’t going to be about his music, wonderful though it is, but about artistic self-confidence – something he famously lacked.

In addition to the canon of nine symphonies that I love, there are two others that until recently I hadn’t heard at all. Bizarrely, they are known as the Symphony No.00 and Symphony No.0. The “00” is a student work – though Bruckner was such a late-starter that in this case “student” means 39 years old, which is another story – it’s enjoyable and interesting for Bruckner lovers, but it’s the background to the “0” that struck a chord with me (pun intended).

It should really have been his second symphony, completed in its final form after his first, but he was so disheartened by a single negative comment from the conductor Otto Dessoff that he withdrew the symphony completely. Bruckner scratched out the “No.2” in the score replacing it with the German “annulirt”, cancelled. These days it’s known as the “Nullte” – the Zero.

Bruckner was so lacking in self-confidence, so doubtful of his own talent, that all it took was one negative comment. Just one comment, that was enough. But he never destroyed the score and the symphony was finally played in 1924. And it’s terrific music, not perhaps in the same league as his later mature symphonies but well worth playing and hearing.

So, what has this to do with my writing? Well, the day after failing to win a competition I had high hopes with, it’s a reminder that critics and judges are not always right, and that to have belief in your own writing is one of the most important things any writer (or artist) must have.

I don’t want any of my stories to be published decades after my death under the title “The Cancelled Stories”.

The Value of Persistence (or Taking the Hint)

It is such a cliché: If at first you don’t succeed… We’ve all been given the same advice – don’t give up, keep trying, persevere, and so on. Easy to say when you’re the one giving the advice, not so easy when you’re on the receiving end of repeated rejections.

Twice I entered the Ilkley Literature Festival Short Story Competition and was excited to be short-listed only to have my hopes dashed with not so much as a Highly Commended. How could the judge be so blind to my obvious talents? So, come 2017 and I am in two minds – do I either give it one last go or abandon my efforts completely? Well, you can guess the answer, I don’t just give it a go, I decide to go in all guns blazing and enter three stories, taking the view that the more tickets you buy the better your chances of winning the lottery. And I did, sort of anyway. Two of the three were short-listed, and one of those two pieces (though not the one that I liked the most!) ended up with third prize.

So I was thrilled right? Perhaps. A bit. But then the nagging doubts crept in again. Third-place? After all that effort is that the best I can do? And if it is, then what’s the point of continuing? Another rejection came in for a project I’d worked very hard on. Perhaps I’ve reached the summit of my ability, I’m not going to go any further and I’d be better off spending my time watching daytime TV. I don’t know, I’m still in the same two minds. I can hear my father’s voice telling me not to be so stupid and to keep trying, but taking the hint from multiple rejections is very tempting.

Avoiding ossification

A first post in my new blog. Sometimes I will be talking about music, sometimes writing, sometimes…who knows? This one though is definitely music.

This year’s Huddersfield Contemporary Music Festival has just come to an end. The 39th Festival no less. I first went to HCMF back in the mid-1980s when it was run by Richard Steinitz. One year there was a memorable visit by John Cage, another time a young John Adams. The likes of Xenakis, Berio and Birtwistle featured prominently, and I remember showing Arne Nordheim the way to the Town Hall one night when he was lost. Composers who I think of as being absolute masters of the late twentieth century. Then in 1993 I moved abroad not to return until 2010 and when I started going back to Huddersfield I found that it had changed. Or at least so it seemed.

Instead of the Big Names of contemporary music, composers likely to be featured by the BBC at the Proms for example, there was more of an emphasis on the extreme fringes of the avant-garde. Composers I had never even heard of such as Rebecca Saunders and Georg Friedrich Haas. Music that often lived in the space where contemporary classical music (for want of a better term) met experimental jazz and improvisation. And I have to admit that at first I was disappointed: Where were the heroes of my youth? And then, even more alarmingly, I started to worry that as I was growing older my tastes were starting to ossify. Although my wife thinks that I listen to “strange music”, it seemed to me that too many of the concerts were too strange even for me.

So, realising that perhaps the fault lay with me and not the music, I went to a lunchtime concert featuring the Australian group Elision and composers I didn’t know, and where I was (almost literally – it was very loud) blown away by Aaron Cassidy’s The wreck of former boundaries for 2 trumpets with clarinet, saxophone, trombone, contrabass, lap-steel guitar and multi-channel electronics. A composer who I had never heard of writing music of visceral power, played with stunning virtuosity by the two solo trumpets. Highly dissonant, and yet the spirit of free jazz (Ornette Coleman an influence on the music) never seemed too far away.

In short it was wonderful (as was Rebecca Saunders’ Skin in another concert) and it reminded me of the importance of taking a chance on things, and keeping open ears and an open mind. No matter how old you are.