Ambiguous eroticism

Rose Doughty writes:

Love and beauty are the conventional topics of many of Shakespeare’s sonnets, along with related topics of time and mutability. He is not conventional in his treatments, though – he addresses the poems of love and praise not to a fair young maid, but to a young man, and includes a secondary subject of passion – a woman whose beauty and virtue is questionable: love is represented in a complex and paradoxical way. Over many years, commentators have speculated about the claim in the sonnets that the poet will make the young man’s beauty immortal in verse, thereby defying the destructiveness of time, and about the theme of betrayal of friendship.

What is the nature of the relationship between the poet (or rather, the persona of the poet which Shakespeare adopts) and the young man? Some commentators claim that the relationship is asexual while others contend that it is sexual. The ambiguous eroticism is a constant source of fascination, not least for Paul Priest, the author of Sonnets, two performances of which by Theatre of the Dales closed the LitFest this year. They were followed by a lively discussion with the audience.

Paul Priest taught at Trinity and All Saints College in Horsforth, and during his time there introduced a number of innovatory practices to increase the students' level of engagement with Shakespeare. These included bringing in theatre practitioners like David Robertson, and he was the actor who played a most convincing, if a little ageing Shakespeare last weekend at the Yorkshire College of Music and Drama. Gemma Head oozed authority as Lady Pembroke, and Will Tristram played her son William as an irritating teenage aristo who was perhaps justifiably upset at being described as a churl. The wordmaster had to explain the use of the term in his dedicated sonnet, rather weakly in this script, I thought. Katharina, 'a dark lady' (Victoria Morris) was suitably alluring in a slightly mannered performance full of appropriately slinky movements, a turn-on indeed for WS. John Savage brought an intelligent flamboyance to the character of Henry Wriothsley, Earl of Southampton and the author himself came in to play the part of a divine dressed in a blue Anglican cassock to comment on the religious slant adopted by WS towards the end of the series.

Theatre of the Dales is locally famous for all the right reasons, it appears.

Below, the man responsible:

Ancient Ireland in Headingley

Sheila Moriarty writes:

On Saturday 21 March, the Bowery Café, Headingley, was the setting for a vivid and lively performance by the Irish Writers' Group, Lucht Focail (People of the Word) who were joined for the evening by David Agnew, Jo Flannery, Berni Byrne and the Joyce O’Donnell School of Irish Dancing. The event, which began at 8pm, was preceded by Irish music ably provided by Des and Kevin Hurley in the café as people arrived from 7.30 onwards.

The main event took place in the upstairs workshop room and the venue was packed to capacity by an appreciative audience who were treated to an hour of magic and mythology. The theme was Irish myth and legend: an exploration through poetry, music, dance and song of such iconic Irish mythological figures as The Children of Lir, Finn MacCool, and mad King Sweeney. Much of the poetry was original work by members of Lucht Focail, interspersed with poems by other contemporary poets and including some poetry in Irish.

A successful and highly enjoyable event, made even more enjoyable by the warm welcome extended to all by Sandra Tabener of the Bowery Café. Some of Sandra's photos are below:

Thanks Paul

Hearty thanks are due to Headingley Librarian Paul Askew, who produced a series of useful posters for individual events during the LitFest. Here he is in front of his display:

Regnar Lodbrog i Götaland

Richard Wilcocks writes:

Rory McTurk     Photo by Richard Wilcocks

In spite of the rawly violent storyline (the Vikings were, like us, very fond of rawly violent storylines), Rory McTurk's lecture last Friday was highly academic, based on a lifetime of research, as befits an Emeritus Professor of Icelandic Studies in the School of English of the University of Leeds. He began by looking at a couple of cartoons which were , he explained, clipped from a corn flakes packet in Denmark twenty years ago and which were translated very efficiently for the audience's enlightenment by the speaker, and progressed to speculation about the identity of one Healfdene, or Halbden, or Haldene, who may or may not have had his name incorporated into the name Headingley. The -ley part may or may not have derived from lowe, or hill: it might have derived from lea, meaning a clearing in the forest, the forest of Knaresborough which once covered this area before exploitative charcoal burners and property developers arrived. We were given a list of references which might prove handy, including Annals of St Bertin, Abbo of Fleury's Passio Sancti Eadmundi, Cogadh Gaedhel re Gallaibh, Geffrei Gaimar's L'estoire des Engleis and the Icelandic Knútsdrápa. That last one includes a little poem about the infliction of the blood eagle upon the captured King Ella by Ivor the Boneless:

Auk Ellv bak/ at lét hinn's sat,/ Ívarr, ara,/Jórvík, skorit

'And Ívarr, the one who dwelt in York, had Ella's back cut with an eagle.'

It was breathtakingly impressive. We were left pondering many questions at various levels of sublimity. Has Headingley really got a hill? Did they call him Boneless to his face? Do the Danes really eat corn flakes? Could a hairy fertility goddess really be confused with a man who wore hairy breeches?

The cartoon from the corn flakes packet

Lawnswood Slam

Three hundred vocal and appreciative 14 to 16 year-olds with their friends, parents and visitors packed into the main hall of Lawnswood School yesterday evening for a the grand Poetry Slam. It was the school’s contribution to the Headingley LitFest, and was coordinated by teacher Amanda Stevenson.

Very much in charge was performance poet Michelle Scally Clarke. This is the second year running that Lawnswood has been involved in a Slam. The theme this year was Pride.

With her help the students wrote and performed their own pieces - individually, in duos, trios and larger groups.

A panel of three judges chose three main award-winners: Ellen Hemingway’s Life is a Lottery was the most outstanding poem, Priya Lota’s Think, feel, say, see was the most emotive performance and Kizzy Jones, younger than most at 13, gave the most courageous performance.

Poetry Slams can feature a broad range of voices, styles, cultural traditions and approaches to writing and performance. The emphasis is on delivery, which might involve choreographed movements, hip-hop music and theatrical devices.

Below, Michelle with some of the poet-performers

Delicious

Richard Lindley, the affable owner of Café Lento, compered a delicious short story evening on Wednesday, with original stories (and wines) of all types. He wants the place to become even better-known as a microcosm of the Headingley arty universe, so let it be. Star turn was undoubtedly John Jones, who had revealed to Richard Wilcocks over the weekend that Yoko Ono had performed a happening along with her then partner Tony Cox at the Leeds College of Art in 1966 (when John was a young lecturer in the Fine Art department at the University of Leeds) and that she had stayed at his house in Rochester Terrace, bringing with her Kyoko, her daughter.

Brief mention of this was included in a LitFest email circular which reached the local press....and the result was an interview with John and a substantial article by Chris Bond on Wednesday in the Yorkshire Post. The focus was John's 1987 essay in an anthology entitled The Lennon Companion, in which he writes about his interviews with a constellation of artists who were around in the sixties in New York, including De Kooning, Man Ray and Lichtenstein. He just missed Andy Warhol. The essay was read out, and John answered questions.

The Yorkshire Post article can be found here.