Mark Haddon interviews Paul Farley in an excellent feature over at The Guardian website at the moment.
I've long been interested in the relationship between these two writers. Haddon is obviously renowned for his best-selling novel, The Curious Incident of the Dog in the Night-time, which I thoroughly enjoyed. His follow-up to that book, meanwhile, was a collection of poetry, titled The Talking Horse and the Sad Girl and the Village Under the Sea, which convinced to a far lesser degree.
In features after its publication, Haddon mentioned Farley on several occasions, and the latter's stylistic and thematic influence on his verse is clear. What's more, Haddon's poetry seems laden with nods towards others, his linguistic virtuosity and great ear getting bogged down in some attempt to prove he can cut it as a poet.
As for Farley, I've already mentioned my admiration for him in previous posts on Rogue Strands. Nevertheless, seldom have I seen him provide such an insight into the mechanics of his creative process as in this article. Maybe he's been drawn out by the interviewer's clear admiration for his work. All in all, it's a fascinating piece.
On a busy rink with no one paying attention, a figure skater will land their double axel perfectly. Five minutes later, with their coach watching, the figu...