A vinyl single. Photo: Getty
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BBC Radio 4's The Single Life revealed the romance of vinyl

At this rate, the self-funded seven-inch may well make a comeback.

Single Life
BBC Radio 4

To the basement of a record shop in Huddersfield where the Mancunian musician/writer Mark Hodkinson is sifting through a pile of self-funded seven-inch singles from the 1970s and 1980s and wondering what happened to the people who made them (15 January, 11.30am). Thirty thousand such records stuff the room. That’s a great deal of hope and effort. “Do you sense the work and the ambience?” Mark murmurs in awe to the shopowner. “Oh yeah,” comes the sighing reply, “but a lot of them have moved on to be solicitors and accountants – the punks anyway. The rockers don’t change, mind. They just cut their hair.”

Once the calling card of any determined band, a self-funded single showed, if nothing else, how hard you were prepared to graft. “You had to book a studio,” someone points out, “to record it. Then mix the record, then find someone to master it and oversee the mastering, then find a manufacturing place and a distribution deal and get the sleeve printed up and get it into the shops. It was a rite of passage that said we are serious.”

Yes, but it could also mostly just be done in your bedroom. A long time ago in a galaxy far, far away (1989 in Manchester), your teenage correspondent had a boyfriend who was very nice and cool. A young musician in a band with his twin brother and a school-mate, he self-funded a single that became a surprise hit at the Haçienda and the follow-up got to number three in the charts.

Standing in the crowd and watching him on Top of the Pops may have been one of the most vomitously nervous moments of my life, but something I remember happily to this day (and have discussed with him since) is the idiosyncratic, all-consuming, sweat-and-tears making of that white label: in a bedroom in south Manchester on an SH-101 vintage synth. The toing and froing to the kitchen for toast. The intricate sampling from Fatal Attraction. The borrowing of £200 from his mum to press up 1,000 records and then the driving around in a clapped-out Maestro from record shop to record shop in search of an approving seller.

The trio went on to form the successful indie rock band Doves, and so you could say that that agonised-over white label was completely transformative. Hodkinson’s documentary was concerned with somewhat sadder outcomes (bands breaking up, dreams dashed) and yet that same enabling spirit was there. Money borrowed from your mum or aunt, post-recording pizzas in crap suburban bistros, intense pride in the object when it emerged. This past week it was reported that sales of vinyl records rocketed to 9.2 million in America last year, the highest since 1991. They may be only about 4 per cent of all albums sold, but increasingly records are kept as objects, collected. A little more romantic than a download, you know? At this rate, the self-funded seven-inch may well make a comeback. 

Antonia Quirke is an author and journalist. She is a presenter on The Film Programme and Pick of the Week (Radio 4) and Film 2015 and The One Show (BBC 1). She writes a column on radio for the New Statesman.

This article first appeared in the 16 January 2015 issue of the New Statesman, The Jihadis Among Us

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Yiyun Li: Can reading help you conquer depression?

In her memoir of depression and reading, Yiyun Li speaks to all those with unquiet minds.

Most sufferers of severe depression will tell you that the condition is incommunicable: it cannot be expressed, except through metaphors, and then those, too, are pitifully inadequate. How does one talk about a great, centrifugal force that spins the self away to fragments, or towards annihilation, leaving no stable, immutable self to write about?

Dear Friend, from My Life I Write to You in Your Life (the title is a quotation from a letter by Katherine Mansfield) is a memoir of depression and reading, and the first work of non-fiction by the acclaimed Chinese-American writer Yiyun Li, whose books include the prize-winning debut collection A Thousand Years of Good Prayers and The Vagrants, her astonishing and bleak first novel. In Dear Friend, she grapples with the question that lies at the heart of books as diverse as William Styron’s Darkness Visible and Andrew Solomon’s Noonday Demon, but from the outset Li swerves away: she never once mentions depression by name, talking instead about “a difficult time”, or her mind being in “poor shape”, and about “this emptiness in me”.

A severe reluctance to talk about herself has led her to devise a way of writing about emotions in a forensically intellectual manner, subjecting each feeling to the rigours of close reading and an investigation-by-argument not a million miles from the practice of philosophers. In fact, the first chapter of the book is divided into 24 short subsections, of anything between four lines and just over a page: a collection of thoughts, observations, memories, aphoristic distillations, even propositions.

This sets the formal template for what follows: the titles of the subsequent chapters lead one to expect thematic unity, but the greater coherence comes from Li’s overarching project in Dear Friend of thinking about time. She starts out with the notion that the book “would be a way to test – to assay – thoughts about time. There was even a vision of an after, when my confusions would be sorted out.” To talk of a “before” and “after” is to acknowledge an intervening present; all posit an experience unfolding in time. But right from the start she is acutely conscious of a self-defeating task: “To assay one’s ideas about time while time remains unsettled and elusive feels futile.”

This compulsive argumentation and dissection of feelings into ever finer strands can produce the occasionally cloudy culmination, usually aphoristic or epigrammatic in style, almost always paradoxical. Even context fails to illuminate fully, for example, these sentences on Elizabeth Bowen: “‘The moment one is sad one is ordinary,’ she [Bowen] wrote. But that is not enough. The moment one feels anything one feels fatal.” Or: “To say nothing matters is to admit that everything matters.” Li’s emotions are thoughts, a pre-emptive mechanism to salvage a frangible self; perhaps this is the only way one can talk about an illness that eats the very faculty that produces thought. “As a body suffers from an auto-immune disease,” she writes, “my mind targets every feeling and thought it creates.”

Slowly, a bare-bones biographical narrative emerges: an immature, unstable monster of a mother; a quiet, fatalistic and long-suffering father; episodes from a childhood in China; a career in science cast aside for writing; two stays in hospital for serious depressive episodes (we find out their exact nature only in the afterword).

But, other than the self-consuming mind, the one constant running through this ­deliberately fractured memoir, like a flowing stream whose noise is always present, sometimes near, sometimes far, is the theme of reading. Here, too, Li is original in her approach, in describing how writers speak to her unquiet mind or to the darkness at her core. Take her love of biography or writers’ correspondence. She tells us that it springs from “the need – the neediness – to find shelter from one’s uncertain self in other lives”. It is heart-rending to read that she finds her “real context” in books: “. . . all that could not be solved in my life was merely a trifle as long as I kept it at a distance. Between that suspended life and myself were these dead people and imagined characters. One could spend one’s days among them as a child arranges a circle of stuffed animals when the darkness of night closes in.”

Li is a writer who has made her name in the lyrical-realist school, producing pellucidly moving works that enrich our understanding of psychological interiority and affect, so it is not surprising to note her admiration and love for Turgenev and Chekhov, Mansfield, John McGahern, William Trevor, Stefan Zweig, Bowen. More unpredictable, at least when these first occur, are the names of Marianne Moore, Graham Greene and Philip Larkin; the Moore and Larkin connections with her life are particularly unexpected when they unfurl.

There is a beautiful and profound chapter on renouncing her mother tongue – even though Li never wrote in Chinese – and the decision to adopt English. She gives the ­penultimate chapter of her book, fittingly, to the writer who has mattered to her most: Trevor, a writer she “aspired to be”, “to see as he does”. At the end of her assay there is a sense of endurance; this book is “an experiment in establishing a truce with what cannot be changed”, a terribly beautiful gift to the reader, who will always remain locked in her own life as the author is in hers.

Neel Mukherjee’s most recent novel is “The Lives of Others” (Vintage)

Neel Mukherjee is an Indian writer writing in English. His book The Lives of Others was shortlisted for the 2014 Man Booker Prize and he reviews fiction for the New Statesman. 

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit