Skip to main content

Lamorna Ash: adventures on a Cornish trawler

For her debut book Dark, Salt, Clear, the young writer immersed herself in a Cornish fishing community, a life-changing experience that led to one of spring’s most hotly anticipated titles

Lamorna Ash has a hunch about seasickness: a conviction that there could be more than one reason why a person might feel suddenly queasy up on deck. “A fisherman told me that his cousin never used to suffer from seasickness at all,” she says. “But then he had kids, and suddenly he did. I thought this was fascinating. It made me wonder whether seasickness isn’t somehow connected to things that tie you to the land. Could it be that the more of those things there are, the more likely you are to suffer from it? Perhaps it functions a bit like homesickness in that way.” Struck by her own fancifulness, she flashes me a smile. “Well, anyway… I like that as a way of thinking about it.”

When she was 22 and studying for a master’s degree in social anthropology at University College London, seasickness was briefly Ash’s closest companion. Having decided to devote her thesis to the way that fishing shapes a community, she moved to Newlyn in Cornwall – which is where she met Don, the skipper of a rusty old trawler called the Filadelfia. Would Don consider taking her out in his boat, so that she might stand, as it were, in “the same wellies” as his crew? Somewhat to her amazement – women are supposed to bring bad luck at sea – he said that he would, and so it was that one evening in 2017 she found herself rounding Land’s End just as the sun was about to set, her stomach a tight knot of nerves, her eyes already red from the salt-licked wind. “I’m someone who doesn’t think too hard about things before I do them,” she says. “I seem not to be very cautious; I get overexcited. But that day, yes, I was nervous. I was very scared of seasickness. Not so much of being sick itself, but of it being so bad that I would be useless and they would have to take me home. I didn’t want to do anything to jeopardise their trip; I knew that would cost them a lot of money.”

Continue reading...

from Culture | The Guardian https://ift.tt/2UHEouQ

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...