Whilst aimlessly Facebooking this evening, I happened upon an event in swing (well, it had already swung by the time I saw it, but it had 'gone live' to the world recently), and I'm so glad I did. Rakhshan Rizwan was reading from her debut collection Paisley from The Emma Press, and chatting to her host Emma Wright, founder of said press. You can (I think...) view the reading by clicking here: https://www.facebook.com/TheEmmaPress/videos/159614752058509/
First off, I want to say a bit about the reading as a concept. In this time of lockdown, the gig was held over an online conference call facility, but, put simply, it detracted from nothing. The poems sparkled with the same jewell-light that they would do had they been coming in live, over radio, or whatever. You still got that 'extra magic' of seeing the author interacting with their own work and the audience - which is always the great privilege at readings - and even, thanks to the generosity of the participants, some questions and answers, too. In some ways, I actually preferred it being online. Sometimes while traveling to events, especially in a big city, I can tend to arrive there fatigued and nervous, and can't always give the artists one-hundred per cent concentration. Not so when I'm watching it at home! I did miss chatting to other people who were enjoying the evening, tho, especially one person who I often get to chat to on the train back from Manchester after Peter Barlow's Cigarette extravaganzas... Anyway, this isn't a 'compare and contrast' of reading types - it's just to say that I felt all the wonderful buzz and inspiration I normally do when I go to a reading, that everyone did a bloomin' good job, and how lucky I am :)
I enjoyed the poetry, too. It started off with a poem about time, which is my favourite philosophical preoccupation (just reading that phrase will do strange things to your temporal perception, so I'd call a doctor if I were you...), that conveys such an important truth about 'organisation' - of society and therefore our lives.
When I hear a 'broad title' (i.e. a title that's named after a topic/issue/concept, so as to give it an expansive gaze) such as 'Migrant', I often worry that it's going to take on a kind of polemic tone, be very preachy and flat, but Rizwan absolutely avoided this in her poem of that name. Her work instead found new, touching ways of exploring ideas surrounding migration. One 'cheesy' line gives us an essential, immediate image ("Leerdammer cheese sits on a slice of toast," making me think of the things that unite us all in humanhood), whilst the next one zooms out to the wider injustices played out by many in a society that is, unfortunately, more divided than it should be - "I shed pounds working two jobs in hopes of securing a paper-thin ticket home." For context, this last line brings together much of the poems tangible quality, the idea of the length of grass, the movement of turbine blades in air, of snow's weight - it really holds you tight into its being, so you feel it, and hear what it's saying.
Next I want to say how repetition is used well in many of the works she read out tonight (indeed, repetition is discussed in her QnA at the end, so do watch 'til the end to gain the benefit of insight). In 'Eve', the speaker 'carries' and 'brings' with her many visceral things ("fragments of pain," as Rizwan calls them in her preamble), and the repetition of the act of toting terrors adds it up, like a physical weight, in the mind of the listener, and if it makes us feel uneasy to hear the poem, just remember back to the first lines, and how "the misplaced smiles of acid-corroded faces" are not just words, but realities. Also, in 'Urdu/Hindi' and 'Paisley', there is a significant amount of repetition - of the titular words themselves. As you will know if you read my blog, I have a weird quirk where I don't like repetition very much usually, and I think Rizwan just balances on the tight rope over 'Too Much Chasm' (it's a real place, look it up). It helps one focus on these concepts, I felt in a meditative way (not in the sense of 'drift off to music' meditation, but 'intense, re-centring' meditation), and the repetition served as a kind of 'Om', a primordial calling, getting us to listen and be there with her as she speaks.
So, yeah, I definitely have another book to add to my Emma Press wish list :)
Hope you folks are all staying well under lockdown, and I urge you to take my life advice (suitable both in and out of a crisis); find what brings you joy, and do it (barring things that cause harm to others!). In my case, poetry readings bring me joy, and I just want to again say how lucky I have been to listen to this one, and thank you for reading!
Peace, love, and light.
[a link to some of Rizwan's work: https://themissingslate.com/tag/rakhshan-rizwan/]
Showing posts with label Manchester. Show all posts
Showing posts with label Manchester. Show all posts
Friday, 17 April 2020
Thursday, 9 August 2018
Recent Ruminations [As of Two Months Ago...]
 |
| hoard |
Actually, the reading turned out to be very positive. I didn't read well - I mean, it was beyond doubt in my own mind that I wasn't projecting well, and interrupted my own rhythm at a couple of points, but it was pointed out constructively by someone else as well, so not just my own opinion - yet there was good feedback on the poetry itself, which is more important to me to be honest. There were other supportive comments about my reading, and a nice chat about the act of reading in general (even people I see as far-ahead stars still suffer nerves and crises of confidence. We know this, and yet we forget it sometimes, especially when we compare ourselves to others). I read first, which was a big help (especially because that's how I'd visualised it happening), so then I could sit back down as soon as possible and enjoy the other readers, who were great (still can't believe I had my name anywhere near theirs on the same bill... I know that's no measure of me, or my work, but it still feels amazing). At first, I tried not to buy everybody's books (just because of the finances), but everyone moved me to the extent that I felt I had to have their works to peruse fully, which shows their high quality.
I'm really excited to get stuck into Linda Kemp's Lease Prise Redux, after having read extracts and, of course, enjoyed her performance. I think it's really important work, very sharp. Also to be enjoyed are Steve McCaffery's Certain Words, and Karen Mac Cormack's Rechelesse Pratticque, the readings from which I liked, too. Steve's felt more like a prose-collage poem, large and arresting in its being, but in Karen's I got the sense of smaller, more discrete pieces, with surprising twists in her delivery from one to another.
Afterwards, though, I felt a big change. Part of my worry leading up to the event was that some of my work didn't feel 'experimental enough' (to put it politely), and some of my more directly political pieces, I thought, were tending to less-substantial 'preach poetry' (and even though I've been told that I needn't worry about this, it's hard not to...). There's a time and place for that kind of work, and many people working wonders in [politically-based] performance poetry. I thought that I may have moved into that area because of what I'd recently read, but, thinking about it some more, saw through to what I think is perhaps a more core reason. I'm more and more 'down' about the world situation (more fearful, more angry, more ashamed, more disheartened...). I think that maybe some of these more 'performancey' pieces came out at this time because I want to address this, but even my best attempts feel shockingly ineffectual. Though I don't feel that all poetry is 'political' (or, rather, the main focus can be something else), and that in theory I should be able to 'just write about something else', I feel despondent and want to move on.
To be clear, even though the reading ended as a genuinely positive experience, the pervasive negativity in the world that I feel steeped in makes me want to stop writing poetry (for the time being at least). I was thinking about starting back up with an old novel of mine (started it last year, reached 39,512 words [including title], then started a job that hindered creativity for me) which, ostensibly, is a bit of silliness, but it was a good challenge, and a welcome distraction from what was going on at the time. I still want to read poetry, and I know that I'll still think 'poetic thoughts' - might even still put some of it down in words (or whatever else) - but, at the very least, my focus is moving on [to sorting out my life, hopefully]. In some ways, I'm only saying that I'm not going to 'try and force it' - which isn't really a readily recommended technique anyway - but I feel it's a tadge more nuanced than that.
[I was going to ruminate a bit on readings in general, too - some of those that have 'shut their doors', some that are still going, and some that have started up - along with a load of other personal, rambling garbage. I think, though, that this should end here, and I'll maybe put all that in another post, to possibly come out next year some time :P ]
Monday, 11 June 2018
Peter Barlow's Cigarette #28
I'm very nervous at the minute, but I hope people will enjoy what I read. I'm going to be sharing new stuff (I always like to - makes sense seeing as how I've not got any books out, or anything I'm particularly known for).
Also reading will be Steve McCaffery, Karen Mac Cormack and Linda Kemp. There's no such thing as a bad line-up at PBC, but I really am alongside three great poets and experimenters, so if you're free, do come along and enjoy.
Hope to see you there. All the best, folks <3 p="">
Details: Saturday, June 16th, 1600-1800hrs at Deansgate Waterstones.
Sunday, 25 February 2018
Tib LANE is Not Tib STREET
This is not a public service announcement to raise awareness of the fact that Tib Lane is not Tib Street, and that, indeed, they are actually quite far apart, but if it was, I'd probably repeat the message over and over again until it got annoying. You see, there are some unfortunate people who, when going to Manchester, confuse these two places and, in trying to find their way around the big ol' city, end up being late for the event they travelled there for. But this is not about people mixing up Tib Lane and Tib Street - which, by the way, are different places, and have different Taverns on them - this is about Peter Barlow's Cigarette #26, and my musings upon it.
Unfortunately, for reasons I won't go into that had absolutely nothing whatsoever to do with me being an idiot and getting confused between Tib Lane and Tib Street, I only caught the tail end of
Zayneb Allak. I was disappointed here, because I was looking forward to hearing her, and what I perceived would be her 'worldly writing'. She genuinely got a great applause, tho, which is a true endorsement.
James Byrne is a man who'd never get mixed up with Lanes and Streets, of a Tib-ish nature or otherwise. I'd seen him before at a few other groovy events, and he's always good as a writer and performer. He brought a lot of heavier flavours into his stuff this time, but always kept a quality of air (I don't mean that like 'full of nothing', but I mean an approachable fluviality. To translate further - it brought up serious themes and yet was enjoyable. Okay? You broke me down. Are you happy now, now that you've cracked the code?). As an example, he read out a piece about 'hash', which was a 'meditation' on the word and its origins, marrying drugs and corned beef in an important and effective way. There were other such 'trees', where the root of the poem was a particularly poignant word, upon which the rest was built. Right up my alley!
Caitlin Doherty was amazing. Again, a great performer, as well as her work being funny, cleanly witty ['clean' here meaning with a sense of linguistically hygienic sharpness. And 'not dirty'...], experimental, and - so I assume based on her performance of her content - formally exciting. I so enjoyed it, and haven't felt a buzz like that since seeing Jazmine Linklater for the first time. She read out some stuff that hadn't been published yet (can't remember who's going to publish it :( ), and, as I was just saying to a friend the other day, this creates a buzzing atmosphere, and I feel so lucky to be there. I just tried to splurge on some of Caitlin's works, but Satellites and one of her appearances in Salvage have sold out (China Mieville's article being credited for the first)! Couldn't find anything on eBay or anything, but I did order Salvage Issue #2: Awaiting the Furies and Our Party, so I'm excited for those to arrive.
What can I say about Peter Manson? His work was dripping in wit. He's a man not afraid to roll around in the cheeky dirt, and he had everyone laughing with his 'corporeal content'. Hats off to him especially for his reading from Poems of Frank Rupture. He read a piece from that, which he called a 'long skidmark of a poem', and even just to read it required such power and stamina, because of the long flurry of language (so much of that of high syllabic content). You felt the audience's breathing change - sometimes holding their breath, gasping a little, laughing too - as he rattled through his big beastie. The humour here was essentially very playful, and I'd say he's a brilliant example of someone who loves language and has sharp ears and eyes. I remember, apart from certain sexy references, 'song title mondegreens', which, I don't know, sort of felt akin to punctuation to me, but more for how I heard the poem, rather than how you'd probably see it on the page.
As I went away from the reading, I thought about the diversity of styles and subjects it represented. Byrne's poetry simulated thoughts about person and place, the politics of invasion and deprivation, foreign locations, but border-crossing themes. Caitlin's, while often amusing, seemed to be exploring a more abstract malaise, not so much pointing to causes, but I was certainly stimulated to think about, for example, male behaviours in everyday life. Mason's was possibly more 'purely linguistic' (I'm not qualified to say, really), and not the less intellectual for it's ludicity. I never know what the mix of styles will be like when I go to these events, and it's always a pleasant surprise.
I also want to point out that, since I was last at a PBC event, there's been an exciting change to the bookstall. Now, they are producing wee pamphlets with work by all the readers on the day, so you get a bit of work by each of them. The ones I got were £2 each, or three for £5 (which I think's nothing, when you enjoy it so much), and the money goes towards performers' travel costs etc. Wonderful idea!
By the way, just before I go, did you know that Tib Lane is NOT, in fact, Tib Street?
Peace, love, and light! x
Unfortunately, for reasons I won't go into that had absolutely nothing whatsoever to do with me being an idiot and getting confused between Tib Lane and Tib Street, I only caught the tail end of
Zayneb Allak. I was disappointed here, because I was looking forward to hearing her, and what I perceived would be her 'worldly writing'. She genuinely got a great applause, tho, which is a true endorsement.
James Byrne is a man who'd never get mixed up with Lanes and Streets, of a Tib-ish nature or otherwise. I'd seen him before at a few other groovy events, and he's always good as a writer and performer. He brought a lot of heavier flavours into his stuff this time, but always kept a quality of air (I don't mean that like 'full of nothing', but I mean an approachable fluviality. To translate further - it brought up serious themes and yet was enjoyable. Okay? You broke me down. Are you happy now, now that you've cracked the code?). As an example, he read out a piece about 'hash', which was a 'meditation' on the word and its origins, marrying drugs and corned beef in an important and effective way. There were other such 'trees', where the root of the poem was a particularly poignant word, upon which the rest was built. Right up my alley!
Caitlin Doherty was amazing. Again, a great performer, as well as her work being funny, cleanly witty ['clean' here meaning with a sense of linguistically hygienic sharpness. And 'not dirty'...], experimental, and - so I assume based on her performance of her content - formally exciting. I so enjoyed it, and haven't felt a buzz like that since seeing Jazmine Linklater for the first time. She read out some stuff that hadn't been published yet (can't remember who's going to publish it :( ), and, as I was just saying to a friend the other day, this creates a buzzing atmosphere, and I feel so lucky to be there. I just tried to splurge on some of Caitlin's works, but Satellites and one of her appearances in Salvage have sold out (China Mieville's article being credited for the first)! Couldn't find anything on eBay or anything, but I did order Salvage Issue #2: Awaiting the Furies and Our Party, so I'm excited for those to arrive.
What can I say about Peter Manson? His work was dripping in wit. He's a man not afraid to roll around in the cheeky dirt, and he had everyone laughing with his 'corporeal content'. Hats off to him especially for his reading from Poems of Frank Rupture. He read a piece from that, which he called a 'long skidmark of a poem', and even just to read it required such power and stamina, because of the long flurry of language (so much of that of high syllabic content). You felt the audience's breathing change - sometimes holding their breath, gasping a little, laughing too - as he rattled through his big beastie. The humour here was essentially very playful, and I'd say he's a brilliant example of someone who loves language and has sharp ears and eyes. I remember, apart from certain sexy references, 'song title mondegreens', which, I don't know, sort of felt akin to punctuation to me, but more for how I heard the poem, rather than how you'd probably see it on the page.
As I went away from the reading, I thought about the diversity of styles and subjects it represented. Byrne's poetry simulated thoughts about person and place, the politics of invasion and deprivation, foreign locations, but border-crossing themes. Caitlin's, while often amusing, seemed to be exploring a more abstract malaise, not so much pointing to causes, but I was certainly stimulated to think about, for example, male behaviours in everyday life. Mason's was possibly more 'purely linguistic' (I'm not qualified to say, really), and not the less intellectual for it's ludicity. I never know what the mix of styles will be like when I go to these events, and it's always a pleasant surprise.
I also want to point out that, since I was last at a PBC event, there's been an exciting change to the bookstall. Now, they are producing wee pamphlets with work by all the readers on the day, so you get a bit of work by each of them. The ones I got were £2 each, or three for £5 (which I think's nothing, when you enjoy it so much), and the money goes towards performers' travel costs etc. Wonderful idea!
By the way, just before I go, did you know that Tib Lane is NOT, in fact, Tib Street?
Peace, love, and light! x
Tuesday, 24 October 2017
CALL TO ARMS - EMERGENCY MEETING OF 'SCARF'
 |
| From the Liverpool Echo's site: http://www.liverpoolecho.co.uk/incoming/gallery/everton-goodison-park-7051684 |
I propose an emergency meeting of 'SCARF' - the Scouse Association for Remedying Football - which will have powers to call upon the government to inject millions of pounds into our footy funds, ready for the January transfer window. In addition to this, we will have the initiative to try and bring sanctions against all other clubs, especially the Mancunian ones, for deliberately lacking a sense of humour and 'winning too much'.
Football is a rich and varied sport, full of fantastic athletes, scenes of high drama and, ultimately, families of fans just wanting to enjoy themselves. SCARF will try to fix the current, woeful situation of madness on Merseyside, and bring back some of that 'score goaling' I've heard so much about in other clubs' games.
SCARF president, Maggie McCartney, has commented, "Scousers have often had a different outlook on life, from the rich diversity of cultures that the docks and universities brought into the city, to the way political ideologies - especially those of Mrs Thatcher - have bred a sense of outsiderness in England. Our outlook in football is no different. For many years, Liverpool - especially - have been, if anything, overly concerned with winning. This year, we are seeing a fresh and beautiful expression of playing well and getting no results. It seems, however, that other clubs are stubbornly rolling along with outdated ideas of 'trying to put the ball in the back of the net', ultimately for three points. My organisation will seek to level the playing field any way it can, and, with a little luck, get Scousers back on top."
Theresa May has yet to expand on her earlier comment, "What is a Liverpool?"
Saturday, 8 April 2017
Other Room Anthology Nine Out Now!
 |
| From right to left, then up a bit; The Other Room Anthology Nine, which is out now to buy, Derek Beaulieu's 'Helvetica', which provided a most illuminating guide to Juxtavoices' first piece, and lastly a wee pot of bubbles, naturally in Anti-Choir Purple. |
It was a great event that saw a couple of Juxtavoices performances (I've had one of their CDs for a long time, but to see them live was a real treat. They brought tears of laughter out of some of the audience), a fantastically humorous, well-worked and working piece (in the sense that it worked the listener, or me at least) from Erkembode, and some provoking pieces from William Rowe. All in all, very enjoyable and, as I always find with The Other Room, I felt a glorious sense of empowerment afterwards. Seeing amazing poetic talent in action (and getting to speak to other outstanding artists in between) fills you full of spirit and energy, and also manages to inspire and tell the internal censor to go away somehow.
So yeah, YOU CAN BUY YOUR COPY HERE. All that's left is to say thank you to the organisers - Scott, Tom and James - for their kindness, thanks to Sarah and Sam, who were pleasures to perform alongside, thanks to everyone else in the anthology that I'm enjoying, and basically to anyone who's been supportive along the way, which includes the audience blowing a 'twenty-one bubble salute' for the anthologised poets during the launch.
By the way, here's a link to the vids from the night I performed 'Europe' in Manchester, which is one of the poems included in the anthology: https://otherroom.org/videos/or-61-sam-riviere-sarah-kelly-martin-palmer-videos/
Friday, 17 March 2017
HiJilled Event Manchester
I don't actually know all that much about the acts, but I'm still excited :) It's mainly a music-focused event, but I always find with punk that I just end up enjoying whatever/whoever's on. Maybe, in that respect, not knowing all about the acts is a good thing. One thing I will say is that the reviews section of 'The Johnnie Squizzercrow Experience' made me chuckle! But yeah, if you want to know more, click those links (couldn't find Cosmic Slop, but here's Lou McLean, and here's The Lab Rats). Otherwise, do what I'm going to do and just be prepared to be surprised and delighted :)
Sophie Sparham I know a little more about. I'm sure my sister had one of her books, Snow in Hell, if my memory serves. I've heard other people saying good things about her work too, and am generally just keen to see what her work's like, and how the performance poetry is going to sit alongside the music. Lots to look forward to!
It's free in, by the way, and everything else you need to know is on the poster. Hope to see you there!
Thursday, 10 November 2016
First FLIM NITE
That's first as in FIRST, got it?
I just wanted to say a few words about my first taste of FLIM NITE, a [performance] poetry/comedy/spoken word/music-based meditation on a chosen popular film. Last Monday, it was the turn of Hayao Miyazaki's Spirited Away to be poured through the conceptual sieve of an eclectic mix of artists. It was really good fun.
It made me feel excited about life. Other poetry events have made me feel this way before, but FLIM NITE's extra charm comes from a sense of fearless confidence, honest experimentalism and refreshing changes of style. It wasn't all poetry by any means, however I did approach things from a poetic perspective.
I'm not a big user of technology in my work - Microsoft Word is usually as hi-tech as I get - but I enjoyed the artists' use of powerpoint presentations, music, recordings etc. There was only one instance where I'd say it was gratuitous. Also, as someone who's not generally a proponent of 'performance poetry' [as distinct from what I understand as 'slam poetry', which I think is more language-based with an emphasis on the spoken delivery, rather than delivery in general] I was still impressed with the uses of props, drama and different methods of delivery on the night. If you'd described this to me as I just have to you, I'd probably cringe, but it did work.
I was going to go into the specifics of each act, but it's really hard because there was a lot that went on, so to give you context would just take too long. There were some bits I felt didn't work so well, too, but overall I enjoyed the evening a lot. Plus, I think that right now it's more important to focus on the many positives we can, rather than try and get bogged down in much else.
This was the set list etc [minus open mic-ers]: https://www.facebook.com/events/1096035567117716/
The next one's Die Hard, in honour of Jesus being born, and if I can make it I'd love to go. I'd recommend you do too.
Peace, love and light x
I just wanted to say a few words about my first taste of FLIM NITE, a [performance] poetry/comedy/spoken word/music-based meditation on a chosen popular film. Last Monday, it was the turn of Hayao Miyazaki's Spirited Away to be poured through the conceptual sieve of an eclectic mix of artists. It was really good fun.
It made me feel excited about life. Other poetry events have made me feel this way before, but FLIM NITE's extra charm comes from a sense of fearless confidence, honest experimentalism and refreshing changes of style. It wasn't all poetry by any means, however I did approach things from a poetic perspective.
I'm not a big user of technology in my work - Microsoft Word is usually as hi-tech as I get - but I enjoyed the artists' use of powerpoint presentations, music, recordings etc. There was only one instance where I'd say it was gratuitous. Also, as someone who's not generally a proponent of 'performance poetry' [as distinct from what I understand as 'slam poetry', which I think is more language-based with an emphasis on the spoken delivery, rather than delivery in general] I was still impressed with the uses of props, drama and different methods of delivery on the night. If you'd described this to me as I just have to you, I'd probably cringe, but it did work.
I was going to go into the specifics of each act, but it's really hard because there was a lot that went on, so to give you context would just take too long. There were some bits I felt didn't work so well, too, but overall I enjoyed the evening a lot. Plus, I think that right now it's more important to focus on the many positives we can, rather than try and get bogged down in much else.
This was the set list etc [minus open mic-ers]: https://www.facebook.com/events/1096035567117716/
The next one's Die Hard, in honour of Jesus being born, and if I can make it I'd love to go. I'd recommend you do too.
Peace, love and light x
Saturday, 18 June 2016
Breaking the Silence: Parts I and II
This very blog post is breaking a personal silence. Not something I consciously decided to bring about or enforce, but a silence that has gone on for a long time, and something that has gone against my principles, vis trying to be a hardworking writer who makes his own luck.
Breaking the Silence: Part II - Look to the Future
The previous part is not particularly apt, in the sense that words on the page aren't noisy [though my tapping on the keyboard has produced some volume]. Part II, though, is about a more literal breaking of my hiatus [very well timed, I must say]. This is all thanks to The Other Room, Manchester's primary destination for Experimental Poetry. I will have the pleasure of reading with Sam Riviere and Sarah Kelly. I can't believe I'm there at all, let alone with two such bright lights. I know I'm very lucky.
I will be breaking the silence on the 23rd of June at the Castle Hotel, Oldham Street, Manchester, M2 4PD
Anyway, be nice to see you there. If not, maybe buy these folks' books. And if I get owt published, you can buy mine too :P
Peace, love and light.
Sunday, 8 March 2015
What It's All About
It's been a while since The Other Room's 52nd 'inning', and though I've already said a little about the poetry, I wanted to go on about the experience as a whole. Much like Storm and Golden Sky's nights, the power of live readings was emphatically exemplified, and I'm going to tell you why it was so enjoyable. Strap yourself in, this is going to be a long gush...
There were three poets reading their work and I think the 'exoticness' rose a level with each one [representatives from St Helens, New York and 'Japameritland']. That enhanced the juxtapositions between them, giving a feeling of crescendo at the end. Those are just my airy-fairy reflections, though - the poetry itself was very vibrant and of such a high standard. The range of techniques used gave a pleasantly jarring sensation also, both conceptually and 'in res'. So, from linguistic playfulness to found poetry [with an added caveat of spacial connection] to audio-visual projections [I'm guilty of cherry-picking over-simplified examples there], the 'journey' via the poets themselves, and their poetry, was unique to the night.
I also got my book signed by the legendary Tom Jenks. I saw him read in Liverpool not so long back, and his wonderfully surreal work mostly had me in stitches [though there were other responses...]. I thought Crabtree had sold out, and was overjoyed to see it there on the bookstall. I couldn't then pass up the opportunity to ask for 'his mark'. Some of these books are rare, some of them not available online, so just the material itself is another facet to enjoy. It's like looking at an exotic fishmongers - everything's fresh, colourful and exciting. So yeah, bookstalls [and the opportunity to ask for them to be signed] are another big part of the live reading scene.
I was also charmed by a lady who got chatting to me for whom this was the first experience of poetry reading since school. She particularly enjoyed Matsumoto's line, "I hosted the hell out of that tapas party!" [5:44 on't' video]. I hope that, even if I don't see her at another of these readings, she goes to more readings and enjoys them as much. I hope they help get her back into writing too. I had the feeling, based on her off-the-cuff wordplay and wit that she's probably a talented poet too, and I'd jump at the chance to read her work. Don't hide your light under a bushel [if you can find a bushel in this day and age...]! Of course all socialising down the pub is fun, but when it's with a specialist bunch, whose vocation is shared, then the rewards are so much richer and the new friends more intriguing - challenging, sometimes, but always affirming.
There's also the community aspect that I feel is enriching, to some degree, at least, for all, and absolutely necessary for some. For example, I'm not a terribly confident person and am often not motivated either. The writers' community, as and where you find it, is real fuel to your fire, from reading recommendations to ideas to mini-critiques and more. Maybe even opportunities to perform your work - all things that make you feel better about what you're doing. Confidence like that is absolutely priceless. And wondrous.
Speaking to writers, whether new or old in terms of your experience of them, is obviously a part of this communal energy, and I was honoured [yes, I did warn you this'd be gushy] to chat to Matsumoto at the bar. Humility and vibrancy were the striking things about her - again, good feelings abound. I got to see Richard Barrett, too, whose work on literary collaboration first got me hooked on the man. Also I shared some of a train with Tim Allen. We talked about experiences, ideas and football at some length. It was one of those moments with a great mind that I wished I'd had my voice recorder with me, because poetics pop into these conversations [as they inadvertently and inevitably do] and I think it's nice to have a record. But I'm yet to try the 'You don't mind if I record us, right here on public transport with no prior warning, do you?' line. We'll see...
The Other Room happens to be FREE, by the way. All you need to do is reserve a spot at Eventbrite. That's more money to spend on books and beer, which has always been excellent at The Castle Hotel [my kind of traditional, slightly quirky boozer]. The bottom line here, what with the warm atmosphere, the inspiration and the socialising, it's fun! I know that sounds a bit facile, but it's true! You don't have to be some stereotypical scholar and/or world's best poet. You can be a 'civilian' and still have a great time. If you are a writer, though, the benefits become that much more manifold for you.
Are you convinced, yet, of the grooviness of readings? If not, why not? Anyway, if you can't get to Liverpool or Manchester, Google what's going on in your area. Oh and if you don't have any plans next Wednesday, by the way, there's always Edge Hill's latest poetical offerings! The Other Room's next event happens to be on the 30th of April. Hope to see you there folks.
Peace, love and light.
There were three poets reading their work and I think the 'exoticness' rose a level with each one [representatives from St Helens, New York and 'Japameritland']. That enhanced the juxtapositions between them, giving a feeling of crescendo at the end. Those are just my airy-fairy reflections, though - the poetry itself was very vibrant and of such a high standard. The range of techniques used gave a pleasantly jarring sensation also, both conceptually and 'in res'. So, from linguistic playfulness to found poetry [with an added caveat of spacial connection] to audio-visual projections [I'm guilty of cherry-picking over-simplified examples there], the 'journey' via the poets themselves, and their poetry, was unique to the night.
I also got my book signed by the legendary Tom Jenks. I saw him read in Liverpool not so long back, and his wonderfully surreal work mostly had me in stitches [though there were other responses...]. I thought Crabtree had sold out, and was overjoyed to see it there on the bookstall. I couldn't then pass up the opportunity to ask for 'his mark'. Some of these books are rare, some of them not available online, so just the material itself is another facet to enjoy. It's like looking at an exotic fishmongers - everything's fresh, colourful and exciting. So yeah, bookstalls [and the opportunity to ask for them to be signed] are another big part of the live reading scene.
I was also charmed by a lady who got chatting to me for whom this was the first experience of poetry reading since school. She particularly enjoyed Matsumoto's line, "I hosted the hell out of that tapas party!" [5:44 on't' video]. I hope that, even if I don't see her at another of these readings, she goes to more readings and enjoys them as much. I hope they help get her back into writing too. I had the feeling, based on her off-the-cuff wordplay and wit that she's probably a talented poet too, and I'd jump at the chance to read her work. Don't hide your light under a bushel [if you can find a bushel in this day and age...]! Of course all socialising down the pub is fun, but when it's with a specialist bunch, whose vocation is shared, then the rewards are so much richer and the new friends more intriguing - challenging, sometimes, but always affirming.
There's also the community aspect that I feel is enriching, to some degree, at least, for all, and absolutely necessary for some. For example, I'm not a terribly confident person and am often not motivated either. The writers' community, as and where you find it, is real fuel to your fire, from reading recommendations to ideas to mini-critiques and more. Maybe even opportunities to perform your work - all things that make you feel better about what you're doing. Confidence like that is absolutely priceless. And wondrous.
Speaking to writers, whether new or old in terms of your experience of them, is obviously a part of this communal energy, and I was honoured [yes, I did warn you this'd be gushy] to chat to Matsumoto at the bar. Humility and vibrancy were the striking things about her - again, good feelings abound. I got to see Richard Barrett, too, whose work on literary collaboration first got me hooked on the man. Also I shared some of a train with Tim Allen. We talked about experiences, ideas and football at some length. It was one of those moments with a great mind that I wished I'd had my voice recorder with me, because poetics pop into these conversations [as they inadvertently and inevitably do] and I think it's nice to have a record. But I'm yet to try the 'You don't mind if I record us, right here on public transport with no prior warning, do you?' line. We'll see...
The Other Room happens to be FREE, by the way. All you need to do is reserve a spot at Eventbrite. That's more money to spend on books and beer, which has always been excellent at The Castle Hotel [my kind of traditional, slightly quirky boozer]. The bottom line here, what with the warm atmosphere, the inspiration and the socialising, it's fun! I know that sounds a bit facile, but it's true! You don't have to be some stereotypical scholar and/or world's best poet. You can be a 'civilian' and still have a great time. If you are a writer, though, the benefits become that much more manifold for you.
Are you convinced, yet, of the grooviness of readings? If not, why not? Anyway, if you can't get to Liverpool or Manchester, Google what's going on in your area. Oh and if you don't have any plans next Wednesday, by the way, there's always Edge Hill's latest poetical offerings! The Other Room's next event happens to be on the 30th of April. Hope to see you there folks.
Peace, love and light.
Sunday, 15 February 2015
The Other Room 52
So I was writing this big gushing thing about how much I liked last Wednesday's The Other Room, but I went gushing on and on and didn't really say all that much about the actual poetry. So here I'm going to say something [not much] about the writers, and even less about the writing. Enjoy. Don't forget to turn your disappointment into another click on my wep-bage. Here is my head:
Joanne Ashcroft read from her Purple Moose Prize-winning collection Maps and Love Songs for Mina Loy, which I'd heard some of before, and heard discussed during the Edge Hill University symposium on literary collaboration. Even in performance, you get the sense of the formal inventiveness inherent in the work. She also read from a work in progress, 'What the Tree Said'. This impressed me with its soughing song and vogelsang vibrancy, which she and her tree performed well.
Next up was E. J. McAdams, who is from New York and launched straight into a pressurised whisper of a poem. The main thing I reacted to with his work was his conceptual prowess. He reacted to a 'movement research' performance, in the aforementioned city, by essentially coming up with a found poem piece with added formal ingenuity - for example, using one of my fave writing alignments ever, the boustrophedon ['as the ox plows'], to shape his poem. To paraphrase him, this project became about reappropriating the city in terms of language. He and Scott Thurston performed his last piece together, which was nice.
Then a wee break and some Robinson's Double Hop, thanks to Tim Allen there.
Lila Matsumoto crescendoed the night with a collection of poems from various places, one from collaboration, then a few from a collection of hers. The first overriding feelings I got from her work were an incredibly deft wit - which results in a lot of laughter - but also a powerfully hygienic use of imagery, very reminiscent of the best haiku. I regret that I can't remember which works she read from respectively, but - as ever - the whole point of me giving you links is that you check'em out four Yusef...
Sow goo und hay valook. And don't forget to check out my next [gushing] look at a lovely reading. Peace and love xox
UPDATE: You can check out videos of the performances by clicking on the names - Joanne Ashcroft, E. J. McAdams, Lila Matsumoto.
Joanne Ashcroft read from her Purple Moose Prize-winning collection Maps and Love Songs for Mina Loy, which I'd heard some of before, and heard discussed during the Edge Hill University symposium on literary collaboration. Even in performance, you get the sense of the formal inventiveness inherent in the work. She also read from a work in progress, 'What the Tree Said'. This impressed me with its soughing song and vogelsang vibrancy, which she and her tree performed well.
Next up was E. J. McAdams, who is from New York and launched straight into a pressurised whisper of a poem. The main thing I reacted to with his work was his conceptual prowess. He reacted to a 'movement research' performance, in the aforementioned city, by essentially coming up with a found poem piece with added formal ingenuity - for example, using one of my fave writing alignments ever, the boustrophedon ['as the ox plows'], to shape his poem. To paraphrase him, this project became about reappropriating the city in terms of language. He and Scott Thurston performed his last piece together, which was nice.
Then a wee break and some Robinson's Double Hop, thanks to Tim Allen there.
Lila Matsumoto crescendoed the night with a collection of poems from various places, one from collaboration, then a few from a collection of hers. The first overriding feelings I got from her work were an incredibly deft wit - which results in a lot of laughter - but also a powerfully hygienic use of imagery, very reminiscent of the best haiku. I regret that I can't remember which works she read from respectively, but - as ever - the whole point of me giving you links is that you check'em out four Yusef...
Sow goo und hay valook. And don't forget to check out my next [gushing] look at a lovely reading. Peace and love xox
UPDATE: You can check out videos of the performances by clicking on the names - Joanne Ashcroft, E. J. McAdams, Lila Matsumoto.
Subscribe to:
Posts (Atom)
