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Notes | Tears in the Fence

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Even though the band started init wasn't until that The Flaming Lips signed to a major label. Greg feels that their new ambition really exceeded the ambition they had with their previous work. He feels it's clearly evident in 's Transmissions from the Satellite Heart.

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To Jim this album marks the moment when Wayne's songwriting started to rise from the background and move towards the caliber of the Lips' sonic density.

Wayne and the band knew almost from the beginning that the song could be a hit. The song's hook was created from the lyrics which Wayne got from equating smearing chapstick on your lips to buttering your toast. Greg brings everyone back to the dense sound of Transmissions From the Satellite Heart. Steven admits that the sound was inspired by Larry Mullen's drums on U2's War. Greg wonders if the band's next transformation happened after guitarist Ronald Jones left the band in Wayne agrees that Ronald's leaving changed the band.

Although, Steve adds that he himself was burnt out and heavily into drugs at the time. At this point the Lips re-tooled into the era of their parking lot experiments, boom box experiments and the release of the four-CD album Zaireeka — an album designed for the listener play all four CD's simultaneously on four different sound systems in the same room.

Each project was an orchestration of random sounds, a symphony of noise. Wayne wanted to try something new and take a chance.

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After the band went through their two year sonic experiment they released the album The Soft Bulletin inwhich Jim considers a pop masterpiece. Wayne thinks the signature song from that album is "Race For the Prize".

The song is in reference to two scientists fighting to cure a disease. Also on the album is "Waitin' for a Superman," inspired by Wayne and his brother jogging around the lake to deal with their father's bout with cancer.

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These two songs are full of meaningful and heartstung lyrics. Wayne chalks it up to the experience of life changing you, which changed him and the band for the better. Steve and Wayne kind of expected it.

The sensation was almost physical: This form acted as a catalyst: The prose poem offers enormous scope: Did the ideas behind he book dictate the form of the prose poem, or did you decide on the form first? Who are your influences?

The most important writers for me are those concerned with the psychological and spiritual predicaments of men, women and children grappling with the everyday exigencies of their lives from the perspecitve of their own times and cultural backgrounds. Writers who may have influenced my own writing will invariably reveal a poetic sensibility in their work, irrespective of genre.

Also those who use historical and mythical epics as a vehicle to portray aspects of the modern world. Also Virginia Woolf and George Eliot. South American writers with their magic realism entranced me. Also classical French writers such as Jean Giono and short story writers such Alphonse Daudet and Guy de Maupassant, whom I loved for their use of French dialect as well as their portrayal of working and peasant life in the late 19th and early 20th centuries.

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Short story writers such as Catherine Mansfield, E. But I should mention a critic who had an enormous influence on my perception of writing and on my sense of affirmation: Cixous is a feminist writer but she is not sexist in my view. Reading and translating ancient and traditional texts from the French, which are themselves translations from the original Arabic, has influenced aspects of my new book.

This second collection of prose poems attempts a greater textual layering than Stalker: I have also been greatly influenced by visual art, as is apparent from the obsession with Vincent Van Gogh. I have a strong visual memory and my current work-in-progress for three years begins with my making a visual photomontage, which can take weeks or months. This visual work then acts as a stimulus for the poem that follows.

Again, I believe the poems found their own form. What for you, the author, are the most important themes of Stalker? For me the most important themes are those that compelled me to write it. I think they can all be viewed as a form of stalking.

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Dreams, for example, have always been part of my life and, especially when I was young, could haunt and stay with me for weeks. Dreams are a rich resource for writing, but it was years before I could make use of them.

Living alone is another theme. How to be true to your conscience.

Being a twin is another important theme for me. As one poem says, my first memory was of two. We are not identical, in fact we are very different in temperament and interests, but the the depth of intimacy between twins is unique and can certainly be felt as haunting, a form of stalking.

In her review of Stalker Sandeep Parmar says: Why do you make use of so many literary references?

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Reading is an important theme for me. These references are to books I was reading at the time I was actually living the events portayed in Stalker. To have omitted reference to what I was reading during those periods in my life would have been unthinkable: Books helped me make sense of what I was living. Not by giving me a replica, but by showing me the inner lives of women and men during different periods in history and in other countries and cultures.

Great literature gave me paradigms against which I could test out and measure my own beliefs and position. It inspired and encouraged me by showing me essential truths about human nature and behaviour. I was working in a Care home for young boys, some of whose fathers were in prison. Steinbeck was very important to me as a writer for similar reasons. I read him at a time I was grappling with love, life and work while living alone in Gravesend, Kent.

I was blown away by his Journal of a Novel. We see the famous author struggling with his own demons, women, drink, two broken marriages, children he loved. There is a feeling of depersonalisation throughout the book.

Is this one of the effects you wished to convey? I think it springs from an involuntary and organic need to be objective in order to write about these experiences.

Your main character remains something of a mystery, which some readers will find frustrating. Yes, I understand this reaction. I think it relates to question 6 and is to do with an instinctive need to keep a distance from painful experiences in order to write about them at all.

No doubt a better writer would have been able to overcome this. For me, even from this distance, I often found it extremely painful to relive the experiences as I wrote about them. The issue of character presence also relates back to question 1. Stalker is prose poetry, not fiction.

The novel I took along to that Arvon fiction course dealt with the two years I lived in Paris as a teenager. It is written in the 3rd person and I think the narrator has a fairly strong presence throughout. But I wrote it without any group support or feedback and it was unwieldy and poorly structured.