Friday, 13 November 2026

Own voices and owning a voice — Anne Rooney

 

Scene with non-Triassic dinosaurs such as T rex and Triceratops, a mix of skeletons and animals, some absurdly wrong

AI's version of a Triassic scene. That none of these is
Triassic is the least of its problems. AI deosn't know it's wrong.
 It doesn't know not to mix images of bones and of fleshed-up
animals. And what is the skeleton with a hair-do?

Do you remember the #OwnVoices movement a few years ago? It was based on the idea that there is something uniquely distinct about being, say, Black, or deaf, or gay that is inaccessible to writers who are not Black, deaf or gay. Whether or not someone is well equipped to write from these viewpoints, we are all equipped to read writing from them. Just as we can read the plays of Sophocles and recognise the human experiences at their core, despite some surface alienness, because we are all in this together. 'This' being the messiness of embodied life.

Whoever you are, you share so much experience with people in all other times, places and conditions. A headache is the same. Getting wet in the rain is the same. Dreading a bad thing happening or eagerly anticipating a happy event are not dependent on who or where or when you are. There is a core of human experience that we can draw on, confident that readers will instantly know what it's like, and what we mean. And this brings us to AI (again). 

A large language model (LLM), like ChatGPT or Claude, doesn't share a bank of experiences with us. It doesn't have any experiences at all. It can cobble together some words that describe being wet in the rain, but it has no knowledge or understanding of what it feels like, or how it can feel different in different circumstances — how you might rush outside to dance in a warm summer thunderstorm but be frozen and wretched in a winter downpour. It understands nothing, feels nothing. It can pick out the patterns of words writers have used to describe being wet but it has never been wet, nor can it ever be wet. An LLM might produce coherent text, but it never produces wise or insightful text because there is no experience behind the words. Nor are the words chosen with awareness of their connotations, their cultural weight, or even their sound when read aloud. 

The ultimate 'own voice' is human. Whether it is Black, white, Brown, deaf, blind, sick, neurodivergent, gay, trans, working class, privately educated, orphaned.... it is human. I might not be able to write convincingly as though I had grown up immensely wealthy, or in sub-Saharan Africa, or without hands. But I can imagine something of it, which an LLM can't. I share enough humanity with people in different circumstances that I have some insight, even if it's only enough to say I can't imagine what it's like. An AI can trawl its training for how people have expressed those conditions, but it has no body that feels and no mind that thinks. Pain and injustice and delight are equally alien to it. And that is why I don't want to read a book produced with AI. 

Our own voices are human voices, and even if they are sometimes inarticulate or stumbling, they hold meaning and experience and shared humanity. They are not empty tokens. (Funny how access to AI is traded in tokens. Are they having yet another laugh at our expense there?)

And this all applies to pictures, too. Obviously. 

Anne Rooney

website; bluesky; insta 

Out now: Space Annual 2027, from Farshore/Science Museum, 2026

Cover image: Space Annual 2027

 

Monday, 9 November 2026

FINDING TREASURE by Sharon Tregenza

 
We came across this gorgeous little antiquarian book shop in Bath.



             


And inside I found this treasure - a vintage copy of 'The Water Babies'. It's cover was a bit worn and the pages inside speckled with age but somehow that made it more precious. I wondered whose hands had held it before me.




Was it a Christmas present many years ago? Had a parent read it to a child beside a winter fire? There's something irresistible about a book that's been loved before.

The delicate illustrations, of the small underwater figures, were stunning and I was drawn back down into Tom's watery world.

    




I checked the price but already knew it was mine. 😀






Saturday, 7 November 2026

Members' News November

 Pull up a blanket, put your woolliest hat on and snuggle down for a round-up of November news.


Tim Collins's Monstrous Maud, (written as A.B. Saddlewick with illustrations by Sarah Horne) comes to the big screen in the movie, Monster Mia. It's in cinemas now and it looks terrific fun. Congratulations, Tim.





Several Scattered Authors have poems in this new anthology from Pan Macmillan.

This beautiful pocket-sized hardback gift book contains carefully curated poetic poisons compiled by Deborah Alma, the founder of the Poetry Pharmacy. The Poetry Poisons are for when sweetness fails, offering a controlled dose of the less virtuous emotions, to be taken slowly and without apology.


For the Detection of Nonsense; For a Healthy Disregard of Fashionable Thinking; For the Pricking of Pomposity; to Counteract Sentimentality; for the Exercise of Wit and Scepticism; An Antidote to Christmas Spirit . . .

. . . With the tinsel ripped off.

A wickedly funny poetry collection for anyone who has ever survived the season with a mince pie in one hand and a grudge in the other. 



The third in Sue Klauber's acclaimed wartime trilogy publishes from Troika Books on November 12th. Gold follows on from Zinc and Cobalt.



Back from North Africa, John is part of an intelligence organization based at Trent Park House tasked with handling captured German officers and recording their private conversations. Will their secrets help the Allies as they prepare to invade France?
 
While in German occupied Hungary, George liaises with resistance groups. Can he track down their sister Eva? And help her escape from the Nazis? They must succeed, both for Britain, their adopted country and for the survival of their Jewish family itself.
​
Through the stories of George, John and Eva, Sue Klauber celebrates the courage of ordinary young people in the face of extraordinary challenges.


Finally, if you're looking for something to blow away the winter cobwebs, Jenny Alexander has a 'new beginnings' online writing workshop in January. I recently did her autumn workshop and thoroughly enjoyed it and I know other Scattered Authors have joined her courses.  


That's all for November. Please send me your December news items to me, Claire Fayers.

Wednesday, 4 November 2026

Marie Curie by Paul May


One of the first books I read when I set out to read all the Carnegie Medal winners several years ago was The Radium Woman by Eleanor Doorly. Like, I suspect, most people, I knew roughly who Marie Curie was but didn't know much about her life and work other than that she discovered the element, radium. (She also discovered polonium and named it for her native country.) Marie Curie died in 1934, and Eleanor Doorly's foreword is dated March 1939, so she must have started working on the book with Curie's death a very recent memory. She says:

'The life of Madame Curie has been written by her daughter with a charm and beauty never surpassed. It is therefore with the deepest humility that I have ventured to make out of that lovely book a shorter tale for young people.'

I have just finished reading a short book by the Spanish novelist and journalist, Rosa Montero, called, in Spanish, La ridicula idea de no volver a verte, which means something like, The ridiculous idea of never seeing you again. After Montero's husband died her editor sent her a copy of the diary which Marie Curie wrote after the sudden death of her husband, Pierre. (He fell under the wheels of a heavy cart in a Paris street and his skull was crushed.) The editor wanted Montero to write an introduction to the diary, which was only a few pages long, but hoped that reading the diary might prompt her to write something more substantial, something to which the diary would become a 'complement' or addition. And that is what happened.



Montero went out and bought as many biographies as she could find.  It turns out that Rosa Montero corresponded with Ursula K Le Guin. What she actually says in her book is: 'I have had the immense good fortune and privilege of developing a certain friendship with Ursula K Le Guin, who is one of the writers whose influence over my work I consciously recognise.' As an aside, I was once talking to Jan Mark about science fiction and mentioned Ursula Le Guin and I can still hear the thrill in her voice when she said 'She's my friend!'

Anyway, Rosa Montero had written to Le Guin that she wanted to write a book about Marie Curie, and part of Le Guin's reply was as follows:

'I read a biography of Marie Curie when I was about 16 or 17 . . .  Perhaps my memory is playing tricks on me but what I remember is that, after Pierre died in the street, she kept a piece of cloth with which she had tried to clean his face. Some of his blood and his brains had remained on the fabric and she kept it, hiding it from everyone, until she had to burn it. That image has haunted me anxiously all these years.'

Rosa Montero had read Marie Curie's diary but had assumed that when she referred to burning Pierre's clothes and 'kissing what was left of him' she was doing so immediately after his death and was kissing 'metaphorically'. Then she managed to get hold of a copy of Eve Curie's 'lovely book' and discovered that it was two months later that these events took place. I found myself wondering what Eleanor Doorly had made of this in her book. Unsurprisingly, she left it out.  Pierre's death and its aftermath is treated like this:

When Eve grew up, she told us, in the lovely life she wrote of her mother, that from the moment she spoke the words 'Pierre est mort,' a cloak of solitude and secrecy enveloped Marie, and that from that April day for ever she was a person apart and lonely.



Eve is being a little melodramatic here. There are very many ways in which Marie was engaged with other people. For example, here she is at the inaugural Solvey Congress which ended coincidentally on 3rd November 1911 (125 years ago today). This was where she first met Albert Einstein, who is standing behind her and was a friend for the rest of her life. Einstein stands between her lover, the physicist Paul Langevin (furthest right) and Ernest Rutherford. Also omitted from Eleanor Doorly's book is any mention of Marie's and Paul's affaire. On their return to Paris after the conference, a massive scandal broke out as the press revealed details of Marie's correspondence with Paul, portraying her as a scarlet woman, a foreigner, a jew and an imposter. That same year she won her second Nobel prize. As Eve Curie pointed out bitterly :

Each time Marie Curie was acclaimed for her talent in other countries, when they praised her with previously unheard-of elegies, then immediately she became for the same newspapers and beneath the bylines of the same journalists, the 'ambassador of France,' 'the pure representation of the genius of our race' and 'a national glory.'

Here's how Eleanor Doorly dealt with the scandal:

'But unfortunately there is a strange disease which causes certain people to feel very cruel when they hear of someone being very successful or very beautiful. Marie was both, and suddenly people began to write her anonymous letters and to tell extraordinary lies about her and to accuse her of doing wrong things of which she had never dreamed . . .'

Certainly, there is no danger of a child reading The Radium Woman and being haunted like Ursula Le Guin for the rest of their lives by a gruesome detail. They might, however, be envious of the education Marie's children received. For a brief space of time Marie and her friends engaged in an exercise in home-schooling, or rather, in a kind of shared tutoring ;

'... they decided to pool their children and teach them for themselves. The lucky children were to have one lesson a day, but it was to be given by the best specialist in Paris.' Who knows whether all those eminent scientists and artists were great teachers. The experiment didn't last:

'Unfortunately, however, parents have to be busy earning the family income and have no time to give their own children enchanting lessons.'

But this paragraph concludes with a sentence that I suspect was dear to Eleanor Doorly's heart. (She was a headmistress.)

'(The children) said in after-life that from those early lessons they learnt to like work, to be indifferent to money, and to be so independent that they were convinced that they could pull themselves out of any difficulty.'

Eleanor Doorly was an interesting woman. To some extent she was a woman of mystery, said by some (apparently, . . . maybe . . . ) to have served in the Special Operations Executive during WW2 and reputed to have spoken 7 languages. She was headmistress of the King's High School for Girls in Warwick from 1922 to 1944, but before that was Headmistress for nearly 7 years of the Twickenham County School for Girls, a tenure which ended in controversy after an encounter with a representative of the Girl Guides Association. You can read an excellent account of these events by Tom Barney on the Archives for London website, but, in short, Miss A Fradelle-Pratt, District Secretary of the Girl Guides for Twickenham requested of Miss Doorly that the Guides should be allowed to start a company in her school. Miss Doorly enquired about the Guide Promises. She had no problem with Honouring God and the King, or with Helping Others, but when it came to the Guide Law she was not happy. After this meeting, Miss Fradelle Pratt informed the Governors that, on being told that "A Guide follows orders" Miss Doorly "Made the very greatest objection to the teaching of obedience & said she did not permit of it being taught in the school – & therefore with her objection also of a uniform the idea of the Girl Guide Company could not be thought of."  

This is a wonderful scene. I suspect that the intelligent and extremely capable Miss Doorly allowed her disdain for Miss Fradelle-Pratt, and her dislike of militarism, to show through. This was, after all, just a few short years after the end of the war. 'Following orders' is not the same thing as 'being obedient' or, as we are more likely to say today, 'well-behaved'. How, in any case, would you 'teach obedience'? There's plenty of evidence that the girls in Miss Doorly's school were very well behaved, but Miss Doorly clearly did not suffer fools. The controversy cost her her job, but she appears to have found little difficulty in obtaining a new position.

I like to imagine a meeting between her and Madame Curie. I feel sure they would have had much in common.

The Twickenham controversy on Archives for London.



Tuesday, 3 November 2026

Draft Number ... by Joan Lennon


We'll all have Patrick Stewart in our thoughts just now and if I've managed to embed it properly,* here's a snippet of him helping the Count.

My difficulty at the moment is with drafts. Not, like the Count, with the first, but with the second. This is for a novel that I have brought out and put away again more times than I can remember as other things got in its way. This year I finally brought the first draft to a finish! 

It's a heady feeling. We say the words, 'It's only a first draft - of course, it's rubbish - but from here I can really work on it!' while in our hearts we are saying, 'This time I've done it - this time I've written the book perfectly from the get-go - this time... this time...'

Not this time. I would love to be able to say to Draft 2, 'Get yourself organised! Get yourself re-written! Make yourself better! Make it so!' But, yet again, I'll just have to do the bloody work.

I'm going in... 


* If I HAVEN'T done it properly, here's the link: https://www.youtube.com/watch?v=hNatvLe18ro

 

Joan Lennon website

Joan Lennon Instagram

Sunday, 1 November 2026

AND ALL OF A SUDDEN, IT'S NOVEMBER? by Penny Dolan


October 2026 became busy, with an ‘Afternoon Tea in Queen Victoria’s Carriage’ on the Embsay Heritage Railway; an unexpected but welcome visit from ‘long-lost’ cousins, a day wandering the Walls of York with a friend, a fine film about the Life of Caravaggio, and an Azuma to Kings Cross and back, seeing dear family people. All the experiences very spirit lifting – and with a wonderfully empty week to look  forward to as well.




Better still, the week would be one of those rare gaps where there was nobody-and-nothing going on. There would be no ‘Visiting Men*’ in or around the house, no people mending things, installing things, collecting or delivering essential things. Just nobody, not even the person needed to repair the dishwasher. No. Men.

The week would be the perfect week for catching up on ideas or projects. Heavens, what bliss!

And then?

And then . . . a revolting, coughing-wheezing-cold-in-the-chest bug descended. The ‘empty’ week was spent under layers of heavy bedding, along with the rattling and rustling of medications and endless coughing and spluttering. Quiet and peaceful, it was not! 

Days passed, and nights, and at last the miserable bug has started shifting. I am Still Standing, though more often sitting, lolling or dozing and have done nothing word-wise for days. October, you promised so much! What just happened?

I look at the calendar. Saturday 31st October! Already? But it is Halloween and, very thankfully, I am still on the right side of That Midnight Door - and hope to remain so.



Plus I do have a few hasty words written now. These: November's Awfully Big Blog Adventure post!

Hoping you had the Halloween you wanted, that you're enjoying a fine All Hallows Sunday, and that you'll have a cheering and healthy November! With enough time and brain-space for your words during those weeks ahead.



Penny Dolan

*nb. Our visiting Repair People are all men.




Friday, 30 October 2026

Better late?

Not that it represented a threat to world democracy, but I do apologise for missing my blog date of the 25th. The reason? I'm currently editing a book for a former manager. He hails from Japan, speaks good English but can't, as he very readily admits, write it.

Well, he can put the words down in English on paper, but what we end up with is something like this:

Why dangerous? First, thinking “a failed product will succeed if the times catch up,” a company re-launches the previously failed product with the same desire story—but what has in fact arisen in society is a completely different desire. Second, “imitating only the outward form of a successful competitor”: Ray-Ban Meta is selling, so we too will release a product with the same form. But the essence of success is not the form; it is the positioning against a different desire that has risen in that era. Third, “misreading the signs of the future”: absolutising a past failure, we miss the new desire of the AI era—“to get the right answer without interrupting my life.”

As he himself says, what emerges from his pen is Janglish, and it needs a proper English speaker and writer to knock it all into legible - and comprehensible state. So, for years now, I've been editing the short articles he writes for a blog and they've been hard work but also fun. I can manage one in three hours. They're also intended to be read online, so his initial drafts are far simpler in execution. Thus, easier to edit and polish.

This book, however, is on another plane. It's about Design and oh boy, people who work in Design often make incomprehensible French philosophers read like Enid Blyton. I was once asked by a departing colleague - from the same Design department - to write accounts of four projects she'd managed. She wanted her successor to be able to bring himself up to speed with what he was taking over. So I did, and she was happy and, so I heard later, was the successor.

So happy, in fact, that he thought one of the articles should be submitted to an academic Design journal. Off it went. And back it came, with the observation that, as interesting as the subject was, the text wasn't in a style befitting the journal. This translates as - and I've been backed up in this by others, so it's not just sour grapes on my part - it didn't read like an academic article. Or to put it bluntly, it was too easy to read. 

So I'm currently halfway through a tome about Design and it is HARD WORK. I can manage to 'translate' 5 pages a day, 3 days a week, and when I'm finished each day my brain feels as though it's been boiled in a vat with rusty cannon balls. And then poached.


And that's the reason I missed my October 25th date.