Bless me Father, for I have sinned. It’s been 14 months since my last confession.
I haven’t been writing here, partly because I hadn’t needed to. Writing in this blog used to be an escape, a way of getting out of my head, a way of putting thoughts down and getting rid of them. I came to a point where I didn’t need that (or possibly just had better things to be doing with my time) and haven’t got back into the habit.
And yet, here I am. I think I might have a need to write again. I don’t know whether this is a good or a bad thing.
So, where is Stewtheking? Well, Stewtheking is a mother flipping teacher. Yeah. It’s brilliant and it’s terrifying. Training as a teacher is hard work, and it’s busy, and stressful, and you never have enough time to do anything. Being a teacher, on the other hand, is busy, and stressful, and you never have enough time, but it’s also a huge seat-of-your-pants experience. And not because of every lesson having the possibility of descending into chaos at the slightest change of wind-direction, but of the fact that if I cock this up, that’s it. No safety net. Nobody else hanging over my shoulder picking up the pieces, ready to step in if Mr Stewtheking starts talking gibberish (or merely gibbering inanely).
That said, on the other hand, it can be tremendously good fun. There is, it has to be said, an enormous thrill to having a group of people hanging on your every word. Being able to show them things that genuinely surprise and interest them. Take today for instance. I did a simple little demo dropping blood into water (not as simple as you might think. Pricking your finger on purpose is surprisingly difficult), which spreads out quicker than you might expect, because the blood cells explode. Anyway there was a moment, perhaps a second, where they were all absolutely quiet and paying attention. It’s difficult to describe, but that moment of quiet is such a buzz, because that is IT, that is what everything you’ve been working at is all about. The reason you spent the whole of Sunday hunched over a laptop in your pyjamas, and the previous five minutes mutilating your fingertip and swearing inventively under your breath.
I don’t know how long it’s going to take for the fear to drop off. Maybe a term. Maybe a year. Maybe it will never really go. The thing I am most scared of, though, is that the excitement will drop off first, and leave nothing but the fear. I am not masochistic enough to stay in the job if it did, but where would that leave me? The longer I am a teacher, the more I let it define me as a person, but where does that leave the rest of me?
Maybe that’s why I need to start writing again.
So, I just finished reading a book. A new book. The new Nick Hornby, in fact. I have read pretty much everything else he has ever published, and he is the author I would describe (if pressed) as my favourite. He is funny, extremely easy to read without being too simple, and he manages to ‘say things’ about the human condition, without ending up coming across like a wanky English professor who probably should spend less time inhaling chalk dust. His new book ‘Juliet, Naked’ tells the story of Tucker Crowe, a reclusive musician who stopped recording and withdrew from public life 20 years ago, Duncan, a ‘super-fan’ of his, and Annie, Duncan’s long-suffering partner. Their lives intertwine, and in the process, the novel discusses what it means to appreciate music and art. I won’t go into any more in the way of plot, but there is a predictably happy and life affirming end to the story, and I thoroughly enjoyed the read.
I don’t think it would be wise to go through a blow-by-blow account of the previous 14 months. In summary, I became a teacher, some people were nice to me, some people not so nice. I remained cool and collected. Yeah, hardly a ripping yarn. I do have an anecdote from the other day, which might suffice, however. So, I was in town, picking up a few bits and bobs of shopping. The town is a relatively up-market one, so there are a fair number of delightful little Ruperts and Tarquins fopping about elegantly with their doting middle-class parents yapping at their heels to rush them to ballet etc...
Anyway, walking through the shopping centre, I happened to be following a Mother and her rather bored looking son. The mother seemed to be going through a long list of the things they had to do that day, "... and we've got to get you some new school-shoes, and then you need some new pens, and then we're going to tea at...". She also seemed to be doing the 'lick-a-tissue-and-thrust-it-in-the-face-of-your-offspring' thing. Because clearly saliva and mouth bacteria is much better than an ink-smudge or two.
In the midst of this whirlwind of fussiness, the little trooper of a kid turns to her, raises his hand to her face resignedly, and sighs "Expelliarmus, Mummy."
Music time. Imogen Heap is a name I had head before buying her new album ‘Ellipse’, but I am not sure where. I wish I had discovered her sooner, because she is magnificent; a singer-songwriter who presses a good many of my musical buttons. It opens with the driving, melodic ‘first train home’, an unashamedly ‘poppy’ number, but one with substance and depth. A few crunchy chords and suspensions tell you that somebody somewhere has had a good think about the song, that they have made artistic decisions. The main highlight of the album from my point of view is the delightfully fragile ‘little bird’, where Heap’s breathy, sometimes cracking, vocal floats above an achingly sparse electronic accompaniment, sometimes multi-tracked for effect, which builds almost imperceptibly to a climax, and then drifts away. It’s not all perfect. Whilst I like the variety they afford, some of the more up-tempo tracks jar slightly when butted up against the more delicate numbers. The overall quality, however, is more than enough to warrant repeat listens. Highly recommended.
Until our next sporadic instalment…












