Insomnia….again

There are many things you can do when you wake up in the middle of the night. You can lie there and try to get back to sleep. Sometimes that works, but not, as was the case with me just now, when there is a little person next to you who has just had a nightmare and keeps throwing her arms in your general direction while she sleeps.Or, as is also the case with me tonight, there are a million things going around in your head such as how to finish the novel, what to eat for dinner, where is above-mentioned little person’s science test and how best to deal with an extremely pesky work situation.
My friend Carla’s view on sleep is that if it doesn’t come naturally, you take drugs. I once took a sleeping pill. It was when my father was staying with us one Christmas. The next day I was like the walking dead.
“Why are you being even more stupid than usual?” he asked me. I told him about the pill. He flew into a rage such as I have never seen before. “Sleeping pills are for the mediocre,” he yelled. “You are a writer. If you can’t sleep, get up and write.”
So after an hour and a half of trying to get back to sleep I have decided to do just that. There is a novel to finish and an article to write.
And even if it doesn’t help my own insomnia, it may help someone else’s.

Copyright: Helena Frith Powell 2012

What should I write?

Two bits of news before I get on to the main topic of the day. One everyone in my book club HATED the AS Byatt book and no one had read it, bar one poor newbie who felt compelled to plough through it because it was her first time. The next book is one I have picked called Before I Go To Sleep. It is the debut novel of a man called SJ Watson, and a thriller (something I usually would never read) but really extremely original and clever. My only worry is that the other ladies will slate it, they are a tough crowd. Lucky for the woman who picked the Byatt book she’s already left the country to move back to the UK, I’m not sue she would have got out of there unscathed.

Some very good news now. I spoke to my father, who sounded so much better. It was so great to hear his old self (almost), his wit and intelligence coming through for the first time in months, it’s a minor miracle really, to have recovered to some extent at the age of 87 (it was his birthday last week). It was really lovely to talk to him and I hope to be able to see him in January, once ticket prices are sensible again.

The main topic of the day is writing. I found the AS Byatt unreadable, and wonder how she was able to keep going while writing it. I am at a bit of a standstill on my novel, I wouldn’t call it writer’s block, but for some reason, the final 20,000 words just aren’t flowing as easily as the first 60,000. I have always really enjoyed the process of writing, and I think that is the key to writing something someone wants to read. You need to be having fun, or it won’t be fun to read. I can’t imagine Ms Byatt was having fun when she wrote all those historical facts that she thought we needed for some reason, and they certainly weren’t fun to read.

At the moment, it doesn’t feel like fun. But I am hoping that this setback is in the main because I have had no time to get a rhythm going. I think writing is a bit like tennis. If you are playing against someone who stops you settling into your rhythm, you lose. I have had about three hours free in the past two weeks to write, so maybe it’s not surprising that I am find myself lacking in inspiration.

Soon I will be on holiday, which means I can be more focused. Having said that, the children will be on holiday too….But I will remember the two best bits of writing advice I was ever given. One by a friend called Jonathan Miller, who used to be Media Editor at the Sunday Times and (more significantly) is Olivia’s Godfather: “If it doesn’t write itself, it’s not worth writing.”

The second piece of advice is of course from my mentor, my dear father. I remember when he first told me to write a short story. I was about 13 years old.

“What should I write?” I asked him.

“Write the most extravagant thing that comes into your head,” he told me.

Which is what I will do….as soon as I have some time.

Copyright: Helena Frith Powell 2011

What makes a good book?

I have now been a member of a book club for a few months. Not just the one I set up on my own, which has floundered slightly as we are all so busy, but one run by a Sheikha here in Abu Dhabi. We meet every month or so to discuss books at her palace. We sit in an elaborately decorated room while uniformed women bring us tea and chocolates.
The latest book is by AS Byatt and is called The Children’s Book. I am on page 110 and cannot really face going any further. The only reason I have got this far is that a great friend, whose opinion I respect, told me she loved it and I just had to be patient and I would get into it.

I know as the writer of frivolous books (my husband doesn’t call me Helena Froth Powell for nothing) I am bound to say this, but what is the point of a book that you have to struggle to get into? Some might argue that the reward is a deeper novel, one with more insight. Does anyone struggle to get into The Great Gatsby? Or Jane Eyre? I don’t think so.
At the same time as the Byatt book I have been reading Bruce Chatwin’s In Patagonia. The difference could not be more obvious. While Byatt’s prose is turgid, faux-brow and laborious, Chatwin excells in the art of the simple, incisive sentence.


I can see what Byatt is trying to achieve with her convoluted layered sentences, evoking the mines beneath the core of the story and the dank atmosphere of Edwardian England, but do they make for good reading? No. Here is the opening line: “The boys stood in the Prince Consort Gallery and looked down on a third. It was June 19th 1895. The Prince had died in 1861, and had seen only the beginnings of his ambitious project for a gathering of museums in which British craftsmen could study the best examples of design.” Make you want to read on? Me neither.
Chatwin on the other hand begins In Patagonia like this: “In my grandmother’s dining room there was a glass-fronted cabinet and in the cabinet a piece of skin. It was a small piece only, but thick and leathery, with strands of coarse, reddish hair.” Immediately we want to know what this rather disgusting object is, and why it is interesting enough to open a book with. My favourite sentence so far is this one, which I think is one of the most perfect things I have ever read:
“The day before I had met the nuns of the Santa Maria Auxiliadora Convent on their Saturday coach outing to the penguin colony on Cabo Virgenes. A bus-load of virgins. Eleven thousand virgins. About a million penguins. Black and white. Black and white. Black and white.”

Sublime. In other news, my father has been awarded a literary prize for a play he wrote. I have not been able to speak to him yet, but am sure the news has cheered him up immensely. And I assume, knowing him as I do, that the writing was more like Chatwin than Byatt. At least I hope it was, or I may not be able to read it…In fact as it’s in Italian, I may not be able to read it anyway.

Copyright: Helena Frith Powell 2011

Letter to my father

I have just got back from Italy where I was visiting my father, who is ill in hospital. He will be 87 in December, but it was still a shock to see him so weak and, well OLD, for the first time ever.
I wrote him a letter on the way back to the airport because there was so much I wanted to say. I call him biologico, because by the time I really got to know him, it was too late for daddy.

Here it is in parts…

Caro Biologico

I’m not sure I will ever send you this letter, but I want to write it anyway, because there are so many things I want to say to you and to remember about this visit, which I don’t know how else to express.

We said goodbye three hours ago. I left you, in your wheelchair, with my mother standing beside you, you were pulling a face and she was waving, smiling, trying not to cry. You looked like any other old couple in the hospital; grey and wrinkly and together. No one would have guessed you haven’t been together since I was two. As a child all I ever wanted was to have normal parents who were together, to have you both in the same room, to be able to say “my parents” and not follow it with “split up when I was two”. Of course there is nothing “normal” about either of you, thank god, but as a child for some reason normality was all I craved. As an adult I’m grateful to you both that I never had it.

I don’t know what I expected, in what state I thought I would find you, but I certainly didn’t think you would be so THIN. You’ve never been thin. I remember those zany diets you used to do, the ‘eat only grapes for a week’ diet and then how you would give something up, like chocolate, and say “for me chocolate does not exist.”

There were times when you got quite fat, but you always carried it off, with that elegant stance and the ubiquitous Fedora hat. Now that hat sits on your bookshelf at home.

And talking of elegance, you still look like an aristocrat, even in a wheelchair. You hold your head high as you always did, and your eyes are still sparkling, intelligent. You don’t belong there. I know it’s not their fault, the staff probably try their best, but the smell of shit and death and OLD PEOPLE is stultifying. I fear if you stay, you will just sink further into that world, to a point of no return.

I hate seeing you like this. It makes me want to give up my job and move to Novafeltria to take care of you, I just believe that somehow if I could get you back to your work, you would be cured, because I’m sure not being able to write is literally killing you. You always told me never to go a day without writing; nulla dies sine linea, you once wrote on a scrap of paper, I have it framed on my wall at home.

You did talk about finishing your novel. I so hope you do. But maybe that’s unrealistic, because if we’re honest, only really about ten per cent of you is present. It’s so depressing seeing flashes of your old self; your humour, your brilliance, your intellect, and realizing that it is buried deep down now and may never surface again. I know your mind still works, but you can’t articulate as you used to. When I told you that I had done some writing at your desk, you said the longest sentence you had said to me during the entire three days; “Mi fa piacere.” You probably wouldn’t say that if you’d known what I was writing, another “shitting” novel as you would call it.

And when I told you that one of my books is going to be published in Germany, your face lit up. You know the importance of the German publishing market, something the cabbages around you (bless them) wouldn’t have known when they were compos mentis.

You reaction to Olivia was lovely. The way you stroked her face last night when we were leaving made me cry, and I cry every time I think about it. I suppose because you were saying goodbye.  Her reaction has been surprising, she doesn’t really know you that well, and yet has wept and keeps saying she doesn’t want to leave you.

I have used many words to describe you, in books, in articles, to other people. Words like brilliant, bullying, egotistic, charming, larger-than-life, amusing. One word I would never have used is the word that best sums you up now; sweet. I have never seen you so affectionate and kind. Your smile is really sweet now, I don’t know what’s happened, I like it, but I would rather have the old Biologico who tells Olivia she speaks French “comme une vache Espagnol” and harasses me for not writing “proper” books.

But your new sweetness seems to have won you many admirers there, I have never seen a man made such a fuss of, you really are among friends. Carmela is a joy, as is Agostina, and I can’t believe the old woman with a hole in her leg up the hall was the chicken keeper at Carpegna, your old summer house.

Do you remember when we first went there? The chicken farmer said she remembers me being very brave on a vast horse. I wasn’t brave, I was terrified. Not only of the horse, but of you and this whole new family I knew nothing about. Now when I come back, especially on this trip, names and places like Perticara and Malatesta feel like they’re part of me, I get a sense of belonging from this part of Italy, which I suppose it what you were always trying to instill in me with all your talk of “radice.”

This summer when we were all with my mother, you told the children, when they asked why you didn’t have any eyebrows, that you cut them off and sent them to your enemies, who eat them and then die. Yesterday I cut your eyebrows, I can’t bear all that sprouting hair. There is plenty to kill all your enemies, though I think you have probably outlived them all, and now you’re so sweet, you probably won’t make any more.

When I had finished, I handed you a mirror. You looked in it and said “grazie” very firmly. It’s good to see there’s still a certain amount of vanity going on, it makes me hope that you’re not about to give up.

I am already beginning to regret that we didn’t spend more time together. I had a plan to come and see you at Christmas, to interview you and to have Bea film our discussions. There are so many things I want to talk to you about.  I think you would make a great interviewee.

See you at Christmas I hope, biologico.

Con molto affetto

La tua figlia

A review in today’s Daily Mail

Here it is, my first review in a national newspaper, under the heading Chick-Lit.

Some may not like being labelled a chick-lit author, but for me, it is actually a bit of a dream come true. A few days ago I got an email from someone who has known me since I was a teenager saying he had read the book and liked it, and was proud that I had achieved what I told him I wanted to do many years ago while sitting on a hill somewhere in Yorkshire. “You won’t remember it, but I do,” he wrote. “You told me you wanted to write romantic novels.”
I do remember, I also remember telling anyone who would listen that I wanted to be the new Jilly Cooper. There’s still a long way to go but this is a good start.

I’m especially thrilled as my agent sacked me for my fiction work, saying she didn’t think I would ever be good enough at it. To hear that character, setting and dialogue are all “spot on” from someone who reviews books for a living has meant a lot. I still like my agent, mind you, even though she clearly has no taste! And I do have her to thank for the plot idea.

I was so nervous when I saw it was in I made Rupert and Leo come and read it with me. Just as there is nothing as soul destroying as a bad review, there is nothing as uplifting as a good one. “I’m so proud of you mummy,” said Leo, bless him. But makes a change that it’s that way round. I am posting it here so that next time I get a nasty Amazon review I can just come back and read this one to console myself.

CHICK LIT

By Sara Lawrence

LOVE IN A WARM CLIMATE BY HELENA FRITH-POWELL (Gibson Square £7.99)

Love In A Warm Climate by Helena Frith Powell

Not long after she’s uprooted her family from England to France to start a new life making wine, married mother-of-three Sophie Reed is horrified to find a bra in her husband’s weekend bag.

It’s not his and it’s definitely not hers: it’s far too small and lacy for that.

Nope, the bra belongs to a French woman called Cecile, the new object of her betrothed’s affection, and Sophie must decide whether to abandon her vines and move back home or stay put and give her dreams of becoming a wine maker a chance.

In the ensuing struggle to make things work she embraces yoga, her inner French woman and two exciting new love interests. Thoughtful observations about the differences between the French and English approach to relationships pepper the narrative, providing an interesting backdrop to the various choices Sophie must make.

I loved all the yoga bits, too, and can personally vouch for Sophie’s praise regarding its toning abilities. Helpfully, there’s a handy guide at the end if you’re keen to try out a few sun salutations of your own.

Sophie is an engaging protagonist, the characterisation, dialogue and setting spot on and there are a lot of funny bits. I enjoyed it.

Going, going, gone…..

Because I use this blog in part as a diary, I am going to post a speech my deputy made today and show you the glorious cake the magazine team had made for me. I just don’t want you to think I am trying to show off. But it was too lovely a gesture not to keep…obviously I cried.

Here is the cake

Here is Rick’s Speech:
Helena, you wear us out.

You are a whirlwind.

We don’t know how you do it.

You’re a wife, a mother … a tennis player, a yoga practitioner … a
beauty spy, a trier and a tester … a fashion and style icon with
your signature leopard print and pink … a writer, a ghostwriter, an
editor …

We don’t know when you sleep.

Your unflagging energy and tireless commitment to excellence inspire,
ennoble, charm, delight … and only occasionally infuriate us.

We congratulate and celebrate with you on the publication of your
latest novel — and we tell you that our relationship with you is one
of:

Love in a Warm Climate.

Here I am with the cake:

And this is what is left of it now….

Let’s hope book stocks are depleted as fast…yum.

Copyright: Helena Frith Powell 2011

Today is the day….

At 10 am UK time my first novel goes to print. I have been working on it, on and off, since we left France. In fact since before we left France. I remember having a long conversation with my agent while we were on our summer holiday in the Savoie in 2008. And that was about a re-write, so I had already written much of the first version.

In the end my agent got sick of editing the same book and told me that while she was delighted to represent my non-fiction, she would leave my fiction so someone else. So she effectively sacked me as a fiction writer. But I am still grateful to her for the idea behind the book which she came up with in her office in London some four years ago.

I had gone in to talk about writing the next ‘Great Gatsby’.

“Helena,” she said. “Chick-lit is your audience. Chick-lit is your level. Write a book about a woman who moves to France to run a vineyard with her family and finds out her husband has been having an affair.”

So this is what I did. Happily since she sacked me I have been able to ignore the traditional tenets of chick-lit. I have been able to be much more risque, ruder and generally more myself. I think it is a much better book now. Certainly more amusing and less predictable.

I always say that books are a bit like babies; you carry them, you nurture them, you try to make them as perfect as possible and then they’re out there in the big wide world – for everyone else to dissect and criticize.

This book has certainly taken a lot longer than a baby to make and carry, and there were times, especially during the editing and the proofing process, when I wondered why on earth I had committed myself to writing another book that probably won’t make me any money.

But now that it’s over (I literally just sent the final proofs off) I am already thinking about the next one.

So you see it is a bit like childbirth, you forget the pain and want to do it all over again.

Copyright: Helena Frith Powell 2011

Three in the morning stress

I suppose if you have to be awake at 3am there are worse places to be. I am sitting on a rooftop terrace in Paris with an (albeit limited) view of the Eiffel Tower. Our hotel room is a tiny attic room at the rather oddly named Hotel Wo on the rue de Stockholm close to the Gare St Lazare. I feel like a character in La Boheme. My tiny hand is frozen, even though it is summer. We are almost a week into our holiday.

The Swiss Alps were perfect – totally glorious. If you ever have some (serious) money to spare then go and stay at the Tschuggen Grand Hotel in Arosa. We were there writing a travel piece for the paper and I cannot think of a more charming way to spend four days. I think I even slept through the night at least twice.

This nighttime waking is nothing new of course. But isn’t it extraordinary how annoying it is and the stupid things you lie awake worrying about.

Just now I was worrying about, in no particular order;
how I am going to lose the two kilos I have inexplicably gained since leaving Abu Dhabi
how we will make it to the Eurostar and then on to Wales all in one piece with all our luggage (including Leo’s scooter) intact
how the girls are getting on with my mother, or rather how my mother is coping with their endless energy
why they didn’t eat the sophisticated cheeses my father tells me my aunt was offering them, insisting instead on eating supermarket cheese – is this a terrible defect?
what to wear tomorrow (today)
where to live if we ever leave Abu Dhabi
will I have more snotty emails and calls from the (only) summer tenants we have at Sainte Cecile – it seems the house is rebelling against their presence and keeps shutting down the electricity and/or water supply at regular intervals
if my husband will ever stop snoring
is my book is good enough
will I ever finish it

So it was much better to come out here and enjoy the beautiful view. Amazing how chilly it is. And how peaceful without the sound of my brain whirring. Now I just need some gloves.

Copyright: Helena Frith Powell 2010

Sophie’s choice

I was ill in bed for most of the weekend so I worked on my novel. It has been renamed Love in a Warm Climate, which I like, although I did also like Lost in France. Mainly because of the Bonnie Tyler song.

The name may have changed, but the worrying is the same. Sometimes I read what I have written and think ‘that’s not half bad’ other times I think ‘who cares about this?’ or ‘why on earth do we need to know what Sophie eats, does, thinks, says, wears?’

Is this a problem all fiction writers face? Did Scott Fitzgerald worry that no one cared if Gatsby ended up with Daisy? I don’t suppose he did, he probably knew it was brilliant. I know this is not, but then you can hardly compare chick-lit with the master.

Another dilemma I have is Sophie, my main character. She has to chose between two extremely sexy, rich and gorgeous men (why write a book with a load of men no one can fantasise about was my reasoning). I have ended one chapter with Sophie telling her French friend Audrey that she has almost decided. “There’s just one more thing I need to do,” she says, mysteriously.

Well, what she needs to do really is a mystery. I have no idea. Any suggestions most welcome, before the book has to be submitted in August please….

Copyright: Helena Frith Powell 2010

A cruel disease

I have never before cut and pasted something to share with you, and I hope I am not in breach of any copyright laws, but this is one of the most brilliant, tragic and thought-provoking articles I have ever read.

It is from the New York Review of Books (Volume 57, Number 1 · January 14, 2010) and by the writer and historian Tony Judt. I came across it again (I first saw it in January, Rupert sent it to me to stop me grumbling about something or other) when an old friend wrote to me to tell me the tragic news that his wife has ALS, the disease Tony Judt suffers from.

As I lie on my bed for the third day in a row with a pinched nerve making sitting at my desk impossible I have plenty of time to reflect on how lucky I actually am.

If any of you have money you’re not sure what to do with then please think about supporting research into this cruel disease.

Night By Tony Judt

I suffer from a motor neuron disorder, in my case a variant of amyotrophic lateral sclerosis (ALS): Lou Gehrig’s disease. Motor neuron disorders are far from rare: Parkinson’s disease, multiple sclerosis, and a variety of lesser diseases all come under that heading. What is distinctive about ALS—the least common of this family of neuro-muscular illnesses—is firstly that there is no loss of sensation (a mixed blessing) and secondly that there is no pain. In contrast to almost every other serious or deadly disease, one is thus left free to contemplate at leisure and in minimal discomfort the catastrophic progress of one’s own deterioration.

In effect, ALS constitutes progressive imprisonment without parole. First you lose the use of a digit or two; then a limb; then and almost inevitably, all four. The muscles of the torso decline into near torpor, a practical problem from the digestive point of view but also life-threatening, in that breathing becomes at first difficult and eventually impossible without external assistance in the form of a tube-and-pump apparatus. In the more extreme variants of the disease, associated with dysfunction of the upper motor neurons (the rest of the body is driven by the so-called lower motor neurons), swallowing, speaking, and even controlling the jaw and head become impossible. I do not (yet) suffer from this aspect of the disease, or else I could not dictate this text.

By my present stage of decline, I am thus effectively quadriplegic. With extraordinary effort I can move my right hand a little and can adduct my left arm some six inches across my chest. My legs, although they will lock when upright long enough to allow a nurse to transfer me from one chair to another, cannot bear my weight and only one of them has any autonomous movement left in it. Thus when legs or arms are set in a given position, there they remain until someone moves them for me. The same is true of my torso, with the result that backache from inertia and pressure is a chronic irritation. Having no use of my arms, I cannot scratch an itch, adjust my spectacles, remove food particles from my teeth, or anything else that—as a moment’s reflection will confirm—we all do dozens of times a day. To say the least, I am utterly and completely dependent upon the kindness of strangers (and anyone else).

During the day I can at least request a scratch, an adjustment, a drink, or simply a gratuitous re-placement of my limbs—since enforced stillness for hours on end is not only physically uncomfortable but psychologically close to intolerable. It is not as though you lose the desire to stretch, to bend, to stand or lie or run or even exercise. But when the urge comes over you there is nothing—nothing—that you can do except seek some tiny substitute or else find a way to suppress the thought and the accompanying muscle memory.

But then comes the night. I leave bedtime until the last possible moment compatible with my nurse’s need for sleep. Once I have been “prepared” for bed I am rolled into the bedroom in the wheelchair where I have spent the past eighteen hours. With some difficulty (despite my reduced height, mass, and bulk I am still a substantial dead weight for even a strong man to shift) I am maneuvered onto my cot. I am sat upright at an angle of some 110° and wedged into place with folded towels and pillows, my left leg in particular turned out ballet-like to compensate for its propensity to collapse inward. This process requires considerable concentration. If I allow a stray limb to be mis-placed, or fail to insist on having my midriff carefully aligned with legs and head, I shall suffer the agonies of the damned later in the night.

I am then covered, my hands placed outside the blanket to afford me the illusion of mobility but wrapped nonetheless since—like the rest of me—they now suffer from a permanent sensation of cold. I am offered a final scratch on any of a dozen itchy spots from hairline to toe; the Bi-Pap breathing device in my nose is adjusted to a necessarily uncomfortable level of tightness to ensure that it does not slip in the night; my glasses are removed…and there I lie: trussed, myopic, and motionless like a modern-day mummy, alone in my corporeal prison, accompanied for the rest of the night only by my thoughts.

Of course, I do have access to help if I need it. Since I can’t move a muscle, save only my neck and head, my communication device is a baby’s intercom at my bedside, left permanently on so that a mere call from me will bring assistance. In the early stages of my disease the temptation to call out for help was almost irresistible: every muscle felt in need of movement, every inch of skin itched, my bladder found mysterious ways to refill itself in the night and thus require relief, and in general I felt a desperate need for the reassurance of light, company, and the simple comforts of human intercourse. By now, however, I have learned to forgo this most nights, finding solace and recourse in my own thoughts.

The latter, though I say it myself, is no small undertaking. Ask yourself how often you move in the night. I don’t mean change location altogether (e.g., to go to the bathroom, though that too): merely how often you shift a hand, a foot; how frequently you scratch assorted body parts before dropping off; how unselfconsciously you alter position very slightly to find the most comfortable one. Imagine for a moment that you had been obliged instead to lie absolutely motionless on your back—by no means the best sleeping position, but the only one I can tolerate—for seven unbroken hours and constrained to come up with ways to render this Calvary tolerable not just for one night but for the rest of your life.

My solution has been to scroll through my life, my thoughts, my fantasies, my memories, mis-memories, and the like until I have chanced upon events, people, or narratives that I can employ to divert my mind from the body in which it is encased. These mental exercises have to be interesting enough to hold my attention and see me through an intolerable itch in my inner ear or lower back; but they also have to be boring and predictable enough to serve as a reliable prelude and encouragement to sleep. It took me some time to identify this process as a workable alternative to insomnia and physical discomfort and it is by no means infallible. But I am occasionally astonished, when I reflect upon the matter, at how readily I seem to get through, night after night, week after week, month after month, what was once an almost insufferable nocturnal ordeal. I wake up in exactly the position, frame of mind, and state of suspended despair with which I went to bed—which in the circumstances might be thought a considerable achievement.

This cockroach-like existence is cumulatively intolerable even though on any given night it is perfectly manageable. “Cockroach” is of course an allusion to Kafka’s Metamorphosis, in which the protagonist wakes up one morning to discover that he has been transformed into an insect. The point of the story is as much the responses and incomprehension of his family as it is the account of his own sensations, and it is hard to resist the thought that even the best-meaning and most generously thoughtful friend or relative cannot hope to understand the sense of isolation and imprisonment that this disease imposes upon its victims. Helplessness is humiliating even in a passing crisis—imagine or recall some occasion when you have fallen down or otherwise required physical assistance from strangers. Imagine the mind’s response to the knowledge that the peculiarly humiliating helplessness of ALS is a life sentence (we speak blithely of death sentences in this connection, but actually the latter would be a relief).

Morning brings some respite, though it says something about the lonely journey through the night that the prospect of being transferred to a wheelchair for the rest of the day should raise one’s spirits! Having something to do, in my case something purely cerebral and verbal, is a salutary diversion—if only in the almost literal sense of providing an occasion to communicate with the outside world and express in words, often angry words, the bottled-up irritations and frustrations of physical inanition.

The best way to survive the night would be to treat it like the day. If I could find people who had nothing better to do than talk to me all night about something sufficiently diverting to keep us both awake, I would search them out. But one is also and always aware in this disease of the necessary normalcy of other people’s lives: their need for exercise, entertainment, and sleep. And so my nights superficially resemble those of other people. I prepare for bed; I go to bed; I get up (or, rather, am got up). But the bit between is, like the disease itself, incommunicable.

I suppose I should be at least mildly satisfied to know that I have found within myself the sort of survival mechanism that most normal people only read about in accounts of natural disasters or isolation cells. And it is true that this disease has its enabling dimension: thanks to my inability to take notes or prepare them, my memory—already quite good—has improved considerably, with the help of techniques adapted from the “memory palace” so intriguingly depicted by Jonathan Spence. But the satisfactions of compensation are notoriously fleeting. There is no saving grace in being confined to an iron suit, cold and unforgiving. The pleasures of mental agility are much overstated, inevitably—as it now appears to me—by those not exclusively dependent upon them. Much the same can be said of well-meaning encouragements to find nonphysical compensations for physical inadequacy. That way lies futility. Loss is loss, and nothing is gained by calling it by a nicer name. My nights are intriguing; but I could do without them.