{"id":228,"date":"2011-05-31T17:56:17","date_gmt":"2011-05-31T17:56:17","guid":{"rendered":"https:\/\/www.open.ac.uk\/blogs\/WritingTutors\/?p=228"},"modified":"2011-05-31T18:24:00","modified_gmt":"2011-05-31T18:24:00","slug":"writing-in-the-sand","status":"publish","type":"post","link":"https:\/\/www.open.ac.uk\/blogs\/WritingTutors\/?p=228","title":{"rendered":"Writing in the sand"},"content":{"rendered":"
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The Burning Path by Kevan Manwaring<\/strong><\/div>\n
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\"\"<\/a>Three strangers meet in a nameless desert and must come to terms with their past before they can escape it: a First World War airman; an American aviatrix of the Thirties; and a French poet of the skies from the Second World War. They are the lost of history and must go into the desert to find themselves. To find peace they must walk the burning path. Each is forced to confront the question: What are you prepared to sacrifice for the one you love?<\/div>\n
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Fiction, \u00a39.99 ISBN 978-1-906900-19-9<\/div>\n

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Notes on The Burning Path and El Gouna residency<\/span><\/strong><\/strong>\u00a0<\/span><\/p>\n

During my time as Writer-in-Residence at El Gouna I have been working on my desert-based novel, The Burning Path \u2013 part of my 5-book cross-genre series, The Windsmith Elegy, which I began in 2002. I wrote the first draft in of this, the fourth volume, in 2008 and here expanded and edited it into a second. I worked on a chapter a day (there\u2019s 23 in total), writing an extra 20,000 words (along with 7 new poems \u2013 to date \u2013 and this blog). To live in a desert country while working on this has made all the difference \u2013 those grains of sand have become grit in the oyster. It has been an intense and sometimes challenging experience \u2013 ideal for my novel. It has enabled me to be completely in the \u2018zone\u2019, inhabiting a similar space (physical\/mental\/emotional) to my characters.\u00a0 I find this form of \u2018method writing\u2019 most effective, although it might not make me easy to be around. Finding myself staying in an artificial and often stifling cocoon (enforced socialising & unnecessary opulence; when I yearned for solitude & minimalism) I have forged a \u2018desert environment\u2019 through an experiment in estrangement \u2013 an intentional distancing of myself from those I \u2018should\u2019 connect with, to feel \u2018other\u2019, to experience the perspective of the outsider, like the boy in the story of the Emperor\u2019s New Clothes. I strived to keep the doors of perception fully open (as William Blake declared: \u2018When the doors of perception are cleansed, man will see things as they truly are, infinite,\u2019). Antoine de St Exupery in Wind, Sand and Stars<\/span><\/em> talks of <\/span>stratascopos<\/span><\/em>, the bird\u2019s eye view he experienced as a pioneering pilot. Only through an intentional disjuncture was this possible (an extreme method for a land of extremes) \u2013 life at the edge of the circle, for the littoral is always a creatively fertile place, like the banks of the Nile here in Egypt: a country divided in the Red and Black Lands (as their flag symbolises) – the red is the \u2018barren\u2019 desert (which protects and offers hidden treasures); the black, the fertile soil of the Nile Valley. Life is like this \u2013 good and bad mixed together, the bitter and the sweet, light and shadow. Contrast is healthy, essential. In Italian painting its called <\/span>chiaroscuro<\/span><\/em>. If my time here had been absolutely perfect I wouldn\u2019t have found the necessary edge for my writing. No pain, no gain. And so everything that has happened to me here has been <\/span>just right<\/span><\/em>. It has enabled me to walk the Burning Path and bring my novel alive. I have worn the mark of Cain and been cast out into the wilderness. Yet despite being in a social desert there have been occasional oases and these have kept me sane and made my stay here far more enjoyable \u2013 to all the wonderful people I have met (Egyptians, Gounies, tourists) thank you.<\/p>\n

\"\"<\/a>I set off from England with a quote from Helen Keller in the back of my mind: <\/span>\u2018No pessimist ever discovered the secret of the stars, or sailed to an uncharted land, or opened a new doorway for the human spirit.\u2019<\/span><\/em><\/p>\n

I feel my \u2018optimism\u2019 has paid off \u2013 travel allows for creative possibilities, pushes us out of our comfort zone, expand our world-view, and makes us embrace the other \u2013 and find we are brothers. As I wrote in the sample chapter I read out at the final event: <\/span>The desert is the last place you expect to encounter the kindness of strangers but it is the place where you need\u00a0 it the most. The more isolated we become, the more hostile the environment, the more we need each other. <\/span><\/span><\/span><\/em>
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\nTo write a book about strangers meeting in the desert in a place where \u2026 strangers meet in the desert couldn\u2019t have been more perfect. El Gouna is a wonderful international zone where the kindness of strangers can be encountered daily:<\/p>\n

<\/span>Love ye therefore the stranger: for ye were strangers in the land of Egypt<\/span><\/em> (10:19)<\/p>\n

Email to Anthony (fellow writer\/creative writing teacher): <\/span>Anyway, it\u2019s been a really productive time \u2013 just got to the end of the 2nd Draft of The Burning Path, and I can\u2019t wait for people to read it. I think its my best yet \u2013 but you have to believe that, don\u2019t you! The style is alot more stripped back. I wrote it the year my Dad died and maybe the austere aesthetic reflects that, but there\u2019s is real beauty in the desert vistas and cultures, as I\u2019ve discovered. Ultimately it\u2019s an affirmation of the desert, its ecology and ethos, its abundant \u2018nothingness\u2019 \u2013 the opposite of Western consumer culture! It cries out Less is More. <\/span><\/em><\/span><\/p>\n