New Shoots

Richard Wilcocks writes:

You could feel the electricity in the Shire Oak Room as talented poet after talented poet impressed us, introduced by the efficient Jo Brandon, all of them from the Cadaverine stable. In the photo, see Ian Harker, Amy McCauley, Joe Hobson and Mike Honley. Young blood!

First Joe Hobson read us his selection, all of it tightly-structured, jammed with taut metaphors and startling word-choices. He struck me as a domesticated, rural sort of person, closely observing fuchsia bushes in the garden - touchstone scrolls against all that night.....we blink in full view - and looking at a garden spider as if it was a newly-discovered creature - his many legs folded in his terminals.... towing some memory up a thread - and also as someone who can capture a character in a few words – I’m dizzy as a teaspoon...  all buttonholes, no buttons. 

Ian Harker started with a real tree which had been cut down by his neighbour, then moved on to an invented fire tree. After fire came earth, a Bronze Age earthwork by the sea which fascinated him, dug out laboriously in ancient times – the earth struggles, and we fight it back. He referred to the mysterious Wodwo from Sir Gawain and the Green Knight, and returned to Medieval times in a poem inspired by an aerial photograph of his parents’ house which revealed marks and shadows in the field next to it – evidence of feudal strips. I liked this one best.

Amy McCauley, who is doing a Poetry MA at Manchester Met, produces short, very short poems, many of them with a Biblical link of some kind. Mary, Mother of God appeared several times, seen from very original viewpoints. I liked her thought that a cow would make a good pope because life should be taken slowly. Birth and conception was a theme, and also the Immaculate Conception – the pearl is formed and released by the dark spring. Another theme was family, with poems to a brother and to parents. She also mused on reaching the age of thirty... no comment.

Mike Conley, a twenty-six year-old teacher, reminded me in his images of the legendary Ivor Cutler (did he listen to him on the legendary John Peel radio programme?) but his delivery was all his own as he gave us a surreal narrative (Aquarium) set in an A&E involving a tank of goldfish. I really liked Ophelia’s view of Hamlet (he taught Hamlet to his Year 8 students) and his revelation that she had her lady in waiting drowned so she could go to her own funeral. This was in the form of a discovered letter signed ‘Mrs O. Fortinbras’.

After an interval involving, so it seems, plenty of networking, King Ink appeared, first of all in the figure of Michael Hann waving a whisky bottle filled with what may have been more than cold tea. He was a sort of cod lecturer raving about the split between Freud and Jung, complete with sanctimonious statements, platitudes and bits out of psychology textbooks. He was at his best when not stumbling about too much, when we could pick out something relatively sober from what became a deliberately incoherent dream sequence.

I was occasionally reminded of a more nightmarish Samuel Beckett, but perhaps that was not the intention. He was followed by John Chadwick as a burlesque mime artist, with a beautifully rubbery face and a mobile beret. Broadcast platitudes and exhortations connected with democracy, the rights of consumers, being independent in thought and much else were accompanied by frantic mouthings. Gute Nacht! Gute Nacht my sweet little demographics! said the background voice as the mime disappeared. Right.

The third apparition also harangued us. This was Tim Marshall as an ostrich-feathered, turbaned Russian professor (oh these damned foreign intellectuals!) with a stream of condemnation and advice – sooth yourself with twenty-four hour TV... beware of greed economics and botched sociology! We were urged to watch out for the use of Freudian ideas in any focus groups we might be invited to join, and watched a Powerpoint full of subliminal suggestiveness, with quickly-flashed images of, for example, a cut-off limb, a Hitler rally and paintings by Joan Miro and Francis Bacon.

It was a wild pantomime, a bit clunky and ready for revision – this was its premiere – but rather wonderful. King Ink can come again!

Let Me Speak

Vivian Lister writes:

On a daffodil sunny spring afternoon, a group  of twenty writers entertained and delighted an audience of friends and visitors with a mixture of poetry and prose that was by turns sad, edifying and funny. 

Some of the work  touched  upon  themes of tragedy and loss  as in the beautiful elegy for the long dead seaman John Torrington  who at just  twenty years old died of TB, malaria  and lead poisoning (Beechey Head by Campion Rollinson) or the poignant empathetic description of a frail widower examining a ‘biscuit tin of memories’: Coconut creams of holidays on tropical beaches/Chocolate bourbons of times in France/ and Lemon Puffs of Acid words /when Mary was alive (Memory Box by Jenny Jones). 

Others focused upon capturing and describing very personal experiences and events.  In Collide, for example, the  poet ( Howard Benn) strives  to pin down  those   very painful ephemeral  thoughts and feelings as ‘fragile as glass’ that accompany lost love, whilst in  vivid  prose B. McLinley describes the hazy thought patterns of the drinker.

Here is the   brisk concreteness of Beans on Toast- by Chris Woodhead:

-       Open the tin with a crocodile snap

-       Pour into the pan with a little tap

-       Into the toaster with bread nice and thick

-       Whilst watching the clock with a tick tick tick  

  

And here the lyricism of Marlene: She walked slowly towards the beckoning waves –young, beautiful, full of sadness, beyond control

This wide range of subject  and style was welded together by a singleness of purpose - the writers’  desire to create something true and authentic. Each individual had performed that magical language trick of transforming an experience whether of a single event (a day out in Wales , dancing , catching a teapot, a foster child’s temper tantrum, falling asleep) or a series of life shaping  incidents ( first 78 to lifelong love of jazz, the day of the Bradford Valley Parade fire, moving from rural Tanzania to urban Leeds) into  exact  and honest words and went on to deliver them with courage and openness.

The performance was as inspiring as the material . At the end of the programme, a member of the audience said, "Thank you for having me" and I knew exactly what she meant.  The speakers supported each other, creating an easy and relaxed atmosphere - all the more commendable when you know that they came from two  separate creative writing groups, Osmondthorpe and Headingley, and that the first joint run through had been two hours previously.

Becky Cherriman, the WEA tutor of both these groups was pleased that the joint venture had worked so well, although she stressed the  welcoming nature of both these groups. Some people have been attending the groups for several years and they form a supportive centre, always open to  people and ideas so that nervous newcomers quickly feel at home She also talked about the tremendous support of helpers for people with physical disabilities at the Osmondthorpe group  particularly Mary and  Jenna.

Talking to members of both groups revealed just how much they valued the creative experience of their weekly meetings. Here are just a few typical views:

It’s  wonderful to find a way to express yourself creatively , to try something new – and also to make new friends. And the group is local and easy to get to (Jenny)

I like to try out  different genres of writing and it’s great to learn from the different backgrounds and experiences of others in the group. (Howard)

Writing and sharing my experiences helped me to deal with lots of situations in my personal life.(Steven)

The afternoon ended with a rousing ‘seize the day’ poem by Carl Flynn urging us all to experience our lives to the full, to treasure our friends:

 And all the sorrows , all the joys 

 The chance is yours to make the choice 

I am sure that I wasn’t the only audience member who felt inspired by the spirit of these performers to do just that! 

In summary, I shall steal the words of an audience member, Mary Heycock. She wrote: A very entertaining and heart warming experience. I loved every minute!

And so say all!

Beast with Five Fingers

June Diamond writes:

Monday’s event at the Cottage Road Cinema appealed in so many ways. I’m a sucker for old horror films , and we also had local history and significance.

Janet Douglas began by telling us a vivid tale of the early life of the author of the original short story on which the film was based. In We Were Seven, William Fryer Harvey describes how he grew up at Spring Bank House in Headingley, in a Quaker household full of books and stories. His grandparents kept to the old ways and the family eschewed violence in every form, down to not burning a guy at Bonfire Night. It is no surprise that he read Edgar Allan Poe under the dining room table.

It also made sense to learn that he became a doctor, conducting a particularly gruelling amputation to free a trapped sailor during the First World War. This dreadful  episode wrecked his own health, but was retained in his imagination.

Janet’s lively and evocative introduction led brilliantly to the film. They really don’t make them like that any more, from the excellence of Peter Lorre, to the pace and atmosphere that contributed so well to the grisly story.  A terrific evening.

RW adds: We are approaching the hundredth birthday of the Cottage Road Cinema, the oldest operating cinema in Leeds, which opened as The Headingley Picture House on 29 July 1912. The first Leeds cinema was The Assembly Rooms in Briggate (opened 1907) which is now a refurbished space used by Opera North.

So how many would you get right?

Do you think it's too hard - or not? This is the quiz which was on the tables at the launch on Friday. Some people scored high marks without the benefit of Google. Thanks to Mary Francis for putting it together.

1.    Who wrote ʻThe Good Man Jesus and the Scoundrel Christʼ?
 
2.    What is the name of Peter Robinsonʼs detective character?
 
3.    Don Quixote, Cervantesʼ famous hero, hailed from which part of Spain?
 
4.    Although much better known for her novels, she was also a friend of Charlotte Brontë and wrote the first biography of her. Who is she?
 
5.    Nigerian Chimamanda Ngozi Adichieʼs first novel was ʻPurple Hibiscusʼ. Can you name her second one, winner of the 2007 Orange Prize?

6. Who wrote ʻSouth Ridingʼ, recently produced (in shortened form) on TV? 

7. Who was the author of ʻTestament of Youthʼ? 

8. How are the two authors from questions 6 and 7 linked? 

9. Who wrote ʻOde to a Nightingaleʼ?
  
10. Who is the Scottish author of both contemporary and science fiction, whose name changes with genre by the use of the initial ʻMʼ?
 
11. Name the Egyptian author of ʻThe Map of Loveʼ who is also a political and social commentator and who reported directly from Tahrir Square, Cairo, recently? Or - name the most famous work by Naguib Mahfouz. [Bonus point if get both answers]
 
12. Name any novel by Jonathan Coe.
 
13. From which Kingʼs Cross platform does the Hogwarts Express leave?
 
14. The name of Kathryn Stockartʼs 2010 bestseller that features the lives of three women, two black and one white, in the Mississippi of 1962.
 
15. ʻOur Kind of Traitorʼ is the latest title by whom?
 
16. Can you name the famous Spanish poet who is author of the play ʻYermaʼ, currently on at the West Yorkshire Playhouse?
 
17. Famous detective series, based on books by R.D.Wingfield, filmed in West Yorkshire. 

18. Name Ben Okriʼs most famous book. [Bonus point for his latest novel, of 2007, also.] 

19. What is Jonathan Franzenʼs latest, highly acclaimed, title?
 
20. Which of these titles is not an Agatha Christie mystery? (a) 4.50 from Paddington (b) The Mystery of the Blue Train (c) Death on the Tracks (d) Murder on the Orient Express.

Shark

 

Richard Wilcocks writes:

Wes Brown lived in Burley, when he was even younger than he is now (early twenties) and his novel Shark is largely set in the area, which in case you don’t know is right next to Headingley. This evening event took place, appropriately enough, in a large front room in a house in Burley not far from the narrow bridge on St Michael’s Lane. He was interviewed by Mick McCann, author of the encyclopaedic How Leeds Changed the World. They are both in the photo. See Mick's Guardian article on Leeds writers and their rebel-rousing influence here.

Shark, described in its blurb as ‘a story about the dispossessed and how they get by’ has John Usher as its main character. He is an ex-soldier who returns to his boyhood home (in Burley) to find that things have changed drastically. Wes made it clear that he was an admirer of mid-twentieth century writers like Alan Sillitoe and that he hoped Shark would be seen as a genuine working-class novel which came out of real-life experiences, including his own. He talked about his early years, his father’s work as a professional wrestler and bouncer, and how he had spent ages with a guide to pool and snooker, because John Usher spends much of his time in pool halls. “It sounds very authentic to me,” observed Mick McCann, and after we had listened to Wes reading from the opening pages, I think most of those present agreed. Usher’s language is spiced with the right obscenities, and his tough talk could be taken at least partly as a consequence of the time he spent in Iraq.

There were comments from the audience about this and about the flashbacks which deal with Usher’s time in uniform. How can you write about the horror of war if you have never been in one? Well you can, it appears: Stephen Crane’s late nineteenth-century short novel The Red Badge of Courage, which is set in the American Civil War, was greatly admired by citizens who had been soldiers because it sounded credible and authentic. It’s often difficult to interview soldiers, Wes agreed, because traumas and painful memories can be internalised, leading to numbness.

Wes spoke about his interest in the actual shapes of word and sentences, and about how he connects various colours with pieces that he writes, which was picked up by a psychologist in the audience. It’s a benign condition.

There was plenty about influences, the names of Bellow, Updike and De Lillo cropping up frequently. The language has to sound just right, really streetwise. Wes has his own ideas about phonetics , and they work:

“So what abaht that?”

“I’ve got past that. Truss me on’t this, arr know what I yav to do and I’ll do it.”

“Iss too risky for me.”

“Av taken bigger.”

“Who does Fran think abaht all this?”

Wes explained that he is untrammelled by what is sometimes known as ‘political correctness’ and that opinions and statements that issue from the mouths of characters who have been in contact with organisations like the EDL (English Defence League) are just some of those that he has heard in real Burley and in real Leeds. “It’s not my racism. It’s for the readers to judge,” he said. “I didn’t write a manifesto.”

People lingered well past the end of the allotted hour, and a significant number of books were signed and sold by both authors.

 

Personally Speaking

In the photo, Maggie Mash as Miss Brodie is speaking to Lynn Thornton as the headmistress in an extract from Muriel Spark's novel The Prime of Miss Jean Brodie.

It was difficult to squeeze into the capacious front room where the second house event took place, in spite of the fact that the chairs were “smaller than last year”. Knee-in-the-lower-back situations seem to have been rare, however, and the huge audience was very appreciative throughout – a happy genie that did not mind being bottled up. It was wonderfully entertained by Wordsong and by a number of guest performers.

Wordsong consists of Maggie Mash and Lynn Thornton with pianist John Holt. Their programme was divided up into five sections. Early family influences had poems by John Siddique, Philip Larkin (yes, that one), Carol Rumens, Grace Nichols, Lis Bertolla and Peter Spafford; Education and friends had a tale from Gervaise Phinn’s recollections, Juan taught me by Lucy Newlyn, extracts from The Prime of Miss Jean Brodie by Muriel Spark and Lynn Barber’s An Education, W H Auden’s O Tell Me the Truth about Love (music by Dankworth) and a poem by local lad Terry Simpson – Did Those Feet in Ancient Times Walk in Woodhouse?

Love and marriage featured the work of Wendy Cope, Vicki Feaver, Sophie Hannah, Dorothy Parker, Carol Ann Duffy, Bob Dorough and Imtiaz Dharker, Beliefs and attitudes began with an excerpt from Climbing the Bookshelves by Shirley Williams, continuing with Liz Lochhead’s Mo, Pied Beauty by Gerard Manley Hopkins, Mystic Fiddler by Terry Simpson, My Carbon Footprint by Lynn Thornton and Nigel Wears, arranged by John Holt, and a chunk of Trollope’s Barchester Towers.

Adrian Mitchell’s Human Beings was the only poem in the final section, and the show closed with Cole Porter’s Anything Goes

Efficiently organised and superbly performed!