A 100 hours of solitude

An epic writing challenge in aid of promoting access to writing for everyone.

From midnight tonight until 4am on Saturday morning, I will be writing. That’s 100 hours straight, with as little sleep as possible. Wikipedia tells me that it’s possible to go 11 days without sleep – and without coffee – but I’m not approaching this as a sleep-deprivation challenge. I want to write. And I want to raise money.

In return for donations to the Arvon Foundation, I’ll write whatever you ask me to. There’s no price list – just make me an offer and suggest a theme/form. Before the clock has started ticking, I already have around 20 hours of writing lined up but I’m hoping that the requests will continue to come in and will keep me busy all the way through to the weekend.

I’ll be conducting this bizarre experiment in complete isolation at Lumb Bank, the former home of Ted Hughes which is now one of Arvon’s residential writing centres. The whole thing will be broadcast live on webcam at 100Hours.tv, where you’ll also see every keystroke I make on-screen, as I type, so you can watch your requested piece of work being written, edited, deleted and rewritten as it happens.

Everything I write this week will be released under a Creative Commons Zero licence, which means it’s completely copyright-free. You can copy and republish anything you want and you won’t even need to mention my name. So I’m really, really hoping I don’t come up with a million-dollar idea before Saturday.

But maybe I will. I’m curious to know what my brain will come up with given a cocktail of random writing prompts, a lack of sleep, several days of solitude and an audience watching my every word. It could produce genius. More likely it will produce works of variable (and degenerating) quality, descending into complete gibberish unfiltered by my conscious mind. Which should be entertaining for everyone.

And yet I suspect that the majority of people aren’t going to be so interested in what I write. For them, I expect it will turn into an exercise in writer-baiting. I believe this because Alex Heeton and Riccardo Cambiassi, the web developers who built the 100Hours.tv site free of charge, are now working on a web-enabled klaxon that will blast me whenever someone makes a donation over £50. Thanks, guys.

Obviously, this experience won’t be very comfortable for me, but I’m excited to find out how I react to these conditions. Sleep deprivation is said to cause mood swings, short temperedness and a loss of concentration – so far so routine – but longer periods go on to cause delusional behaviour, paranoia and hallucinations, which sound very interesting indeed. None of this will do any long-term damage, by the way, so don’t feel bad about sounding that klaxon and inflicting a bit more discomfort.

Because anything that makes the site more popular and encourages people to give more money is great. When I was a rather solitary teenager looking for a creative outlet, Arvon’s courses always stood out as a luxurious – and for me, unreachable – opportunity. Their residential courses were held in distant rural venues and taught by writers whose work I devoured and whose company I could only dream of. Much later in life, I had the chance to attend a course for the first time, as a tutor, and I saw just how formative a week at Arvon can be for writers of all ages. Arvon is already doing what it can to open up their courses to schools and community groups, but they need funding to get even more young people involved – and that’s why I’m willing to go temporarily doolally on webcam this Christmas. 

So keep me busy. Go to 100Hours.tv and make a request and a donation. Commission some words as a Christmas gift. You don’t want me getting bored and nodding off now, do you?

 

Photograph: Getty Images
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Lost in translation: what we lose when we leave the EU

From learning Irish to studying in Switzerland, my richest memories are all in Europe. What will happen to our creative culture after Brexit?

I’m rubbish at languages. Worse than rubbish, actually; hopeless. (You can ask my old German teacher, if you like. Sorry Frau Sarcher.) I don’t have the ear for inflection or the memory for grammar. I don’t have the patience for diligent vocab lists. I can barely spell in English, let alone in French.

So it was with some trepidation that I headed to West Donegal a few weeks ago to do an immersion course in Irish. I know: Irish, of all things, a language which is famed for sounding entirely unlike how it looks on the page and is spoken only by a small number of people, almost all of them in places I don’t live.

Well, I had to do it: I’m working on a novelist for my PhD who wrote in the language. But alright, fine, I also wanted to – wanted to at least grasp at the bones of the thing, even if I’d never be fluent.

I moved around a lot as a child, although always within the UK, and like a lot of people I know I never really had a proper and precise sense of origin. (Irish classes, replete with diaspora, handled this one fast: I am from here; now I live here.) I’m happy in most places, yet no geography has the ring of home. Yes, I’m undeniably English, but I always felt like I was looking at my own Englishness through glass.

I’m aware this might be the most English thing of all.

After my BA, I was awarded a grant to do research in Switzerland, and after that given a grant to do an MA, and everything changed. Suddenly, I was travelling across the continent, able to afford solo trips on the Eurostar to Paris and long months in a sticky Swiss summer, sending photos of the suspiciously clear rivers and cuckoo clocks back to England. In my early 20s, this became my home: always feeling slightly out of place, as ever, but willingly and joyfully so, stumbling through language after language. A whole world of pleasant unfamiliarity opened up on the continent.

A Swiss professor I met said that the very impossibility of translation is its greatest gift, because it reveals native quirks. I’m not sure I fully became a person until I started translating myself in those European summers – until I had to give an account of myself, as an English woman and as a person, out there in the world. Which is why, this morning, I found myself close to tears on the Tube.

I’m no more informed than you are as to why exactly Leave had such a good result. It might have been the headlines, or the promises of NHS funding, or simply long, dulled anger finding an outlet, however counter-intuitive.

But it was undoubtedly something else, too: an opportunity to wield power.

Feeling part of a movement is a seductive thing. This was a campaign entirely run in the negative, by both sides. I mean that in the most literal sense: not that there was no “positive” option, but that there was no option that offered a yes in relation to Europe – only a no more, thanks or a continuation of the same. Remain had no chance of promising us more. Leave, at least, could try, and even if it didn’t quite all ring true, it still offered action over inaction.

Getting ready for work this morning, I couldn’t get the words of sociologist and broadcaster Laurie Taylor out of my head. A few years ago, I went to a lecture he gave on popular culture, and saw him tell an audience of academics what he knew from growing up in Liverpool, and from watching the Dockers’ Strike: that turkeys will vote for Christmas if there’s a chance to stick two fingers up at the middle class while they do it.

That’s trite, perhaps, but less trite than pretending voters necessarily bought every promise from Leave. True, not everyone knew the ins and outs of trade negotiations, but most people were able to twig that Boris Johnson isn’t exactly a working class hero. As tends to be the case, there’s very little to be gained from calling the electorate stupid.

If the same communities that voted Leave are also those likely to be hit the hardest by a Brexit-induced economic downturn, they are also those who might reasonably have wondered: what have we got to lose?

Well, who knows. I’ll speak responsibly and say that I’m worried about EU funding to Cornwall (whose council is already scrabbling to secure a promise for alternative funds, after the population there voted Leave); about the medium-term prospects for the UK markets; about how we will handle cross-border security initiatives both in these isles and across the continent. I’m worried because I know where the money came from to regenerate Northern cities, and it wasn’t a Conservative government.

But I’ll also speak with feeling and say that something less tangible has been eroded. British culture is watchful and insecure, sarcastic and subtle; it has a class system awkwardly incomprehensible to outsiders and a sense of humour loved for being the same.

And the thing that makes it all beautiful, the Midas touch that takes the British bundle of neuroses and double-edged banter and endless, endless griping about the weather and turns it to gold, is openness – however grudgingly given. I won’t pretend we ever enjoyed a Halcyon age where we welcomed immigrants whole-heartedly. It would be an insult to history and those who fought to come here. But we are a mongrel country, in spite of our intentions, and most people, most of the time, cope. It is at the moments where we shrug and decide we’re not too fussed about difference, actually, that we shine most strongly.

Over and above the economy, even over the personal fear I have for European friends and lovers of friends and parents of friends, I worry about the loss of culture we may have triggered by choosing this course; what a Keynesian might call the “negative output gap” of creativity. We won’t ever be able to know precisely how much talent and creative joy we’ve effectively just told to fuck off, because you can’t measure pop songs or novels or new dishes like you can expenditure.

But that doesn’t mean that right now, across the country, hundreds of small stories forged from difference aren’t being foreclosed. A hundred little acts of friendship, or love; a hundred chances to look at Britishness through someone else’s eyes. The essential richness of being forced to translate ourselves, and receive others’ translations in turn, is being lost from our future. And our culture will undoubtedly be a little the worse for it.

Stephanie Boland is digital assistant at the New Statesman. She tweets at @stephanieboland