Tuesday, 19 April 2022

Quarry Mount Primary School pupils explore Space. 31.3.22

Mary Francis writes:

It was a magnificently sunny, snowy morning when Year 5 pupils at Quarry Mount Primary School shared some of their poems in assembly with the rest of the school - though sadly not their parents, due to Covid-19. 


They had been working over three sessions with writer and poet James Nash on exploring the theme of Space, then coming up with ideas around that theme, turning those ideas into poems, then editing and rewriting them until they were happy with a finished piece of work.

The pupils were very impressive and had obviously learned a great deal. The deliveries of their work were splendid, with some good, strong and seemingly confident voices. Their poems seemed to go down very well with the rest of the school.


Some good lines -


Millions of stars around me/ shining like a torch in the darkness/ blinking in front of planets


I can feel fear as my friends and family plunge into eternal darkness of Space


I am moving into the dark away from the stars/ Behind me all the planets/ Venus, Earth and Mars

        …. as through Space I roam


I can see darkness in Space/ I can smell the dust, smoke and gas



The young poets had been very engaged and had enjoyed the sessions.


James managed to collect some feedback from them -


Best thing about the project - 

Learning how poems work - sharing them with a group - learning how to write a poem - transforming a story into a poem - learning the features of a poem

What they learned - 

How to set a poem out - how to turn ideas into a poem - facing challenges in writing > perseverance - the things that make a poem a poem

Why it was good to share work with other pupils -

You can hear what needs to change - it’s good to share ideas - helps you make it better - people can get inspiration from you

What they will remember about this project - 

How to start a poem - how to make a story into a poem - features of a poem - how to make a poem interesting - how to edit and redraft to make a poem


James adds:
One of the strengths of the poetry projects in primary schools is how we work within the curriculum to build on it and underpin it. The children had had a visit from a planetarium two days before I came in so were full of facts and information. Together we went on a poetic space journey and they rose to the challenge.

On the morning of the sharing assembly seven of my young poets read their poetry to the rest of their class whilst I did a session on performance skills with the remaining four. In the assembly these four and some others from Year 5 read their space poems and haikus with grace and confidence.

Comments coming my way from staff including the Year 5 classroom assistant 

‘you always get the best out of the children’ 

and ‘how brilliant to see the children grow in confidence during the sessions’.

It was great to see how attentive the rest of the school were with the performances; they clearly got a very strong message about poetry, spoken word and creativity.

Saturday, 26 March 2022

Wild Weather at Spring Bank primary school


Sally Bavage writes:

We basked in hot sunshine at an outdoor assembly. In March! But Wild Weather poetry followed a study of the topic in the previous term, and then minds had turned more to hurricanes and tornadoes, along with snow, blizzards and torrential rain.

Our outdoor sharing of the work class 3 had written, redrafted and produced in best copy was a glorious morning in the safety of an outdoor assembly to which parents could finally attend in these allegedly post-Covid times. As usual, James Nash, local writer, author and our commissioned poet, had started with these seven- and eight-year-olds exploring inspiration and ideas and trying out some lines. They crafted their ideas by drafting and redrafting – and they had actually thought this was both essential and fun.

Finally, they had carefully rehearsed their presentations to the full class and appeared so confident in reading out their best work or lines to the invited audience of parents and other school staff. As one little girl confided to me afterwards, she had been terrified – but her confident performance and smile after her turn showed how valuable the experience had been. Another was keen to show me how she had typed up her work and others showed me the illustrations they had made for their clearly-valued poems.

Headteacher Sarah Hawes was once again so pleased with the work and the obvious joy on display. And class teaching assistant Katy commented on the “quality of the language that the youngsters had used” in their work. She knew from past experience that this shows up in their work afterwards, as well as “the increased self-confidence in themselves and their work.”


Teacher Luke Wrankmore with James Nash
James collected feedback from the petite poets together for Headingley LitFest:

Best thing:

Editing – changing things to make the better

Redrafting and putting into verses

I loved writing out my ideas

What I have learned:

Poems don't have to rhyme

Poems are GOOD

Sharing with others:

Show other people how you feel

Gaining in confidence

What you will remember

How to create a structure for a poem

Better at sharing

Thank you for another excellent workshop this week. We have had parents evening this week and several parents told me how their children have been writing poems at home - so you've definitely had a positive impact once again!

Luke Wrankmore

Class teacher

James has such an easy relationship with these small writers; they trust him and take their cue to perform with extraordinary aplomb - and it is hard to believe they are only seven or eight years old! One line from a poem: 'I come every year to blow your socks off' may have been about the wind but I think best describes the effect that James has on the young people. 


Sunday, 13 March 2022

Ekphrasis: A Poetry of Seeing

 

Ekphrasis: A Poetry of Seeing – Douglas Sandle

 

Richard Wilcocks writes:

 

Douglas Sandle is a retired chartered psychologist, researcher and academic who worked for much of his career in art, design and architecture at what was once Leeds Metropolitan University and is now Leeds Beckett. This history was very apparent in Headingley Library on Thursday 10 March when, with the help of a Powerpoint display, he revealed the depth of his knowledge.

 

He made it clear that there is nothing new about Ekphrasis, travelling back to Ancient Greece to make his point by reading a few lines taken from a lengthy section of Homer’s Iliad which describe the shield of Achilles. The word was originally applied to the skill of describing a thing in vivid detail:

 

And first Hephaestus makes a great and massive shield

blazoning well-wrought emblems all across its surface,

raising a rim around it, glittering…

 

The word gradually became used just for poetry (sometimes prose) which describes, or is inspired by, works of art. After showing some entertaining examples of works of art which employ optical illusions, he moved on to more modern examples of ekphrastic poetry, beginning with a poem inspired by a painting by the French artist Jean-François Millet, entitled Man With A Hoe. Written by the American poet Edwin Markham, it caused something of a sensation after it was published in the San Francisco Examiner and led to a debate on the conditions and exploitation of agricultural workers at that time. It was used in campaigns to support Labour rights and for better working conditions, which led to changes. 

 

 

Man with Hoe

 

After seeing the famous Landscape with the Fall of Icarus by Pieter Breughel the Elder on the screen and listening to Douglas Sandle’s eloquent commentary on the poem which refers to it – W H Auden’s Musée des Beaux Arts, we moved on to a survey of Ekphrastic poetry today. He mentioned in particular the contemporary competitions for Ekphrastic poetry, including one by the Poetry Society which included children and younger writers. Carcanet Press in 2015 published a glossy 100-page book of poems  by Owen Lowery, along with the art works by Paula Rego which had inspired them. There was a special mention of the online monthly publication The Ekphrastic Review, founded by ekphrastic writer Lorette Lukajic, which has published two of Douglas Sandle’s own poems.

 

One of these was Liquorice Allsorts, the poem inspired by the Patrick Hughes work of art with the same name. Another was inspired by one of Hughes’s ‘rainbow’ paintings – Leaning on a Landscape. He read several poems with Manx connotations which connected with his own childhood, then arrived at a group of images by his sculptor brother, Michael Sandle RA. One of these, Der Trommler (The Drummer), which is exhibited in Tate Britain, I found particularly memorable:

 

 

It comes from a distance far away,

resonating in the head. A troubled rumble

that grows into a drum deep boom.

The drummer marches and treads into view.

Closer now, his hands flick, wrists rotate,

his helmeted and faceless head

stares down at his muscular body,

solid and taut as steel.

This is no dancing rhythm or playful beat,

Nor a rat- a-tat- tat for acrobatic tricks,

But a doom-laden call to arms,

Its awesome prescience echoing

by the rivers and dark marshes

of the Styx

 

 

 

 

Wednesday, 9 March 2022

George Orwell in Headingley – the Walk and the Talk

  Richard Wilcocks writes:

A lot more people, in Leeds anyway, now know about Orwell’s brief residence in Headingley, and have hopefully read The Road to Wigan Pier to add to their knowledge of his other works. People were invited to walk from where he stayed in 1936 to Headingley’s main community centre on Saturday, 5 March 2022.

 

The walkers all arrived on time outside 21 Estcourt Avenue. They stood on the pavement, but also between parked cars, several dozen or so people, a dog and a baby in a buggy. At one thirty actor Jem Dobbs took up his position outside the front door, which had recently closed behind one of the student residents who had been showing him around the house where he had lived for his first nineteen years.

 

He spoke for ten minutes about his mother, who still lives nearby and who is one hundred and one, his father and his childhood, which was rather more free range than those of today. “I spent most of my life outside the house,” he told us. “Maybe if it was like that in 2021 my parents would be accused of neglect and I would be taken into care,” he joked. 

 

“I was always in the road at the back with a football, with friends, in the woods at Beckett Park or climbing over the wall to get into the rugby ground. Once or twice the police brought me home. I was a pupil at Bennett Road Primary School, which is now the HEART Centre, where I got the cane plenty of times. I was a juvenile delinquent!”

 

Les Hurst spoke next, very briefly, about how George Orwell had stayed in the house, at the time occupied by his sister Marjorie and her husband Humphrey Dakin. He had worked on his notes for The Road to Wigan Pier, possibly on the top floor, and had been taken on trips to the Brontë Parsonage Museum in Haworth and to nearby Kirkstall Abbey.

 

There were a few contributions from the crowd, the most memorable one being from Ray Brown, who had rented a room in Harrogate in the sixties. The landlord, Humphrey Dakin, was severely war-wounded and had a glass eye. This sometimes fell out when he produced tears. He was remembered crawling about on a front room carpet searching for it. The walk took ten minutes, and at two o’clock everybody was sitting in the Shire Oak Hall of the HEART Centre, joining those already there. It was full.

 

Les Hurst from the Orwell Society is an excellent lecturer. Without using more than a basic crib sheet which was distributed to the audience, he took us through the chapters of Part One of The Road to Wigan Pier. Here is some of what was on it:

 

1.   Lodging houses and the lives of men without families

2.   Miners at work (the other chapters are all outside work)

3.   The miner at home

4.   Housing conditions (Slums, Caravans, Council estates)

5.   Unemployment

6.   Nutrition

7.   Industrial panorama

 

We heard about how Orwell’s progress on his investigative journey, which began after a lift to Coventry as a starting point, had been partly planned and partly left to chance, because he often worked on last-minute information supplied by friends of friends, and about how publisher Victor Gollancz had originally wanted the book he had commissioned to consist solely of the first, descriptive half, without the substantial second half. This consists largely of Orwell’s personal musings on the nature of socialism and on why people living miserable lives who could benefit from a socialist system did not actually vote for one. He explores class prejudices, including his own (he was an old Etonian), remarks on the dullness of the utopias envisaged by the likes of H. G. Wells, expresses his mistrust of mechanisation and asserts that ‘crankiness’ amongst left-wing activists puts off many would-be supporters. The Communist Party, very influential in 1937, especially its General Secretary Harry Pollitt, objected strongly to this second half, but Orwell insisted that it stay. Gollancz tried to mollify objectors by writing a special introduction.

 

Les Hurst was inexhaustible, and paused for questions after nearly an hour, but his audience was still very much with him. All questions and observations were dealt with in great detail. Orwell’s comments on crankiness were understood as coming from a man who was ‘a product of his time’. They included, for example:

 

“One sometimes gets the impression that the mere words ‘Socialism’ and ‘Communism’ draw towards them with magnetic force every fruit-juice drinker, nudist, sandal-wearer, sex-maniac, Quaker, ‘Nature Cure’ quack, pacifist, and feminist in England.” 

 

Judging from questions and from comments later, the great majority of the book was appreciated as a valuable insight into class divisions, the contrast in wealth and living conditions between the north and the south and the grinding poverty experienced by so many people in the years of the Depression, and not only then but today in the foodbanks era. Parallels were drawn.

 

On the topic of working class nutrition, for example, Orwell writes:

 

“…the peculiar evil is this, that the less money you have, the less inclined you feel to spend it on wholesome food. A millionaire may enjoy breakfasting off orange juice and Ryvita biscuits; an unemployed man doesn't… When you are unemployed, which is to say when you are underfed, harassed, bored, and miserable, you don't want to eat dull wholesome food. You want something a little bit 'tasty'. There is always some cheaply pleasant thing to tempt you.”

 

There seemed to be general agreement for this truth, judging from comments and nods from the audience. Other topics of interest included the continuing dominance of the public schools and Orwell’s fears about the advance of Fascism, which he went to Spain to fight in 1936. Time did not allow for more than a mention of the modern resonances here.

 

The session was long but very well-sustained. It made quite an impression. A number of people have been in contact with me over the past days, like the woman whose grandfather was a miner from Barnsley: “After listening to Les Hurst and reading about miners in that book, I really understood what it was like for him.”

 

  

Tuesday, 8 March 2022

International Women's Day 2022 in Headingley

Mitochondrial Eve

 Sally Bavage writes:





Heartlines Headingley Creative Writers' Group performance pieces were from: Cate Anderson; Howard Benn; Karen Byrne; Rosie Cantrell; Bill Fitzsimons; Harissa; Malcolm Henshall; Barbara Lawton; Dru Long; Liz McPherson; Linda Marshall; Myrna Moore; Eileen Palmer; Jackie Parsons; Maria Sandle; Marie Paule Sheard; Terry Wassall

Harissa
                                                                                 

Cakes


Sunday, 6 March 2022

Ray Brown's relaunch of new novel Whoosh!

 

Plenty of pathos and drama

Sally Bavage writes: 
A literary soirée! At last, after a three-year absence, Headingley LitFest hosted an event in Headingley Library with real people in actual space. Not called Zoom, but Whoosh - still a word that indicates fast-moving and risk-taking. Words that certainly characterise Ray Brown's newest novel. He is an acclaimed author and old hand at Radio4, also a local denizen whose work encompasses playscripts, broadcasting, talks, articles and longer pieces. His latest book is also published by the eclectic Armley press, which has over the past decade or so published some original and exciting work by local writers. Check out their catalogue - https://www.armleypress.com/about2-c69n

Ray whooshed us through some of the many characters in his book. And when I say characters, they certainly were. Oddball, eccentric, ornery and horny as well as argumentative, committed and occasionally almost normal. You've met the people Ray has based his writing on, or passed them in the streets you walk between the thinly-veiled venues (not even thinly in some cases!). Or heard them talking over a drink in one of the local hostelries. His motley crew of characters is both strangely gripping - and they are us! As Ray said, "Any resemblance to persons living or dead is intentional".

The events of the book take place on one Saturday afternoon and evening in May 1979. Yes, shortly after that election and when the word gay was still applied to jolly parties. It hasn't stopped some people from continuing to live - not always well - or love - not always wisely - and laugh - not always kindly. There's plenty of pathos and drama amongst the dramatis personae of these pages. An illicit affair found out, a bank manager with a secret, a domestic bully, students of human behaviour as well as the university, media types and misfits, sex and lust, arguments and desire. All normal then! And you'll find you whoosh through it, caught up in the lives of those who were probably your colleagues, your neighbours or friends.

Richard Wilcocks writes:

This book is like a large landscape painting, a landscape heavily populated, somewhat in the style of Frith's realistic Victorian masterpiece 'The Derby Day'. Brown is a realist with a sense of humour, and any Victorian connotations which are in this modern panorama of an afternoon and evening in a city still in touch with its grimy industrial past would have to be found in accounts of the underworld of that time, or in some of the many officially banned publications which once circulated widely.  Readers, that is the viewers, can linger over individual characters (most of them 'amalgamations' of people the author knows or once knew) or relish groups of people linked by snatches of superb dialogue, often startling, or funny. Brown is so good at dialogue. Leeds is not the city to be found on maps, not quite. Districts are delineated approximately, sometimes misleadingly: Burley, for example, appears as Leeds 6, not Leeds 4.

If the book was translated into one long film it would be long and fragmentary, but many of the vividly evocative scenes could be tackled by storyboarders for shorter works, which could be pieced together according to taste, or to emphasise contrasts, from the brick-built toilets on the edge of Woodhouse Moor once frequented by cottaging gays and predatory, enticing policemen to the Fenton pub near the (then) Polytechnic and the University, which was in 1979 the preferred meeting place of a very diverse range of extraordinary people, not all of them artistic, who turned it into a Leeds equivalent of Paris's Left bank. Well, sort of...

A book by the American author John Rechy, The Sexual Outlaw, was a big influence. It is a non-fiction series of vignettes about the homosexual scene in California in the seventies, and was part of the movement against oppression at the time. Brown's book is not just about gay liberation, but the author is obviously very conscious of the fact that 1979, the year of Margaret Thatcher's election, preceded a decade of tragedy and prejudice for the gay community, from the infamous Clause 28 to the hysteria which came with the beginnings of the AIDS crisis.





Wednesday, 23 February 2022

New website for Headingley LitFest

 Richard Wilcocks writes:

We decided to replace our old website last year, and now we have done it! It is still more or less in draft form, but will soon have more pages. Take a look - 

https://headingleylitfest.com

Sunday, 13 February 2022

George Orwell in Headingley - lots of interest

A large photo of George Orwell was quickly recognised by local people visiting Headingley's Farmers' Market on Saturday (12 February), part of a display about the events on 5 March. Many of them are really surprised that the great author stayed with his sister for a while in 1936 in a street which is very well-known amongst the student population nowadays. Several said the walk sounded like fun. We'll be doing it whatever the weather incidentally, so bring a brolly just in case.




Thursday, 10 February 2022

Two Thursday evening events for Headingley LitFest

 TWO THURSDAY EVENINGS

Two Headingley LitFest events are coming up which are not part of Leeds Lit Fest: first at 7pm on Thursday 3 March in Headingley Library/Hub, RAY BROWN will be relaunching his new novel WHOOSH! which according to many readers is hilarious. He'd like you to bring your own memories of what you were doing in 1979 - or maybe what your parents were doing.




Second, DOUG SANDLE will be giving a talk and showing a powerpoint at 7pm on Thursday 10 March in Headingley Library. It is entitled The Poetry of Seeing: Visual Illusions and Ekphrasis. He'll explain that Ekphrasis is poetry about or inspired by works of art and read (and show) some of his own ekphrastic poems. One of them is inspired by this one - Patrick Hughes's Liquorice Allsorts.

Both events Pay As You Feel.

Registration tickets for George Orwell in Headingley on 5 March (click on the event on www.leedlitfest.co.uk) are going fast. Got yours yet?

Monday, 31 January 2022

Wigan Pier. The facts.

 

 

It is an Orwellian joke - Wigan's 'pier' was never a seaside attraction, just a couple of bent-up rails where coal-wagons once tipped their loads into barges. Orwell "liked Wigan very much - the people not the scenery" according to Labour MP Lisa Nandy, who features in this Daily Mirror article from 2017 "We follow George Orwell's Road to Wigan Pier where poverty is now worse than the 1930s". I doubt things have improved much since 2017. Have you got Saturday 5 March in your diary yet? 
 

Wednesday, 19 January 2022

George Orwell in Headingley

 Richard Wilcocks writes:

It's all coming together for our Road to Wigan Pier event on Saturday 5 March! Yesterday, I knocked on the door of 21 Estcourt Avenue in Headingley, a tall, Victorian terrace house, to find who lives there. Happily, the door was opened by Theo, who turned out to be a student of English who knows about the work of George Orwell but who had no idea that he had stayed at number 21 in late 1936 when his sister lived there. It seems Orwell used his time walking to local landmarks like Kirkstall Abbey and collating his extensive notes on his journey round the north of England documenting the great poverty and deprivation he found there.

Theo and his flatmates have said that they will join the crowd outside the house at 1.30pm on 5 March, which is when local actor and musician Jem Dobbs will say a few things about when he lived in the same house for his first nineteen years after being born in it. With luck, he will play his trumpet and he will lead everybody on a short walk to the HEART Centre in Bennett Road.


Jem Dobbs

At 2pm our tribute begins, when Les Hurst from the Orwell Society will talk about The Road to Wigan Pier, which was found to be quite shocking in 1937, when it was published by the Left Book Club. A lot of people who lived in the south had no idea about the adult and child poverty and the awful working conditions in the north. There will be readings from the book - a few of the most memorable bits - and a Q & A will follow. Orwell devoted a substantial section of the book to his idiosyncratic musings on the nature of Socialism, and these will no doubt be addressed in any discussions. Several people have told me that they would like to make a connection with the poverty and general neglect by central government to be found today in the same areas that Orwell wrote about.

If you are unable to join us on the walk, try to make it to the HEART Centre for 2pm. PWYF

Wikipedia entry - https://en.wikipedia.org/wiki/The_Road_to_Wigan_Pier

RESERVE YOUR PLACE AT THE HEART CENTRE! 

GET A TICKET BY CLICKING ON OUR ENTRY ON THE LEEDS LIT FEST WEBSITE www.leedslitfest.co.uk





Friday, 22 October 2021

Poet James Nash at Ireland Wood Primary School

Sally Bavage writes:

War comes to Ireland Wood

Well, it does when published poet and author James Nash comes.  James was commissioned by Headingley LitFest to run a series of poetry workshops on the WW1 theme with both year 6 classes at Ireland Wood primary school, culminating in a performance assembly in the school hall.  After last year's valiant work totally via Zoom this is so much more real.  Real emotions, real pride in performance, even some real tears.

Covid precautions are still in place and the young people's performances are videoed so that parents, governors and others can see the finale.  We were treated to sixty readings both recorded (compilations of best or favourite lines chosen by the writers themselves) as well as live, nerves soon banished by the supportive atmosphere from all the staff and pupils present. Additionally, classroom assistants put original poems and artwork on display screens for the assembly hall and technical support helped with the slide show and music as well.  As James said ”I never thought in the past that one could work with SO many children so successfully, but the school gives such strong support and the staff are so talented.”  And James doesn't normally use such strong descriptions in his prose – only his poetry!


 James took as his theme a battered trumpet, likening it to a soldier on the field of battle. Empathising with the fallen instrument, the youngsters could write of sorrow and waste, of courage and commitment without becoming maudlin.  Ghosts of dead soldiers were conjured up, you could hear the mournful notes of the trumpet somehow capturing the mood of the troops, yet there was a steady pride in using new vocabulary and producing original work that has somehow entered the souls of the soldiers.

 The year 5 classes came to watch and were extraordinarily attentive and absorbed in the simply excellent quality of the performances – using a mike to talk to 120+ at age ten is never less than daunting.  They were also bursting with contributions to what they had learnt from watching; a forest of hands went up and all agreed they had picked up some really good tips for their forthcoming poetry work.  So four classes altogether got real joy from the work.

 And what about the performed original poems, researched, drafted, re-drafted and crafted by year 6?   Two words.  Wow!  Impressive!   Actually, three - add very.  The year 6 teachers felt that this year, by working over an extended block of time concentrated into less than two weeks, it had made the immersion into poetry even more profound. And by working in the autumn term it would add more depth and understanding to other explorations of poetry in the following terms.  So many wins.

 It would be invidious to single out much individual work because you would be hard pressed to leave any of the sixty finished poems out.  When asked in the assembly what they felt they had gained from the work, again so many contributions directly from the children involved spoke of how poetry moves your emotions around, that different poems (which needn't rhyme, they had been pleased to find) used very different writing styles and that the poems left imagery in your head long afterwards.  Poetry isn't a story but it tells one and can cover years in ten seconds.  Wow. They also appreciated how they had gained experience of performing in front of an audience. As one child declared to Adrienne Amos, year 6 teacher: “So you’ve worked with James Nash for nine years, aren’t you a lucky lady?”

 And the school staff?  Simply blown away by some of the writing and performances shining out from unsuspected hidden depths. So proud of what the young people had achieved.  So pleased to see the development in confidence and self-belief.  This work just keeps on giving.

I wish that I was a human,

To touch my surroundings,

To consume the energy of daylight and dawn,

To be able to feel my soul.

Feel tears, feel joy,

To be able to see.

To have a heart

To be able to be who I want to be.

But without love, there is no rhythm to life.

 

Headingley LitFest is most grateful to the Inner North West Community Committee, whose strong support and funding for this work is so much appreciated.

Tuesday, 29 June 2021

Poet James Nash at Spring Bank Primary School

Spring Bank find their inspiration

James Nash writes:

I’m working with Year 3 at Spring Bank Primary School, and they are looking at me as if I’m a rare and exotic specimen. I might be the first writer they have actually met. I introduce myself and see them begin to relax a little as I talk about my work as a writer, showing them copies of the newspapers and magazines I have written for and the stories and the collections of poetry I have had published over the years.  I talk about inspiration and imagination and the importance of observation for the writer.


And then I introduce the object shrouded in a cotton bag which they are going to write about, something which I hope will pique their imagination and lead to them being inspired to write a poem.  The battered old trumpet [pictured] has proved itself over the years as a great starting point for writers of every age.


We write down our observations in response to a series of loose and open-ended questions I ask them, stressing that as we are unable to pass it around as we might have done in the past, we have to call on out imaginations even more to describe what it looks, sounds, feels, smells and tastes like; using our five senses in fact.  We think about what its story might be too.


Throughout this first session the young people have opportunities to stand and read their responses to the rest of the class and it is good to see how many of them are feeling brave enough to do this.


On my next visit class teacher Luke Wrankmore has used the image of the trumpet and my questions to get the children to become even more engaged in the writing.  I talk about the importance of editing and redrafting and show them my first and final drafts of my trumpet poem, and talk about the questions I often ask myself when I am rewriting.


‘What am I trying to say?


Have I started in the right place?


Have I used the best words and phrases I can?’


Again we share our writing, reading to each other, and the emerging poems are brilliant. 


The final session where we make a filmed performance of our pieces sadly has to be postponed [due to a positive Covid test result] until next week, but I am confident that they will be complete stars.


Let me end with some words from Sarah Hawes, the headteacher of Spring Bank Primary School.


‘It has been wonderful to be able to welcome James back into Spring Bank to work with our Year 3 children.  The poetry work he does with them is so invaluable and their level of engagement and enthusiasm for poetry is very evident in the work they produce; this lasts well beyond James’ visit. As a head it’s wonderful to see how engaged our children are with James and his poetry and the worlds of language that this opens up for them.  This is especially important given our current situation and the pressures the children have been under – the ability to express their feelings through poetry feels ever more important.


Thank you, James for enabling them to explore, enjoy, engage and love poetry’.


And from Jo Ward, Literacy Coordinator


"It's so valuable, and even more so in these unusual times, for children to actually meet and talk to a published, working writer and to have the opportunity to work with one. It's always wonderful to see children make that connection, realise that their own words are just as precious and to be able to then have the confidence to say they are writers too!"


And from me,


‘Year 3, under the able leadership of Luke Wrankmore, once again worked with enthusiasm and creativity.  The writing exercise was sophisticated and subtle and they rose to the occasion, sharing their work with each other at every step of the way, performing brilliantly as they grew in confidence’.

 29 June 2021


Year 3 at Spring Bank Primary School were in performing mode this morning, taking their chairs and poems into the school yard to give an inspiring reading. As they read class teacher Luke Wrankmore took photographs of them to be used later as a series of Tweets from the school. It was the perfect culmination of their superb writing efforts.

7 July 2021

Funded by your councillors of the Inner North West Community Committee: 

Headingley & Hyde Park, Little London & Woodhouse, Weetwood