Please specify the group

Colorless and Colorful

The last drop of affection
Has left me too soon.
My desire is like a dew.
The world is like the sun
That burns my tranquility.
Yet, I open these nascent eyes.
My days pass too quick,
Only longings get intensified.
I am a clear mirror
For the casted intentions.
I conceal nothing
Unlike the closed book.
A warm pilgrimage
To simplicity,
I take elegance with
Gardening efforts
That results colorful scent
Out of colorless soil.

 

 

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© Sushant Thapa
Biratnagar-13, Nepal

Picture Nick Victor

 

 

 

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Rule by Criminals: When Dissidents Become Enemies of the State

In these days of worldwide confusion, there is a dire need for men and women who will courageously do battle for truth.”— Martin Luther King Jr.

When exposing a crime is treated as committing a crime, you are being ruled by criminals.

In the current governmental climate, obeying one’s conscience and speaking truth to the power of the police state can easily render you an “enemy of the state.”

The government’s list of so-called “enemies of the state” is growing by the day.

Wikileaks founder Julian Assange is merely one of the most visible victims of the police state’s war on dissidents and whistleblowers.

Five years ago, on April 11, 2019, police arrested Assange for daring to access and disclose military documents that portray the U.S. government and its endless wars abroad as reckless, irresponsible, immoral and responsible for thousands of civilian deaths.

Included among the leaked materials was gunsight video footage from two U.S. AH-64 Apache helicopters engaged in a series of air-to-ground attacks while American air crew laughed at some of the casualties. Among the casualties were two Reuters correspondents who were gunned down after their cameras were mistaken for weapons and a driver who stopped to help one of the journalists. The driver’s two children, who happened to be in the van at the time it was fired upon by U.S. forces, suffered serious injuries.

There is nothing defensible about crimes such as these perpetrated by the government.

When any government becomes almost indistinguishable from the evil it claims to be fighting—whether that evil takes the form of war, terrorism, torture, drug trafficking, sex trafficking, murder, violence, theft, pornography, scientific experimentations or some other diabolical means of inflicting pain, suffering and servitude on humanity—that government has lost its claim to legitimacy.

These are hard words, but hard times require straight-talking.

It is easy to remain silent in the face of evil.

What is harder—what we lack today and so desperately need—are those with moral courage who will risk their freedoms and lives in order to speak out against evil in its many forms.

Throughout history, individuals or groups of individuals have risen up to challenge the injustices of their age. Nazi Germany had its Dietrich Bonhoeffer. The gulags of the Soviet Union were challenged by Aleksandr Solzhenitsyn. America had its color-coded system of racial segregation and warmongering called out for what it was, blatant discrimination and profiteering, by Martin Luther King Jr.

And then there was Jesus Christ, an itinerant preacher and revolutionary activist, who not only died challenging the police state of his day—namely, the Roman Empire—but provided a blueprint for civil disobedience that would be followed by those, religious and otherwise, who came after him.

Indeed, it is fitting that we remember that Jesus Christ—the religious figure worshipped by Christians for his death on the cross and subsequent resurrection—paid the ultimate price for speaking out against the police state of his day.

A radical nonconformist who challenged authority at every turn, Jesus was a far cry from the watered-down, corporatized, simplified, gentrified, sissified vision of a meek creature holding a lamb that most modern churches peddle. In fact, he spent his adult life speaking truth to power, challenging the status quo of his day, and pushing back against the abuses of the Roman Empire.

Much like the American Empire today, the Roman Empire of Jesus’ day had all of the characteristics of a police state: secrecy, surveillance, a widespread police presence, a citizenry treated like suspects with little recourse against the police state, perpetual wars, a military empire, martial law, and political retribution against those who dared to challenge the power of the state.

For all the accolades poured out upon Jesus, little is said about the harsh realities of the police state in which he lived and its similarities to modern-day America, and yet they are striking.

Secrecy, surveillance and rule by the elite. As the chasm between the wealthy and poor grew wider in the Roman Empire, the ruling class and the wealthy class became synonymous, while the lower classes, increasingly deprived of their political freedoms, grew disinterested in the government and easily distracted by “bread and circuses.” Much like America today, with its lack of government transparency, overt domestic surveillance, and rule by the rich, the inner workings of the Roman Empire were shrouded in secrecy, while its leaders were constantly on the watch for any potential threats to its power. The resulting state-wide surveillance was primarily carried out by the military, which acted as investigators, enforcers, torturers, policemen, executioners and jailers. Today that role is fulfilled by the NSA, the FBI, the Department of Homeland Security and the increasingly militarized police forces across the country.

Widespread police presence. The Roman Empire used its military forces to maintain the “peace,” thereby establishing a police state that reached into all aspects of a citizen’s life. In this way, these military officers, used to address a broad range of routine problems and conflicts, enforced the will of the state. Today SWAT teams, comprised of local police and federal agents, are employed to carry out routine search warrants for minor crimes such as marijuana possession and credit card fraud.

Citizenry with little recourse against the police state. As the Roman Empire expanded, personal freedom and independence nearly vanished, as did any real sense of local governance and national consciousness. Similarly, in America today, citizens largely feel powerless, voiceless and unrepresented in the face of a power-hungry federal government. As states and localities are brought under direct control by federal agencies and regulations, a sense of learned helplessness grips the nation.

Perpetual wars and a military empire. Much like America today with its practice of policing the world, war and an over-arching militarist ethos provided the framework for the Roman Empire, which extended from the Italian peninsula to all over Southern, Western, and Eastern Europe, extending into North Africa and Western Asia as well. In addition to significant foreign threats, wars were waged against inchoate, unstructured and socially inferior foes.

Martial law. Eventually, Rome established a permanent military dictatorship that left the citizens at the mercy of an unreachable and oppressive totalitarian regime. In the absence of resources to establish civic police forces, the Romans relied increasingly on the military to intervene in all matters of conflict or upheaval in provinces, from small-scale scuffles to large-scale revolts. Not unlike police forces today, with their martial law training drills on American soil, militarized weapons and “shoot first, ask questions later” mindset, the Roman soldier had “the exercise of lethal force at his fingertips” with the potential of wreaking havoc on normal citizens’ lives.

A nation of suspects. Just as the American Empire looks upon its citizens as suspects to be tracked, surveilled and controlled, the Roman Empire looked upon all potential insubordinates, from the common thief to a full-fledged insurrectionist, as threats to its power. The insurrectionist was seen as directly challenging the Emperor.  A “bandit,” or revolutionist, was seen as capable of overturning the empire, was always considered guilty and deserving of the most savage penalties, including capital punishment. Bandits were usually punished publicly and cruelly as a means of deterring others from challenging the power of the state.  Jesus’ execution was one such public punishment.

Acts of civil disobedience by insurrectionists. Much like the Roman Empire, the American Empire has exhibited zero tolerance for dissidents such as Julian Assange, Edward Snowden and Chelsea Manningwho exposed the police state’s seedy underbelly. Jesus was also branded a political revolutionary starting with his attack on the money chargers and traders at the Jewish temple, an act of civil disobedience at the site of the administrative headquarters of the Sanhedrin, the supreme Jewish council.

Military-style arrests in the dead of night. Jesus’ arrest account testifies to the fact that the Romans perceived Him as a revolutionary. Eerily similar to today’s SWAT team raids, Jesus was arrested in the middle of the night, in secret, by a large, heavily armed fleet of soldiers.  Rather than merely asking for Jesus when they came to arrest him, his pursuers collaborated beforehand with Judas. Acting as a government informant, Judas concocted a kiss as a secret identification marker, hinting that a level of deception and trickery must be used to obtain this seemingly “dangerous revolutionist’s” cooperation.

Torture and capital punishment. In Jesus’ day, religious preachers, self-proclaimed prophets and nonviolent protesters were not summarily arrested and executed. Indeed, the high priests and Roman governors normally allowed a protest, particularly a small-scale one, to run its course. However, government authorities were quick to dispose of leaders and movements that appeared to threaten the Roman Empire. The charges leveled against Jesus—that he was a threat to the stability of the nation, opposed paying Roman taxes and claimed to be the rightful King—were purely political, not religious. To the Romans, any one of these charges was enough to merit death by crucifixion, which was usually reserved for slaves, non-Romans, radicals, revolutionaries and the worst criminals.

Jesus was presented to Pontius Pilate “as a disturber of the political peace,” a leader of a rebellion, a political threat, and most gravely—a claimant to kingship, a “king of the revolutionary type.” After Jesus is formally condemned by Pilate, he is sentenced to death by crucifixion, “the Roman means of executing criminals convicted of high treason.”  The purpose of crucifixion was not so much to kill the criminal, as it was an immensely public statement intended to visually warn all those who would challenge the power of the Roman Empire. Hence, it was reserved solely for the most extreme political crimes: treason, rebellion, sedition, and banditry. After being ruthlessly whipped and mocked, Jesus was nailed to a cross.

Jesus—the revolutionary, the political dissident, and the nonviolent activist—lived and died in a police state. Any reflection on Jesus’ life and death within a police state must take into account several factors: Jesus spoke out strongly against such things as empires, controlling people, state violence and power politics. Jesus challenged the political and religious belief systems of his day. And worldly powers feared Jesus, not because he challenged them for control of thrones or government but because he undercut their claims of supremacy, and he dared to speak truth to power in a time when doing so could—and often did—cost a person his life.

Unfortunately, the radical Jesus, the political dissident who took aim at injustice and oppression, has been largely forgotten today, replaced by a congenial, smiling Jesus trotted out for religious holidays but otherwise rendered mute when it comes to matters of war, power and politics.

Yet for those who truly study the life and teachings of Jesus, the resounding theme is one of outright resistance to war, materialism and empire.

What a marked contrast to the advice being given to Americans by church leaders to “submit to your leaders and those in authority,” which in the American police state translates to complying, conforming, submitting, obeying orders, deferring to authority and generally doing whatever a government official tells you to do.

Telling Americans to blindly obey the government or put their faith in politics and vote for a political saviorflies in the face of everything for which Jesus lived and died.

Will we follow the path of least resistance—turning a blind eye to the evils of our age and marching in lockstep with the police state—or will we be transformed nonconformists “dedicated to justice, peace, and brotherhood”?

As Martin Luther King Jr. reminds us in a powerful sermon delivered 70 years ago, “This command not to conform comes … [from] Jesus Christ, the world’s most dedicated nonconformist, whose ethical nonconformity still challenges the conscience of mankind.”

Ultimately, as I make clear in my book Battlefield America: The War on the American People and in its fictional counterpart The Erik Blair Diaries, this is the contradiction that must be resolved if the radical Jesus—the one who stood up to the Roman Empire and was crucified as a warning to others not to challenge the powers-that-be—is to be an example for our modern age.

WC: 2032

 
ABOUT JOHN W. WHITEHEAD

Constitutional attorney and author John W. Whitehead is founder and president of The Rutherford Institute. His most recent books are the best-selling Battlefield America: The War on the American People, the award-winning A Government of Wolves: The Emerging American Police State, and a debut dystopian fiction novel, The Erik Blair Diaries. Whitehead can be contacted at [email protected]. Nisha Whitehead is the Executive Director of The Rutherford Institute. Information about The Rutherford Institute is available at www.rutherford.org.

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Zerox Machine: Punk, Post-punk, and Fanzines in Britain 1976-88 (Reaktion Books).

There was a time when fanzines represented the purest form of youthful self expression, as Matthew Worley’s book ‘Zerox Machine’ reveals

Charting the history of British punk and post-punk fanzines is, it has to be said, a gargantuan task, and one that it is actually impossible to fully achieve, something which I’m sure Matthew Worley, author of ‘Zerox Machine’, would be the first to admit.  Such was the variety and number, the myriad of cultural, musical, and visual influences, along with the open-ended existential question of whether fanzines were journalism, design, or possibly even fiction?  The refusal to follow rules was what defined the fanzine, achieved with varying levels of success, with failure even being a victory of sorts too.  Fanzines of the time period covered in Worley’s detailed and hugely impressive exploration didn’t aspire to becoming the established press.  They were the alternative, the underground, a snotty two fingers up to the weekly music press, though some of those involved did cross over to the dark side and join Sounds, Melody Maker and NME as ‘proper’ journalists.  They were never as free again.  I can talk with some authority here, having produced one of the early ‘80’s fanzines featured in this book, Adventures in Reality, which is held up by Worley as an example of “youthful ingenuity”.

Flattered though I am by that description, there is far, far more to explore in Worley’s masterful book, ‘Zerox Machine’ (or ’Xerox’ as I would spell it!). In fact, there is a world to explore here which feels alien and anachronistic when viewed through modern eyes. Typewriters? Letraset? Physical cut and paste? What are these things?  Yet fanzines inspired, and continue to inspire, so much in terms of journalistic style and a punk driven design aesthetic. Witness the football fanzine phenomena as just one example.  Diving into ‘Zerox Machine’, which I did randomly at first, so keen was I to see what it covered, is to enter into a long-gone era of rebellious inventiveness, fierce pride and devotion, angry words and sedition, and a true DIY ethos that is simply not possible today.  Fanzines at that time represented the purest form of expression.  Written, produced, edited, printed and sold without seeking permission or bowing to censorship or having to rely on distributors, publishers, or social media conglomerates to get the message across.  The message was delivered physically, often by hand.  Are modern ‘zines continuing that tradition?  Only partially.  The landscape has changed now, so they can only emulate and imitate, no more.

The story starts at the beginning with Sniffin’ Glue, the first true punk fanzine (although fanzines themselves had existed since at least the 1930s),sold at 15p, and credited with starting the whole punk fanzine shebang off, it is often incorrectly attributed with the iconic and much quoted instruction ‘This is a chord . . . This is another . . . This is a third . . . Now form a band.’, which was actually printed in Sideburns. No matter, the touch paper had been lit and there was no going back now. ‘Zerox Machine’ charts the chaotic path of the fanzines’ development from that opinionated beginning, a blast every bit as fierce as the music it covered, through the myriad of ’77 punk zines that followed, through the less London-centric post-punk (’79 on) explosion of fanzines nation-wide, via the increasingly radical political polemic of the Anarcho-punk zines, through to the fading of the ‘golden era’ for fanzines in the mid ‘80’s when, as Worley puts it “punk’s moment receded further into the past” and “the club based rave cultures resonant of the later 1980s generally moved free from punk’s shadow”.  At that point xerox’d fanzines became old hat, part of the past that a new generation of teenagers was keen to rebel against.  Some fanzines continued regardless, or morphed into counter culture bibles like Vague, but most called it a day and evaporated almost as quickly as they had formed.

However, there is a huge and important legacy to capture and a captivating story to be told here, which Worley does better than anyone I know, infusing the text with passion and a genuine love and excitement for the subject. .  There have been previous attempts to catalogue the British fanzine scene, but they have largely limited their scope to the usual suspects; Sniffin’ Glue, Ripped and Torn, Sideburns, Chainsaw, In The City, City Fun, Jamming, and others that are the equivalent of household names in the metaphorical scruffy squat that is the fanzine world.  What Worley has done here is to burrow under the skin of the scene and feature those publications, many of them short-lived, that made up the grass roots level, including my own, unearthing in the process a surprising variety, diversity and quality that simply sticking to the bigger name punk fanzines would have missed.  So we have names like Raising Hell, New Crimes, Autopsy, Trees and Flowers, Alphabet Soup, Kill Your Pet Puppy, Bits, Cabarte, Guilty of What?, Reaction, Toxic Graffiti, Ded Yampy, Fack, Enigma, and countless others.  I’m picking names at random here, as Worley has diligently researched and explored like a latter-day Livingstone, leaving few stones unturned in his analysis. Hundreds are name checked.  As Worley says “fanzines often came alive when they deviated beyond the music coverage to recount journeys into town or thoughts on fashion, films, books and television” and this truly impressive work accurately captures the evolution and devolution of the fanzine from a more rules based ‘punk’ look, into a truly creative and uniquely alternative form of free expression.

To say this book is an essential read for anyone wanting to understand how creativity can spring untrained and unsupported from any street corner goes without saying, but I’m going to say it anyway!  Your bookshelf has a space just waiting for this, and you won’t regret it filling it.

Zerox Machine: punk, post-punk, and fanzines in Britain 1976-88 is out 1 April on Reaktion Books

 

 

Alan Rider

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Marina & the Curse of the Royal Yugoslavian Academy of Art P2

This book tells the well loved ancient folklore story of Marina, a simple traditional forest dwelling Yugoslavian mother of many children, who led a double life as a misunderstood radical performance artist.

Commissioned for a specially curated shop by artist, Marina Abramović as part of her solo exhibition at the Royal Academy from Sept 2023 – Jan 2024, the first ever solo show by a female artist in the main galleries of this historic institution since opening in 1768.  This title will tour with Marina’s show for 5 years, internationally.

With full colour illustrations and Miriam Elia’s characteristic witty storytelling style.

Miriam Elia

 

About the Author

Miriam Elia: Artist, Publisher and satirist Miriam Elia is renowned for her 2014 satirical art book ‘We go to the gallery’ in which she reillustrated Peter and Jane from the Ladybird books grappling with conceptual art. She has now published a number of books under the Dung Beetle Learning Series moniker including the 2020 UK hit ‘We do Lockdown’. Her books have been published in several languages internationally and over a quarter of a million copies are in circulation worldwide. Prints, etchings and artworks have been exhibited nationally and internationally.
 
 
 
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On One Colour Festival

Rain deconstructs loneliness
only to rebuild it 
from the scattered pieces.
Nothing remains the same or extinct.
Nothing feels new or senile.

I watch the bullet head my way.
It reminds me of the flesh
after a session of sex 
tastes like a boxer’s mouth
after one tiresome bout,
the same and yet quite contrary.

In one of the tales childhood frequented
appears a hero in his labyrinth of no win.
Why do I recall it now? The last thought
metamorphose me inyo a fistful of red dust
thrown towards my lover. She laughs.

 

 

 

Kushal Poddar
Picture
Nick Victor

 

 
 
 
 
 
 
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Miscellanies

When crookedness lights every corner
how do I wear the cloak of conscience?

We fill ourselves with the chicanery of cats
or the golden mean of the creative impulse.

Art is a date stamp without a mark: When losses
border your brief nonchalance scans the insignia.

I couldn’t find you under cover of the cosmic
so I hinged our home in the subconscious.

Multiform impressions cover your cut and mine:
The dead are the easiest to unfollow on SocMed.

 

 

 

Sanjeev Sethi
Picture Nick Victor

 

 

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Regression: The Latest Figures

 

Millions or billions: I can’t imagine either, so I break it all down into manageable concepts. Lions mill in city streets, some in suits and some in rags, but every one of them hungry for something. They mill in shopping malls, clutching cups-for-life and sustainable bags of meat. It’s not sustainable, but it is what it is, and it is the first time in around 13,000 years that lions have walked these shores, and that surely warrants some kind of celebration. Meanwhile, my bus is running late, and is standing room only with canaries en route to the mines. Given the unimaginable odds, there’s little point buying a return ticket and, besides, the lions will soon let fall their human disguises. It’ll be carnage in the clubs and bars, and who’ll pick up the bill in the morning?

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Oz Hardwick
Picture Nick Victor

 

 

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Sea Shanty



I’m all
at sea
the albatross
the rum
the lash the
pieces of eight
the crude
prosthetics
the white whale
the desert island
the scurvy
shiver me timbers Jim
lad what’s he
going on about
fetch the hosepipe
we’ve heard enough

 

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Dominic Rivron
Picture construction N. Victor

 

 

 

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Saint Arthur

 

Travels Over Feeling. Arthur Russell: A Life, Richard King (Faber)

Arthur Russell has become a kind of cult saint in the music business. Like Nick Drake (the only comparison I can think of) he had a certain level of success in his lifetime – some critical acclaim, live work, records, famous friends – but died young; in Russell’s case as an early victim of AIDS. Over the next few decades more and more of his archive has been released: albums gathering up 12″ disco singles under various names, recordings of solo cello and effects, ‘rock’ (in the widest sense) bands, ensemble work, demos and live recordings, not to mention a highlighting of his work with the likes of Talking Heads, Philip Glass and Allen Ginsberg. There was also a documentary film, Wild Combination; a wonderful 2017 biography by Tim Lawrence, Hold On to Your Dreams, that situated him as part of the New York downtown music and club scene; and Matt Marble’s quirky Buddhist Bubblegum: Esotericism in the Creative Process of Arthur Russell.

In the light of Lawrence’s wonderful volume, I was quite surprised to see this announced on the Faber list, but it’s a very different kind of work. It’s basically a coffee table book, with lots of images of lyrics, concert posters and leaflets, snapshots, scores and album covers, interspersed with snippets of interviews from Russell’s colleagues and friends. There is, it has to be said, little content-wise that’s new here, biographically or critically, especially the latter, and whilst it’s always fun to see ephemera from the musicians you listen to, I don’t know how many times I will return to this book.

It’s all very warm-hearted and friendly – no-one seems to have a bad word to say about Russell himself – but you long for someone to admit they got fed-up waiting for a track to be finalised instead of endlessly remixed and reworked; for Geoff Travis of Rough Trade Records to admit he was way too lax in waiting for a musical/financial return on his long-term investment; for Russell’s partner to admit he was occasionally angry about supporting him as he composed, recorded and partied; for anyone to suggest that some of the more recent posthumous releases have been (how shall I put this?) scraping the barrel a bit. And, of course, a bit of militancy and anger about how the AIDS epidemic was originally ignored and allowed to decimate a community.

I’m sure Arthur Russell was a nice guy, and I love a lot of his music, but there is so much left to explore: his musical intersections, networks, hybrids and crossovers; his curation of events and bands; his influential encouragement and musical generosity; his Buddhist beliefs; the strange, seemingly contradictory, genres he was involved in: disco, contemplative, contemporary classical, rock, and avant-garde. (Also, why he found little in punk or post-punk to engage with. I mean imagine Arthur Russell playing with Tom Verlaine!)

If this book gets anyone to listen again, or for the first time, to Arthur Russell, then it will have been worthwhile, but it’s a shame that it’s come to this: glossy, expensive, illustrated, musical tourism. Personally, I’d like some more well-curated music from the extensive archives, and some critical and contextual debate.

 

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Rupert Loydell  

 

 

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Why I Am an Anarchist

 

I am an Anarchist because Anarchy alone, by means of liberty and justice based on equal rights, will make humanity happy, and because Anarchy is the sublimest idea conceivable by man. It is, today, the summit of human wisdom, awaiting discoveries of undreamt of progress on new horizons, as ages roll on and succeed each other in an ever widening circle.

Man will only be conscious when he is free. Anarchy will therefore be the complete separation between the human flocks, composed of slaves and tyrants, as they exist to day, and the free humanity of tomorrow. As soon as man, whoever he may be, comes to power, he suffers its fatal influence and is corrupted; he uses force to defend his person. He is the State; and he considers it a property to be used for his benefit, as a dog considers the bone he gnaws. If power renders a man egotistical and cruel, servitude degrades him. A slave is often worse than his master; nobody knows how tyrannous he would be as a master, or base as a slave, if his own fortune or life were at stake.

To end the horrible misery in which humanity has always dragged a bloody and painful existence incites brave hearts more and: more to battle for justice and truth. The hour is at hand: hastened by the crimes of governors, the law’s severity, the impossibility of living in such circumstances, thousands of unfortunates without hope of an end to their tortures, the illusory amelioration of gangrened institutions, the change of power which is but a change of suffering, and man’s natural love of life; every man, like every race, looks around to see from which side deliverance will come.

Anarchy will not begin the eternal miseries anew. Humanity in its flight of despair will cling to it in order to emerge from the abyss. It is the rugged ascent of the rock that will lead to the summit; humanity will no longer clutch at rolling stones and tufts of grass, to fall without end.

Anarchy is the new ideal, the progress of which nothing can hinder. Our epoch is as dead as the age of stone. Whether death took place yesterday or a thousand years ago, its vestiges of life are utterly lost. The end of the epoch through which we are passing is only a necropolis full of ashes and bones.

Power, authority, privileges no longer exist for thinkers, for artists, or for any who rebel against the common evil. Science· discovers unknown forces that study will yet simplify. The disappearance of the order of things we see at present is near at hand. The world, up till now divided among a few privileged beings, will be taken back by all. And the ignorant alone will he astonished at the conquest of humanity over antique bestiality.

I became definitely an Anarchist when sent to New Caledonia, on a state ship, in order to bring me to repentance for having fought for liberty. I and my companions were kept in cages like lions or tigers during four months. We saw noting but sky and water, with now and then the white sail of a vessel on the horizon, like a bird’s wing in the sky. This impression and the expanse were overwhelming. We had much time to think on board, and by constantly comparing things, events, and men; by having seen my friends of the Commune, who were honest, at work, and who only knew how to throw their lives into the struggle, so much they feared to act ill; I came rapidly to the conclusion that honest men in power are incapable, and that dishonest ones are monsters; that it is impossible to ally liberty with power, and that a revolution whose aim is any form of government would be but a delusion if only a few institutions fell, because everything is bound by indestructible chains in the old world, and everything must be uprooted by the foundations for the new world to grow happy and be at liberty under a free sky.

Anarchism is today the end which progress seeks to attain, and when it has attained it will look forward from there to the edge of a new horizon, which again as soon as it has been reached will disclose another, and so on always, since progress is eternal.

We must fight not only with courage but with logic; that the disinherited masses, who sprinkle every step of progress with their blood, may benefit at last by the supreme struggle soon to be entered upon by human reason together with despair. It is necessary that the true ideal be revealed, grander and more beautiful than all the preceding fictions. And should this ideal be still far off it is worth dying for.

That is why I am an Anarchist.

 

Louise Michel

Louise Michel (1830-1905), who has been called the ‘French grande dame of anarchy’, was a teacher, medical worker and important figure in the Paris Commune. She was deported to New Caledonia where she embraced anarchism, before being given amnesty to return to France, where she emerged as an important French Anarchist and went on speaking tours across Europe.

 

(Reprinted from The Anarchist Library)

 

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THE QUANTUM SIGNATURE

 

Estranged Reflections VIII

 

She pouted for the camera and apologised for the sound as a bunch of extras wearing artificial heads –men, women, angels, stags, hawks and peacocks – dragged the twitching, broken, tortured body of evil Baron Rudolf across the bloodstained floor.

Meanwhile… in a dark recess in the Bishopsgate Institute, Vince had finally managed to decode the real meaning of The Screaming Skulls. He sat back, aghast, gobsmacked by the revelations of the celeb’s palm- reader… it was like, well, Johnny T., Ron, and Old Face-Ache were not quite what they seemed. Were they eldritch, celestial entities from misty Giant-Time epochs? Quasi-megalithic semi-demons from pre-Albionic ages?

Across all those splintered aeons – the moment – the memory – the distorting mirror.

Young, free and shy, Vince found it difficult to come to terms with it all. A relationship expert was needed. Memories of Ron kept coming back. Well perhaps, perhaps not. Just who is Ron? Ask the question and everyone but everyone in Mad Andy’s Martian Games Station goes into terminal meltdown. Gizza break my son.

                Anyhow things are pretty plummy for his off-screen alter ego.

Our fresh-faced researcher stared at the rotten yellowing pages. The manuscript crumbled.

Even so, Face-Ache homed-in on our Rogue Astronomer; Cytherean sensors locked-on to her pheromones and, as always, her go-go boots. So we uncovered the quantum signature of her electronic far out locale: the estranged interior of an alien library. It was all very odd,  very odd indeed

 Disembodied zebra-stripes billowed across the road.

UV light flooded the tower block. Karen cried out in fear. Brad gave her the runes. You need a quick mind and a sharp eye in this game. All over the office lids flipped, marbles were lost and boats rocked as a crater suddenly appeared in the high street.

Enveloped in a lethal cloud of time-lapse photography Flapper began his hellish metamorphosis. Evil Rudolf’s piercing Dark Age screams fueled the morbid procedure. Dumbstruck, Sister Marie dived for the wardrobe just to be on the safe side. I have difficulty walking, I’m partially deaf and I’m losing my sight in a hail of special effects.

“Thick as thieves those two,” muttered Brad, thinking of Beryl and Ron.

Elge, Wixna, Gerne and Faerpinga, acolytes of Mommo, consummated an act of piecemeal grinding incineration. No gunk no junk was the watchword.

It had been a hard day. I kicked off my shoes and asked “Fancy a cuppa?”

Too late.

The Lord of the Dark Face materialized; but for only an instant. He lost his marbles, just like that.

Back at the office forensic pathologist Dr. Thomas Bewlay subjected the photograph to a minute and detailed examination. The old, crumpled picture merged into the strange reflections but – just as he thought – there was an unusual metallic gleam in Beryl’s left eye. Come to think of it Dean, Toby and Fabian looked like cardboard cutouts, totally bizarre. Have a care-worker round to the house before you can say ‘Shukkoth’.

At about the same time, down the corridor in the same building, revered colleague Dr. Walsh was examining the recluse. Not a pretty sight. Her words swam round my head. I’d breezed through other cases but this one made me sick. In the outer office a tyrannical French lawyer tore up copies of the Mental Health Act and demonstrated some truly remarkable footwork.

“I just want her alive.” she spat.

“Welcome to planet earth, scumbag,” snapped the receptionist.

The Outlier Girl moaned in her sleep “Mommo, Mommo, Mommo, Mommo, Oooh, Mommo…Aaaaah” in a German accent as Father Alt belched, shuddered, crossed himself and reached for a plain chocolate Bounty Bar.

The picture on the wall is a souvenir of my life with Ron. In actual fact we rarely spoke, but this is a cheeky snap taken in a Chinese brothel by Mr. Justice Thesiger in one of his wilder moments. And here’s one on me with Hans and Gerda – the black uniforms don’t mean anything.

“You’ll have to watch her closely,” observed Dr Walsh, “She’s a great one for flushing her pills down the loo.” With that Karen chortled and said “Especially now you’ve got your U-Bend to think about”

Everybody laughed. My heart blipped. The phones went berserk. It was the strange case of the consecrated wafers going critical, but no-one gave a damn about that.

The fog closed in.

 

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 A.C Evans

 

 

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Interview #21: Geoff Nicholson

 
 

GEOFF Nicholson is a distinguished and acclaimed English writer, born in Sheffield in 1953 and educated at Cambridge, who has taken an interest in topics of travel and movement in more than a 15 novels and delved into topics such as Andy Warhol and Frank Lloyd Wright in his prolific non-fiction output.

His interest in that Beat Generation moment is evident in many of the themes – the road and cars, specifically Volkswagens – that pervade much of his work, which has attracted critical recognition along the way from novelists such as JG Ballard, who called his 1987 debut novel Street Sleeper ‘witty, zany and brilliantly comic’.

Ballard was a man with a taste for sci-fi dystopias in ways that a fan of his, William Burroughs, shared. Yet Nicholson is a more sardonic, amusing commentator than that lofty literary pair: his work relies on wit and whimsy, black humour even, more than psycho-ideology or despair at the arc of Western history.

Pictured above: Author Geoff Nicholson, image by Caroline Gannon

Yet if automobiles, guitars and the USA have more than hinted at his deep-seated transatlantic inspirations, Nicholson also displays a more down-to-earth concern – walking is both his passion and his cause, with the ‘Right to Roam’, a celebrated political campaign to set the British countryside free for hikers, high up his individual agenda. His latest title Walking on Thin Air: A Life’s Journey in 99 Steps considers these issues.

Our regular interviewer MALCOLM PAUL tracked down Geoff Nicholson to explore his views on the Beat writers and the musical threads that feed into his experience, personal and artistic. His responses provide a lively interpretation of the role of literature and rock and jazz in the working life of a cutting-edge commentator…

MP: I’d like to ask a few questions about your possible connection with the Beats and also the ways in which music has shaped your own creative landscape. First those writers. When you started reading adult literature. other than the books of the time, did you encounter books like Kerouac’s On The Road, Burroughs’ Naked Lunch or Ginsberg’s ‘Howl’? 

GN: Yes, the Beats were the first writers I discovered for myself, Kerouac especially. I saw a copy of On The Road when I was hitchhiking around France – at the time Kerouac was considered to be the patron saint of hitchhikers, so I bought a copy and I was hooked. Don’t quiz me on it but I think I’ve read all his fiction.

I had my first glimpse of Burroughs even earlier. I went to a rather grim grammar school but one or two of the English teachers were cool.  We were shown it was OK to read things like Lennon’s Spaniard In the Works and  the Liverpool Poets. A teacher named Bill Scobie mentioned Burroughs’ Dead Fingers Talk, which he said was strong stuff but he thought we could handle it. 

Naked Lunch was the first Burroughs book that I read, then Junkie, then The Soft Machine, largely because I was a fan of the band.  I did write a dissertation as part of my final university exams on Kerouac and Burroughs – though Henry Miller and Anaïs Nin crept in there too.  The dissertation had something to do with adventure and experiment – in the lives and in the writing: Kerouac’s ‘spontaneous prose,’ and Burroughs’ cut-up and fold-in methods.

I was less of a fan of Ginsberg. I sometimes say I have a blind spot for poetry but it’s not absolute. I was a fan of the Liverpool Poets – especially Brian Patten. Do they count as Beat? The Beats seem to be an essentially American phenomenon but of course the influence spread far and wide. At university I was taught by the poet JH Prynne who was a champion, and I think friend, of Robert Creeley, Charles Olson and Ed Dorn, so I certainly read those guys, Dorn especially

And I came very late to Gary Snyder. I saw him read in a tent at the LA Book Festival in 2005 or so and I was knocked out. I said at the time it was the best poetry reading I’d ever been to, and I haven’t changed that opinion. I did meet him afterwards back stage and I’d just read Iain Sinclair’s book American Smoke in which Snyder appears, though Sinclair’s portrait of him isn’t entirely flattering. Stuck for something to say I mentioned the book to Snyder and he said, ‘Oh yeah, that was a funny piece.’  I’ve never known if he meant funny ha ha or funny peculiar!

For a while I was ‘prose editor’ of the literary magazine Ambit, edited by Martin Bax. I had no say in the selection of poetry but Martin was full of stories about people he’d published, that included Burroughs but closer to home it meant Ivor Cutler, Jeff Nuttall, Ralph Steadman, Michael Horovitz, Michael McClure, Stevie Smith, one or two of whom I got to meet.

Pictured above: A selection of Nicholson titles

MP: If you did read these authors did they influence your writing style?

GN: I think an author is never the best judge of his own influences, but I’ll try. I started out writing plays – I wrote a couple of things that got put on at the London Fringe and the Edinburgh Festival, but I always had ambitions to be a novelist. My first novel Street Sleeper was an attempt to write an English road novel, and it was a satire of the American form. The lead character is trying to live out some of that Zen, Beat thing, and, although it was ironic, in my own way I still find that very appealing.

The Beats’ lives, with all their troubles, always sounded a lot more interesting than mine. Kerouac would go cross the country, meet up with Neal Cassady et al, and they’d go to a club and there’d be jazz and poetry and girls and reefers. I was envious. 

There are also notions of transcendence whether through art or sex or religion or music, a recognition that ‘ordinary life’ isn’t enough. And then there’s drugs. I was never much of a druggy but I do find drugs interesting – as in Thomas De Quincey and Coleridge. And different states of consciousness were obviously a major part of the Beat/hippy ethos, but anybody who reads Naked Lunch and thinks heroin is a good lifestyle choice is obviously out of their mind (I have in fact met such people).

MP: Having your read your books, the one thing I think you share with the Beats and it’s only my opinion is that you are fearless in your plotting, unafraid to celebrate the fantastical and those who might exist outside of so-called normal society. To give the drifters and the washed up, marginalised folks all, a place in the scheme of things is something the Beats especially Burroughs and Kerouac delight in. I think it’s the willingness to take a risk on a story or a plot that others might think too outlandish that you share with the Beats. Do you think that’s a fair comparison?

GN: Harold Bloom says somewhere that all great art is strange. Which of course is not to say that all strange art is great. I’ve never consciously decided to be ‘zany’ in my writing – it comes out the way it comes out. But it’s true enough that I don’t find ‘naturalism’ very attractive. I recently read Jane Eyre for the first time (there are a lot of holes in my reading) and it’s great but it’s weirder than hell, which I don’t think is generally recognized. And Jane Eyre, the character, isn’t just Beat, she’s downright punk!

MP: The Beats were/are often about seeking a freedom inner and outer – often by experimenting with drugs, sex and alternative lifestyles, dropping out, taking to the open highway. Do you think that like the hippies – let’s regard them as the Beats’ radical offspring – were just were a bunch of guys mainly on some kind of ego trip, often abusing others and, as critics have often pointed out, merely a bunch of narcissists whose idea of rebellion and a counterculture contributed little to life or culture. Alternatively did they actually galvanise the post-war generation into  escaping the grey  world that was America of the 1950s? Big question…

GN: Big question indeed. I think we do come back to the effect of World War II – Lawrence Ferlinghetti, who was in the US navy throughout the war, became an ardent pacifist. And why wouldn’t he?  War was terrible; we should give peace a chance and all we needed was love.  None of that, of course, is exactly controversial.  But I think the early post-war generations had a sense that their parents were too serious, too materialistic, too scarred by the war; so let’s grow our hair, smoke dope and dance.   There are worse strategies.

Pictured above: Geoff Nicholson with his interviewer Malcolm Paul at a recent Faversham Book Festival, image by Caroline Gannon

MP: Do you think that the whole idea of rebellion – attacking the establishment, being a radical is an outmoded concept. Did it die alongside the Beats, hippies, punks and so on? Does a countercultural revolution have any meaning or relevance today.?

GN: An even bigger question! Of course everybody’s a rebel when they’re 18. The fact that I did a certain amount of travelling, backpacking, hitchhiking when I was young, and was interested in art and literature and music, made me feel like there was a chasm between how I wanted to live and how my parents lived.

But then at some point I realised that when my parents were in their teens there was a war on, and my dad volunteered for the navy and he spent some years travelling the world, usually while people were trying to kill him. After the war, he was content to stay in his semi in Sheffield and have a week’s holiday in Blackpool every year. At some point that started to make perfect sense to me. 

Of course we now have Extinction Rebellion. The desire not become extinct is again an uncontroversial and perfectly reasonable one. Whether throwing soup at the Mona Lisa at quite achieves that aim is another matter…  

MP: As an author with a lot of life experience here and in the US, having written a lot about travel.in many different ways from Street Sleeper to Walking on Thin Air, be it on foot or whatever, does the nomadic lifestyle appeal to you? Or living in communities away from others perhaps? Maybe that is something you share with the Beats?

GN: There was the very briefest moment when I thought that living in a commune sounded great. My extended family were rollicking, argumentative Irish Catholics – and it was easy to think that RD Laing might be onto something with the idea that the family was the cause of a lot of trouble, even madness. Certainly in my own life I haven’t replicated that big rollicking family. It seems to me now that it’s hard enough living with one person: living with a whole commune would be hideous. 

MP: Did you listen to lot of jazz when you were/are writing your novels? For instance, Street Sleeper and the Volkswagen series? 

GN: As I was growing up jazz meant Acker Bilk and Kenny Ball. Only gradually did I realise it meant Miles, Coltrane, Monk, Parker. To a large extent I was introduced to it via rock music. There were a lot of jazzers who crossed over into fusion and jazz rock.  I loved a lot of free jazz – Lol Coxhill, Han Bennick, the Spontaneous Music Ensemble and especially Derek Bailey (a man from Sheffield, like me). I was sold on the spontaneity and improvisation. The idea that you could just go up on stage and make it up as you went along was and remains incredibly attractive.

Frank Zappa was also a favourite. I liked the combination of virtuosity, high seriousness and low comedy. Jazz was part of his vocabulary and he worked with quite a few jazz players – Archie Shepp, Roland Kirk, Jean Luc Ponty. He opened my ears and a lot of other people’s too, I’m sure,

MP: Did you own a Walkman for walking? I imagine not…I personally hated missing what was going on around me then and now…

GN: I’m the same as you – the idea of being shut off from the environment while walking is horrible. If nothing else you want to be able to hear the car that’s about to run you down.

MP: If you listened to prog rock, can you share your favourites? I saw Yes three times in the 70s!! King Crimson. too… 

GN: The first headline act I ever saw were the Nice – Keith Emerson leaping on his Hammond and sticking knives into the keyboards. I thought it was fantastic. In the late 60s early 70s a lot of touring bands came to the Sheffield City Hall and I saw anyone who came – Pink Floyd, Led Zeppelin, who weren’t all that great but maybe they were having a bad night. Genesis, King Crimson, Van Der Graaf Generator. And Lifetime – that was a hell of a night – Jack Bruce, John McLaughlin, Tony Williams. I think we were expecting something a bit like Cream. They started playing, making torrents of incredibly harsh and complex sound for about 15 minutes, then they stopped, said nothing and started up again. The whole of the City Hall let out a collective ‘What the fuck?’  It was wonderful.

MP: Did you prefer the Beatles to the Stones? Did you find the later Beatles, Lennon lyrics particularly, inspiring?

GN: I could make a playlist of say a dozen Beatles songs that I absolutely love – that would include ‘Tomorrow Never Knows’, ‘I Am the Walrus’, ‘Norwegian Wood’, ‘Come Together’.  But I could equally make a playlist that that would make me cover my ears – ‘Michell’, ‘Something’, ‘Lovely Rita’, ‘The Long and Winding Road’.  

Whereas the Stones somehow you take or leave as one piece. I take.

MP: Can lyrics inspire novelists? I have heard it said they can.

GN: It sounds perfectly likely though I can’t think of an example in my own case. I’ve had conversations with people who say can you analyse Beefheart lyrics in much the same way as you’d analyse John Ashbery (does he count as an honorary Beat?) and of course you can, but I’m not sure if you’d want to.

I know people who do readings with music and it seems a great idea, and I’ve done it myself a few times but it never quite worked for me.

MP: Has your taste in music changed much over the years? If I knocked on your door now and you were listening to music what would it be?

GN: It’s changed but it feels like a continuum. I can’t think of any music I really used to love and have completely rejected. But I’m not a nostalgic – I like Scott Walker but you won’t find me playing ‘The Sun Ain’t Going to Shine Anymore.’ Tilt, maybe.

The pile of CDs currently next to the player includes Stolen Car by Carl Stone, Jah Wobble’s 30 Herz, Miles Davis’ Big Fun, Congotronics by Konono No 1, John Cage’s In a Landscape, the Acid Mothers Temple with Afrirampo album, the Johny Depp/Helena Bonham Carter soundtrack to Sweeney Todd. Of course most of this music didn’t exist when I was young but if it had, I think I’d have dug it…maybe not Sweeney Todd.

MP: Have you met any star musicians? Heroes? Maybe while you were in LA?

GN: Well one of the things about living in LA which I did for 15 years is that you’re waiting in line in a supermarket and you exchange a couple words with the person in front of you and you suddenly realize it’s Rickie Lee Jones – this happened – though that hardly counted as ‘meeting’.

And I once went to a party that didn’t promise to be very glamorous and I found myself sitting at a table next to Matt Groening. We discussed Captain Beefheart and Henry Kaiser who I still think is one of the great experimental guitarists.

I’m well aware how male-oriented all the above sounds – but the Beats were kind of that way. I read and enjoyed the female Beat poets Anne Waldman and  Diane di Prima, and I’ve read some of the accounts by women of hanging around with the Beats, which sounds like very hard work indeed, hence I suppose the title of Joyce Johnson’s book Minor Characters.

 
Orignally Published in

Rock and the Beat Generation

 
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Mine Sources


after David Ridley
 

Educate against marketisation
such a shared path unite against
neo-liberalism & the perfect fodder
human capital machines the monopoly
of finance capitalism kick against
the well paid administrative entrepreneur
leadership red exclamation point on
Friday p.m. communications
governance reform to democratise
collegiality community co-operative
alternatives to a de-professionalised service
workers external to investment
regional regeneration for sustainable
growth a radical modernising vision

 

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Andrew Taylor

 
Source: David Ridley, Markets, Monopolies and Municipal Ownership: The Political Economy of Higher Education in Thirteen Theses and Thirteen Short Pieces (Thanks for Your Ears, 2019)

 

 

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prologue

i did not go to the bookstore today so i did not meet Loneliness; i wanted to meet her and chat about my friends; i wanted to ask how she found Albert Camus’ The Myth of Sisyphus that she had bought last week; she had told me about her family who died in the plane crash and i had not known what to say; i wanted to tell her about the friends i had lost but she was not interested in discussing her brother Time; i wonder if she would have visited the shop today, wearing the usual grey pyjamas with her black hoodie or had she finally bought the rose-coloured satin shirt she had been talking about for weeks; i wanted to run to the shop to see if even today she was crouched on the sofa with a copy of Granta, with the book of constellations splayed out across her lap; she comes every weekend and stays for three or four hours; i asked her why she does that; she just replied, “because i am lonely”.

 

Swarnim Agrawa

 

 

 

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Aspettando / Expecting Rain

‘Rain-sounding aspen’
So Roman poets sang
Three thousand years ago

An aspen leaf beneath the tongue they said
Inspired an eloquence saluting
Those who went to tread the Underworld   –

Permitting them safe passage and return
As heroes crowned with aspen
Bright green leaves then leaning into gold

Whispering a breeze of ‘buried treasure’   –
Where have they gone those friends
Of youth so teeming bright?

Sight and sound of aspen
Convert to contemplation
Seasons they imagined held them axis

Now incoming clouds accumulate
Change of atmosphere can feel mesmeric
The aspen sound their lullaby lament

 

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Bernard Saint
Illustration: Claire Palmer

 

 

 

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In Praise of Disharmony


The moon tonight is a broken saucer; out of the dark

comes the startling croak of a raven, all else silence

save for the whisper of earth to the heavens; up there,
the sudden fire of a dust-speck hurtles for one

spectacular moment across the night as if the bird,
the moon and the soft gossiping of the grass, were all
an interlacing, one hustling the other into being. Body
brims at this, with a sense of well-being, as if the flesh

were a cello, the strings vibrating to the profound, slow
notes of J.S. Bach’s Suite number one in G; an urgent
need to praise is the alpha and omega of a piercing
instant, touched with the intensity of an almost

stillness, to be one with a fractured world, suffering wars
and dreams, under the great blank stare of the infinity.

 

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John F. Deane

 

 

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letters from a bowlderizer

 


“Our worst fear in Scooby Doo
is not that we may be confronted
with our demons, but that our demons
may be already existent in the daily
economic reality we are forced
to participate in.”

we have a right to reality
says the shock jock / whoops / smash
your face through a glass
coffee table / pirouette down
onto the kerb / easy to explain:
asserting your reality over
others is genocide / strap in /

just cancel culture in its entirety /
start over with this / now / now here /
what we call folk or world music /
just us being doing ourselves / this
happening / no outside to art / no
mending walls / your bordering on
living parody / first as tragedy then /

lock on / wholly / divest them
from this turf / use the imperative
sentence mood / you’re flirting
with mistress now / the distressed
denim speaks louder than nail
bombs / this is an image / this
is a petty projection of working
classrooms / the gears shift /

cell work. Dahl is cooked. which
twit was it ferrying bread in his
beard across the peace wall?

did baudelaire’s skull suggest the derive?
strolling through the park ignorant of
the pathways, bee line to the Michael
Foot monument to take on the swastikas
with a tooth brush –

Is Ballard still in the weeds on the central reservation?
our patience chafes in the crotch area, all
this toiling palpating the concrete island
with our bare feet, executing a will we’re
not sure we manage –

the bad work of art is like
Mussolini hanging upside down
from a street lamp / selfie shock /
if it wasn’t posted did it actually
even happen / this little piggy
went to Westminster Bridge
and climaxed with love for
all the capital / what words
are worth / dot in the launderette /

“Destruction and violence!
How is the ordinary man
to know that the most
violent element in society
is ignorance”

swinging from the rafters /
his high business is in tatters /
shadowfax is off to the knackers /
the social lubricant comes in pipes /
allowances / misogynist grifters / are
you inside the walls of the polis? /
do you reject that which you don’t
immediately understand? / is it
an affront to your firmly held
sense of self to be confronted
by the weird and eerie? / boot
gagging / soporifics / slam a
stanza into the vacant chest
cavity of your embarrassing
personified love of nothing /

“There is a mistaken notion
that organization does not foster
individual freedom; that, on the
contrary, it means the decay of
individuality. In reality, however,
the true function of organization
is to aid the development and
growth of personality.”

if you want to be neat and tidy
there’s libraries needing your
dewey decimal fixation / keep
out of art / scaffolding the
bourgeois premise of selfhood
with quirky stories about going
shopping for toothpaste / so
what if this rants? / there’s much
to be hated / and more to be loved /

to transition is not to edit – to live
loving the living you are – at arm’s reach
– this child, your child – protected not
from these painted nails, this voice at
work – dress rehearsal raga – just passing
by – turning my swivel eyes – desires –
deliberately misunderstood – beneath
the stone island a standard issue homophobe
– boring bile – dull rage – midafternoon sigh –
– as if for the first time – ambient hatred –
the solidarity of a vigil – and so gathering –
your gender is a weapon – & disarm – ease
in, close to choice – any cop might pull a fast
one – quickly – pitch a tent – huddle – loved =

rant Yr love, love tender in anger,
stamp your love into the wet mud
of fucking lovability, fireman’s grip, let
Yr love stun like a flashbang, love
like a soup lovingly made tired of
a weekend, stilts of tender stem
brocoli, demand utopia, love like
it’s going out of Business, love beyond
mortgage, stealth, privitisation,
love beyond doubt, envy, antipathy,
scolding, knuckle dusters, prime time,
urination, toiletries, shelf life, loafing,
demonstrable worry, nipples, shreds,
garnets, cormorants, spew, motor cars,
ring roads, ferrous metals, banana peels:
if not now then when? love like listening closely
at length without yawning or interrupting
or fidgeting or glancing round the room or
staring at the ceiling post-coitus

you are another
blithe proletariat / you are loved.

sisyphus stands corrected:
they installed a line graph
at the base of the mountain
and umms and ahhhs of
appreciation fester in the
foothills, checking in nude
wonder the pace, the inches
per second, the variable
weather conditions = don’t
imagine him happy: imagine
sisyphus father of the grindset

“The gang always experiences
a moment of revelation and
catharsis at the end of each
episode when they discover
that these phantoms of their
imagination were actually
financial actors working
within the chaotic environment
of late capitalism.”

& so comrade goat butts her way
into the bailiff’s van and
gobbles the longlist of addresses
needing a prepayment meter.

if it doesn’t work at least it doesn’t work
because you tried something new and
not because you tried to follow a recipe
sketched on the inside of your skull
by the midwife, ideology

 

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Matt Carbery

 

 

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from Jim Henderson’s A SUFFOLK DIARY

Friday, March 22nd

So I designed a leaflet for the upcoming community groups’ event in the village hall, which is going to coincide and complement the Fete on Easter Saturday, then I wondered what exactly I was going to do with however many I got printed. I did not feel inclined to print a few hundred and then going round the houses sticking them in letterboxes, and there is only the village shop where you can put some on a counter and hope people pick them up, there and in The Wheatsheaf. Being the Parish Council’s Community Liaison and Publicity Officer (CLAPO) is not as easy as it might sound! But then Miss Tindle – who is full of surprises – said she could get her nephew and niece to go from house to house over the weekend. They are “young teenagers” (her phrase) and would be perfectly capable, and she said she would see they were suitably rewarded. Money, I suppose. Or drugs. Anyhoo, fair enough, I thought. I did not know she had a nephew and niece. I wonder if they will do the same for me and my Parish Council election leaflets when the time comes. I could give them a couple of quid. I think I shall wait and hear from Miss Tindle how they get on over the weekend before I pursue that one. For all I know they might just bury all the leaflets in a hole somewhere and then claim the reward – whatever it is – under false pretences. It is the kind of thing the youth would do.

This has made me think again about whether the Council should sign up for some social media, which is apparently how things are publicized these days, but if we do then I would not want to have to be the person who does all the social media stuff, whatever it is, because the thought appals me and although I may be ignorant about it all I am happy for it to stay that way, so I might have to resign as the CLAPO. Like I said, being the CLAPO is not as easy you think! Or, come to think of it, and this might work, perhaps we could appoint someone to just do the social media work: we could call them the Social Media and Communications Officer (SMACO). I think I might raise it at the next Council meeting, whenever that is, but I shall need to be careful or I will find myself lumbered with something I definitely do not want.

Saturday, March 23rd

In The Wheatsheaf last night several members of GASSE (“Go Away! Stay Somewhere Else!”) – the Parish Council’s group whose aim is to prevent the government from lodging their unwanted incoming foreigners from sleeping in our village hall – were very vocal about how the plan to send unwanted foreigners to Africa looks increasingly pathetic, and William Woods said he had heard on Radio 4’s PM programme (the source of all truth) that even if they do manage to send some people to the sunnier climes of the dark continent (can we still say that?) it will only be a few hundred or so, and that 500 people arrived by small boat the other day, so it is not rocket surgery to figure out there will be loads of people needing a bed for the night, and there are worse places than a bunk bed in our village hall, so people said we should get our act together and ship in a load of barbed wire and fit extra locks on the doors. Michael Whittingham, who is always ready to stick his oar in, even though he left GASSE under a cloud a while ago, suggested digging a moat, which because we had all had a few beers by that time seemed like a good idea but nobody could work out where we would get the water, but like I said, by that time people had had quite a bit to drink.

Someone remembered that Bob Merchant, before he left GASSE under a different cloud, had ordered some kind of security fencing and maybe we should find out from him if we could still get hold of it, but then John Garnham, the Parish Clerk, told us that he was still in the middle of arguing with Merchant about the price of the hall’s repairs, the invoice having come in way above the estimate and causing problems with the insurance company, so I do not know, and I do not know if I really care.

 

Monday, March 25th

Miss Tindle reports that all the leaflets were safely delivered, but whether or not that was to actual houses I have no way of telling.

Young Nancy Crowe telephoned to remind me that I said she could come and have a chat one day about the whole illegal immigrant thing and how GASSE was being xenophobic and inhumane and all the rest of it, and so I said Yes, OK, and she came round to the house this afternoon. I had been a little bit concerned about whether I should have a chaperone present because she is a not unbecoming teenage lady and, while I am not at all tempted to misbehave, people have a habit of talking, and I would rather err on the side of caution and not give anyone an opportunity to gossip, but I should not have worried because she turned up with a chap she introduced as Baz, a long-haired and rather spotty lad who I assumed to be her boyfriend. As soon as he plonked himself down on my sofa he pulled out a packet of cigarettes and was about to light up but then he thought about asking whether it was OK to smoke and I told him it was not but he could go out into the garden if he wanted to, which is what he did, but not before asking Nancy, and I quote: “Is it alright to leave you alone with this bloke?” I ask you! Did he think I was going to jump on her as soon as his back was turned and he was out of the room? Anyhoo, while he was outside giving himself lung cancer she and I had a pleasant chat, although basically it was the same conversation as she and her youth friends had with the GASSE group a couple of weeks or so ago, and I cannot say we have progressed in any way. But she said she thought I seemed more sympathetic to her views than some other people. I told her that might seem to be the case but that was because I was a very nice chap who almost always seemed to agree with everyone even when they were talking rot.

She also said that she and her friends’ group – CASHEW (“Come and Sleep Here – Everyone’s Welcome”) – were going to have a stall in the village hall on Saturday, because if GASSE has one, so should they. I hope their stall is not more interesting and attractive than ours, which frankly at the moment is not going to be much more than a table with a few leaflets on it. I asked Bernadette Shepherdson if she would bake some cakes but apparently she and Bernie, her husband, are going to France for Easter and she will not have time to bake before they leave on Thursday. Good luck to them. If you go anywhere at Easter there are a million other people there too. I would rather stay home. I do not even really want to go the the fete or the village hall, but a Parish Councillor has to make sacrifices . . .

 

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James Henderson

 

 

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A TRIO OF NEAR MISSES

Here’s a tale from the 60’s and 70’s
Of music’s holy trinity
Bob Dylan The Beatles and The Rolling Stones
And how they eluded me
For though I’ve seen multitudinous acts
None of those did I get to see

Well
The Beatles stopped touring in ’66
The year I started getting live concert kicks
Then
The Stones in Hyde Park July ’69
How well I remember that day
I’d dropped some acid
And couldn’t handle the crowd
So I left
Before they started to play

Now
Bob Dylan takes the biscuit
I failed to see him (twice)
For an artist that’s been so important to me
Well
I guess I’m still paying the price…

In ’69 (again)
At the Isle of Wight
Rubble could’ve paved the streets of Rome
I stuck it out for the first two days
Missed Bob
And caught the ferry back home

Then
Almost ten years after
At Blackbushe in ’78
I was ready for the musical fray once more
But I had a lot of drugs
Piled onto my plate

It was quite a stellar line up
And (of course) Bob D. was the star
And
When he came on
I’d nodded out
On brown powder
In the back of a car…

If there’s a moral in this tale
I don’t know what it is
Except to say
All the world
Is a stage
And life?

It’s just show biz

 

 

 

Harry  Lupino

 

 

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Soulscapes; Dulwich Picture Gallery – until June 2


Photo: Jan Woolf

 

After decades of not thinking much about landscape painting, I am now obsessed with it – and am doing it. In the spirit of Courbet’s famous dictum ‘All art owes more to other art than it ever does to nature’ I am paying attention to landscape. Big time!  As I have my own show coming up in December ‘Landscape and the Inner World.’  Maybe as us old sods get older, we notice more the ‘er – sod to whence we return. So I am drawn, last Sunday to the exhibition Soulscapes at Dulwich Picture Gallery.  The title says so much so I won’t say it again, but the work has been curated to show inner worlds and place through painting. These scapes are from artists from the African diaspora, nailing the notion that landscape is the preserve of twee Europeans (my apologies to the greats – Turner, Constable and many others).

The works span painting, photography, film, textile and collage from leading artists including Hurvin Anderson, Phoebe Boswell, Njideka Akunyili Crosby, Kimathi Donkor, Isaac Julien, Marcia Michael, Mónica de Miranda and Alberta Whittle.  They explore our connection to the geographic natural world, and how it can transform us.  How landscape has the power to unlock feelings that only a particular place can do as it resonates with memory.  These are not just ‘greens that are good for you’ but ochres, reds, oranges and my favourite cobalt blue.  Personal works all, that send strong art messages about the land and how it comforts, inspires and transforms, even if you’ve never been out of Surrey.  I was particularly struck by Phoebe Boswell’s 2 channel video loop I Dream of a Home I Cannot Know, 2019. It is mesmerising and shown in the small mausoleum.  I took its from photo from inside the mausoleum – see above. 

What rich worlds there are in Soulscapes; earth, mineral colour, texture all packing down into our psyches making a tiramisu of memory.  I think I’d better finish with that image before I get carried away: into the earth, as we all will be one day.   

 

Jan Woolf

 

https://www.dulwichpicturegallery.org.uk/about/press-media/press-releases/soulscapes/

 

 

 

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The Spring Rain, Stray Bullet

She took three days
to accept his proposal
for the first date.

The boy caught a stray bullet
on the Sunday
of the first week of Spring.
He wire white, and white turned pink.

Her love was born while reading
the news of the death.
The words rested cold
on the slab of the paper,
and she nodded an acknowledgement

even though she never dated
him, and knew next to nothing,
she could identify the right corpses.
Streetlights zigzaged in the rain.

She rose from her porch chair
and realised
that in order to send a drunken signal
to one’s limbs
one need not drink a drop of wine.

 

 

Kushal Poddar
Picture Nick Victor

 

 
 
 
 
 
 
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Run to the Shadows

Shadow Lines, Nicholas Royle (Salt)

So this is the book I thought I was getting when I got (the other) Nicholas Royle’s book which I previously reviewed here. This is a book about (this) Royle’s obsession with books, a follow-up to White Spines: Confessions of a Book Collector, which was a marvellous story documenting the author tracking down the white-spined Picador books he had started collecting, something which to a certain extent Shadow Lines continues.

But only to a certain extent. Whilst this book continues to document Royle’s national and international secondhand bookshop and charity shop visits, it is also about – as the subtitle puts it – him ‘Searching for the Book Beyond the Shelf’. What this means in practice is that Royle gets a free pass to include asides and tangents and other obsessions to do with books. There’s a chapter (‘Three Reminiscences’) about departed writer friends, an almost conspiratorial chapter on the links between the illustrations in the Thomas the Tank Engine books and Surrealist art, and a final chapter both deconstructing Paul Auster’s The New York Trilogy and trying to explain – to himself and readers – why he has bought and kept so many secondhand copies.

This is all done in a friendly, almost chatty, engaging manner, with the overall tone of a pub dialogue or intimate conversation: highly readable and entertaining. However, other chapters get weirder. I am totally at a loss to understand how or why Royle reads as he walks along, though I do understand the fact that many people feel able to comment on his strange habit. I mean, I read on public transport and when sitting or standing still, but just how many lamp posts or people has Royle walked into whilst traversing London, Manchester and elsewhere? I think that we need to know, although Nicholas Royle’s Bumps and Bruises may, of course, be the next book in this series.

Let me explain my confusion further. Like the author, I collect books, but only because I wish to read them. I may have piles of unread books on the stairs up to my study, but my intentions are honourable (honest). It is unclear however if Royle buys books to read or simply because he needs them to fill specific gaps in his collections of books from specific publishers. And what’s really strange is he often buys secondhand titles because of the ‘shadow lines’, which indicate the inclusion of something else within the book. I always welcome a bookmark or postcard in my book purchases (I found $4 tucked into one yesterday), but no, Royle wants ticket stubs, dry cleaning tickets, receipts or other personalised matter; he also likes inscriptions, names and annotations, whereas I detest books marked up in this way (not to mention ex-library books). We do, however, seem to share a mutual dislike of page corners folded over.

Anyway, each to their own, but Royle often starts tracking down previous owners or the inscribers of handwritten dedications before contacting them and/or sometimes returning to the book to them. It reminds me of a young art teacher, fresh-faced from teacher training college, trying to explain to a class of bemused 12 year olds (including me) how a parcel sent to a non-existent address before being returned to sender, then wrapped up again and sent to another non-existent address before being returned to sender, etc. etc., was art. (Now, of course, I love that idea!) Why would anyone contact strangers in this way? Or buy books just to do this? Or keep notebooks full of what he found in what books and where he purchased them? I mean, I have notebooks listing everything I have read for the last 50 years, but surely that’s completely different? And not at all obsessive.

Okay. Moving on, what underpins this wonderfully absurd book is Royle’s encyclopaedic knowledge of secondhand bookshops and charity shops around the country, perhaps the world. I thought I had a nose for such things but it is mostly limited to towns and cities where I live, have lived or been a frequent visitor to because of family or work connections. Royle, however, can time to perfection a visit to a bookshop or two between changing trains at Stoke, seems to know the locations of every Oxfam Books & Records outlet, and appears to be known to shop assistants and managers throughout the known book world. Jealous? I should say so.

If you like books at all, I encourage you to walk for a while alongside Royle on the pages of this book. You could perhaps suggest he reads more and buys less, maybe encourage him to leave copies of some of the books he mentions for the likes of me, who has never been able to find copies of some of the titles discussed, but then I have enough books for several lifetimes too. And although my compulsions and tastes are different, I totally get what keeps Royle on the move between the out-of-the-way, untidy, often damp and neglected rooms where books are gathered up waiting for new homes. Shadow Lines is all about the connections between humans and language and books and covers and art and walking and reading and collecting; the joy of tracking down titles and of lucky finds and random inclusions. It appears to be all about Nicholas Royle but actually it is about all of us who read.

 

 

 

Rupert Loydell

 

 

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Koshenya

the kitten
saved from the rubble
went on to lead a full
and useful life
sleeping on the sofa
(most of the time)
catching rodents
(now and again)
mainly because
it kept shtum
and never told its new owners
where it came from
and that when the shelling started
it had somehow got lost
and found itself
behind enemy lines
it was an easy stunt to pull off as
moloko (milk) is the same
in both languages and
it being a clever cat
it quickly realised
kit meant kot
hardly a difference
worth fighting over

 

Dominic Rivron

 

 

 

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Extreme electioneering

In the UK, the (pre-election) election campaign is in full swing. The Conservatives are performing terribly in polling, and their main tactic appears to be straight from the Trumpian playbook. They pick a fight that hardly anyone considers real in the hope that it will at least let them keep their hardcore base. The more controversial, the better, they think. Labour’s tactic when this happens is to broadly agree with the aim the Tories are heading for but just say they think the governing party is going about it the wrong way.

We’ve seen this on migration, where Labour are softly opposing the government’s plans to send people arriving in the UK via small boats to Rwanda. They claim that they also want to stop the people trafficking connected to this, but they’d do it differently. They will soon allow the Safety of Rwanda Bill to pass through parliament because they believe that the measures will fail, and they want to benefit from the failure. This is an astonishing game to play with the lives and welfare of some of the most vulnerable people in the ‘care’ of the state at risk.

This week, the Tories chose a philosophical discussion on ‘extremism’ as the issue to divide the nation on. It follows the bizarre Downing Street statement made by Prime Minister Rishi Sunak two weeks ago, where he used the excuse of rather peaceful protests calling for a ceasefire in Gaza as the backdrop to suggest the country was in the grip of ‘mob rule’. Since then, the minister for Communities, Michael Gove, has been beavering away at a new definition of extremism, with the aim of barring named groups and individuals from having access to direct talks with government officials and ministers.

The Gaza protests have been large, with relatively few arrests for such events. The focus has been on slogans and chants that the establishment hurries to deem antisemitic, and the government seems to want to use this issue as a wedge to divide people. Labour is perceived to be weak on antisemitism, so the Tories hope to gain some advantage. That a major international crisis is being cynically used for electoral gain is repugnant. Everyone could and should be trying to stop the killing. One minister was quoted recently by a Sky News journalist saying they were ‘worried’ that there could be peace in the Middle East and that peace would help Labour. They literally want the bloodshed to continue because they think it helps them electorally. That’s how cynical they are.

The new definition is as follows:

Extremism is the promotion or advancement of an ideology based on violence, hatred or intolerance, that aims to:
1. negate or destroy the fundamental rights and freedoms of others; or
2. undermine, overturn or replace the UK’s system of liberal parliamentary democracy and democratic rights; or
3. intentionally create a permissive environment for others to achieve the results in (1) or (2).

It’s worth noting that there is no appeal for a group labelled as ‘extremist’ under this plan. If they think you’re extremist, then that’s what you are, regardless of whether you are or not. It is clearly a plan open to abuse. This from a government that is using legislation to declare Rwanda a safe country, regardless of whether it is safe or not, just to win a court case. These things are indicative of how dark the UK has become of late.

 

Ironic Extremes

Two significant things happened this week to add irony to the new extremism definition. The first was their former deputy chairman, Lee Anderson, defecting to the Reform Party. Anderson was effectively expelled from the Tories after claiming that the Labour mayor of London, Sadiq Khan, had given the capital over to Islamists. The Conservatives found it hard to call his words racist, and Nigel Farage was quick to say he would be welcomed in the Reform Party. Anderson defected this week, and at a press conference on Monday, he was happy to trot out the phrase ‘I want my country back’, the watchword of ignorant, racist and far-right agitators across England.

The other incident was far more unpleasant, although ranking these things feels a bit grubby. I guess that’s where we are in British politics right now. According to The Guardian, Tory donor Frank Hester made the following comments in a work meeting in 2019: ‘It’s like trying not to be racist, but you see Diane Abbott on the TV, and you’re just like I hate, you just want to hate all black women because she’s there, and I don’t hate all black women at all, but I think she should be shot.’ Diane Abbott is a veteran black Labour MP, the first black woman to be voted to parliament. As with Anderson, the Tories initially found it hard to say Hester’s words were racist. Their tune on this has changed all week long, but one fact remains: they intend to keep the £15m he donated to their election campaign.

When he announced the new definition, Gove himself was asked in parliament about his relationship with Paul Marshall. He has received donations personally from Marshall, who co-founded the right wing conspiracy TV channel GB News. Marshall was recently named in a report by Hope Not Hate regarding far-right posts on X, which he had liked and retweeted using a second account, presumably to avoid detection. One of the tweets that he liked read, ‘Civil war is coming. Once the Muslims get to 15 to 20% of the population, the current cold civil war will turn hot.’ Gove, who received funding for his failed party leadership bid from Marshall in 2016, described him as a ‘distinguished philanthropist’.

What a week to preach about extremism. They are doing this, they tell us, to protect liberal democracy against dangerous ideological currents. This current government has attacked protest rights in several pieces of legislation over the last few years. They are literally using their violent ideology to stamp on the freedom of protesters. What is liberal democracy if it is not an ideology based on the state’s monopoly on violence? What of structural violence? What of the enforced austerity that has destroyed public services, leading to many demonstrations in the first place? What of the violence faced by protesters from police and the constant threat of it if you decide you wish to campaign against current and historic injustices?

While it’s pretty obvious that anarchist groups could easily end up being named under this definition, I think it’s important we don’t enter into a discussion on what a ‘correct’ definition might be, if that’s even possible. This entire debate has been confected by the Tories. It is fake, it is dangerous and it should be criticised on these grounds. Of the groups listed under the new arrangements, three are deemed Islamist and two are from the far-right. The obvious question here is whether or not these groups currently have access to government departments and / or ministers. Do these two far right organisations need to be named on this list for the government to think twice about having meetings with them or giving them grants? Of course, they are taking money from racist donors. Maybe they do need reminding not to talk to fascists too.

Why should we even react to this stuff? It is only happening because of the election. And Tories love to go for irony and lap up the condemnation. They did a similar thing back in the autumn when they staged the announcement that they would axe the HS2 rail project at an old railway terminal in Manchester, right where it would hurt. These decisions are surely deliberate. We are meant to be incensed enough to satisfy their few remaining voters.

If we’re calling them out, we need to be upfront that we know what they’re trying to do. Some of this is just cynical electioneering, but we should also be mindful that they will probably lose the election. If they do, Labour will inherit a country utterly Torified since they were last in power. They won’t have the money to reverse austerity, and decimated health, welfare and disability services will make lives harder for years to come. They’re not going to spend a lot of time reversing heavy handed protest laws. Things could get much darker yet.

 

 

 

Jon Bigger

Reprinted from Freedom News, March 16th

 

 

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Dunwich Birch [Extract’

 

 

 

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THE SECRET AGENT

Estranged Reflections VII

 

Listen darling, I know Marble Arch is a traffic nightmare, we’ve learned about it from anthropological studies, history and disciplined technique. It’s a slow, deliberate process.

But the issues are more complex than that.

World exclusive!

Former Hungarian dog-boy and film director, Laszlo Zednick, woke at 3am and shouted “Lights, camera, achtung!” for no obvious reason.  Sharon confessed he had been obsessed with movies all his life. Even as a puppy he would sit up for hours every night, fortified with Tennessee Fried Chicken, teetering on just the right side of sentimentality, watching low-grade American teen movies on the old goggle-box.

“Peel me a grape and make it snappy, pronto, rap-rap-rapido”, she mumbled from beneath her multicoloured Donald The Cosmic Duck duvet, as poplar trees cast long shadows in the anomalous mid-morning sun of her dreams and the Persian carpet imploded into extraordinary micro-chip shapes.

She saw a white ‘X’ against a blue background in Oxford Street where shopping is fun.

The film divided the critics.

It was street fashion’s talent for mix ‘n’ match that was what it was…

Sharon has springy Crystal Tips hair and likes singing madrigals in her spare time, what little she has, that is: living with Laszlo is one hell of a challenge. She pulled his ear and he went “Tttssss…” This is how the chattering classes succumb to masochism and defeatism, symptoms of a new British disease first detected in the 1960s but surfacing only now in the ‘post-Thatch’ era.

Spectral, spooky spaced-out trickster John Thomas finally got the communications tickety-boo, ship-shape and Bristol-fashion as you English say. So how does it work? From some far distant astral coordinates near Godalming he beams his elusive signals to Sister Marie’s crystal ball via the Mars Homecare Centre 20,000 years in the past, a complex ethereal logic-gate known as Mad Andy’s Games-Station and the astrological astronomer’s amenable if subversive U-Bend. No problem once you get the hang of it, even if you are still trying to raise the cash for a decent headstone – you just need a crystal ball to compile the dialect into something workable.

Some of us knew all along that she was a secret undercover agent. What a drama!

“It’s a cinch,” laughed Karen when she got her head round it. She impersonated a young girl smiling up at the sky. No one knew what she was really up to.

While John can only use that weird dialect, the canary is multilingual but of limited vocabulary.

What prospect have I of coming to The North? I am afraid no certain one at present.

It was a distorting mirror. John cast an estranged reflection.

The relationship expert encouraged the girl to share her memories of Ron. She looked into the distorting mirror… her feelings faded within a few years and were replaced by something deeper.

Far away, in a distant galaxy, another victim projected a hideous image of Ron.

Are you now worth more?

If you still don’t like it don’t worry.

They stumbled out of the car, into the offices where the phones were going crazy. Old Face-Ache was nowhere, but he would’ve given his right arm for the blueprints, the plans, the side elevations. He sold his soul to the Mouth of Shadows aeons ago. Sister Marie carefully placed the crystal ball on her four poster bed and slipped into something casual, waiting for images of blazing asteroids, ruptured pipe-work and Martian phone directories

Outside a Fascine dumped a bundle of rods into a crater.

On the far side of this multidimensional time-warp, back in 1963, Vince recited paragraphs selected at random from The Outsider and watched a re-run of Quatermass on TV.

Sister Marie’s dreams were encoded in the primary structures of fabrics.

“Let’s have a look,” the nurse said briskly as a red ball slammed into her pocket. She fumbled with his shirt buttons. Her bathrobe exploded into strange microchip patterns, her brainwaves pressed against the edge of the table.

The suggestion that John’s enormous Quaker hat is a sort of dish aerial can be discounted. She saw a white ‘X’ against a blue background; she saw a streak of bright light arch across the sky. Zip! She saw haunting metaphysical arcades, the shadow of an unknown figure merge with the mannequins on the sea shore, an autumn afternoon, The Rose Tower, a statue of Ariadne, infinite nostalgia, the enigma of fate and a priceless portrait of Guillame Apollinaire.

Hector and Andromache imploded into weird micro-chip shapes. Spangled canary feathers drifted in an airless void.

“Hey good looking, care for a facial? False nails? A photo from an estate agent’s window? What you say? What you say?”

Who was this?

Sister Marie had no way of knowing.

She saw convoys of wounded on the Voie Sacree, she saw exhausted Tommies hunkered down in a trench near Thiepval – old, red stars faded over Belleau Wood.

Pinocchio complained to his carpenter. Laszlo said the problem was his feet.

If you know a rude joke that’ll make the girls laugh don’t keep it to yourself!

Back at the ranch they slammed the recluse into a padded cell without a saucepan.

Mystery message: ask for help and victory will be yours.

 

 

 

A C  Evans

 

 

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Concrete Utopia

Amidst thoughts of escape, the earthquakes,
Merciless dominion, your sway never breaks.
You’re an arrow, piercing and severe,
Yet within the flames, sorrow’s chest does sear.
The southern Weapon, cloaked in stormy cloud,
From there, thunder booms, menacingly loud.
I approach, heart, trembling in my hand,
Before you, like a Fimble, I stand.
Your frown heralds waves of destruction,
Toppling crowns, causing deep introspection.
My ribs tremble, hands clutch at my chest,
Heart wrenched with turmoil, never at rest.
“Is there more to tear, to repel,
One final thunderbolt, before I bid farewell?”
With injury, a pause in the fray,
Yet no fear remains, it’s gone astray.
Once your thunder fueled my endeavor,
Now I see you, not as savior, but as clever.
With injury, your stature does fall,
Where’s my land, weathered by time’s call?
Today, you shrink, your might seems small,
Shame dissipates, no longer to enthrall.
No matter how old, how bold your stance,
You’re but a shadow, compared to Death’s dance.
“I am greater than Death,” I declare,
With this final assertion, I’ll repair.

 

 

Trijit Mukherjee

 

Author’s bio
Trijit Mukherjee embarked on his academic journey with graduation from Brahmananda Keshab Chandra College and then further honed his literary passion through postgraduate studies at the prestigious department of English, Bhairab Ganguly College, West Bengal State University. During his academic journey, he received prestigious awards for his outstanding achievements in the field. Trijit’s passion for writing has led him to explore a wide range of themes and styles in his poems and short stories. His works have been featured in reputable national and international e-magazines, including Indian Periodical, StoryMirror, Setu Bilingual, Ode to a Poetess, and more. His debut chapbook, titled “Life in an Aquarium” was published by Hawakal Prakashani in 2022.

 

 

 

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  A Timeless Sojourn 

                                                          
                                  
                                      Review on “Sojourns”, a poetry book by John P Drudge    

The wandering thoughts can hit the introspection and intuition. Our regret may become a part of healing metamorphosis when we wear the cloak of travel. Wishes can be reflected on the rocks, that we step or see. Travel softens and refreshes the mind. The bold rocks that we encounter while traveling actually, allow us to know a lot about travelling. This is a philosophical idea that even rocks can have our wishes. Maybe our wishes while we travel are not so vague. We even wish that those hard rocks receive us emotionally. This is my first impression from the opening poem of this collection entitled “Drifting.” The drift will surely enthrall me. Travel intensifies our own introspection and changes that to our worldview.

Travel reveals the world slowly. Furthermore, when we travel with our soulmate, time ticks by slow. John takes us to the chateau, with such an ease. He even reveals the history that Romans kept watch upon the shore from the chateau. The hill, the sea, the train all are the trumpets of travel with a soothing melody. Sojourn is a transportation of words in honor of the travel. The descriptions in the poem are like a tool of an ambivert. How precise the contents of the book are, creates a permanent sojourn. To capture travel in words, is to transport the reader to the architecture of the journey.

I can enjoy the sip of French Pastis (a French Liqueur) just by reading the collection. A jazz being played and every tomorrow being a certainty makes me feel that the travel made by the poet was so relaxed and unhurried. I can imagine being in a bristo (a small, relatively simple restaurant, especially one offering French or French-style food) and my eastern traveling sensation to the west reaches a climax. 

In the poem entitled “Marseilles” John Drudge speaks of a baby who fusses a little and falls back to sleep. Most importantly he says:

As the rain fell harder
And the baby fussed
Just a little
Falling back asleep
As we held hands
And drank red wine
And savored our new forever
Beyond the crossroads
Of our youth (Marseilles)

The savoring of this new forever beyond the crossroads of their youth is like a birth of a damasked rose. The poet is at the crossroad beyond the youth. This is rejuvenation and a forever cherished wonder; a part of permanent sojourn that can be plucked from the album of time.

Toward Saint Jean Cap Ferrat
Where they had come
To escape the world
And to rest once again
Like new lovers
In the arms
Of disbelief (Cote d’Azur)

Like “New Lovers in the Arms of Disbelief” shows the trust and faith in the travel, and how much it means for the travelers. Traveling is an unknown territory yet there is faith in it. This irony about disbelief speaks louder than the meaning in this poetry collection. The description of the travel here, is not superficial; it has deep roots. Also, lovers get back to cuddle their love and try to escape the world. Travel nurtures two souls who travel together. They kindle their love under the stars of travel.

Almost every poem in “Sojourns” seem to have a philosophical gist and a human-element. This human-element is always receiving the impression apart from descriptions of the places. Our subject is at the receiving end, and we are acquainted with the impression felt by the subject. That makes this collection lively and full of tenderness. Emotions get generated at the picturesque level, along with winding course of descriptions of places.

How the dullness of entering into Paris from the Airport is made lively later can be seen in the important poem of the collection titled “Paris in Transition.” And, the descriptions in every poem is so thematic to the entire trails that each poem leaves behind, already making a permanent impression in the readers’ recollection of each poems.

Poet John Drudge uses apt vocabulary in his short poems. The brevity of these poems lies in the apt vocabulary. John Drudge is a master word weaver who gifts a garland of poetic festivity to the readers. The poetic experience to read Drudge’s poem is that a dart of beauty heals you. The poems are swift, yet they create deep impressions. The companionship in this journey of Drudge allows them to find quietness in their favorite park. The intimacy is celebrated like the revealing travel destinations, felt throughout the reading.

This poetry book by John Drudge is a complete book that documents his traveling to France because the ending part of the book also provides some verses on homecoming. Amid the bustle of travels and its intricacies John remembers his home when the travel was about to come to the end. John is traveling in company with his wife. The poems have touched that companionship too. Poet John Drudge is not alone during his travel, and the emotive words in this poetry collection has enveloped his interpersonal thoughts and observations, with his companion. 

I truly enjoyed the journey of travel by Poet John Drudge. I am very fortunate to receive an opportunity to review this book. I have learnt a lot about France through these carefully crafted verses. I have learnt how to appreciate travel and ponder on new ideas which traveling brings. I thank poet John Drudge for these vocabularies and awakening an interest of travel in me, through this book.

 

 

Sushant Thapa

Book Name: Sojourns
Genre: Poetry
Publisher: Barrio Blues Press, Chicago, USA
Author: John P Drudge

 

 

 

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The Numbers Game

 

All the figures are estimates and best guesses, with everything from annual spend and collateral damage pulled from a metaphorical hat. It has always been thus, and the only thing that’s changed is the hat. Hard to believe now, but when I was a kid, it was a bowler, with all its attendant reassurances of history, stability, and upright fair play, and the numbers were articulated with the authority of clipped precision. Nowadays, it’s a slouched beanie, and the shifty bearers of stats and percentages barely have a final consonant between them. 86% of people my age will tut at this sad state of affairs, but I find the sloppiness comforting. Twenty-seven percent increase in the cost of livin’? Thirty thousan’ dead? It’s easier to take it with a pinch of salt weighing, say, 0.3-0.4 g, or with 75 mg of the wonder drug du jour, prescribed by a doctor who’s fifteen years old, can’t imagine a twenty-five percent rise in real per capita disposable income, and has never even heard of the thirty thousand – sixty-five thousand? – civilians bombed out of existence in a popular holiday destination.

 

 

Oz Hardwick
Picture Nick Victor

 

 

 

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SAUSAGE Life 293


Bird Guano’s
SAUSAGE LIFE
The column which says “It isn’t the coffee that carries you offy, it’s the caffeine they carries you affeine”

READER: I’m so enjoying Cheltenham! What a racing man’s delight!

MYSELF:  Bah and Humbug! Wasn’t Cheltenham Festival’s refusal to cancel one of the first super-spreaders of Covid 19? Racing is not the sport of Kings, it is a corrupt gambling game designed by an unscrupulous, under-regulated industry to suck the money out of your pockets faster than you can say Ladies Day. Nor is it a ‘delightful run out’ for the poor horses, who hate being whipped by vertically challenged men wearing blouses even more than I do.

READER: Typical! Why are you such a stuffed-shirt cynic when it comes to racing? I have it on the highest authority that they like nothing better than galloping around a track leaping over huge fences with a baying mob shouting into their sensitive ears.

MYSELF: The horses? Or the ladies?


READER:
 I see you have decided to add casual misogyny to your fierce intolerance of the simple pleasures of the common people. What’s wrong with the occasional flutter anyway? Responsible gambling is just a bit of harmless fun for the masses.

MYSELF: Responsible Gambling? I haven’t heard anything that funny since the surgeon told me they had accidentally amputated my penis instead of removing the benign cyst on my elbow.

HORSE SCENTS
Captain Mark Phillips, Olympic equestrian and former husband of Princess Anne, suffered 3rd degree burns to his jodhpurs at the Cheltenham Gold Cup earlier this week,when he recklessly lit a cigar next to his horse Armadillo Trumpet, just as it was passing wind. The horse shot off like a rocket, straight through a gap in the hedge and won the Boodles Handicap Hurdle by eight lengths even though it had not been entered. Armadillo Trumpet was later disqualified by stewards for racing whilst unregistered and testing positive for performance enhancing methane gas propulsion. 

SCIENCE MARCHES ON
Although out of the limelight recently, Professor Gordon Thinktank has been busy adding to his long list of inventions. Aside from announcing plans for a water speed record attempt with Greenbird, his ecologically sound solar-powered hydroplane made entirely from avocado, he has also applied for the following patents: heat resistant flock wallpaper for the inside of tandoori ovens, a doorbell which sounds like stampeding dinosaurs for deterring Jehovah’s Witnesses, squeaky food for the blind and electric pyjamas which free up duvets so that they can be used for lagging boilers.

READERS WRITE
The Sausage mailbag was fatter than ex-PM Boris ‘Bunter’ Johnson this week, and almost as full of drivel. At the editor’s insistence, I have reluctantly decided to publish these examples: 

Dear sir,
I don’t know what all the fuss is about this toxic waste business. Why on earth don’t they just flush it down the lavatory? Since I was made redundant from my job as a sewer inspector after having my right leg bitten off by a giant blue alligator, I have had lots of ideas like this one.
Andrew Spelk,
c/o The Two King’s Heads, Dungeoness
.

Sirs,
I note with alarm that, since its inception, there has not been one single reference to bed-wetting in your illustrious column. Is this an editorial decision, or are we to see Nocturnal Enuresis go the same way as cannibalism, incest and bear-baiting, yet another victim of political correctness gone mad? I intend to take out a subscription to your publication immediately, just so that I can cancel it.
Yours etc.,
R. Sheets,
Whippersnapper, E.Sussex

FOOTBALL FLOP
Hastings & St Leonards Warriors FC’s first season in the Hobson’s Denture Fixative League got off to a poor start, with the first sixteen games all ending in 8-0 defeats. Supporters attending last Saturday’s home game against Herstmonceux Cannibals were hoping that under millionaire former Police bassist Sting’s new ownership, their fortunes might improve.
Manager Giovani Fuctivano was less optimistic; “Sure the fans love-a the Sting, but in a the foot-a-ball game we must-a make-a the goals for the winning. This Tantric Football, she is a no work-a for me. We play for hours and a-no score”.
After the Sicilian supremo’s pessimism was further underlined by a seventh consecutive 8-0 thrashing, one fan commented, “I love Sting, especially his work with The Police, but quite frankly as a club owner he is making us all as sick as parrots. Walking On The Moon is all very well, but no substitute for being over it.” The match was not without controversy, as referee Ken Chatbot was once again implicated in a controversial off-the-ball incident when Cannibal’s goalkeeper, Reg Rugg, robbed him at knifepoint in front of furious Warriors supporters in the final minute of  injury time. 

DICTIONARY CORNER
Phlegmatic (n) – a loft for storing used handkerchiefs
Salmonellafitzgerald (n) – toxic jazz singer
Hamnesia (n) – forgetting you are Jewish

GAELIC FOR BEGINNERS
Here are three handy phrases for first-time visitors to the Emerald Isle. They will serve you well, being versatile enough for any conversational situation to be sure so it is.

Tabhair dom saucer fual gabhar
Fetch me a saucer of goat’s urine

An féidir liom do pharaisiút a fháil ar iasacht?
May I borrow your parachute?


Fleggah ma hoyle ma hoolie hoyler!
There will be a great rejoicing among the gentle wee folk of Derry whose potatoes are sweet, uniform, and possess a rare texture, the like of which is long since gone and very likely will never be seen again.

 

Saol na ispíní! (Sausage Life!)

ATTENZIONE!
‘Watching Paint Die’ EP by Girl Bites Dog is out now and available wherever you rip off your music.
Made entirely without the assistance of AI, each listen is guaranteed to eliminate hair loss, cure gluten intolerance and stop your cat from pissing in next door’s garden.
Photo credit: Alice’s Dad (circa 2000)




Click image to connect. Alice’s Crazy Moon is an offbeat monthly podcast hosted by Alice Platt (BBC, Soho Radio) with the help of roaming reporter Bird Guano a.k.a Colin Gibson (Comic Strip Presents, Sausage Life). Each episode will centre around a different topic chosen by YOU the listener! The show is eclectic mix of music, facts about the artists and songs and a number of surrealistic and bizarre phone-ins and commercials from Bird Guano. Not forgetting everyones favourite poet, Big Pillow!

NB: IF YOU DO NOT HAVE A PAID SUBSCRIPTION TO SPOTIFY, THE SONGS WILL BE OF RESTRICTED LENGTH

 

JACK POUND: JESUS WANTS ME FOR A SUN READER aka PASS THE INSTANT YOGA

 

 



SAY GOODBYE TO IRONING MISERY!
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Take years off your smalls with Botoxydol!
CAUTION
MAY CAUSE SMILEY FACE T-SHIRTS TO LOOK
INSINCERE

 

SPONSORED ADVERTISEMENT
“Sometimes you just need a tool that doesn’t do anything”

 

By Colin Gibson

 

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Polyphony, poetry and publishing. An interview with Chris Emery

Chris Emery is a poet and director of Salt. He has published four collections of poetry, with the most recent, Modern Fog (2024), being described as a collection of “elegiac, tough-minded poems of marked originality and scope”. With “attentive, atmospheric, musical poems” that “can light up everywhere: seascapes, edgelands, interiors, even a carpark”, his “art is at once earthy, spiritual, dreamlike and exact”.

The Departure (2012) has a series of narrative poems that reveal an astonishing range of personas, from the set of Mission Impossible, an extra from Gojira, porn stars, bombers and executioners — even Charles Bukowski turns up to take a leak. Radio Nostalgia (2005) examines the borders of war, social exile, and manufactured liberty expressed through corporate media, while Dr Mephisto (2001) traces Mephistopheles as he ranges freely through time and space, always a presence wherever there is conflict and suffering and whenever there is work to be done.

Together with his wife, Jennifer, Emery founded and has run Salt since 1999. Their first publications were poetry and they rapidly developed an award-winning international list. In 2008 they won the Nielsen Innovation Award in the IPG’s Independent Publishing Awards for their work in taking poetry to new audiences. They have subsequently expanded to include children’s poetry, Native American poetry, Latin American poetry in translation, poetry criticism, essays, literary companions, biography, theatre studies, writers’ guides and poetry chapbooks as well as a ground-breaking series of eBook novellas.

From 2019 to 2022 Emery was first Director of Operations and later, additionally, Director of Development at The Shrine of Our Lady of Walsingham – a major pilgrimage site dating from the eleventh century, situated in rural North Norfolk.

He is currently working on three new full-length collections of poetry:

JE: You are a poet, publisher, and writer, with four collections of poetry, more on the way, plus a significant career in publishing, particularly with Salt. That represents a major achievement in the world of British poetry but your journey to that place has not been straightforward with lots of work destroyed, issues in balancing writing and publishing, plus the challenges of maintaining a small independent publishing company. Could you try to summarise for us the arc of that time with its issues and achievements?

CE: I started writing as a child and the fascination stayed with me through my time at school and on into my creative studies at Leeds Polytechnic in the 1980s. I kept writing through those years at art school. It became more serious during the Nineties, long before I considered publishing as a career – not that that I think of publishing as a career. Through a series of missteps, I ended up as a junior manager at Cambridge University Press and worked my way up the ranks, becoming a director. Certainly, at that time, I was passionate about writing. I mean obsessed with it and being in Cambridge I ended up meeting many of the writers living in that city. That was quite transformative.

I wrote several collections that have never seen the light of day and the work has all been lost. Yet by the start of the new millennium there had been a major shift in what I wanted to write. I was experimenting with these wild pieces that were influenced by manga, European cinema, political theory, grimoires – this mash-up of influences led to a break with tradition and used a range of personae to write in. My debut appeared in 2001. Anyway, after that, I knew I wanted to leave corporate life and set up a publishing house of my own – the plan was to finance a writing life free from too much senior management – of course, it was a terrible mistake. It was desperate for the first five years – no money, no prospects – I mean, nothing changes. But Jen and I hung on. A new darker and more fragmented collection emerged in 2006 and then … well, then Salt swallowed me up, I think.

I think I lost faith in my own experimental writing and what it could achieve; this may be heretical, but I came to see my own practice as old fashioned, even hackneyed, a kind of simulated avant-garde and the last thing I wanted to do was to see my writing life as some form of reenactment of early 20th century experimentation. We had that; it’s in the past. I came to distrust my own innovations and saw them as a cul-de-sac. I wanted to do something different, but I needed a new path. I think my third collection, The Departure, was just that, a move back towards the reader.

JE: You said once that “nothing has had a more lasting impact on my obsessions as a writer than this [convent-run] schooling”. Given your recent role as Operations Director at the Shrine of Our Lady of Walsingham, could you tell us about the lasting impact your schooling had and any connections to your recent experiences and poems?

CE: I’m always nervous of documenting one’s origins, I mean we rewrite our lives to fit into our choices, don’t we? I was brought up as a Roman Catholic and I had deep convictions as a child. My primary school was run by the Presentation Sisters – an Irish movement that came to Manchester to care for its poor. The convent was in the school grounds, and the church was on the other side of the school buildings. We sort of grew up between these two symbols of vocation and community. I was thinking about this the other day and I’m certain I began writing there – but it’s all very long ago.

Anyway, we are talking about the Seventies here and there were still vestiges of sectarianism in Manchester; being a Catholic had a sense of being different, being other, and I think this sense of having beliefs that run counter to the world you inhabit fed into my personality and my own narrative. That whole thing of Catholic formation stayed with me, even when I rejected it, and I rejected it absolutely, as so many of us do, though, you know, it was still there as this additional, expansive, signifying world. And I came back to it, of course.

Forty years had passed, but I was walking in Norfolk with my dog and had what I can only describe as a reconversion. The thing about deep convictions is they can be deeply overturned. I was standing looking out over Beeston Regis and All Saints church and the bright sea and sky and was … well, I don’t know what it was; called perhaps. A week later, I had made my confession and was back in my local church to see, to feel, what was happening to me. It was profoundly discomfiting but also emotionally charged. It can only have been a month or two after this that a vacancy appeared at the Anglican Shrine in Walsingham and I eventually applied for and got the job. So, I stepped out of publishing and had the most wonderful time working for the Shrine for three years. It was one of those pivotal moments in my life.

Allowing myself time to fully engage with a spiritual life was transformative. I felt liberated from my own prejudices and I think the experiences working there led me to consider deeply how we impact upon and share this world with each other, both physically and in language – I think it’s true to say that this had a significant effect on how I was writing as much as what I was writing. As I mentioned, I wanted to let the reader in, to enter a shared linguistic realm – I saw my experimentation as a barrier.

You know, so much of my early work was an attempt to use language to foreground the fractures and deceits in our political lives. Suddenly, I was finding other techniques for exploring what I wanted to say in what I hope is a more approachable, even amenable, memorable language. And within all that was something else, a sense of giving people permission to share in what we all recognise as beauty and fragility in our world. Once you do this, open yourself to mystery, a great deal opens for you as a writer.

JE: As you’ve said, your first two collections were experimental in nature and were inspired by your connections to the Cambridge School and the continuing effects of the British Poetry Revival. You also published many of the key figures in the scene. How do you view its influence on you and your writing now and what do you think its eventual significance will be seen to be within the history of twentieth century British poetry?

CE: Actually, there were several collections before I discovered the Cambridge scene – I remember Richard Caddell gently questioning my convictions about experimentation – he was right too, as well. Drew Milne’s work, John Wilkinson’s work made a very deep impression on me. Once I allowed myself to engage, the scene had a huge effect on my writing. I dived in. Publishing came a little later – it was all part of my migration out of corporate life into something more fugitive and romantic. I gave up a career to pursue poetry. I don’t think history will care much for my choices, or my publishing – trade publishers are rarely celebrated in the history of letters. Who was Austen’s editor? Who was Wordsworth’s editor?

Our job as publishers is to allow the best talent to find its readership in time. We never know. What I do know, from the inside is the mechanics of reputation and the fragility of readerships and the appurtenances of fame. Much of what we do is simply dust. But you ask about influence and I do think that there is a powerful influence from the writing I encountered at this time – a sense of finding the boundaries of what can be said, and how to say it. A sense of being inside the saying of things, more than using the language figuratively. The way of saying often being the subject and torment of a poem. How language makes us. And then, the limits of this, how following this path in extremis can lead one away from what we want to achieve. What gets lost is what can be communicated through time.

We’re left with vestiges and fragments, and we create readerships that are vestiges and fragments, I’ll say more about this later. This can be a political aim, of course – the desire to build elite communities of reading; coteries. But this is disordered thinking, at least it is for me.

JE: Which poets have inspired and/or supported you over the years and what has their influence meant for your work?

CE: This is a great, hard question. What I may cite here, I can easily abandon in six months or six hours. I’ve mentioned Milne and Wilkinson, whom I love. I love early Prynne – though I’ve not read him for a decade. I love Ruefle and Mary Oliver. Pitter, Shapiro, Shaughnessy. Popa, Plath and Hughes. Caroline Bird and Hera Lindsay Bird. It all gives me immense pleasure. But I could reach back and say so much more about 17th century lyrics, the Romantics and so on.

However, I think the deepest influences aren’t really poets at all – they’re perhaps painters and filmmakers, composers, and novelists. That world of influence also must refer to the communities we live in: our people, as it were. And the deep land. The sea beyond the shingle bank. Cliff falls. You know, all that stuff that reaches in and rinses us out like a crazy dawn.

JE: As a publisher, what changes do you think have been apparent in British poetry over the course of your career and what excites you about the poetry scene today?

CE: Polyphony. I mean, there’s been an explosion of new talent, and not just from these shores – we had a period of constraint in the range of writers we could see, but from the early Noughties, I think a mix of new types of publishing, greater accessibility to forms of distribution, Amazon to some extent, and the industrialisation of creative writing has led to an exciting expansion of new poets and new forms or writing. Some of it is reaching back to earlier forms of practice, some of it is looking across the Atlantic, some is looking farther afield for its provocations.

There are tens of thousands of poets. Social media has brought many into view and for the people who care about poetry it’s a very exciting and expansive new landscape where many, many forms of practice coexist and try to develop their own readerships. But there’s a cost. What we have also seen is that this rapid nurturing of poetic communities has developed a new insularity – and the whole art has moved away from the larger society that it needs to serve.

The expansion in practice has not led to an expansion in the audience for poetry. And the many poetries we currently have – and that are to be celebrated – are becoming on the one hand more fractured, more etiolated, more disengaged, smaller in outreach, whilst other branches of the art have reached down into aphorism and identity, wellness and, you know, the banal.

Some find followers in their millions; others barely reach fifty people. As the assertion around new voices has taken hold, the critical space has also failed to keep up. There’s such an abundance we cannot address it. I think there is a risk here, for publishers especially, that if we don’t develop audiences, poetry will become a widespread but unread genre. It’s leading to a poetry of low aspiration. But we’re seeing this across the arts and it’s not specific to poets.

JE: How difficult is it in reality to run a small independent publishing company that includes a significant strand of poetry within your publications?

CE: There’s a short answer to this – in the main serious poetry loses money. You have to be able to afford it. This means becoming a publicly funded press, in part coordinated by our Arts Council, who really do terrific work in extremely pressing times, or you finance the genre through your other publishing activity, cross subsidising it. Some fund it by taking no salary and have collaborators who take no salary – keeping the venture as a noble hobby. But if you want to pay people, staff, invest – there are only two models I can see: State subsidy or financing from other publishing activity. We’ve done both, and right now, we need to draw back and build a war chest for any further poetry publishing. That will take time, possibly some years.

JE: Your early work was often written in character and was deliberately not confessional. To what extent has that strand of your work continued and to what extent has your personal life and experience come to feature within aspects of your poetry?

CE: I’m not remotely interested in me or any revelations about me – I mean there’s enough of me in my personal life! The primary purpose for my own art is to explore the Other – the fictions of ourselves, the possibilities and multiplicities of life. The ‘me’ that appears in some of my writing is not biographical, even when there are biographical tropes. As you may gather, I rather jar at the personal. However, I respect it in the work of others – this isn’t a call to arms or manifesto for the abandonment of identity in writing. It can be extremely important for poets to be seen, to have their experience seen, their communities seen – it’s just not important to me. However, I would be deceiving if I made claims that I don’t have some obsessions that travel through my writing – though without wishing to be coy, I think the writer is often poorly placed to see all of this clearly. I recently wanted to write about what it’s like to be leaving middle age and to be in that hinterland – you know, not yet old, but not certainly no long in those middle years. They rush by us, don’t they? And that sense of the eschatological is an important theme in my recent work. Meaning and vocation, the deceit of purpose and the reality of it – what we choose, how we choose to live.

JE: Your four collections all seem very different, with The Departure, in particular, signalling a particular change in style. What factors have contributed to the developments in your work and in what ways is Modern Fog another shift in style and content?

CE: The Departure is almost a pun, isn’t it? It was partly about the physical departure from Cambridge to Norfolk, and more importantly from one life to another. We even changed the business – Salt moved away from poetry into fiction publishing. I look at it now and think of the book as a form of personal exile. Or given my recent experience, perhaps of pilgrimage – that whole notion of moving into a liminal world, a world of exposure and encounter. I wanted to shake off the late-Modernist tropes and try to find a range of voices that could be, well, playful, joyous, comic. It was a move back to the centre of the art from its outer rim. Modern Fog is a hymn to nature, to the Earth and our place in it. It certainly plays with geographic and geological language and familiar bucolic themes – but I hope it extends these with multiple possible meanings and can introduce people to poetry as meditation and even prayer.

JE: Where are your next collections and your current writing taking you?

CE: I’m working on three collections; they all expand on using short story and fictional techniques to place us in times and places that allow us to dream of other ways of living. I’ve started to think that these collections will collide and contract – contraction is always a healthy impulse with poetry. So, we may see something cut back, sewn together, thematically cohesive but certainly it will continue with these themes of what it means to be here and what moral choices we have in sharing the Earth with other species through time in a universe that has no other signs of life. As far as we currently know, the species here is all there is of life, this Earth is it, and it’s not ours. It’s simply not ours.

JE: Your poetry is characterised by unexpected images and unusual phraseology. You said at an earlier stage in your career that you “always like to have surprises in my writing, so I tend to judge a first draft by how many shocks I receive in terms of the vocabulary and sweep.” To what extent has that sense of seeking to provoke continued to inform your work?

CE: Oh, if I’m bored, you certainly will be. All art should provoke emotion, even before any meaning. The poem is itself a space for encounter with the mystery of language; it is, I suppose, its own universe and the challenge is to – let’s say, terraform the planet we create inside the poem! That’s a terrible analogy, but for any writing making the world of the poem feel real is paramount. So, I love creating little challenges for myself, that can be new forms of practice or fresh attempts and models and topics, you know, ‘I’ve never written a poem about dishcloths’ – and off you go writing about dishcloths and what they mean. The simplest provocations are often the best. Writing about late-stage capitalism and disestablishmentarianism – I mean, why bother? But you know, dishcloths. That might be it for a week. The poet has to be personally radical you have to disrupt yourself as well as the world we live in. My advice to poets is this, ‘If you have found a voice, now lose it.’

JE: Of what are you most proud about Modern Fog and of what about Salt?

CE: Goodness, I think seeing it published is simply wonderful. I really didn’t think I would be published again. I don’t sit well in the current fashions and trends for poetry – I’m an outsider, and I’m sixty and still emerging. It’s laughable really. But Modern Fog is a book for my late mother-in-law – actually, more than any other book of mine, it is a book for others I admire and love. Returning to Arc, who published my debut, is also wonderful. A great publishing team with an amazing backlist and history. I really do cherish that. I’m also proud of where it might lead me in the next phase of my creative life.

Salt is entering a new phase in its development – we’re planning to grow it, to do more fiction, move into non-fiction, explore new strands. We’re working with others to develop our business planning and, after twenty-five years in the business, I feel a new hunger to take the press forward, to build it, to do something amazing and to share it.

Modern Fog, Chris Emery, Arc Publications, February 2024, ISBN: 9781911469544

 

by Jonathan Evens

 

 

 

 

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‘An Impossible Catalogue’

Finnegans Wake, Anselm Kiefer (White Cube)

It was always going to be interesting to see how a catalogue or book could try to re-present or document the monolithic exhibition of Anselm Kiefer’s work at White Cube Bermondsey in 2023. At the time, in an Instagram post just after I visited the show, I wrote ‘Anselm Kiefer at White Cube 3 is utterly astounding, a kind of strange museum documenting the mess we have made of the world; a world now full of dust and rust and decay and chaos. Best exhibition I’ve seen for years.’ A friend responded ‘Yes, extraordinary exhibition. Like a museum at the end of the world.’

I’ve never been a particular fan of Kiefer’s work, often finding it polemical and clumsily made, sometimes over-reliant on size to dwarf viewers and try to overpower any criticisms they might have. However, one exhibition I saw in Hammersmith’s Riverside Studios at the end of the 1980s did intrigue: massive lead books, an unreadable library of metal. Other works I have seen since, however, sometimes seem to lean towards a European Romantic sensibility or veer towards kitsch, as they (according to the Gagosian website) ‘reflect upon Germany’s post-war identity and history, grappling with the national mythology of the Third Reich.’

It’s not always clear, either, how (again in words from the Gagosian website)

     Anselm Kiefer’s monumental body of work represents a microcosm of
     collective memory, visually encapsulating a broad range of cultural, literary,
     and philosophical allusions—from the Old and New Testaments, Kabbalah
     mysticism, Norse mythology and Wagner’s Ring Cycle to the poetry of
     Ingeborg Bachmann and Paul Celan.

This kind of statement has always seemed a bit pretentious to me: however relevant these sources and ideas are to the artist, it is hard as a visitor or viewer to pick up these kind of intertextual references unless directed to them by essays, labels or tour guides. It can feel like a form of cultural namedropping, alluding to such important texts and artists. James Joyce seems a strange addition to this referential canon but in the book’s interview with Kiefer interviewer Rod Mengham suggests that Finnegans Wake is ‘a book that thinks about the new ways in which humanity is connected’ and notes that ‘Joyce thinks of this last of his books as a “colliderorscope”. A kaleidoscope where things collide.’ This sets him up to ask Kiefer ‘Is your work a “colliderorscope” – of things colliding?’

Kiefer’s answer seems to me pivotal in regard to this specific exhibition, as well as the huge studio complexes and installations he has created:

     They collide all the time because even when I make a painting, it’s often
     destroyed and becomes completely ambiguous. When things get mixed
     up like this, by accident, a new meaning emerges.

The ‘mix-up’ seems key to Kiefer’s work ‘Arsenal’ which occupied the central corridor of White Cube, as well as a couple of adjoining spaces, and consisted of a dense jumble of sculpture maquettes, discarded metal, photographs, broken or discarded objects, specimens, models, dead plants, industrial detritus, rocks, grasses, tins and bricks… the list is endless. Seemingly casually gathered up and arranged on industrial shelving or placed within huge glass cases, the artist had then labelled them with phrases from Finnegans Wake and left us to make sense of his oversized cabinet of curiosities.

The dark, gloomy corridor felt overpoweringly sombre, unfathomably complex and strange. Was this a museum at the end of the world or of the end of the world? And what was its relation to the work in other rooms, which presented piles of concrete rubble and sand, or abandoned libraries of metal books, on the floor, with written texts and vast paintings on the walls surrounding them? Whereas ‘Arsenal’ seemed intriguingly full of secrets, links and networks of meaning to be discovered, these more predictable and expected works seemed overbearingly bombastic and declamatory, even as any specific allusions or intentions remained unclear.

In his perceptive catalogue essay, Brian Dillon suggests that in Joyce’s book ‘everything is already embodied and nothing [is] abstract or mystified’ as the author attempts to write ‘a “total” book’, although despite the book’s ‘inexhaustible energy’ it is in the end an impossible ambition. Kiefer, Dillon suggests, is doing the same, attempting to embody everything in his work. For him, ‘Arsenal’ is ‘a tunnel through five decades of work’ and ‘required infinite slowness and patience, a feast of attention’, although ‘at the same time […] it is like being propelled or cannoned through a life or body of work: a life and a body that stand for everyone.’

Certainly, the work demanded attention: having spent several hours in the exhibition, I came out into the gallery’s front courtyard only to realise that I needed to look again, look more, and dived back into the cave of objects’ opening. Part of me wonders how specific each choice was, or whether Kiefer simply gathered up selections from the huge studios he owns – so vast he cycles around them, as shown in Wim Wenders astonishing film Anselm. But even to facilitate connection-making, let alone ask and provoke us to create connections for ourselves, is an achievement that few artists manage. And although every object, sculpture and painting is an object, it seems to me that the connections we are asked to make, invent or find, are abstract, because philosophy and other systems of understanding are abstract ways of finding meaning.

Dillon’s essay is entitled ‘Hieroglyphs’ and in it he mentions alchemical transmutation (perhaps contradicting his own idea of nothing being mystified), the ‘bypass[ing] of meaning in favour of bodily presence’ and ‘archaeological discoveries’ that facilitate a kind of time travel, presenting ‘an impossible catalogue of memories, references, resources for an unknown time to come.’ This catalogue is an impossible one: nothing could or can document the physical presence of Kiefer’s work but it is a brave attempt, the best anyone could do, and it does act as a prompt for those who attended to re-experience this immersive exhibition and to keep thinking about it. For as Kiefer tells Mengham in response to a question about secrets:

     When you do something, you are not always aware of what you do.
     Perhaps the meaning is revealed later.

This catalogue goes some way to informing the mystified viewer about the work, as well as acting as a record of a (necessarily) temporary exhibition that is part of Kiefer’s ongoing exploration of and engagement with reoccurring themes and ideas. It is, of course, also a memento of my visit to the exhibition and has helped bring new ideas, associations and meanings to my understanding of Kiefer’s art, indeed art in general.

Rupert Loydell
(with thanks to Geoff Hands and David Caines)        

Images of art works © Anselm Kiefer. Photo © White Cube (Theo Christelis)

 

 

 

 

 

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Some sparks of our love 

    

 

1)
Some sparks of our love 
recreate flight.
And shiny marble columns
are dancing 
under the shadows of the lamps.
Your presence is like an endless celebration,
how blessed I am to feel this moment.

2)
The signs of joy
are floating in the air.
Like little kites and toys,
like pebbles over there.
They reach the people,
as comets in between the stars.
The spring is here, as restart…

3)
Love

Love ain’t just a four letter word, 
it is a state of my soul,
it is my attitude to world!
Love is colour of the crystal bowl!
Love is attention to others,
it’s the engine of the miracles, love gathers…

4)
Some misunderstanding…
The day has lost its brightness…
What does the obstacle bring…
Even if we speak the same language…
Where is the tiny arrow, the envisage, 
the love, that connect our hearts …

5)
In the light of falling star
dragon fly shines in blue. 
The deep blue is spring
of the past,
spring of new call
of the blue universe.

6)
Young man tosses a coin
in the well of desires.

Love
whether after all
costs only one coin.

Or it’s a wish fee.

7)
The melody of your eyes
caresses my skin
as hummingbirds fly
to rose damasquin.
A few silver drops of smiles
make the moment shines.

8)
Miniature

The South wind is bringing blooming smell.
Between the budding trees Sun rays peek out.
I am spreading hands on my balcony
to breathe the spring aromas.
God will soon paint a colourful masterpiece.

 

 

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Dessy Tsvetkova, Bulgaria 
Picture Nick Victor

 

 

 

 

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A Christmas Card, Linoprint

Christmas cuts an eye,
and the blade of its choice,
as thin as a card recovered 
from our attic proves that
even sepia or rust can glint. 

Now I see memory bleed.
The splodges of red fashion
a petite dress sporting polka dots.
We talked about Buñuel’s
Un Chien Andalou
before they held their hands 
in God’s name.

My hair, long then, startled 
my shoulders with 
the cold serpents’ sleepy winter touch. 
Now I open my eyes, even
the ones I do not have.
Even an insect, insignificant, see
how the details fade and sepia 
gathers its treasure of sighs.

 

 

 

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Kushal Poddar
Picture
Nick Victor

 

 
 
 
 
 
 
 
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from Jim Henderson’s A SUFFOLK DIARY

Monday, March 18th

I had a bit of a cold last week and felt below par, and I have been neglecting my diary, so this is all a bit of a catch-up.

The County Council’s building inspector has been to the village hall and given it a clean bill of health after the post-fire repairs and refurbishments. He came remarkably quickly, given that the Council is not renowned for its response times, much like our local constabulary, but it turns out the inspector is the cousin of the brother-in-law of our Parish Clerk’s son’s sister-in-law (I think that is right) . . .  Anyhoo, apparently a few phone calls were made and one or two favours called in, and the inspector chappie moved the job to the top of his list and we are “clear to go”. That means that all the community groups that use the hall, such as the Young Mother’s Knitting Society, the Scrabble Lunch, the Book Group, and the Watercolour Art for All Afternoons, can move back in and it will be business as usual. I am not sure about my wife’s yoga class (Oh Yeah! Yoga!) because she is still in York “helping out” her parents, and she does not seem to be in any rush to come back. I telephoned to tell her that the hall was available again, but she was not there, and her father answered the phone. I do not really get on with him, so the conversation was brief. Anyhoo, I left a message. I do not really care if she gets it or not. I am quite enjoying the single life, to be honest, which I can be because this is my private diary and nobody else is going to see it.

Miss Tindle has come up with what John Garnham calls “a gem”, and has already sorted it all out: to celebrate the re-opening of the village hall, and to coincide with the Easter Fete, all the community groups that regularly use the hall are going to be in the hall on the day of the fete (Easter Saturday – just the afternoon) and they will all be demonstrating and “doing their thing” – the knitters will be knitting, the Scrabblers will be Scrabbling, the Book Group will be chattering about a book, the Watercolour people will be painting, and so on and so forth. It should probably have been me organising it, because I am the Parish Council’s CLAPO (Community Liaison and Publicity Officer) but I do not mind one bit, though I have to get some leaflets done to publicize it. I am not exactly sure what the attraction will be for anyone not in one of the groups, but I suppose if people drop in and see something they might like to join then fair enough. Apparently all the groups were mad keen to get involved, although Barbara Mason, who is the main person behind the Easter fete, was against it at first because she thought it would detract from what she and her friends were doing on the old cricket ground greenery, but John Garnham said she was easy to talk round over a glass of sherry. He can be a bit of an old charmer when he wants to. The only group missing at the moment is my wife’s yoga class, and John asked me to ask her if she will be here with her ladies. I was not over-chuffed about that because the telephone call I just mentioned was bad enough, but the next day John telephoned me to say he has been told by one of the yoga ladies (a Miss Chloe Young; I have never heard of her) that she has spoken to my wife and is going to deputize for her, and the yoga people will be there on their mats, so I do not need to telephone my wife. I told him I had not been able to reach her yet, which was a big lie, because I have not tried.

GASSE (“Go Away! Stay Somewhere Else!”) – the Parish Council’s group set up to stop the government if they try to lodge a load of unwanted foreigners in the hall  – is going to have a stall at this thing too, and I think I may have to spend some time manning it, though I do not intend to be stuck there the entire afternoon. Blow that for a lark. I intend making sure the other GASSE members do their bit. And goodness knows what we will have on it. Needless to say John has tasked me with sorting that side of things out, so I guess I can knock up a few leaflets or something. We do not have a banner, or a flag, or anything like that. We are not an army, never mind what Major “Teddy” Thomas might think or dream about. Perhaps I should ask Bernadette Shepherdson if she fancies doing some baking. People like cakes.

I am going to be busy with the old PowerPoint for a couple of days, because I have to do some leaflets about me for the upcoming Parish Council elections, saying how great I am. There’s no peace for the wicked, or for me.

Tuesday, March 19th

I had a long heart-to-heart with my brother on the WhatsApp video thingummy today – I always call him on his birthday. It is about the only time I do call him. He lives miles away in Hampshire, and neither of us like the journey between our two homes so we almost never see each other. Anyhoo, I told him about my current marital issues, knowing he has also been through some difficult times. He is on his third wife, and by the sound of it he is on the look out for Number 4. Frankly he was neither sympathetic nor much help, because his advice was along the lines of “When you’re fed up with the old car, get a new one.” I am not sure I am at that stage, to be honest, although until and if my wife comes back from her parents’ it is not easy to really know. She may surprise me and come back a new woman. That might be alright, because I am quite a new man, stubbled and rugged!

 

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James Henderson

 

 

 

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“When a man grows old, he starts to plant trees”

is what my father would recite each year
when I told him it was planting time again –
and certainly that’s true of old Reuben:
whenever I’ve grown more trees than I need,
his daughter will fetch them for planting
high on the moor where they won’t struggle
with deer damage, like mine, but with winds.

This year by way of exchange he sent down
three bags of gooseberries, topped and tailed.
No planting here today, nor up there –
curtains opening to the day’s fine drizzle and
a few lazy snowflakes that thicken and take over,
the moor already white, ground too frosted for roots
and old Reuben away to a hospital bed in a town

before I’ve had time to send word he’s rich:
they’ve worked out what a fifty-year-old tree’s
worth in dollars – though he’d be having none of that.
A life farming up on the moor, a man knows
that to take, you give. That moment:
hands in dark earth spreading young roots,
a calm. As of a slate wiped clean.

 

                    Jane Routh                                                                                                                                                                                                                                                                                                                                                                                                                                     In 2016, Professor T. M. Das, University of Calcutta, is reported (Observer, Canada) to have estimated a tree is worth $193,250 on this basis: a tree living for 50 years will generate $31,250 worth of oxygen, provide $62,000 worth of air pollution control, control soil erosion and increase soil fertility to the tune of $31,250, recycle $37,500 worth of water and provide a home for animals worth $31,250. This figure does not include the value of fruits, lumber or beauty derived from trees. (The figures here allow for the dollar’s 25% inflation on the 2016 calculation. Such estimates appear not to have been undertaken by other writers.)

 

 

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Besom

 

Burn of an unhelpful eye,
a limp, listless voice
zeroes on to my stillness.
Unsettling of slabs
zoom in on fluidity:
From hauteur to humbleness.

Aloneness of undulations
quicken at the cusp of
another launch  
of another volume:
When equations are tested.
Otherwise, they lie uncontested
underwriting a blasé gait.

 

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Sanjeev Sethi
Picture Nick Victor

 

 

Sanjeev Sethi has authored seven books of poetry. He has been published in over thirty countries. He is the joint winner of the Full Fat Collection Competition-Deux, organized by Hedgehog Poetry Press, UK. He was recently conferred the 2023 Setu Award for Excellence. He lives in Mumbai, India. 

 

 

 

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lark song spatters*


 
a hundred gravestones
 
not even safe in death
tank tracks plough out your ancestors
 
bones lie with your olive trees
 
uprooted
 
past and future
lost in this present

 

 
John Mingay

                                *title/1st line george mackay brown

 

 

 

 

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Roughly

I mean you can do what you want
That’s alright with me
Do unto others
Even Confucius understood that
It’s just that every so often there are musts
Got to keep your end up
With all these people involved
They’re counting on you for something
Just look what happens with the call in sick
If you don’t do it
Maybe it just won’t get done
Or certainly not the way you address it
Are you acting on things
Or are they just impinging on you
Shake it off?
Or take me to your maker
Though that may be too much all at once
Or you want to get through to someone
You don’t particularly care about what
Long as you like it
Love to see your welcoming smile
Dressing to impress
And the fools quibble, accuse and snap
Is it getting better?
I know we like that one
I’m sure we did
Love’s what you make it
And maybe we’re all out of love
The vibe and the groove
Will insist their designs upon it
It was the best of times, it was the worst of times
Don’t let it get away
The good part
I tried to make stay
But you know how it is
Tough love or easy

 

Clark Allison

 

 

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OLD FLAMES

The fire was so far away
it became nothing
more than smoke
clouding our eyes
making everything
blurred and distant

since the heat of the forest
dragged us into its heart
allowing a closer look
at what had once been lit.

 



Phil Bowen

 

 

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“Verging on the Impossible”, the John J Presley Band live

 

Some images and words on this impressive power-trio from Alan Dearling

John J reminds me more than a little of a growling, Crawling King Snake, by which I mean, late-period  Jim Morrison from The Doors. Jim’s one-liner, “I am the Lizard King. I can do anything”, is a fit match for John J too. Not for the faint of heart.

Darker…especially performing live as the trio: the John J Presley Band. That’s John, Hannah and Danielle. A one hell of an awesome outfit:

John J Presley – Vocals, Guitar; Danielle Presley – Fender Rhodes, Harmonium; Hannah Feenstra – Drums.

There’s something epic about the band performance and many of the songs from the new album. A whiff of Nick Cave’s incendiary cataclysmic gothic, and maybe a hint of the power and charisma reminiscent of Led Zep back in their halcyon days of power-pomp. This is definitely not just a trio fronted by a bearded geezer. It’s a noisesome BAND, featuring two assertive, charismatic ladies, one photogenic guy, who together create a blanket of wild, challenging ,but ultimately uplifting soundscapes.

Here’s a track, ‘silhouettes’ from his new album, ‘Chaos and Calypso’, which is where the line, ‘Verging on the impossible’ comes from:

https://www.youtube.com/watch?v=hIQkDJwVlfQ

And here’s an older video of him live in Oporto, Leeds:

https://www.facebook.com/watch/?ref=search&v=864545837339377&external_log_id=3ddf732c-99e2-4ed5-abed-7f9349719eb6&q=john%20j%20presley

John J Presley is a singer, wordsmith, guitarist, bassist and pedal steel player and is now based in Brighton. He toured last year with Radiohead’s Philip Selway, alongside Gaz Coombes and Duke Garwood.

His publicity blurb tells us that: “He writes and produces sweeping, rich and compelling records that balance a dazzling display between the darkness and the beautiful.”

I totally concur. He’s also a musician’s musician, in-demand as sidesman too, in recent times with Nadine Shah, Duke Garwood, Laura-Mary Carter, Juanita Stein and the Smoke Fairies.

After the live gig I witnessed at the Golden Lion in Yorkshire, the band was immediately whisked off to Germany for a short tour there.

He is garnering many plaudits and accolades including one I particularly like:

“MUSIC NEEDS A NEW DARK LORD…” Radio 1

 “…A FEROCIOUS, BELLY-DEEP SOUND, BUT SOMEHOW TENDER WITH IT.” The Guardian

“…A BEAUTIFUL NOISE THAT AT ONCE GRIPS AND BEGUILES, AS BEFITS A NATURAL-BORN STORYTELLER.” The Quietus

“LOUD, LASCIVIOUS AND RAW” Classic Rock’s The Blues Magazine

“A FUZZY, HOWLY ‘NEW BLUES’ FEST, WITH A TOUCH OF WOOZY PSYCH FOR GOOD MEASURE.” Classic Rock

“…A SEARING, SOULFUL TOUCH, AN OASIS OF CALM AMID THE TORRENT OF NOISE” The Times

‘Delicate thread (blue eyes)’ live captures the sensory and audio collision and concussion provided courtesy of Mister Presley and his band: https://www.youtube.com/watch?v=bRW4_kZ2Am4

Local musician, Fat Frances, provided support on the night. He was billed as: “An underground artist known for his distinctive alternative sound. Positioned between rock, pop, and 60s/90s revivalism, his music defies easy categorization, standing out as a unique and captivating blend.”

John is an idiosyncratic musical performer, but offers a post-punk blend of discord, quirkiness and miserabilis. Of his latest album, ‘OYSTER’, John says, “My good friend Ginny describes it as, ‘…like reading an old gothic classic on the beach.’ ”

New single: ‘It’s not rock and roll’: https://www.facebook.com/reel/1183351219304345

 

 

 

 

 

 

 

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Marina & the Curse of the Royal Yugoslavian Academy of Art

This book tells the well loved ancient folklore story of Marina, a simple traditional forest dwelling Yugoslavian mother of many children, who led a double life as a misunderstood radical performance artist.

Commissioned for a specially curated shop by artist, Marina Abramović as part of her solo exhibition at the Royal Academy from Sept 2023 – Jan 2024, the first ever solo show by a female artist in the main galleries of this historic institution since opening in 1768.  This title will tour with Marina’s show for 5 years, internationally.

With full colour illustrations and Miriam Elia’s characteristic witty storytelling style.

 

 

About the Author

Miriam Elia: Artist, Publisher and satirist Miriam Elia is renowned for her 2014 satirical art book ‘We go to the gallery’ in which she reillustrated Peter and Jane from the Ladybird books grappling with conceptual art. She has now published a number of books under the Dung Beetle Learning Series moniker including the 2020 UK hit ‘We do Lockdown’. Her books have been published in several languages internationally and over a quarter of a million copies are in circulation worldwide. Prints, etchings and artworks have been exhibited nationally and internationally.
 
 
 
 
 
 
 
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Innocent/Stumbling

 

Innocent

 

Thousands marching, I’m so small, strangers surrounding me

The wind is hot. The air is dusty.  My teary eyes cannot see

 

Afraid I’d lost you in the crowd.  Please don’t let me cry

Strangling noises, a crush of bodies.  Is this my last goodbye?

 

My brother found me. Don’t let me go, you are heaven sent

Back to mum and dad, and sisters, I’m snug inside your tent

 

Why is this once familiar landscape now a foreign land?

What is this message for me that I must understand?

 

By the church, mosque, temple, we’re safe here together

Giving me comfort and protection, they’ll never say never

 

With me, sheltering from the storm, peaceful in bed

Treasured by my family; no more words need be said

 


 

Stumbling

 

Hanging by a thread; I watch the spider build her web.

I shuffle slowly as I tap my stick; hear it clear my way,

Head bent down, my eyes on the tortured pavement,

I nudge the high wall beside me; I must not fall again

 

Streetlamp shadows change the patterns of my path. 

Streams of cars, vans, bikes and buses, shoot past,

And dare me to cross the road, as I stumble along,

Invisible, as they blithely glide to their destination

 

The spider weaves on.  I see the wriggling hapless fly.

I did escape a reckoning in the snare when I fell before.

I turn, doddering on the pavement, back to my home.

Take care!  Safe, at last, in my room.  I have survived.

 

 

© Christopher 2024

 

 

 

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a zine of everything I made in 2023

..

2023 RECAP ZINE

..

My 64-page 2023 recap zine for my Patreon backers arrived back from the printers and has started shipping. There’s still time to sign up for £3.50 a month here and get your copy. This is just a little way of saying thank you to everyone who supports me on Patreon.⁠

After these all go out, as long as there are some left then every three months new subscribers will get a copy until they run out. Then there will be a new zine for 2024.

If you had previously backed me on Patreon and had to cancel your subscription for whatever reason I’ve printed a few extra for you and I’ll be emailing shortly to ask for your address to send you a copy too. It’s only fair considering that I neglected that platform for quite a few years and people were still supporting me :)⁠

 

I really enjoyed putting this together and I’m so happy with how they turned out. It’s nice to have an entire year’s work boiled down to a single publication rather than spread over the internet, and I honestly just love having an excuse to print on newsprint.⁠

It was also fun as a trial run for an eventual collected book of my work that I’d love to do once I get settled in whatever new studio I (hopefully) end up in by this time next year.⁠

Thanks to everyone who has backed me so far, and to everyone who gets stuff from my online shop or the Museum of Neoliberalism. It’s quite literally the reason I can afford to do this shit as my full time job.⁠

SO THANK YOU!!

And onto the next thing!⁠

X⁠⁠
Darren

 

 

WAKE UP AND SMELL THE GENOCIDE

 

From 1st March 2024:
 

I feel numb from this week’s news. From yesterday’s Israeli Flour Massacre of over 112 starving Palestinians who were simply trying to get food from aid trucks, to the unbearably sickening photo being passed around an Israeli telegram channel of one of the victims who has been zip-tied as a prisoner and then flattened into unrecognisable human paste by an Israeli tank. Every time I feel like we have reached a high-water mark of horror and suffering in Gaza, Israel raises the threshold of just how much barbarism Western politicians and journalists can apparently accept and attempt to justify.

Added to this, earlier in the week to see the video of USAF air man Aaron Bushnell setting fire to himself outside the Israeli embassy in Washington D.C as he screamed “Free Palestine” until he collapsed and died. He showed courage and commitment that I cannot fathom and I simply cannot shake the image from my mind of him shouting those words even as the flames entered his throat and burned his tongue. It was an unbelievably harrowing reminder of what has been done to tens of thousands of children, all in our name, with weapons made in our countries.

The images of atrocity and barbarism that make it out of Gaza only remind us of what untold and undocumented horrors the people of Palestine have endured and will continue to endure because politicians in the West are complicit cowards in upholding American Empire. Israel being the American Empire’s most strategically important Imperial outpost.

We need to make sure that those who are complicit in these crimes are never allowed to forget it. All the politicians who lined up to defend this genocide must be crammed into the dustbin of history. Instead of your vote, give them your contempt. Let them be hounded for the rest of their lives by the horror that they have unleashed and sustained.

Never forgive. Never forget.

 

 

LANDLORDS UPDATE

 

Well it never rains but it pours, after announcing that my studio/the Museum of Neoliberalism will be demolished in October, a week or two later the landlord of my home told me that he’ll be kicking me and my flatmates out this summer to move his daughter in because she’s separating from her husband. I’ve lived there for 10 years, and I’ve been in the studio for 9 so to be fair I’ve been very lucky to have this much stability, but as my friend Amy said, “Mad how your entire lifestyle and security is dependent on the health of a strangers marriage.”

So that’s even less reason for me to stay in London! On the plus side I might have found somewhere not too far from London that would be a perfect studio AND expanded museum, but I’m waiting to find out if I can get a loan large enough to try and actually buy the place, and then turn it into a permanent Thatcher Museum, (a dream I’ve had since 2014!)

Spending everything I have (and plenty I don’t) on a Thatcher Museum / art studio might not be the soundest financial decision ever made, but I feel like its the right thing to do with the resources available and from the amount of people who have made the trip to Lewisham to visit the current (very small) museum, I feel like an expanded and enhanced Thatcher Museum would be a viable prospect. But there are a lot of hurdles between here and there. I’ll keep you updated anyway!

As for the Museum of Neoliberalism it looks like I’ll need to close it by the end of September to give me time to de-install and put it into storage. So if you haven’t seen it yet and would like to, book a free visit here! Now also open on Mondays!

 

IN IRELAND UNTIL START OF APRIL

And regarding that, the museum opening times are currently reduced until the 9th April as I’m currently in Ireland to visit my folks and attend a few family weddings. It’s my first holiday for a while, (and last for a while considering to the tsunami of admin and moving ahead) but orders are still being sent out twice a week thanks to my assistant Kieran, who is also an activist artist currently finishing his degree, give him a follow!

SORRY THERE’S NOT MORE ART IN THIS UPDATE – WILL HAVE SOME MORE IN THE NEXT ONE! 🙂

This update is public and shareable so please feel free to pass it on. If you’re not on my mailing list but would like to be you can sign up here.

Eternal thanks to anyone who’s ever backed my work on Patreon or through the shop!

And thanks for reading!

 

 

 

 

 

 

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Endymion, Book I,.


Book I

     A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o’er-darkened ways
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits. Such the sun, the moon,
Trees old and young, sprouting a shady boon
For simple sheep; and such are daffodils
With the green world they live in; and clear rills
That for themselves a cooling covert make
‘Gainst the hot season; the mid forest brake,
Rich with a sprinkling of fair musk-rose blooms:
And such too is the grandeur of the dooms
We have imagined for the mighty dead;
All lovely tales that we have heard or read:
An endless fountain of immortal drink,
Pouring unto us from the heaven’s brink.

     Nor do we merely feel these essences
For one short hour; no, even as the trees
That whisper round a temple become soon
Dear as the temple’s self, so does the moon,
The passion poesy, glories infinite,
Haunt us till they become a cheering light
Unto our souls, and bound to us so fast,
That, whether there be shine, or gloom o’ercast,
They alway must be with us, or we die.

     Therefore, ’tis with full happiness that I
Will trace the story of Endymion.
The very music of the name has gone
Into my being, and each pleasant scene
Is growing fresh before me as the green
Of our own vallies: so I will begin
Now while I cannot hear the city’s din;
Now while the early budders are just new,
And run in mazes of the youngest hue
About old forests; while the willow trails
Its delicate amber; and the dairy pails
Bring home increase of milk. And, as the year
Grows lush in juicy stalks, I’ll smoothly steer
My little boat, for many quiet hours,
With streams that deepen freshly into bowers.
Many and many a verse I hope to write,
Before the daisies, vermeil rimm’d and white,
Hide in deep herbage; and ere yet the bees
Hum about globes of clover and sweet peas,
I must be near the middle of my story.
O may no wintry season, bare and hoary,
See it half finished: but let Autumn bold,
With universal tinge of sober gold,
Be all about me when I make an end.
And now at once, adventuresome, I send
My herald thought into a wilderness:
There let its trumpet blow, and quickly dress
My uncertain path with green, that I may speed
Easily onward, thorough flowers and weed.

     Upon the sides of Latmos was outspread
A mighty forest; for the moist earth fed
So plenteously all weed-hidden roots
Into o’er-hanging boughs, and precious fruits.
And it had gloomy shades, sequestered deep,
Where no man went; and if from shepherd’s keep
A lamb strayed far a-down those inmost glens,
Never again saw he the happy pens
Whither his brethren, bleating with content,
Over the hills at every nightfall went.
Among the shepherds, ’twas believed ever,
That not one fleecy lamb which thus did sever
From the white flock, but pass’d unworried
By angry wolf, or pard with prying head,
Until it came to some unfooted plains
Where fed the herds of Pan: ay great his gains
Who thus one lamb did lose. Paths there were many,
Winding through palmy fern, and rushes fenny,
And ivy banks; all leading pleasantly
To a wide lawn, whence one could only see
Stems thronging all around between the swell
Of turf and slanting branches: who could tell
The freshness of the space of heaven above,
Edg’d round with dark tree tops? through which a dove
Would often beat its wings, and often too
A little cloud would move across the blue.

     Full in the middle of this pleasantness
There stood a marble altar, with a tress
Of flowers budded newly; and the dew
Had taken fairy phantasies to strew
Daisies upon the sacred sward last eve,
And so the dawned light in pomp receive.
For ’twas the morn: Apollo’s upward fire
Made every eastern cloud a silvery pyre
Of brightness so unsullied, that therein
A melancholy spirit well might win
Oblivion, and melt out his essence fine
Into the winds: rain-scented eglantine
Gave temperate sweets to that well-wooing sun;
The lark was lost in him; cold springs had run
To warm their chilliest bubbles in the grass;
Man’s voice was on the mountains; and the mass
Of nature’s lives and wonders puls’d tenfold,
To feel this sun-rise and its glories old.

     Now while the silent workings of the dawn
Were busiest, into that self-same lawn
All suddenly, with joyful cries, there sped
A troop of little children garlanded;
Who gathering round the altar, seemed to pry
Earnestly round as wishing to espy
Some folk of holiday: nor had they waited
For many moments, ere their ears were sated
With a faint breath of music, which ev’n then
Fill’d out its voice, and died away again.
Within a little space again it gave
Its airy swellings, with a gentle wave,
To light-hung leaves, in smoothest echoes breaking
Through copse-clad vallies,—ere their death, oer-taking
The surgy murmurs of the lonely sea.

     And now, as deep into the wood as we
Might mark a lynx’s eye, there glimmered light
Fair faces and a rush of garments white,
Plainer and plainer shewing, till at last
Into the widest alley they all past,
Making directly for the woodland altar.
O kindly muse! let not my weak tongue faulter
In telling of this goodly company,
Of their old piety, and of their glee:
But let a portion of ethereal dew
Fall on my head, and presently unmew
My soul; that I may dare, in wayfaring,
To stammer where old Chaucer used to sing.

     Leading the way, young damsels danced along,
Bearing the burden of a shepherd song;
Each having a white wicker over brimm’d
With April’s tender younglings: next, well trimm’d,
A crowd of shepherds with as sunburnt looks
As may be read of in Arcadian books;
Such as sat listening round Apollo’s pipe,
When the great deity, for earth too ripe,
Let his divinity o’er-flowing die
In music, through the vales of Thessaly:
Some idly trailed their sheep-hooks on the ground,
And some kept up a shrilly mellow sound
With ebon-tipped flutes: close after these,
Now coming from beneath the forest trees,
A venerable priest full soberly,
Begirt with ministring looks: alway his eye
Stedfast upon the matted turf he kept,
And after him his sacred vestments swept.
From his right hand there swung a vase, milk-white,
Of mingled wine, out-sparkling generous light;
And in his left he held a basket full
Of all sweet herbs that searching eye could cull:
Wild thyme, and valley-lilies whiter still
Than Leda’s love, and cresses from the rill.
His aged head, crowned with beechen wreath,
Seem’d like a poll of ivy in the teeth
Of winter hoar. Then came another crowd
Of shepherds, lifting in due time aloud
Their share of the ditty. After them appear’d,
Up-followed by a multitude that rear’d
Their voices to the clouds, a fair wrought car,
Easily rolling so as scarce to mar
The freedom of three steeds of dapple brown:
Who stood therein did seem of great renown
Among the throng. His youth was fully blown,
Shewing like Ganymede to manhood grown;
And, for those simple times, his garments were
A chieftain king’s: beneath his breast, half bare,
Was hung a silver bugle, and between
His nervy knees there lay a boar-spear keen.
A smile was on his countenance; he seem’d,
To common lookers on, like one who dream’d
Of idleness in groves Elysian:
But there were some who feelingly could scan
A lurking trouble in his nether lip,
And see that oftentimes the reins would slip
Through his forgotten hands: then would they sigh,
And think of yellow leaves, of owlets cry,
Of logs piled solemnly.—Ah, well-a-day,
Why should our young Endymion pine away!

     Soon the assembly, in a circle rang’d,
Stood silent round the shrine: each look was chang’d
To sudden veneration: women meek
Beckon’d their sons to silence; while each cheek
Of virgin bloom paled gently for slight fear.
Endymion too, without a forest peer,
Stood, wan, and pale, and with an awed face,
Among his brothers of the mountain chase.
In midst of all, the venerable priest
Eyed them with joy from greatest to the least,
And, after lifting up his aged hands,
Thus spake he: “Men of Latmos! shepherd bands!
Whose care it is to guard a thousand flocks:
Whether descended from beneath the rocks
That overtop your mountains; whether come
From vallies where the pipe is never dumb;
Or from your swelling downs, where sweet air stirs
Blue hare-bells lightly, and where prickly furze
Buds lavish gold; or ye, whose precious charge
Nibble their fill at ocean’s very marge,
Whose mellow reeds are touch’d with sounds forlorn
By the dim echoes of old Triton’s horn:
Mothers and wives! who day by day prepare
The scrip, with needments, for the mountain air;
And all ye gentle girls who foster up
Udderless lambs, and in a little cup
Will put choice honey for a favoured youth:
Yea, every one attend! for in good truth
Our vows are wanting to our great god Pan.
Are not our lowing heifers sleeker than
Night-swollen mushrooms? Are not our wide plains
Speckled with countless fleeces? Have not rains
Green’d over April’s lap? No howling sad
Sickens our fearful ewes; and we have had
Great bounty from Endymion our lord.
The earth is glad: the merry lark has pour’d
His early song against yon breezy sky,
That spreads so clear o’er our solemnity.”

     Thus ending, on the shrine he heap’d a spire
Of teeming sweets, enkindling sacred fire;
Anon he stain’d the thick and spongy sod
With wine, in honour of the shepherd-god.
Now while the earth was drinking it, and while
Bay leaves were crackling in the fragrant pile,
And gummy frankincense was sparkling bright
‘Neath smothering parsley, and a hazy light
Spread greyly eastward, thus a chorus sang:

     “O THOU, whose mighty palace roof doth hang
From jagged trunks, and overshadoweth
Eternal whispers, glooms, the birth, life, death
Of unseen flowers in heavy peacefulness;
Who lov’st to see the hamadryads dress
Their ruffled locks where meeting hazels darken;
And through whole solemn hours dost sit, and hearken
The dreary melody of bedded reeds—
In desolate places, where dank moisture breeds
The pipy hemlock to strange overgrowth;
Bethinking thee, how melancholy loth
Thou wast to lose fair Syrinx—do thou now,
By thy love’s milky brow!
By all the trembling mazes that she ran,
Hear us, great Pan!

     “O thou, for whose soul-soothing quiet, turtles
Passion their voices cooingly ‘mong myrtles,
What time thou wanderest at eventide
Through sunny meadows, that outskirt the side
Of thine enmossed realms: O thou, to whom
Broad leaved fig trees even now foredoom
Their ripen’d fruitage; yellow girted bees
Their golden honeycombs; our village leas
Their fairest-blossom’d beans and poppied corn;
The chuckling linnet its five young unborn,
To sing for thee; low creeping strawberries
Their summer coolness; pent up butterflies
Their freckled wings; yea, the fresh budding year
All its completions—be quickly near,
By every wind that nods the mountain pine,
O forester divine!

     “Thou, to whom every fawn and satyr flies
For willing service; whether to surprise
The squatted hare while in half sleeping fit;
Or upward ragged precipices flit
To save poor lambkins from the eagle’s maw;
Or by mysterious enticement draw
Bewildered shepherds to their path again;
Or to tread breathless round the frothy main,
And gather up all fancifullest shells
For thee to tumble into Naiads’ cells,
And, being hidden, laugh at their out-peeping;
Or to delight thee with fantastic leaping,
The while they pelt each other on the crown
With silvery oak apples, and fir cones brown—
By all the echoes that about thee ring,
Hear us, O satyr king!

     “O Hearkener to the loud clapping shears,
While ever and anon to his shorn peers
A ram goes bleating: Winder of the horn,
When snouted wild-boars routing tender corn
Anger our huntsman: Breather round our farms,
To keep off mildews, and all weather harms:
Strange ministrant of undescribed sounds,
That come a swooning over hollow grounds,
And wither drearily on barren moors:
Dread opener of the mysterious doors
Leading to universal knowledge—see,
Great son of Dryope,
The many that are come to pay their vows
With leaves about their brows!

     Be still the unimaginable lodge
For solitary thinkings; such as dodge
Conception to the very bourne of heaven,
Then leave the naked brain: be still the leaven,
That spreading in this dull and clodded earth
Gives it a touch ethereal—a new birth:
Be still a symbol of immensity;
A firmament reflected in a sea;
An element filling the space between;
An unknown—but no more: we humbly screen
With uplift hands our foreheads, lowly bending,
And giving out a shout most heaven rending,
Conjure thee to receive our humble Paean,
Upon thy Mount Lycean!

     Even while they brought the burden to a close,
A shout from the whole multitude arose,
That lingered in the air like dying rolls
Of abrupt thunder, when Ionian shoals
Of dolphins bob their noses through the brine.
Meantime, on shady levels, mossy fine,
Young companies nimbly began dancing
To the swift treble pipe, and humming string.
Aye, those fair living forms swam heavenly
To tunes forgotten—out of memory:
Fair creatures! whose young children’s children bred
Thermopylæ its heroes—not yet dead,
But in old marbles ever beautiful.
High genitors, unconscious did they cull
Time’s sweet first-fruits—they danc’d to weariness,
And then in quiet circles did they press
The hillock turf, and caught the latter end
Of some strange history, potent to send
A young mind from its bodily tenement.
Or they might watch the quoit-pitchers, intent
On either side; pitying the sad death
Of Hyacinthus, when the cruel breath
Of Zephyr slew him,—Zephyr penitent,
Who now, ere Phoebus mounts the firmament,
Fondles the flower amid the sobbing rain.
The archers too, upon a wider plain,
Beside the feathery whizzing of the shaft,
And the dull twanging bowstring, and the raft
Branch down sweeping from a tall ash top,
Call’d up a thousand thoughts to envelope
Those who would watch. Perhaps, the trembling knee
And frantic gape of lonely Niobe,
Poor, lonely Niobe! when her lovely young
Were dead and gone, and her caressing tongue
Lay a lost thing upon her paly lip,
And very, very deadliness did nip
Her motherly cheeks. Arous’d from this sad mood
By one, who at a distance loud halloo’d,
Uplifting his strong bow into the air,
Many might after brighter visions stare:
After the Argonauts, in blind amaze
Tossing about on Neptune’s restless ways,
Until, from the horizon’s vaulted side,
There shot a golden splendour far and wide,
Spangling those million poutings of the brine
With quivering ore: ’twas even an awful shine
From the exaltation of Apollo’s bow;
A heavenly beacon in their dreary woe.
Who thus were ripe for high contemplating,
Might turn their steps towards the sober ring
Where sat Endymion and the aged priest
‘Mong shepherds gone in eld, whose looks increas’d
The silvery setting of their mortal star.
There they discours’d upon the fragile bar
That keeps us from our homes ethereal;
And what our duties there: to nightly call
Vesper, the beauty-crest of summer weather;
To summon all the downiest clouds together
For the sun’s purple couch; to emulate
In ministring the potent rule of fate
With speed of fire-tailed exhalations;
To tint her pallid cheek with bloom, who cons
Sweet poesy by moonlight: besides these,
A world of other unguess’d offices.
Anon they wander’d, by divine converse,
Into Elysium; vieing to rehearse
Each one his own anticipated bliss.
One felt heart-certain that he could not miss
His quick gone love, among fair blossom’d boughs,
Where every zephyr-sigh pouts and endows
Her lips with music for the welcoming.
Another wish’d, mid that eternal spring,
To meet his rosy child, with feathery sails,
Sweeping, eye-earnestly, through almond vales:
Who, suddenly, should stoop through the smooth wind,
And with the balmiest leaves his temples bind;
And, ever after, through those regions be
His messenger, his little Mercury.
Some were athirst in soul to see again
Their fellow huntsmen o’er the wide champaign
In times long past; to sit with them, and talk
Of all the chances in their earthly walk;
Comparing, joyfully, their plenteous stores
Of happiness, to when upon the moors,
Benighted, close they huddled from the cold,
And shar’d their famish’d scrips. Thus all out-told
Their fond imaginations,—saving him
Whose eyelids curtain’d up their jewels dim,
Endymion: yet hourly had he striven
To hide the cankering venom, that had riven
His fainting recollections. Now indeed
His senses had swoon’d off: he did not heed
The sudden silence, or the whispers low,
Or the old eyes dissolving at his woe,
Or anxious calls, or close of trembling palms,
Or maiden’s sigh, that grief itself embalms:
But in the self-same fixed trance he kept,
Like one who on the earth had never stept.
Aye, even as dead-still as a marble man,
Frozen in that old tale Arabian.

     Who whispers him so pantingly and close?
Peona, his sweet sister: of all those,
His friends, the dearest. Hushing signs she made,
And breath’d a sister’s sorrow to persuade
A yielding up, a cradling on her care.
Her eloquence did breathe away the curse:
She led him, like some midnight spirit nurse
Of happy changes in emphatic dreams,
Along a path between two little streams,—
Guarding his forehead, with her round elbow,
From low-grown branches, and his footsteps slow
From stumbling over stumps and hillocks small;
Until they came to where these streamlets fall,
With mingled bubblings and a gentle rush,
Into a river, clear, brimful, and flush
With crystal mocking of the trees and sky.
A little shallop, floating there hard by,
Pointed its beak over the fringed bank;
And soon it lightly dipt, and rose, and sank,
And dipt again, with the young couple’s weight,—
Peona guiding, through the water straight,
Towards a bowery island opposite;
Which gaining presently, she steered light
Into a shady, fresh, and ripply cove,
Where nested was an arbour, overwove
By many a summer’s silent fingering;
To whose cool bosom she was used to bring
Her playmates, with their needle broidery,
And minstrel memories of times gone by.

     So she was gently glad to see him laid
Under her favourite bower’s quiet shade,
On her own couch, new made of flower leaves,
Dried carefully on the cooler side of sheaves
When last the sun his autumn tresses shook,
And the tann’d harvesters rich armfuls took.
Soon was he quieted to slumbrous rest:
But, ere it crept upon him, he had prest
Peona’s busy hand against his lips,
And still, a sleeping, held her finger-tips
In tender pressure. And as a willow keeps
A patient watch over the stream that creeps
Windingly by it, so the quiet maid
Held her in peace: so that a whispering blade
Of grass, a wailful gnat, a bee bustling
Down in the blue-bells, or a wren light rustling
Among seer leaves and twigs, might all be heard.

     O magic sleep! O comfortable bird,
That broodest o’er the troubled sea of the mind
Till it is hush’d and smooth! O unconfin’d
Restraint! imprisoned liberty! great key
To golden palaces, strange minstrelsy,
Fountains grotesque, new trees, bespangled caves,
Echoing grottos, full of tumbling waves
And moonlight; aye, to all the mazy world
Of silvery enchantment!—who, upfurl’d
Beneath thy drowsy wing a triple hour,
But renovates and lives?—Thus, in the bower,
Endymion was calm’d to life again.
Opening his eyelids with a healthier brain,
He said: “I feel this thine endearing love
All through my bosom: thou art as a dove
Trembling its closed eyes and sleeked wings
About me; and the pearliest dew not brings
Such morning incense from the fields of May,
As do those brighter drops that twinkling stray
From those kind eyes,—the very home and haunt
Of sisterly affection. Can I want
Aught else, aught nearer heaven, than such tears?
Yet dry them up, in bidding hence all fears
That, any longer, I will pass my days
Alone and sad. No, I will once more raise
My voice upon the mountain-heights; once more
Make my horn parley from their foreheads hoar:
Again my trooping hounds their tongues shall loll
Around the breathed boar: again I’ll poll
The fair-grown yew tree, for a chosen bow:
And, when the pleasant sun is getting low,
Again I’ll linger in a sloping mead
To hear the speckled thrushes, and see feed
Our idle sheep. So be thou cheered sweet,
And, if thy lute is here, softly intreat
My soul to keep in its resolved course.”

     Hereat Peona, in their silver source,
Shut her pure sorrow drops with glad exclaim,
And took a lute, from which there pulsing came
A lively prelude, fashioning the way
In which her voice should wander. ‘Twas a lay
More subtle cadenced, more forest wild
Than Dryope’s lone lulling of her child;
And nothing since has floated in the air
So mournful strange. Surely some influence rare
Went, spiritual, through the damsel’s hand;
For still, with Delphic emphasis, she spann’d
The quick invisible strings, even though she saw
Endymion’s spirit melt away and thaw
Before the deep intoxication.
But soon she came, with sudden burst, upon
Her self-possession—swung the lute aside,
And earnestly said: “Brother, ’tis vain to hide
That thou dost know of things mysterious,
Immortal, starry; such alone could thus
Weigh down thy nature. Hast thou sinn’d in aught
Offensive to the heavenly powers? Caught
A Paphian dove upon a message sent?
Thy deathful bow against some deer-herd bent,
Sacred to Dian? Haply, thou hast seen
Her naked limbs among the alders green;
And that, alas! is death. No, I can trace
Something more high perplexing in thy face!”

     Endymion look’d at her, and press’d her hand,
And said, “Art thou so pale, who wast so bland
And merry in our meadows? How is this?
Tell me thine ailment: tell me all amiss!—
Ah! thou hast been unhappy at the change
Wrought suddenly in me. What indeed more strange?
Or more complete to overwhelm surmise?
Ambition is no sluggard: ’tis no prize,
That toiling years would put within my grasp,
That I have sigh’d for: with so deadly gasp
No man e’er panted for a mortal love.
So all have set my heavier grief above
These things which happen. Rightly have they done:
I, who still saw the horizontal sun
Heave his broad shoulder o’er the edge of the world,
Out-facing Lucifer, and then had hurl’d
My spear aloft, as signal for the chace—
I, who, for very sport of heart, would race
With my own steed from Araby; pluck down
A vulture from his towery perching; frown
A lion into growling, loth retire—
To lose, at once, all my toil breeding fire,
And sink thus low! but I will ease my breast
Of secret grief, here in this bowery nest.

     “This river does not see the naked sky,
Till it begins to progress silverly
Around the western border of the wood,
Whence, from a certain spot, its winding flood
Seems at the distance like a crescent moon:
And in that nook, the very pride of June,
Had I been used to pass my weary eves;
The rather for the sun unwilling leaves
So dear a picture of his sovereign power,
And I could witness his most kingly hour,
When he doth lighten up the golden reins,
And paces leisurely down amber plains
His snorting four. Now when his chariot last
Its beams against the zodiac-lion cast,
There blossom’d suddenly a magic bed
Of sacred ditamy, and poppies red:
At which I wondered greatly, knowing well
That but one night had wrought this flowery spell;
And, sitting down close by, began to muse
What it might mean. Perhaps, thought I, Morpheus,
In passing here, his owlet pinions shook;
Or, it may be, ere matron Night uptook
Her ebon urn, young Mercury, by stealth,
Had dipt his rod in it: such garland wealth
Came not by common growth. Thus on I thought,
Until my head was dizzy and distraught.
Moreover, through the dancing poppies stole
A breeze, most softly lulling to my soul;
And shaping visions all about my sight
Of colours, wings, and bursts of spangly light;
The which became more strange, and strange, and dim,
And then were gulph’d in a tumultuous swim:
And then I fell asleep. Ah, can I tell
The enchantment that afterwards befel?
Yet it was but a dream: yet such a dream
That never tongue, although it overteem
With mellow utterance, like a cavern spring,
Could figure out and to conception bring
All I beheld and felt. Methought I lay
Watching the zenith, where the milky way
Among the stars in virgin splendour pours;
And travelling my eye, until the doors
Of heaven appear’d to open for my flight,
I became loth and fearful to alight
From such high soaring by a downward glance:
So kept me stedfast in that airy trance,
Spreading imaginary pinions wide.
When, presently, the stars began to glide,
And faint away, before my eager view:
At which I sigh’d that I could not pursue,
And dropt my vision to the horizon’s verge;
And lo! from opening clouds, I saw emerge
The loveliest moon, that ever silver’d o’er
A shell for Neptune’s goblet: she did soar
So passionately bright, my dazzled soul
Commingling with her argent spheres did roll
Through clear and cloudy, even when she went
At last into a dark and vapoury tent—
Whereat, methought, the lidless-eyed train
Of planets all were in the blue again.
To commune with those orbs, once more I rais’d
My sight right upward: but it was quite dazed
By a bright something, sailing down apace,
Making me quickly veil my eyes and face:
Again I look’d, and, O ye deities,
Who from Olympus watch our destinies!
Whence that completed form of all completeness?
Whence came that high perfection of all sweetness?
Speak, stubborn earth, and tell me where, O Where
Hast thou a symbol of her golden hair?
Not oat-sheaves drooping in the western sun;
Not—thy soft hand, fair sister! let me shun
Such follying before thee—yet she had,
Indeed, locks bright enough to make me mad;
And they were simply gordian’d up and braided,
Leaving, in naked comeliness, unshaded,
Her pearl round ears, white neck, and orbed brow;
The which were blended in, I know not how,
With such a paradise of lips and eyes,
Blush-tinted cheeks, half smiles, and faintest sighs,
That, when I think thereon, my spirit clings
And plays about its fancy, till the stings
Of human neighbourhood envenom all.
Unto what awful power shall I call?
To what high fane?—Ah! see her hovering feet,
More bluely vein’d, more soft, more whitely sweet
Than those of sea-born Venus, when she rose
From out her cradle shell. The wind out-blows
Her scarf into a fluttering pavilion;
‘Tis blue, and over-spangled with a million
Of little eyes, as though thou wert to shed,
Over the darkest, lushest blue-bell bed,
Handfuls of daisies.”—”Endymion, how strange!
Dream within dream!”—”She took an airy range,
And then, towards me, like a very maid,
Came blushing, waning, willing, and afraid,
And press’d me by the hand: Ah! ’twas too much;
Methought I fainted at the charmed touch,
Yet held my recollection, even as one
Who dives three fathoms where the waters run
Gurgling in beds of coral: for anon,
I felt upmounted in that region
Where falling stars dart their artillery forth,
And eagles struggle with the buffeting north
That balances the heavy meteor-stone;—
Felt too, I was not fearful, nor alone,
But lapp’d and lull’d along the dangerous sky.
Soon, as it seem’d, we left our journeying high,
And straightway into frightful eddies swoop’d;
Such as ay muster where grey time has scoop’d
Huge dens and caverns in a mountain’s side:
There hollow sounds arous’d me, and I sigh’d
To faint once more by looking on my bliss—
I was distracted; madly did I kiss
The wooing arms which held me, and did give
My eyes at once to death: but ’twas to live,
To take in draughts of life from the gold fount
Of kind and passionate looks; to count, and count
The moments, by some greedy help that seem’d
A second self, that each might be redeem’d
And plunder’d of its load of blessedness.
Ah, desperate mortal! I ev’n dar’d to press
Her very cheek against my crowned lip,
And, at that moment, felt my body dip
Into a warmer air: a moment more,
Our feet were soft in flowers. There was store
Of newest joys upon that alp. Sometimes
A scent of violets, and blossoming limes,
Loiter’d around us; then of honey cells,
Made delicate from all white-flower bells;
And once, above the edges of our nest,
An arch face peep’d,—an Oread as I guess’d.

     “Why did I dream that sleep o’er-power’d me
In midst of all this heaven? Why not see,
Far off, the shadows of his pinions dark,
And stare them from me? But no, like a spark
That needs must die, although its little beam
Reflects upon a diamond, my sweet dream
Fell into nothing—into stupid sleep.
And so it was, until a gentle creep,
A careful moving caught my waking ears,
And up I started: Ah! my sighs, my tears,
My clenched hands;—for lo! the poppies hung
Dew-dabbled on their stalks, the ouzel sung
A heavy ditty, and the sullen day
Had chidden herald Hesperus away,
With leaden looks: the solitary breeze
Bluster’d, and slept, and its wild self did teaze
With wayward melancholy; and r thought,
Mark me, Peona! that sometimes it brought
Faint fare-thee-wells, and sigh-shrilled adieus!—
Away I wander’d—all the pleasant hues
Of heaven and earth had faded: deepest shades
Were deepest dungeons; heaths and sunny glades
Were full of pestilent light; our taintless rills
Seem’d sooty, and o’er-spread with upturn’d gills
Of dying fish; the vermeil rose had blown
In frightful scarlet, and its thorns out-grown
Like spiked aloe. If an innocent bird
Before my heedless footsteps stirr’d, and stirr’d
In little journeys, I beheld in it
A disguis’d demon, missioned to knit
My soul with under darkness; to entice
My stumblings down some monstrous precipice:
Therefore I eager followed, and did curse
The disappointment. Time, that aged nurse,
Rock’d me to patience. Now, thank gentle heaven!
These things, with all their comfortings, are given
To my down-sunken hours, and with thee,
Sweet sister, help to stem the ebbing sea
Of weary life.”

     Thus ended he, and both
Sat silent: for the maid was very loth
To answer; feeling well that breathed words
Would all be lost, unheard, and vain as swords
Against the enchased crocodile, or leaps
Of grasshoppers against the sun. She weeps,
And wonders; struggles to devise some blame;
To put on such a look as would say, Shame
On this poor weakness! but, for all her strife,
She could as soon have crush’d away the life
From a sick dove. At length, to break the pause,
She said with trembling chance: “Is this the cause?
This all? Yet it is strange, and sad, alas!
That one who through this middle earth should pass
Most like a sojourning demi-god, and leave
His name upon the harp-string, should achieve
No higher bard than simple maidenhood,
Singing alone, and fearfully,—how the blood
Left his young cheek; and how he used to stray
He knew not where; and how he would say, nay,
If any said ’twas love: and yet ’twas love;
What could it be but love? How a ring-dove
Let fall a sprig of yew tree in his path;
And how he died: and then, that love doth scathe,
The gentle heart, as northern blasts do roses;
And then the ballad of his sad life closes
With sighs, and an alas!—Endymion!
Be rather in the trumpet’s mouth,—anon
Among the winds at large—that all may hearken!
Although, before the crystal heavens darken,
I watch and dote upon the silver lakes
Pictur’d in western cloudiness, that takes
The semblance of gold rocks and bright gold sands,
Islands, and creeks, and amber-fretted strands
With horses prancing o’er them, palaces
And towers of amethyst,—would I so tease
My pleasant days, because I could not mount
Into those regions? The Morphean fount
Of that fine element that visions, dreams,
And fitful whims of sleep are made of, streams
Into its airy channels with so subtle,
So thin a breathing, not the spider’s shuttle,
Circled a million times within the space
Of a swallow’s nest-door, could delay a trace,
A tinting of its quality: how light
Must dreams themselves be; seeing they’re more slight
Than the mere nothing that engenders them!
Then wherefore sully the entrusted gem
Of high and noble life with thoughts so sick?
Why pierce high-fronted honour to the quick
For nothing but a dream?” Hereat the youth
Look’d up: a conflicting of shame and ruth
Was in his plaited brow: yet his eyelids
Widened a little, as when Zephyr bids
A little breeze to creep between the fans
Of careless butterflies: amid his pains
He seem’d to taste a drop of manna-dew,
Full palatable; and a colour grew
Upon his cheek, while thus he lifeful spake.

     “Peona! ever have I long’d to slake
My thirst for the world’s praises: nothing base,
No merely slumberous phantasm, could unlace
The stubborn canvas for my voyage prepar’d—
Though now ’tis tatter’d; leaving my bark bar’d
And sullenly drifting: yet my higher hope
Is of too wide, too rainbow-large a scope,
To fret at myriads of earthly wrecks.
Wherein lies happiness? In that which becks
Our ready minds to fellowship divine,
A fellowship with essence; till we shine,
Full alchemiz’d, and free of space. Behold
The clear religion of heaven! Fold
A rose leaf round thy finger’s taperness,
And soothe thy lips: hist, when the airy stress
Of music’s kiss impregnates the free winds,
And with a sympathetic touch unbinds
Eolian magic from their lucid wombs:
Then old songs waken from enclouded tombs;
Old ditties sigh above their father’s grave;
Ghosts of melodious prophecyings rave
Round every spot where trod Apollo’s foot;
Bronze clarions awake, and faintly bruit,
Where long ago a giant battle was;
And, from the turf, a lullaby doth pass
In every place where infant Orpheus slept.
Feel we these things?—that moment have we stept
Into a sort of oneness, and our state
Is like a floating spirit’s. But there are
Richer entanglements, enthralments far
More self-destroying, leading, by degrees,
To the chief intensity: the crown of these
Is made of love and friendship, and sits high
Upon the forehead of humanity.
All its more ponderous and bulky worth
Is friendship, whence there ever issues forth
A steady splendour; but at the tip-top,
There hangs by unseen film, an orbed drop
Of light, and that is love: its influence,
Thrown in our eyes, genders a novel sense,
At which we start and fret; till in the end,
Melting into its radiance, we blend,
Mingle, and so become a part of it,—
Nor with aught else can our souls interknit
So wingedly: when we combine therewith,
Life’s self is nourish’d by its proper pith,
And we are nurtured like a pelican brood.
Aye, so delicious is the unsating food,
That men, who might have tower’d in the van
Of all the congregated world, to fan
And winnow from the coming step of time
All chaff of custom, wipe away all slime
Left by men-slugs and human serpentry,
Have been content to let occasion die,
Whilst they did sleep in love’s elysium.
And, truly, I would rather be struck dumb,
Than speak against this ardent listlessness:
For I have ever thought that it might bless
The world with benefits unknowingly;
As does the nightingale, upperched high,
And cloister’d among cool and bunched leaves—
She sings but to her love, nor e’er conceives
How tiptoe Night holds back her dark-grey hood.
Just so may love, although ’tis understood
The mere commingling of passionate breath,
Produce more than our searching witnesseth:
What I know not: but who, of men, can tell
That flowers would bloom, or that green fruit would swell
To melting pulp, that fish would have bright mail,
The earth its dower of river, wood, and vale,
The meadows runnels, runnels pebble-stones,
The seed its harvest, or the lute its tones,
Tones ravishment, or ravishment its sweet,
If human souls did never kiss and greet?

     “Now, if this earthly love has power to make
Men’s being mortal, immortal; to shake
Ambition from their memories, and brim
Their measure of content; what merest whim,
Seems all this poor endeavour after fame,
To one, who keeps within his stedfast aim
A love immortal, an immortal too.
Look not so wilder’d; for these things are true,
And never can be born of atomies
That buzz about our slumbers, like brain-flies,
Leaving us fancy-sick. No, no, I’m sure,
My restless spirit never could endure
To brood so long upon one luxury,
Unless it did, though fearfully, espy
A hope beyond the shadow of a dream.
My sayings will the less obscured seem,
When I have told thee how my waking sight
Has made me scruple whether that same night
Was pass’d in dreaming. Hearken, sweet Peona!
Beyond the matron-temple of Latona,
Which we should see but for these darkening boughs,
Lies a deep hollow, from whose ragged brows
Bushes and trees do lean all round athwart,
And meet so nearly, that with wings outraught,
And spreaded tail, a vulture could not glide
Past them, but he must brush on every side.
Some moulder’d steps lead into this cool cell,
Far as the slabbed margin of a well,
Whose patient level peeps its crystal eye
Right upward, through the bushes, to the sky.
Oft have I brought thee flowers, on their stalks set
Like vestal primroses, but dark velvet
Edges them round, and they have golden pits:
‘Twas there I got them, from the gaps and slits
In a mossy stone, that sometimes was my seat,
When all above was faint with mid-day heat.
And there in strife no burning thoughts to heed,
I’d bubble up the water through a reed;
So reaching back to boy-hood: make me ships
Of moulted feathers, touchwood, alder chips,
With leaves stuck in them; and the Neptune be
Of their petty ocean. Oftener, heavily,
When love-lorn hours had left me less a child,
I sat contemplating the figures wild
Of o’er-head clouds melting the mirror through.
Upon a day, while thus I watch’d, by flew
A cloudy Cupid, with his bow and quiver;
So plainly character’d, no breeze would shiver
The happy chance: so happy, I was fain
To follow it upon the open plain,
And, therefore, was just going; when, behold!
A wonder, fair as any I have told—
The same bright face I tasted in my sleep,
Smiling in the clear well. My heart did leap
Through the cool depth.—It moved as if to flee—
I started up, when lo! refreshfully,
There came upon my face, in plenteous showers,
Dew-drops, and dewy buds, and leaves, and flowers,
Wrapping all objects from my smothered sight,
Bathing my spirit in a new delight.
Aye, such a breathless honey-feel of bliss
Alone preserved me from the drear abyss
Of death, for the fair form had gone again.
Pleasure is oft a visitant; but pain
Clings cruelly to us, like the gnawing sloth
On the deer’s tender haunches: late, and loth,
‘Tis scar’d away by slow returning pleasure.
How sickening, how dark the dreadful leisure
Of weary days, made deeper exquisite,
By a fore-knowledge of unslumbrous night!
Like sorrow came upon me, heavier still,
Than when I wander’d from the poppy hill:
And a whole age of lingering moments crept
Sluggishly by, ere more contentment swept
Away at once the deadly yellow spleen.
Yes, thrice have I this fair enchantment seen;
Once more been tortured with renewed life.
When last the wintry gusts gave over strife
With the conquering sun of spring, and left the skies
Warm and serene, but yet with moistened eyes
In pity of the shatter’d infant buds,—
That time thou didst adorn, with amber studs,
My hunting cap, because I laugh’d and smil’d,
Chatted with thee, and many days exil’d
All torment from my breast;—’twas even then,
Straying about, yet, coop’d up in the den
Of helpless discontent,—hurling my lance
From place to place, and following at chance,
At last, by hap, through some young trees it struck,
And, plashing among bedded pebbles, stuck
In the middle of a brook,—whose silver ramble
Down twenty little falls, through reeds and bramble,
Tracing along, it brought me to a cave,
Whence it ran brightly forth, and white did lave
The nether sides of mossy stones and rock,—
‘Mong which it gurgled blythe adieus, to mock
Its own sweet grief at parting. Overhead,
Hung a lush screen of drooping weeds, and spread
Thick, as to curtain up some wood-nymph’s home.
“Ah! impious mortal, whither do I roam?”
Said I, low voic’d: “Ah whither! ‘Tis the grot
Of Proserpine, when Hell, obscure and hot,
Doth her resign; and where her tender hands
She dabbles, on the cool and sluicy sands:
Or ’tis the cell of Echo, where she sits,
And babbles thorough silence, till her wits
Are gone in tender madness, and anon,
Faints into sleep, with many a dying tone
Of sadness. O that she would take my vows,
And breathe them sighingly among the boughs,
To sue her gentle ears for whose fair head,
Daily, I pluck sweet flowerets from their bed,
And weave them dyingly—send honey-whispers
Round every leaf, that all those gentle lispers
May sigh my love unto her pitying!
O charitable echo! hear, and sing
This ditty to her!—tell her”—so I stay’d
My foolish tongue, and listening, half afraid,
Stood stupefied with my own empty folly,
And blushing for the freaks of melancholy.
Salt tears were coming, when I heard my name
Most fondly lipp’d, and then these accents came:
‘Endymion! the cave is secreter
Than the isle of Delos. Echo hence shall stir
No sighs but sigh-warm kisses, or light noise
Of thy combing hand, the while it travelling cloys
And trembles through my labyrinthine hair.”
At that oppress’d I hurried in.—Ah! where
Are those swift moments? Whither are they fled?
I’ll smile no more, Peona; nor will wed
Sorrow the way to death, but patiently
Bear up against it: so farewel, sad sigh;
And come instead demurest meditation,
To occupy me wholly, and to fashion
My pilgrimage for the world’s dusky brink.
No more will I count over, link by link,
My chain of grief: no longer strive to find
A half-forgetfulness in mountain wind
Blustering about my ears: aye, thou shalt see,
Dearest of sisters, what my life shall be;
What a calm round of hours shall make my days.
There is a paly flame of hope that plays
Where’er I look: but yet, I’ll say ’tis naught—
And here I bid it die. Have not I caught,
Already, a more healthy countenance?
By this the sun is setting; we may chance
Meet some of our near-dwellers with my car.”

     This said, he rose, faint-smiling like a star
Through autumn mists, and took Peona’s hand:
They stept into the boat, and launch’d from land.

 

 

John Keats
Illustration Rachel Gribillac

 

Joseph Severn’s miniature of Keats, 1819
Joseph Severn’s miniature of Keats, 1819
Born in 1795, John Keats was an English Romantic poet and author of three poems considered to be among the finest in the English language
Date Published
01/01/1818
Source URL: https://poets.org/poem/endymion-book-i-thing-beauty-joy-ever

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The Mani Wheel of His Last Will and Testament

You say this terrain lies
between my irises and retinas.
The temple in its mist,
a sphere boundaried by
some rectangles and triangles,
harks the prayer-cylinders spin.

His last will and testament
is etched in
the Mani wheels.
I sigh; my hand
pushes them in action.

The sigh, the secret tongue of the firs,
rhododendrons and mulberries,
condenses on my skin.
I lick; the taste, teary and brine,
is buttery as well – the fat
essential for an aeon of shivering.

I rotate his last words and art.
Inadvertent hands ring a bell.
In a jiffy appear a thousand monks
wearing his face, also of mine.

 

 

 

Kushal Poddar
Picture Nick Victor

 

 
 
 
 
 
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Approach with Caution

Steam Stock

Tracklist:
Handsome Boy Modelling School – Rock n’ Roll
Edan – Polite Meeting
Quakers feat. Sampa the Great – Approach with Caution
Avalanches feat. Danny Brown and MF Doom – Frankie Sinatra
Madvillain – All Caps
A Tribe Called Quest – We the People
Kendrick Lamar – King Kunta
Bishop Nehru – Too Lost
Q-Tip – Let’s Ride
Edan feat. Soloplexus and Insight – Funky Voltron
Nas – Made You Look
Handsome Boy Modelling School feat. DJ Shadow and DJ Quest – Holy Calamity (Bear Witness II)

 

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Chemtrails

In view from Alan Dearling

Chemtrails really look the part. A band with shed-loads of visual charisma. And additional really powerful rock-chick attitude and  pomp, fronted by two female lead singer/guitar-slingers.  It’s very much as stated in their publicity, which proclaims them as, “…a turbocharged rhythmic engine, propelling the hook-filled songs to new levels of raw power, sashaying between sleazy punk, frantic krautrock and sardonically sassy grooves. Served on a bed of twangy and fuzzy guitars, primitive synths and polychromatic popgarage punk.”

Nothing to do with the band, but from the web site, ‘Chemtrails Everywhere’, here’s a sardonic (perhaps), conspiracy-theory laced little rant: 

“We think the lies are the truth..but the REAL truth is what we won’t believe because we are programmed to think it is too crazy, unrealistic, and bizarre….WAKE UP…All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident.”

No idea what that all means … But Then Again… maybe the writers have seen the Chemtrails band and see them as a True Enigma!

They are sometimes mentioned in the same breath as Blondie, the Pixies and Osees… And described as ‘post-apocalyptic punk’ by some, especially after their track title: ‘Post-Apocalypstick’ from the current album.

Chemtrails music is populated with breathy vocals. Fast, furious, loud-energy-fuelled, and finessed nicely with off-kilter edginess. Madly, deeply, …..f-r-a-n-t-i-c!

Are we ready to Dance?

Creatively raucous, psychedelic bubblegum, perhaps?

Chemtrails are potentially the ’new darklings’ of Manchester, featuring twin front-ladies:  Mia Lust (vocals, guitar, keys) and Laura Orlova (vocals, guitar, keys) plus the two fellahs, Ian Kane (bass), Liam Steers (drums).

And here are a few opportunities to witness them and listen to some of their musical wares.

‘Eternal Shame’: https://www.youtube.com/watch?v=j2WbWmShIw8

‘Join our Death Cult’: https://www.youtube.com/watch?v=gSzJSV-7nCk

And, here’s the really rather fine official video for ‘Detritus Andronicus’, taken from the new Chemtrails’ album ‘The Joy of Sects’.  The video was created by Rick McCullagh.

https://www.youtube.com/watch?v=SHXbvacD5Xs

A substantial crew of friends and fans came to support Gas Kunst, who provided a locomotive train-wreck of thundering sound. They propel and purvey their wares with appropriate dollops of angry sweat and fury… Punk-Metal? Here they are in a live gig from 2023: https://www.youtube.com/watch?v=2SIC8Acovrk

 

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WUTHERING HEIGHTS

Dad’s first car, green, had taken us all the way to the
seaside

We had been to visit relatives close to Nelson
In another part of Lancashire. Stately homes
Chatsworth and Tatton, Lyme Park. Buxton

Buxton was cold

I can still remember the license number. YTE 211
It was (I think) some sort of Hillman. Rusty

What use is knowing the license number?

Buxton was in Derbyshire
But it was cold enough for Yorkshire, Howarth

Home of the Brontes. Heathcliff

One of those towns where they only welcome you
If you spend money on their tea and cakes. As soon
As you’ve finished they want you out, the table
Made free for someone else. Mum would tell them

We’re not coming here again

Eventually we travelled with sandwiches
In a Tupperware box
Biscuits (such as Penguins) for afters

Tea in a flask, with two spare cups

Dad treating himself to a cigarette on arrival

We always made it there. We always made it back

None of us had read the book
But we’d seen bits of the film on television
Laurence Olivier. Merle Oberon

 

 

 

Steven Taylor

 

 

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Cold Fights A Battle Within

Cold sports a smoke dragon look.
The women and children of the war
breathe as one. Cold nails a memory
of the nil noise and blue pins pressed against
one’s eardrums after a blast. Cold hurts
because it fears the night, sky interrupted by the flashes,
coughing captives and the earth that flows
red and smells metallic. Each noise births
a dot in the liquid, and by the ripples it grows,
matures, and the moment the circle thinks
it knows the fullness it fizzes out, and cold
stays with the group bent and convulsing
in the winter’s throes. The winter never goes
anywhere leaving this camp.
“All because of owning a narrative.”
One whispers. “I cannot act. I’ll look bad
in the role of the dead” The other says. No one laughs.

 

 

 

Kushal Poddar
Picture Nick Victor

 

 
 
 
 
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Reality Check Blues

you could live to be a hundred
make the most of what you’ve got
or not
make babies &/or
make billions for yourself
(or more likely           someone else)
fight for your rights      take to your bed
pay your bills      take your pills
stroke the cat       walk the dog
jump out of aeroplanes for thrills
and never know
the world you live in’s in your head
93 billion light-years across
(and that’s just for starters
life’s too short for the light that shines
in the furthest reaches of our minds
to reach us)

& that all that surrounds you
wordless                    neither light nor dark
was never yours
                                and when you’ve gone
all that takes place          in time and space
will carry on

 

 

 

Dominic Rivron
Picture Nick Victor

 

 

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Contemporary Trends in Exorcism

 

Possession isn’t how it’s portrayed in the movies. There’s no speaking in the voice of a goat drowned in a swamp, no 360-degree projectile vomiting, welts and buboes pustulating on bile-pale skin. In fact, you only notice it in the little things: the hand that isn’t your own squeezing fresh produce too hard in the supermarket; the feeling that, although you’re in your favourite chair, with a mug of tea and the cat purring on your lap, you’re not quite settled in your own body; the overwhelming desire to shout Fuck This! at your Annual Progress Review. On the whole, demons are just happy with the rest from eternal, infernal torment, happy to get a bit of tactile flesh on their incorporeality and catch up on a boxset or two. So, when your spouse calls the exorcist while you’re sleeping, and they intone poorly-pronounced Latin at the foot of the bed, you needn’t assume guilt for the fire, the locusts, and the sheer racket of it. Nothing’s like it is in the movies, but for all the mundanity and contingency of ‘evil,’ as soon as there’s incense and crucifixes, there’s always going to be collateral damage.

 

 

 

 

Oz Hardwick
Picture Nick Victor

 

 

 

 

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The Barbarian at the Gates: Reflections on the Ignominious End of My PhD at the University of Sussex

The scene: a covid vaccination centre in Eastbourne. Summer 2021

I am in the queue for my first jab. An admin assistant is scrolling on her computer through the obligatory questionnaire.

Admin assistant (white female; early 40s; upbeat demeanour) (to me; cheerily): Are you happy to be described as White British?

Me (white male, 68 years old, laconic demeanour): No, I’m not

AA: (nervous laugh) No-one’s said that yet

Me (figuring not: this is, after all, Eastbourne. Bexhill is where ideas come to die. Eastbourne is where they end up afterwards): That doesn’t surprise me

AA: So…what should I put down?

Me: Northern European

She smiles. I can’t figure what exactly the smile signifies. She taps at the keyboard in front of her, the computer monitor screen angled towards her: I can’t see what she writes. White British male nutter? Early-onset gammon? TS BUNDY[1]? I have no idea. It doesn’t really matter. I’ve said my bit. We move on.

                                                                                       ***

In September 2016 I registered at the School of Global Studies at the University of Sussex as a PhD student in visual anthropology. Prior to this, in 2005, I had been awarded a BA in English Language. In 2009 I graduated in an MA in Social Anthropology, and in 2012 an MA in Digital Documentary – all at Sussex.

The working title of my PhD thesis was No Kidding: Societal Attitudes to the Childfree. I chose this topic initially because my long-term life-partner had always maintained she didn’t want children. Nonetheless, around the age of 35, close friends began barracking her about her choices. Don’t be awkward, you know you want one really, you’ll change your mind[2], God gave you a woman’s body, why not use it – that sort of thing.  For the next three years I scoured books, journals and newspaper articles – both online and offline – for as much information as I could find on the increasingly vibrant discussions in the media about women living in the West opting not to have children. I wanted to know what kinds of criticisms women other than my partner were subjected to because of this lifestyle choice, and what kinds of support they were given. In addition, I researched all the various, often bitter, arguments in academia regarding film as a tool for the collection of research data. Does film have the potential for the same degree of rigorous analysis as written text? Or is it just a cheap gimmick? Etc. After a year out due to financial difficulties, I submitted my research outline, detailing the understanding I had gained of the literature I had reviewed, plus my carefully-constructed argument in favour of using film as a research tool. The first draft was rejected. After a frantic weekend of tweaking and revising, I submitted again. A review by my peers declared it ‘excellent’. I was congratulated. (You can read it here on IT, via the links below). So, in theory, I was now able to crack on with my fieldwork – I could begin filming and writing: a 40-minute documentary-style film of interviews with close friends who I knew had unconventional attitudes towards parenthood, plus a 40,000-word written thesis.  I was told that no other anthropologist had chosen to work with this topic – a good thing, I supposed.

So far, so good. But then…

 

Before one can begin one’s fieldwork one must complete an ethical review form. This is to ensure that one’s work will conform to certain ethical criteria, most of it common sense – in essence, one must not disparage, misrepresent or expose one’s respondents to the potential for any kind of harm, physical or psychological. I was told by one of my supervisors that it was merely procedural – that if any objections were raised, the review board was simply justifying its existence. It would be a breeze.

If only.

When writing a research outline in Social Anthropology you are required to give a breakdown of the kinds of questions you will ask the people you interview. This I did. My questions were formulated according to the arguments I had researched in the literature, both historical and contemporary, for and against choosing not become a parent. The major part of it was negative. (A recent commercial for Crown Paints (Crown Paints Hannah and Dave on youtube) received 150 complaints for its negative portrayal of a woman who has become pregnant after years of saying ‘no way’ to having kids: this supports the common assumption that women who say they don’t want kids are just being awkward, and they know they will give in in the end. It also cracks a lame joke about the prospective dad only hoping the child is his. Not only is the mum an awkward cow, she’s also likely been sleeping around).

So my questions reflected such societal attitudes. That was the brief I gave myself – to see how the friends I wanted to interview had dealt with this kind of stuff during their lives. I knew that they would be quite capable of understanding that the questions reflected negative social attitudes out there in the various spheres of discourse: that they didn’t reflect my own mindset on this. Moreover, they would have grown accustomed to sticking up for themselves and answering back when they were accused of being selfish, ‘unnatural’ women (or men) who only cared about themselves, with no concern for the future generations whose potential for existence they were denying. They were and are highly intelligent, self-determined, articulate people who know their minds, and know how to handle themselves in the face of verbal opposition. Their ages ranged at the time from 28 to 65.

So far all good.

Six weeks after I submitted my form to the Ethical Review Committee, I got my first response – ‘Returned for revision’. OK, I was expecting this – if they didn’t find something to bitch about, what was the point of having them? A lot of the stuff they wanted to see was about formatting – tick-boxes for questions, a couple of things added to the talent release form (if you take part in filmed interviews, you sign away your right to ask for anything to be changed or removed once the film is completed. You might have this choice at an earlier stage, but essentially it’s to prevent anyone trying to intervene after the final edits are made). One thing, however, puzzled me – I was asked how I could guarantee anonymity in the context of a film. Short answer – you can’t, unless the person speaking is off-camera, or is in silhouette, or has a bag over their head, and even then – depending on the context and the sensitivity of the data – you may be required to alter their voice. One of my arguments for using film was that you can see the person responding to your questions – by observing their facial expressions and body language you can be with them in the moment they answer the question. Yes, this can be rehearsed. Even so, you get a sense of the person you’re watching (particularly if they’re doing something else – driving, household chores like washing up, where their mind is not entirely focused on self-censorship as they speak), and it’s hard to argue with the idea that if you see and hear them speaking, and their lips apparently synch with their words, you can be reasonably certain that what you hear is what they said and that they themselves said it (now, however, with the arrival of AI deep-fake videos, this could notionally be contested). With written text there’s no such guarantee. You can make stuff up if you’re not getting the responses you want. I know this: I’ve done it in the past. I puzzled over the question of anonymity. What was I supposed to say? I said that no real names would be used, and no footage would reveal where they lived – no-one would be filmed opening their front door or driving down their street. I hoped that would do, while not really believing that it would, as it seemed like a question designed to trip me up, somehow or other.

Then, towards the end of 2020, the pandemic struck. I had to wait a year to re-submit my ethical form. Fifteen months later, in January of 2022, I got my second application returned. The question about anonymity was repeated, but this time there was a whole load of new stuff – why did I want to make a film? Why couldn’t I write a book? Why did I want to ask these questions? Why not focus on the positive aspects of not having children? If I was going to ask such questions, I must provide details of accredited therapists to treat my potentially traumatised respondents. And, the final indignity, ‘Please can you consider in your resubmission the possibility for any distress you may experience during this research and how you will deal with that should it occur.’

The simple answer to most of these questions was: read the research outline. I spent three years detailing the reasons I wanted to make a film and why my questions were intrinsically negatively loaded. Furthermore, my respondents were quite aware of the positive aspects of remaining childfree: that’s why they had made such choices. As to the suggestion that I needed a cohort of therapists to counsel my traumatised friends once I’d battered them senseless with my invasive and insensitive lines of questioning – what the fuck? And as to the idea that the whole thing was going to be so distressing that my mental health would suffer a result… Fuck you, and fuck your patronising bullshit.

I sensed immediately that the game was effectively up: I could argue my case via a third submission of the ethics review form, spending another term and another £700 in the process. Or I could read the signs in the prevailing wind, and withdraw. I withdrew from the University.

                                                                                      ***

According to the August 10th 2022 edition of The Week, eight institutions, ‘including Russell Group members Warwick, Exeter and Glasgow, have made texts optional to protect students’ welfare’.

An article in The Times of April 21st, 2023, spoke about books being removed from University Libraries, one such being Sussex, on account of references to slavery and suicide potentially triggering students. One of these books was the Pullitzer Prize winning novel The Underground Railroad by Colson Whitehead.

The Week continues, ‘The paper sent almost 300 freedom of information requests to officials at universities across the UK, and uncovered 1,081 examples of trigger warnings across undergraduate courses. Influential British authors including William Shakespeare, Geoffrey Chaucer, Jane Austen, Charlotte Brontë and Charles Dickens were reportedly among those whose works have been deemed concerning enough to require warnings.

‘The investigation also found that students had been given trigger warnings before studying The Bible, because of ‘shocking sexual violence’, and Oliver Twist, because of child abuse.

‘Other targeted texts include Swedish writer August Strindberg’s 1888 play Miss Julie, which has been axed from an undergraduate literature module at Sussex University because it contains discussion of suicide.’

                                                                                      ***

A friend told me recently of all the stuff that her son, who is 15, has to deal with during a routine day at secondary school: gender identity issues – Am I a boy? Am I a girl? Somewhere in between? None of the above?; knife crime; porn; online and offline bullying and fat-shaming; body dismorphia and eating disorders, often due to #thinness posts on social media; conspiracy theories and radicalisation via far-right online chat groups; PTSD due to the recent global pandemic, the war in Ukraine and concerns about global heating; and not forgetting, of course, especially if you board at a private school, online and offline grooming and sexual abuse at the hands of predators (though this is not limited to schools as anywhere there are young people under supervision – church and sports groups, Scouts and Brownies, care homes, theatre and performance groups – to name a few –  there are almost inevitably going to be adults with inappropriate sexual interest in young people.) So I am not unaware that young people have stuff to deal with that was unthinkable when I was at school (apart from the sexual abuse), much of it to do with the internet and social media. The effects of all this on the mental health of younger people is not to be underestimated. But Charles Dickens? Really? We must protect young adults from fictional accounts of child abuse, especially when it might be happening right under their noses in the present moment, often at the hands of a family friend or extended family member? Will it not be understood that Dickens wrote 150 years ago, that his works are historical accounts of a society long vanished? Or slavery? (Slavery existed: it’s a historical fact. It still exists now, and many young people might know this because they’ve been trafficked to the UK so older people – many of them from ‘respectable’ backgrounds – can have sex with them. Presumably they don’t end up at Russell Group Universities, so they don’t count.)  And the Bible? Yes, it contains some weird shit (including the idea that a menstruating woman must leave the house while she is ‘unclean’, and that anyone who sits on furniture she has contaminated with her lack of cleanliness must leave the house, wash their clothes and not return till evening). While it might not be universally agreed that the Bible is largely a work of fiction, it’s clearly somewhat off its head. Is this a problem for younger people? (There’s an issue here: if one agrees that any of this is absurd, one could be identified as ‘anti-woke’. Liz Truss, Suella Braverman and Lee ‘Lee Anderthal Man’ Anderson are all famously anti-woke, and who wants to be seen agreeing with them?)

                                                                                        ***

The reaction among members of my focus group was a mixture of bewilderment, disappointment, frustration and anger. ‘So, that’s that then? After all this time?’ asked one. To quote another: ‘Who the fuck do they think we are? This is patronising crap. We’re not poor little wilting snowflakes. We know how to think about issues affecting our lives.’  When I told another that I had been expected to arrange for professional counsellors to be on hand should I traumatise her, she laughed. Yet another remarked that ‘this shuts down nuance and freedom of speech. We don’t need the protection of some prat at the University of Sussex. It’s not just you that’s being patronised’ Well, yes, I think it does; no, I don’t suppose you do; and yes I agree. Others in my group said they’d been looking forward to answering the questions, as they reflected long-standing concerns they had lacked an opportunity to vocalise. Another told me that her daughter, aged 25, couldn’t afford to leave home because renting or buying her own property, even though she was earning a good salary at her workplace, was simply too expensive, and that as a result starting a family was simply not an option. And in any case, she and many of her friends simply had no interest in having children. Birth rates are falling across the world. The issue of child-freedom is increasingly becoming a much-discussed topic. My research would have given me the opportunity to address all of this.

And yet…

Two years after I withdrew from my degree, doubts have been accruing. In the immediate aftermath of receiving feedback from the Research Ethics Committee, with my pride damaged and the sense of humiliation and disappointment seeping like fresh wounds, I resolved to get my own back by writing a withering response here on IT. This article began as just that. But now, I find myself wondering if they might, on certain grounds, have been justified in their objections.

The world has changed in many significant respects since I first applied to do my PhD at Sussex. Younger sensibilities are driving the bus now. Most of the passengers will be in their early – mid 20s: the number of mature students in academia across the board has declined sharply in the last 20 years. Our views, our preoccupations, our approaches to life are considered anachronistic at best, and irrelevant at worst. The fact that we Boomers pride ourselves at having been at the cutting edge, 50 years ago, in fighting for many of the rights that are now taken for granted among younger people, is also irrelevant. There will be many levels of nuance that have accrued since people my age marched with the Campaign for Nuclear Disarmament, for instance, back in the 1960s and 70s. Our first tentative steps to demand rights for gay and trans people, disabled people, civil rights for ethnic minorities; rights for animals, or whoever and whatever; or our attempts at combating racism, misogyny, sexism, homophobia, Islamophobia, xenophobia; the formation of Red Wedge, Stonewall, Rock Against Racism; the championing of vegetarianism and veganism; our anti-capitalist sympathies and activism – all will be seen as the fossilised steps of dinosaurs. Younger minds are at work, configuring responses according to their own experiences of the world, not merely continuing or expanding upon work done by previous generations. New conversations have arisen around gender – not just the age-old polarised divisions in society that the very notion of ‘gender’ represents, but far more subtle layers of discourse. Autism and neurodiversity are hot topics now, but these barely existed, or had failed to be recognised, in the past.  The list goes on, the arguments become increasingly bitter and divisive, and right-wing invective in mainstream media fans and fuels these fires. Younger people reject such media: they look to podcasts, TikTok and YouTube content for news and comment. They have developed networks and working practices of their own. Regrettably, it is entirely plausible that I am indeed too old, too much a part of a quaint, largely vanished world to truly qualify for a place at the academic table in the current social climate.

                                                                                        ***

After all this time I think back to the vaccination centre. Why did I mind self-identifying as White British? Not only do I not identify as such, but also I am reluctant at this particular time in history to identify as a white British male approaching old age with all that such classification implies or entails. I don’t want to be shut in the same enclosure as Piers Morgan, Lee Anderson, Jeremy Clarkson, Nigel Farage,  Jacob Rees-Mogg, or any other passive-aggressive (or just plain aggressive) white British male gammon. I don’t share their views and I don’t appreciate their devaluing of the tag ‘male’, even whilst acknowledging that there are plenty of white British males who do not share their odious views.  Nonetheless, there is the fact that I am white, British and male, and have recently celebrated my 70th birthday. Was that a factor in all this? Was I considered unsuitable to conduct my research on the basis of my age, ethnicity or gender, even given that any lack of my awareness of the precise terms of contemporary discourse around multiple issues was unconscious?  Did it make me an ageing barbarian, pounding on the gates of the citadel, demanding the right to harangue long-term friends with my abrasive verbal assaults? Should I have written a happy-clappy self-help book about the joys of rejecting parenthood, the kind you might find in an esoteric bookshop off the Charing Cross Road, along with ‘wellness’ manuals, CBD products, dream-catchers and Angel Tarot decks? Is that the kind of academic rigour we now expect, and favour?

                                                                                        ***

So, the thought police are alive and well and patrolling the halls of academia. Don’t worry, dear snowflakes, Sister Academia has your back. Who’d have thought it would come to this? Where do we go from here? Do we in fact ban books with ‘dangerous’ material from their libraries? What are the implications of such measures? Should we shield young people from references to harsh realities? (For me, the whole thing seems misjudged – so much online content that young people are exposed to day after day is way harsher than the works of Chaucer, Shakespeare or Charlotte Bronte. And then there’s the infantilising brain-rot that comes from reading J.K.Rowling, or watching the 67th Marvel movie…Should we not be shielding them from that?) Does it end there, or will there one day be surveillance apps which monitor your private conversations via your smart phones or Alexa or some such, and which report you to some authority in some facility somewhere for discussing toxic subjects, and endangering the mental health of others? Will you be hauled off to a re-educational facility? Is this the kind of neo-fascist authoritarianism we expect our university departments to sanction? It does make me concerned for the future just not of academic enquiry, but of our freedoms generally. Is being ‘woke’, i.e. insisting on inclusive representation across all divisions, fostering an awareness of, and contesting in the public arena, certain notionally anachronistic or antagonistic attitudes, and potentially barring those advocating them from the privileges of mainstream society – is all this a mandate to develop new dogmas, orthodoxies, or puritanical purges of our inner lives? Is it just me, or does the whole thing smack of something like religious conviction – the certainty that one is right, and anyone who disagrees is inherently in need of reorientation and rehabilitation?

A few questions at the end of all this remain. Am I entitled to wonder why the Ethics Review Committee failed to read my Research Outline, to get acquainted with my methodology, so they could see what I had planned to do, and why? Or did they read it but decided to press on anyway? Does the fact that the outline was judged ‘excellent’ by my peer reviewers have no part in all this, and if not, why? Why weren’t objections anticipated at a much earlier stage in the process, before I spent many years of my life and £6,000 chasing a phantom? What kinds of further sanctions are to be overtly or covertly placed on one’s academic freedoms, and at what future cost to the store of human knowledge?

Could I have raised a complaint? Notionally, yes, but the outcome would almost certainly be that ranks would close; the University would protect its own. Like any corporate entity operating in an open market, reputational integrity is paramount, no matter what the cost to the end-user. The interests of the consumer – the mug who pays good money so these units can operate – are the least consideration. We are at the bottom of the food chain, gasping for air.

                                                                                         ***

As to the question of anonymity, I eventually phoned the office of the Ethics Review Committee at Sussex. There I spoke to a cheery young man, who said, ‘Oh that’s easy. You add a clause to the release form saying they waive their right to anonymity.’ Oh ok, so it was a trick question then? You can’t guarantee anonymity for anyone you film, so you pass on the responsibility to them, you throw them under the bus, you make it their problem? If they get trolled or get death threats, they knew what they were letting themselves in for. Ok, cool.

As it happens, my two short-form documentaries (one of which was my final project for my MA in Digital Documentary at Sussex in 2012), about a friend who decided to undergo gender reassignment surgery, have had almost 32,000 hits between them on YouTube. I’ve had around a dozen negative comments (such as ‘surely some bestiality here…’ and ‘Sick Shit’, which I reported and which have been removed). No medical professionals were involved in this process.

                                                                                        ***

During a class at Sussex sometime in 2003 the tutor announced, a propos of nothing anyone had said or asked, that the notion that academic standards were falling was entirely fallacious. No-one had questioned that, so why announce it?

During my final year as a lecturer at a university which had opened a campus locally, I raised the question with my ‘line-manager’ about the poor quality some of final assignment work that had been submitted. I was told not to worry about it, to give everyone 65%.  A friend who until recently taught at a highly prestigious university in central London, almost exclusively to overseas students, raised concerns last year that he had about five of his class cohort: he suspected them of academic malpractice. Specifically, he doubted that they were the authors of work submitted. Whilst this is not the same as plagiarism – he hadn’t suspected they had copied another author’s work – it is certainly now a tricky issue. Either they had used AI to write the course work, or they had engaged the services of a professional essayist. He raised the alarm with the relevant authorities. He was told to let it go. Not long later his contract was terminated – he had presumably been identified as a potential trouble-maker and had been moved on.

What does this mean not just for academic standards, but for the future of academia generally? Since university tuition fees were raised in 2012 in the UK to £9,000 a year, higher education has become a global consumer product. For overseas students the fees are much higher as there is no cap on what institutions can charge. At prices like this, consumers can expect a product that reflects the expense. Failure is not an option. For overseas students an MA from a top university in the UK may be a status symbol, something for parents to brag about to their friends, or to impress clients should the recently-graduated young person enter the family business. My friend was unable to definitively verify that the work of five of his students was not original. To the institution, the fuss that would result clearly wasn’t worth the bother. The objective is to get the money, deliver the product and move on. If the students chose to use AI to generate their course-work, how was that to be policed? Did it really matter? As long as they went home with a qualification, surely the job was done? Maybe in the future students will use AI to write their work, the tutor will use AI to assess it, and everyone can go to the pub.

Had I continued with my research degree, how would all this have impacted on me? I have no idea. Ultimately, sadly, to withdraw was a relief for a variety of reasons. I do worry nonetheless about future generations of students. Once again though, we now live in a very strange world, one in which, due to a variety of factors, I feel I have become increasingly marginalised. The world changes and systems adapt. Maybe it’s not my problem; I shouldn’t give it another thought.

 

You can read my research outline here https://internationaltimes.it/no-kidding-societal-attitudes-to-the-childfree/

And here https://internationaltimes.it/no-kidding-societal-attitudes-to-the-childfree-part-two-a-device-to-secure-attention/

 

 

 

 

Keith Rodway

2nd Image MyDad by Anthony Browne

 

 

[1] A nurse friend once told me some of the acronyms doctors use when writing notes during a consultation, to describe the patient:  PBM (Poor Biological Material), LMF (Lacking Moral Fibre), TS BUNDY (Totally Screwed But Unfortunately Not Dead Yet)

 

[2] There is now a youtube video discussing this very point https://youtu.be/zo7aw6TAjFg?si=x0wLjc5tEiqzPuFB

 

 

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We need a plethora of tactics


Matthew Azoulay
considers “metacrisis” and the ever greater need to re-embrace Bookchin’s social ecology.

Metacrisis’ is my chosen umbrella term for the escalation of multiple global crises of climate, ecology, and political economy, which have reached such a point now that all radical organising is a form of crisis response. And I know for folk on the sacrificial frontlines of capitalism, the terms ‘radical organising’ and ‘crisis response’ belie that they have to fight just to survive. The metacrisis is hidden from many of us a lot of the time. Until it isn’t.

Meanwhile, three records have been smashed on climate, as well as the continuing series of natural disasters in 2023 made worse and more likely by the climate crisis. These are average global surface air temperature, global sea temperature and Antarctic ice loss. Ecological and social tipping points are upon us.

Social ecology is an appropriate response to the metacrisis that will lead to widespread societal collapse within our lifetimes, even as some are already living through it or have been sunk by it. Murray Bookchin first developed his theory of social ecology in the 1960s. Its foundation is dialectical naturalism (Dianat), which Bookchin developed from Hegel’s dialectics and Marxian dialectical materialism. Dianat is a deceptively simple ecological philosophy that explores how the human domination of other humans leads to us also oppressing non-human nature and how to stop one we need to stop the other.

These times of crisis are fuelling the rise of the far right, who sometimes adopt “ecological” arguments for locking borders against “polluting” refugees and blame the climate crisis on China and Africa, preferring to set up World War III rather than take responsibility for fossil fuel emissions. This is nothing new. We saw it in the blood and soil doctrine of the Nazis in 1930s Germany. So, all organising in the metacrisis must be deeply ecological and explicitly anti-fascist.

Post-Covid, we also need to be explicitly anti-fantastical-conspiracist. As the planet heats even further, so will distracting narratives. As well as being anti-liberatory — we can’t organise against enemies who will be forever hidden from us — this conspiracism is often implicitly anti-Jewish.

A part of social ecology which some anarcho folk take issue with, which is not a dogma so much as Bookchin’s preferred program for introducing a stateless social ecological society, is known as libertarian municipalism. This means using existing local power structures to gradually wrest power back from the centre as a gateway to confederated, communitarian self-government. It’s unlikely that such a society would materialise just as Bookchin prescribed on any significant scale. However, in times of crisis, all efforts to draw power from the state back towards the local (whether direct democracy or consensus decision-making) are to be welcomed.

It could be using ZAD-type tactics, seizing the local means of production, sabotaging local outposts of deathly corporations out of existence, strengthening and extending mutual aid networks and localised food-growing initiatives, or indeed implementing libertarian municipalism. I love Peter Gelderloos’ perspective that “the solutions are already here” and the “build and fight” formula suggested by the Black-led Cooperation Jackson project in the US.

Whoever we are with on a given day, how can we instigate conversations about crisis organising, especially with people “not like us” who may seem to be sold on capitalism? Not easy, I know. My main job is teaching English online to students worldwide (for a terrible corporate platform which pays below UK minimum wage), and 95% of the time, any attempt at radical connection with my students is hopeless. However, 5% of the time, something special happens. You may be surprised at what revolutionary ferment is happening in some of the young minds of China, especially among women.

I like to imagine social ecology and other forms of ecological, social anarchism as a hidden potential in every quarter of human society, a kind of quantum magnet underlying everything that could draw everything else to it. Everyone can give in to that magnet, even if just a little. Aric McBay’s Full Spectrum Resistance is useful here. I have an idea of “even fuller spectrum resistance”, which means leaving no stone or member of society unturned. In a Colin Ward-esque way, what can we observe around us through “anarchism in action and escalation” in times of crisis, and how can we plug into that? Locally, this includes extending a hand to conservative-minded folk whilst being uncompromisingly anti-oppression. Online, this includes utilising resources like A Radical Guide. Even AI could be useful for organising without giving in to accelerationism. Algorithmic Justice League, Not My AI and Queer in AI signal how AI could be democratised and liberated from patriarchy, notwithstanding its ecological impact.

In times of crisis, as anarcho types, we could also build bridges with existing activist groups, even if we sometimes find them infuriating. From my own experience, I have to look at what I half-affectionately and half-frustratedly term the XR milieu, which includes Extinction Rebellion, Just Stop Oil and the Deep Adaptation / Transformative Adaptation crowds — the latter is a kind of extra urgent reiteration of the Transition Movement. I got arrested with XR in the early days, but I have taken a critical attitude towards them since then. I don’t believe in the disempowering strategic stance of pleading with an illegitimate government to create Citizens’ Assemblies, with the assumption that these assemblies would be well-advised and empowered enough to transfer the power of capital back to ecology and the people – what the metacrisis demands. Beyond the XR milieu, from the collapsitarian perspective, Just Collapse are great in that they centre marginalised groups. (I’ll be interviewing Just Collapse on my YouTube channel Epic Tomorrows in the coming months)

We need more affinity groups or study and action. Bookchin’s idea of an affinity group is not just one that does actions but one that engages in deep regular study of texts for collective liberation, including a revolutionary understanding of history that is not deterministic or statistical, that gives us plenty of options. Organising in times of crisis could even mean organising our own lives and memories into something more pointed and in a better direction

On a more personal note, my stepdad runs Ely’s folk sing-around at a pub in Somerset. I sing there occasionally and imagine a pub-based social-ecological revolution. Many of the traditional tunes sung are very grounded in ecology and the seasons, with a deep understanding of farming (the old way) —or else they tell of tragic events that have befallen common folk through the ages, where an oppressive class system often features in the background. I reflect that all sorts congregate in pubs. What ground could we find for anti-authoritarian crisis organising, for drawing power back from the centre? The beauty of pub-based organising could be when we get it wrong; we can put it down to the drink and try again next week. AGs can meet in pubs if everyone is alright with it. Just be careful who’s watching or listening.

I don’t want to detract from what anyone is doing to fight against all forms of authoritarianism and capitalism and to fight for life and a reasonable standard of living for everyone. Nevertheless, maybe the good fight is best framed as a social-ecological one, where every oppressed human is understood in the context of a damaged local ecology, and every thoughtlessly ripped up plant or killed animal is understood as the result of human hierarchies. This is a conversation that we could continue down the pub. Urgently. Mine’s a real ale or cider. Cheers.

 

 

Matthew Azoulay

(Reprinted from the Winter 2023-2024 issue of Freedom Anarchist Journal, via Freedom News.)

 

 

 

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We Have Lift Off

 

Gong & Ozric Tentacles in concert

What do you get when you mix up Van de Graaf Generator sonic interludes, pulsing lights, the ghost of Fred Frith on guitar – all tapping, stroking and blended sounds, banshee cyclical drumming, a 1970s lightshow, honking saxophones and a reincarnated Syd Barrett? Why, the current incarnation of Gong of course!

Last time I saw Gong was shortly before Gilli Smyth died, and a longer while before Daevid Allen took flight. My friend and I had expected a ramshackle bunch of hippies but were amazed how tight the band was: more like Soft Machine than stoners sharing their teapot mythology. Some of that tightness has remained – bass player Dave Sturt and drummer Cheb Nettles are astonishing players, as is Ian East, the sax & clarinet player – but Kavus Torabi’s somewhat hit-or-miss singing, not to mention his childish enthusiasm and collection of effects pedals for his guitar and voice have reintroduced a certain strangeness back into the music, as has Fabio Golfetti’s exploratory guitar playing.

The hall is full of smoke and an audience of a certain age, whose grandad and grandma dancing is a joy to behold as the evening wears on. Torabi smiles at everyone who catches his eye and excitedly reports how the music has called out and gathered us all together, and what a good time he is having. The set is a strange mix of meandering hippy workouts, complete with lightshow full of pyramids, magic signs and symbols and much chanting, and tighter pieces more reminiscent of songs. Mostly they rely on rhythmic pulsation, repetition and variation overlaid with strange combinations of samples, instruments and off-kilter jazz. There’s even an embarrassing couple of appearances by a ‘dancer’ (who clearly can’t dance): firstly as a school play angel or spirit, dressed in white sheets and makeshift wings; secondly, a little later, to make an attempt at some sort of Eastern dance that mostly relied on her skipping around and fluttering her eyelashes.

Despite these embarrassing moments and my cynicism, I found myself enjoying the gig as wave after wave of sound built to relentless crescendos that even off key singing and the overdone strobe lights couldn’t destroy. Somehow Gong manage to combine the psychedelic with space rock and jazz and ambient soundscapes to produce a heady mix of stuff that mostly just sounds like themselves reinvented. Having swum ‘Through Restless Seas’, reset the clocks, and been urged to ‘Rejoice!’ you can see why the band claims their ‘Guitar Is A Spaceship’, with room for all of us aboard. Anyway, we all safely crash landed into the bar and awaited the second band.

I haven’t heard Ozric Tentacles for decades. The stuff I heard back in the 1980s was dubby, trippy dance music, born out of the festival circuit. Now, their music seems like an endless series of guitar solos in search of a tune. Like Gong they have a superb drummer to underpin and propel everything, with a rock solid bass player working with him; but the non-rhythmic music comes from a keyboard player stage on the audience’s right and founder member Ed Wynne on the left, playing electric guitar and occasional keyboard.

Wynne is clearly a technically proficient guitarist, but after the first 20 minutes I was longing for a change in the endless flurry of notes issuing forth. We did get a few bluesy keyboard moments, and Gong’s dancer turned up as a flautist for a couple of songs, thankfully limiting her dance moves this time, but mostly this was hard rock guitar over relentless drum and sequencer patterns. I was reminded of 1970s free jazz concerts where someone would explore the sonic possibilities of bits of metal, or a single instrument: it was interesting, sure, but I wanted it applied to something, not to hear it as an end in itself.

The Ozric’s website calls the music ‘uniquely trippy soundscapes’ but I’d beg to differ. This is style over substance, an adoration of guitar prowess for ability’s sake, a relentless sonic assault that bulldozes you over until you give in or grow weary of the battering you are receiving. It was good to see Gong again though, busy ‘Forever Reoccurring’ as the band always tend to do.

 

 

Rupert Loydell

 

 

 

Gong – My Guitar Is A Spaceship

 

Gong – Tiny Galaxies

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York Mini Zine Fair and Workshop




Tuesday 19 March, 6-9pm

Free – No need to book.

The Crescent Community Venue, 8 The Crescent, York, YO24 1AW

A pop-up of evening as part of York Literature Festival in collaboration with York Zine Fest, featuring stalls from local, grassroot publishers. If you have ever wondered what a zine is or wanted to have a go, there is an opportunity to get creative and make your own unique zine at a drop-in workshop. Friendly, fun and free for all.

 

 

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‘Life’s not all fun and games’

Masters of the Nefarious, Mollusc Rampage, Pierre La Police, translated by Luke Burns (New York Review Comics)

The New York Review of Books book list is an intriguingly diverse and surprising one, but I had no idea they also had a comics imprint. ‘Something to investigate,’ I thought, and as if by magic, here is the review copy I requested. It’s a beautiful, glossy-wrapped, full colour 165 page paperback, full of surrealism and silliness.

It kind of hangs on a digressionary and irrelevant plot, where twin investigators of the paranormal, accompanied by their best friend, but I don’t think the narrative – or what little there is – is actually the point of this book. Each page is a single image with a short text at the bottom, each a surreal moment frozen in time, often with little to link it to the page before or after. Characters, events, ideas and locations come and go as Chris & Montgomery, accompanied by their friend Fongor, engage with the fallout from a tsunami, giant mollusks and the appearance of what the blurb calls ‘an ominous quadrilateral UFO’, not to mention ‘a mysterious villain’ in the shadows.

There are aliens, insects, animals, skin diseases, sports, phobias, abnormal births, mutants, deaths and alcoholic interludes. Montogmery ‘receives a message from an ice cube spirit informing him that ‘it’s something about prehistoric times’, but eventually most things are returned to some sense of what passes for normal here.

I have to say that the art work doesn’t engage me, and the book seems like a series of surreal jokes rather than a graphic novel or comic strip. I’m reminded of Glen Baxter, although Baxter’s British take on the surreal I find far more engaging and laughable. La Police’s drawings seems somewhat naive (I was going to say amateur but that would be harsh), and reliant upon the filled-in colours (along with the attached texts) for their effect.

Luke Burns’ ‘Translator’s Note’ confidently talks about ‘absurd humor’, and – in addition how difficult translating absurd sentences was – how ‘La Police deploys the tropes and conventions of mysteries, adventure stories, and superhero comics’, setting up readers’ expectations so that he ‘can then demolish them’. However, he regards the book as laugh-out-loud stuff, which isn’t my experience I’m afraid. Whilst the odd phrase here and there, such as ‘the couscous world cup’ and Fongor’s ‘steerable staircase’ (the image of which is on the front cover) raised a wry smile, that was pretty much it. There’s little of the originality, creativity or originality I was expecting evidenced in this volume. I’m bemused rather than amused.

Rupert Loydell

 

 

 

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Le Chet qui pêche

My favourite bit of Paris was the area bounded by Quai St Michel to the north, the Boule Miche to the west Boulevard St Germain to the south and Rue St Jacques to the east; the very heart of Left Bank bohemia though I didn’t know it then. One night Sandra and I chanced on a jazz club there called Le Chat qui peche and crossed the street to see who was playing. We looked at the bill board: CE SOIR – CHET BAKER. Blimey Chet Baker!

Chet Baker – Great White Hope rival to Miles Davis
Chet Baker – Heart Throb Crooner
Chet Baker – King of The Cool
Chet Baker – DRUG ADDICT

Oh yes. I’d read all about Chet Baker leaving The Gerry Mulligan Quartet after heroin rumours. And the flight to Europe. Then the bombshell: Chet Baker on drugs charge in Italy. Worse: Chet Baker jailed for drugs offence. Chet Baker in prison! That’s where I thought he still was and now, sensationally, he’s here in Paris – ce soir. 

Le Chat qui pêche was just a small room opening off to the left from a narrow entrance giving on to the street. Or was it a cave reached by a narrow stone stair? Could be. There must have been a bar though I can’t visualise it now – or the decor. It was a big night for me but although the room was full it was hardly crowded. I’d like to tell you how we were dressed. Since I’ve forgotten I’ll invent our wardrobe. Sandra had gone to art school and trained as a dress designer. She was tall and tended not to wear the highest of heels. So. Black suede flatties and dark green ski trousers with a strap under the instep, a big turtle-neck mohair sweater – let that be black too – and a lightweight camel-coloured coat with a tie-belt, thrown over her shoulders. Her pale eyebrows will be drawn-in heavily and shaped with black pencil and her eyes made-up like Elizabeth Taylor. No jewellery. I will be wearing jeans, blue probably but I’ll make them black. Brown shoes with plain fronts, yellow socks, a heavy black fisherman-knit sweater and a dark  blue cotton pull-over-the-head anorak.

The band just suddenly appeared through a door from an adjoining room. No MC no announcements. A French trio I assumed – piano bass drums – and the man himself. I remember exactly how he was dressed. Like an advertisement in Esquire: dark blazer, white shirt, sombre tie, Ivy League dark grey flannels, black punched shoes. His dark hair combed straight back with a soft parting. Handsome. Oh yes. No sign of the pale shaky raddled junkie of fiction but a man who looked hardly different from his pin-up pics of the mid-fifties. A touch of Jack Palance about the shape of his face and features. But a clean-cut college-kid Palance, not the blue-jawed busted-nose heavy so familiar on the screen.

I can remember the name of only one number the band played and I think it was their first – they went straight into Milestones. A brave move to take on the Miles Davis classic. They played it much faster or much slower – you’d think I’d remember which but it’s gone. I’ll have them play it slower but it was longer than Miles’ own version which I have on a well-worn record. Chet Baker rarely looked at his sidemen. They were Italian – I’ve since learned – and right with him. He was impassive – drugged to the eyeballs we told ourselves in foolish explanation. He played so beautifully. And sparingly. No cascades of Dizzy Gillespie fireworks, no Miles Davis morse code blips. Just his own elegantly cool exploration of that unforgettable theme.

Ah Chet Baker. To hear Chet Baker – in Paris. Alive free and ten feet away from us. I still can’t get over how physically unmarked he was by the ups and downs of his life and what extraordinary chance had led us to see him. The whole visit I suppose was marked by extraordinary chance. Well it seemed so at the time but looking back perhaps it wasn’t that extraordinary. McKechnie and Esther, Karen, Sandra and myself had all grown-up and gone to schools in the same area of North London: it wasn’t so surprising our paths should cross in Paris. It was the first and last time I saw Chet Baker though – and Esther and  McKechnie and Karen too. But he’s still alive* and playing and I guess they .are too.

 

Jeff Cloves

* Chet Baker ‘fell’ from an Amsterdam window and died in May 1988.
This extract is taken from ‘Paroles de Paris’ Outside Stroud 2009

footnote
One day, while in Paris on that visit, I walked right across the city from the 20th to the 16th – and then back to Rue de la Bucherie in the 14th where I was  staying. Compared to London, Paris is small and compact and it was a memorable exploration. Walking or cycling is the only way to properly see Paris. When I was in Paris in 2008, thanks to its innovative bike-hire scheme, it was busy with carefree cyclists again.

 

 

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Jago Cooper talks to Jonathan Evens

Living art and urgent questions



Since its opening in 1978 the Sainsbury Centre for Visual Arts has been a genre-defying art museum with world-class collections and a unique perspective on how art can foster cultural dialogue and exchange. Sir Robert and Lady Sainsbury donated their extraordinary art collection, which includes works dating from prehistory to the late 20th century from across the globe, to the University of East Anglia (UEA) and asked a young Norman Foster to create a radical alternative to the traditional art museum. As his first public work, Foster designed a radical new building to house the collection.

Building on these radical foundations, Dr Jago Cooper, as Director of the Sainsbury Centre, and his team have been helping people find new ways to move, feel, think, and activate themselves within the museum and build new relationships with living work of arts in their own way. These approaches include: a pay what you can afford entry scheme; curated journeys through the collection; a Handbook for Meeting Living Art which suggests practical steps and techniques; and a new Living Art exhibition that allows visitors, who don’t want digital or text-based approaches, to feel what is meant when thinking about living art.

The Sainsbury Centre has also embarked on a new approach to exhibition programming, empowering art to address fundamental societal challenges. Artworks from all over the world are travelling to the Sainsbury Centre to pose urgent, global questions to visitors and to help them to find the answers. This is a new aspect to their radically new approach that understands art as alive and capable of engaging people with the fundamental questions of life.

The first of their new seasons was Planet for our Future which explored how we adapt to a transforming world, The current season is investigating how we can know what is true in the world around us through a series of fascinating, interlinked exhibitions.

For more than twenty years Cooper has worked for and with museums, universities, cultural ministries and heritage organisations around the world to explore and communicate aspects of the great human story. His research has ranged broadly across universal questions facing global society including climate change, colonial encounter, technological revolution, and social innovation. His books and publications provide innovative perspectives on cultural experience and interpretation of material expression. He has also written and presented programmes for BBC Four, primarily on the ancient histories of the Americas.

I asked him about the relaunch of the Sainsbury Centre and his hopes for its wider impact.

JE: 2023 marked 50 years since Sir Robert and Lady Sainsbury donated their art collection to the University of East Anglia and asked a young Norman Foster to create a radical alternative to the traditional art museum. To mark this anniversary the Sainsbury Centre was relaunched in ways that sought to build on its origins in order to then present an alternative model of what a museum is and how visitors can meet art in the 21st-century. What were the key elements of that relaunch and why were they chosen?

JC: The key aim of the relaunch was to reframe the role of the museum in the 21st century. Because of the radical foundations of the Sainsbury Centre in the 1970s we have a unique mandate here to able to reinvent both who and how art is experienced within our beautiful galleries. We did this by creating quite a radical framework in which we understand our collection as being alive, that great artists have an ability to channel that unique essence of human lifeforce and materialise it, building on this concept we have created a series of ways for visitors to more actively and emotionally engage with our collection.

JE: The relaunch provided an environment and experiences that then enabled the introduction of a radically different exhibition programme with a series of six-month seasons centred on fundamental societal challenges explored by living art. We’re now in the second season (What is Truth?) of this programme. What has particularly excited you about the programme to date and what did you learn from the first six-month season (Planet for our Future: How do we adapt to a Transforming World?)?

JC: What I have loved most of all about this season is how it is attracting a new audience to our museum. People that are fascinated by the question and our approach rather than just being traditional museum goers who always enjoy seeing incredible art. Because this exhibition delves into Artificial Intelligence, fake news and fundamental questions about our self-identity, you can see the people in the galleries really thinking about these big questions as they go round, inspired by the incredibly creative ways the artists we have collaborated with have chosen to take our visitors on a journey. What we have learnt is that despite the enormity of these questions around climate change and truth, people really enjoy having a museum that lets them explore these challenging topics with inspiration, hope and information provided by the artists and exhibitions we have created.

JE: You’ve said that the original ambition of the Sainsbury Centre founders means it is one of the few museums in the country where there is a chance to pull off some tangible and radical institutional change. What aspects of those original ambitions have you engaged with in the relaunch and how have you done so?

JC: The founders of the Sainsbury Centre explicitly set out to break the traditional rules of the art museum. They created an equal platform for all forms of art no matter where and when it was made in the world. They took art off the walls and created a three dimensional Living Area of cultural dialogue across the stunning architectural landscape designed by Sir Norman Foster. They invited each visitor to take ownership of their own journey through the gallery, explaining that there was no right or wrong way to meet and engage with art. We have taken these concepts and reinvigorated them within the revolutionised societal context of today, introducing image recognition apps on your smartphone to find out the life story of each work on display, bringing in experts, artists and those with lived experience from all around the world to share their story telling through the artworks in our living area.

JE: The Living Area of the Sainsbury Centre currently has some wonderful curation, such as the Paul Cocksedge installation that is directly above a Giacometti figure and the Francis Bacon paintings that are in dialogue one with the other. To what extent is relationality informing what you do and are at the Centre?

JC: One of the primary functions of a museum is to create fascinating cultural dialogues through time and space. The diverse curatorial team here take a lot of time to consider and build these relationships in the gallery and allow our visitors to participate in the fascinating conversations that ensue.

JE: What has been most encouraging about responses to the relaunch to date?

JC: The most encouraging response has been the hugely supportive way our friends and colleagues in other museums across the world have helped us develop the ideas and experiences within the galleries. It feels very much like this has been a collaboration and I hope people have enjoyed the conversations as much as we have enjoyed delivering on them.

JE: You’ve achieved a lot very quickly. What are your next steps and how will you consolidate the change that has already been achieved?

JC: The next steps for building the ‘updated museum’ will be the development of a creative agency, media company and multi sensorial visitor attraction, which aims to activate art to engage people with the biggest questions people have in their life as part of our future programme. The media company will aim to capitalise on contemporary broadcast media to modernise the way we share the stories from the creative agency out into the world, and the enhanced visitor experience is to provide a more interactive and dynamic experience across our whole museum landscape.

JE: How will you know you are achieving your goals? What are some of the key markers and indicators going forward?

JC: The key goals are both qualitative and quantitative, we would like to attract more visitors to experience what we have created and for them to have a richer and more engaged experience when they are here.

JE: Why do you think an alternative model of what a museum is and how visitors can meet art is needed in the 21st century?

JC: Because society is continually changing and the main questions that people want answered now are different to the questions of the 18th, 19th and 20th centuries, when most museums were created.

JE: What do you hope the wider ramifications of the alternative model you are developing might be in the longer term?

JC: I hope that we will attract and build a wider community of people who love the Sainsbury Centre and want to collaborate and support us. That is what we all live and work so hard for at the Sainsbury centre.

What is Truth?, The Sainsbury Centre for Visual Arts: In Event of Moon Disaster, 17 February – 4 August 2024; Liquid Gender, 17 February – 4 August 2024; Jeffrey Gibson: no simple word for time, 24 February – 4 August 2024; The Camera Never Lies: Challenging images through The Incite Project, 18 May – 20 October 2024

Jago Cooper

 

The images are:

In Event Of Moon Disaster at the Sainsbury Centre. Photo: Kate Wolstenholme © MIT and Halsey Burgund

Martine Gutierrez, Queer Rage, Imagine Life-Size, and I’m Tyra, p66-67 from Indigenous Woman, 2018.     © Martine Gutierrez; Courtesy of the artist and RYAN LEE Gallery, New York

Rashaad Newsome, Afro-fabulations 9, 2023    © Rashaad Newsome

Jeffrey Gibson, I am a Rainbow, beaded punching bag    © Jeffrey Gibson. Courtesy the artist, Stephen Friedman Gallery, Sikkema Jenkins and Co. and Roberts Projects. Photo: Max Yawney

 

 

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‘Black lung and unwritten songs’

Strike, Sarah Wimbush (£15, Stairwell Books)

40 years on and the miners’ strike continues to be on the public’s mind. It united but also tore apart communities, it was only defeated by illegal police and government activities, it unified many in raising funds and support for those risking poverty and was the subject of intense nationwide debate and argument. In the end (on the back of MI5 snooping) Union funds got confiscated, violence ensued and defeated miners went back to work only to have their pits closed as ‘uneconomical’ and ‘unsustainable’. Whole villages and towns have still not recovered, unions have never quite found themselves able to unify their members as before (though visible campaigns continue for doctors and nurses, university staff and others), and the images of police in riot gear, assaulting unarmed workers exercising their right to strike and picket, will not go away.

Many of these images are in this new book, along with celebratory, elegaic, assertive and political poems. Many of Sarah Wimbush’s poems seem to riff on the accompanying photographs, exploring the humanity of those depicted. There is writing about the women support groups, miners receiving charitable handouts, rallies, and riots; but also benefit gigs, NUM membership cards, collecting scrap coal and graffiti, along with some more surprising images: a police inspector giving an injured miner the kiss of life and what appears to be a friendly football match between police and miners.

The book is full of the complex personal lives of the time, the contradictions of workers desperate to keep and save their appallingly hard and poorly-paid jobs, those who chose to not strike and go to work, how each side became ‘The Enemy’ to the other:

     Enemy behind a riot shield
     Enemy by the gate
     Enemy driving a coal truck
     Enemy on a plate

     […]

     Enemy ditch their epaulettes

     […]

     Enemy bends every law

The figurehead of authority at the time was, of course, Margaret Thatcher; much of what happened was the result of her direct interference and planning, but she was also a scapegoat for the Tories, who in time would stab her in the back, as politicians are wont to do with their leaders. Here, Wimbush starts her poem ‘Thatcher’, with the image she presented at the time:

     Her Majesty
     of backcomb and pearls.
     Blonde bombshell, iron-handbagged
     and twice the man.

before questioning some of the prime minister’s assertions:

     Who is the mob?
     Who is the enemy within?

before drawing the poem to a close with the image of ‘her bloody woman’s hands.’

I like the blurring here of bloody woman and bloody hands, and the way Wimbush captures details, to make it all personal rather than simply reiterating the slogans and media manipulations of the day. This book does not indulge in the pathos of Brassed Off, nor the musical conceit of Billy Elliot: however good those films may be they rarely depict the tragic and complex realities of this major industrial dispute, which was soon followed by other events such as the Battle of the Beanfield (where the police once more indulged in illegal violence) and changes to the laws dealing with protest, striking and people gathering together.

Strike is an important book which challenges the ‘Lies. Lies and more bollocks’ the media and politicians fed us at the time, and which continue to be recycled today. It is a passionate, engaged and engaging retelling of recent history, of a time when neoliberalism did not yet have the influence and control it does today. It stands as a reminder and challenge to us all to speak and act together rather than simply do what is expected or what we are told to do.

 

 

Rupert Loydell

Miners’ Strike 1984-85 poetry-film, The Flat Cap by Sarah Wimbush

 

(This review first appeared at Tears in the Fence)

 

 

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A DRUNK MAN

 
The drunker I become the more I mix things up

Today, for example, I confused Iain Critchton Smith
with Max Stafford-Clark, who had been the Artistic
Director of the Royal Court Theatre in London
when it banned Jim Allen’s play Perdition, which
was being directed by Ken Loach, after coming
under pressure from people who believed it to be

inaccurate, inflammatory, bordering
on the blasphemous. Shameful. Anti-semitic
in the way it examined Zionism

An insult to those who had died in the Holocaust
Critchton-Smith, writing about Hugh MacDiarmid
in The Golden Lyric says that Hugh’s imagination
saved him from communism. The poems he wrote
about Lenin are (fortunately) more about himself
than Lenin.

A man may say, says Iain, that he is a communist
and (yet) in the recesses of his imagination not be so

Ken Loach accuses Max of the Royal Court
of appalling moral cowardice

 
 
 
 
Steven Taylor
Illustration Edward Gage
 
# the title references MacDiarmid’s poem
A Drunk Man Looks At The Thistle
 
 
 
 
 
 
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Burrowing Owl


 
                 “ . . . and potentially threaten the life of the owl
                  if it is inside its burrow during construction.”
                 Melinda Miller, in the Liberty Wildlife magazine WingBeats
 
There is an owl that goes
where no other one can, through the uppermost
layers of soil and the mind
where whole days are erased.
At midnight
                 do the mouse bones
crack when you walk
across them? Dream on,
look back, dig deep; if machines are ready
to take the land
night stands between them
and you.
             A sudden blow
comes from the sky
or from the earth and the daylight
doesn’t feel a thing.
It’s impossible to see from underground
what happens, even
                             with spirit eyes.
Hurting goes on hold, there’s help
and darkness for protection.
In blackout time

the seconds tick black mercy.

 

David Chorlton

You can find out more about Wild at Heart’s Burrowing Owl Relocation Project in Arizona, here.

 

 

 

 

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4 MORE POEMS BY ERIC ERIC

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1. “The Finger”

They called him “The Finger”
I never did find out why

2. The Submission

Dear Editor,
I enclose 17 poems
And my cheque for £8.50
 (50p per poem)
Thank you for your consideration
(Intimate photos will follow shortly)

3. The Shakespeare Effect

This is not much more than a title at the moment
I am looking for a decent rhyme for “Avon”
Do you think “swan” works?

4. The Apology

Dear Editor,
I am sorry
I am really sorry
I am really very sorry
I cannot begin to tell you how sorry I am

 

 

.

by Eric Eric (poet, tatter & flâneur)

 

 

 

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last poem for Nadia


      
               after Neruda
        
come and see
come and see 

no blood in 
the poem

clapping 
and ovation 

                    soaring ballerine

once again 
old aesthetics
curls up

bones transparent 
in moonlight
drowned in
frescos

Debussy being played
over
Syria or Palestine
for clarity 

come and see 
come and see

no blood 

they’re 
empty mussels resounding in
Auschwitz
i’ve long forgotten

 

 

Debasis Mukhopadhyay

 

 

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THREE PART INVENTION

Ducati built a 999
Racing motorcycle dubbed ‘Moto
Poeta’ by its Milanese mechanics

Because ‘Baudelaire of Broadway’
Fred Seidel the ‘decadent reclusive’
Poem writer and rider

Ordered and designed the beast
Purely to his spec.
Though it then caught fire

Once he set astride
His tastefully fastidious
Fast high life

Maybe a mislaid book
Of matches then ‘went off’
Since persons self-combusting

‘Went out’
With Charles (what the?)
Dickens

Chet Baker chose the cream
Alpha Romeo with Roman plates
Chilled as vanilla gelato

He’d leave it who knows where  
The art of instant composition
Took his air-conditioned horn and all

Hannibal fed his elephants ideas
‘Take the trunk road through The Alps’
Brrr!   –   he never did arrive in Rome

But sent ahead
Great orders of gelato
He’d only just invented or ‘whipped up’

So much for others’
Vehicles’ unwonted side-effects
Allow me Shanks’s Pony any day

 

Bernard Saint
Pic: Claire Palmer

 

 

 

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Empty Frames

They float on their backs

Touching gently in the tile-framed pond

No hands to wipe the needles out of their eyes

As they follow clouds, crossing the sky

Warm wind from the sea, cool wind from the hills

Shaded by branches arching low from the larch.

 

He’d fanned them out like a hand of cards

Faces up on an apple green baize

His first day, with eyes still closed

Day 3 – still unwell, 6 months, 4 years

All lazing on surface weed

As if on a lawn in the autumn sun.

He imagined foxes stepping on them like stones

On their way over the wall, into their home

Sinking, screeching at the water cool

And the sight of eyes below, frustrating the crows.

Once pressed they are swallowed by shadowy sludge

Blanket weed a metre deep, ravenous hair, netted green.

 

Raindrops fall into their open smiles

Weighing them down as bubbles rise

In seconds they dissolve

His stick cannot find them!

He’ll have to change his wet clothes

Or she’ll guess where he’s been

And know about the faces in the pond.

……………………….

Photos are not me acting as a god

As creator of a baby or the people I pass

I don’t seek to clasp souls in my hands

To cage the essence of life in a frame behind glass.

All mothers cherish photos of their child

Day 1, Day 3 – still unwell

6 months, 4 years – Me holding him high.

 

To lose them, have a burglar steal them

To find them torn of a face no longer loved

And sent spinning in space

Like a severed limb, no longer warm

Tears that moment in time

Once preserved, now purged.

……………………….

I came home from the shop

And saw my son by the pond

A note on the study door read

“They might one day be returned”

Books? I stepped in

Every frame whimpered, feverish with loss.

Blood was splashed up the walls

By surgery smashing up frames.

Tinnitus rebounded from shaking shelves

Silent screams fell with glass to the floor.

 

Every photo of mother and baby

Him as a toddler and growing child

Gone from the tops of bookcases and my desk below

I don’t have other copies,

They weren’t photos on a phone

Relatives, now distant, threw theirs long ago.

 

This is not a test, not a phase,

A teenage rage soon to pass.

The boy becomes man and rejects the mother.

A thousand times he will wound me

For the divorce he pleaded against

But I could not prevent

For the Covid lockdown and terror of the news

For the predicted eventuality of just we two.

 

Now the shutters are bolted, both doors are locked

Insects feed on the dust and pages

Of that room, abandoned like a lifetime’s stage

After the final curtain

Stripped of cherubs, high in the gods.

 

His note threatened consequences

What more should I fear?

My spirit cast out in the universe of time

Choking on blanket weed

Driven mad by those smiles

That had radiated such love

To the life I cared for, and fought for

Several times nearly died for

Grown to bury me alive in an empty frame.

…………………….

A month has passed, time heals and I stand before you

Both as gallery and picture at an exhibition,

We are all of us treasures in Mussorgsky frames.

All that I am, all I have done in this life

Is moulded and painted here, layer upon layer.

 

This body is the frame for my memories

Ringed in cells of carbon and chalk

Every cut, every break, the demise of every child

Every love, every grief etched and preserved

Not as evidence for the angels

It is my spirit they know

Rather my own story, I fear I’ll one day forget.

 

My face alone shows a lifetime’s events

More perhaps than the ballet

That deformed hips, chiselled arches

These quarries under eyes, mined deep by tears

And mouth now pinched, smile felled by grief.

 

This external frame mirrors the walls of my heart

Open as an organ playing into the frames of clouds

Echoing my legends through the frames of trees

To be mirrored again by their roots, deep underground.

 

I was wrong to mourn the loss of those photos

2D, captured through the eyes of strangers

My memories are within me

In every cell, muscle and bone

Framed by this body

Framing this body, and all that I am.

(Tracey will read this poem aloud at the Chichester Festival Theatre Words Out Late event on Friday 19 April 2024)

 

 

 

Tracey Chippendale-Gammell
Picture Nick Victor

 

 

 

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EXTREME PROTEST

 

i.m. Andrew Bushnell

Andrew Bushnell, twenty-five-year-old
airman, though you’ve passed from our ken,
I still feel the flames that will not die out
on the ground you hallowed with your burnt life.
A guard rushed you, while another shouted,
“I don’t need guns, I need fire
extinguishers!” frantic to silence
your agonized voice of fire. Did it
have to be that way? In your mind it did.
Soon after that, a hundred died
clamoring for food in starving Gaza . . .
How can we say what needs to be said
loud enough to be heard over the grinding
of the war money machine that mills our bones
for its bread? Aaron Bushnell, your friends
said you were smart, kind, funny, and brave.
I’m sorry for them and for your family,
but more than that I’m sorry for the crimes
that drove you to your extreme protest.
I pray that more young do not follow suit,
for we can’t afford to lose a single
one of you in this world where all are needed
to take down the Goliath of cruelty
and death our weapons have loosed upon
the nations crying out to live in peace.
The guard spoke truth: This burning world needs 
every fire extinguisher we can bring to it.

 

 

Thomas Smith

 

 

 

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AI is Starting to Scare People – and so it Damn Well Should!

 

 

The Human Race is awakening to the possibility that it is invoking its own demise.

The word ‘race’ according to my dictionary means ‘the major divisions of human kind based on particular characteristics.’

But there is another meaning to the word ‘race’ of course, and that is defined as ‘competition to determine the fastest over a set course.’

This latter meaning seems to have replaced the former. Especially where a blinkered, tunnel vision view of the future has become hard wired to an artificial intelligence world in which everything is designed to the bespoke demands of left brain dominated computer nerds.

For these psychotic individuals, there is a race on to develop an artificial human entity essentially indistinguishable from a robot. A Transhuman.

Amongst those at the forefront of pursuing this techno-human vision are Professor Yuval Noah Harari, chief advisor to Klaus Schwab and Sam Altman, founder of Open AI/Chat GPT.

Harari’s vision is largely philosophical, tracing the evolution of the artificial intelligence boom and extrapolating from this an outcome of a cyborgian take-over of just about all work oriented planetary activity.

He generally sees this in the positive, believing a new species will emerge with the ability to access superhuman volumes of information and in this way acquire ‘knowledge’.
In a recent interview he stated “AI will make it possible to enhance and upgrade humans.”

Meaning – as we shall see later – upgrade them into being inhuman/non human.

Altman comes at it from the post silicon valley (called ‘cerebral valley’) perspective. Wikipedia states, as part of a longer revue “Altman co-founded Tools For Humanity in 2019, a company which builds and distributes systems designed to scan people’s eyes to provide authentication and verify proof of personhood to counter fraud. People who agree to have their eyes scanned are compensated with a cryptocurrency called Worldcoin. Tools for Humanity describes its cryptocurrency as similar to universal basic income.”

I’m sure I read that in Huxley’s Brave New World Revisited…

His company is already rushing ahead with the development of various high tech aids to government surveillance programs, age extension projects and instant text to image formulations.

Altman has come up with the proposition that just one man will shortly be able to manage a business with a turnover of $1 billion – no other staff required.

He is on the same page as Harari in stating “Such companies require an elite new species to run them.”

Stock market valuations of Open AI/Chat GPT reveal an astronomical growth rate, close to surpassing the net worth of Google and Microsoft combined.

That alone is enough to raise the hairs on the back of one’s neck.

It’s not my purpose to go into Altman’s or Harari’s personal ambitions, I simply want to show where their minds are and explore the psychology behind the surge in fascination with AI as well as look out for signs of a counter reaction to its accelerating dominance.

There’s no doubt that man has always had an instinct for material inventiveness and a fascination in advancing technological developments – coupled with a desire to make things go ever faster.

But this has now taken us to a place where, if what it means to be human is to be respected, one should dare go no further. Rather, one should be alert to recognising the need to select a reverse gear.

Flirting with designing a new species whose chief characteristics are the antithesis of those deemed to be the most beneficial for our higher evolution, used to be called ‘playing God’.

But this expression no longer seems appropriate, because what is actually happening is that the likes of Harari and Altman are ‘playing Devil’.

They are articulating and promoting the replacement of the spontaneous human qualities of love, compassion, pain and pleasure – with high-tech robotic states of mind that see no place for these deeply human instincts – and then they name this ‘progress’.

These cyborgian characteristics are modelled on the precept that human emotions are somehow primitive, blocking our ability to design an existence of completely controllable, frictionless, linear certainty.

No ups, no downs, no passion, no feelings – except what Huxley describes in ‘Brave New World’ as a state acquired after being prescribed the chemical docility pill ‘Soma’.

Thus the proponents of A New World Order/Great Reset can point to the fact that by manipulating human DNA, installing internal nanotech computer chips and using targetted EMF radiation frequencies to control mankind’s cognitive faculties – one removes the danger of any form of destabilising or rebellious influence ever becoming a threat to the smooth functioning of a sterilised and sanitised status quo (The Matrix).

This makes the idea of a completely predictable chipped and digitalised AI cyborg man the perfect fit for number crunching technocrats administrating the central planning department of the dark cabal’s Great Reset/World Government.

It also explains why Klaus Schwab can, with such certainty, announce that by following the diktats of the Fourth Industrial Revolution “you will own nothing and you will be happy”. Yes, because
the ‘Soma affect’ of DNA and brain manipulation mean no individual powers of resistance will remain!

It’s all connected when one joins the dots. And it is when such joining is finally undertaken that the scary factor suddenly cuts in – and providing it is functioning as it should – a biological impulse to reject such a scenario, takes over.

Consider this: The great global warming scam has been maintained at full volume for over two decades in order the make sure people can see no other solution for life on earth – than ‘Net Zero’. Thus daily life must conform to a series of dictatorial impositions designed to ensure a zero carbon future ‘as the only way to save the world’.

Soothing titles like ‘Agenda 2030 Sustainability’ and ‘Green New Deal’ have been invented to give the impression that this is a benign ‘greening’ operation for the assured benefit of present and future generations.

But ‘playing devil’ means reversing realities, a fiendish trick that those in charge of the Great Reset are well schooled in. Like the Nazi ploy of turning an Indian peace symbol, the swastika, into a symbol of repression and war.

‘Reversal’ is the chief destabilising characteristic of demonic entities.

So, can Green New Deal really be a benign ecological initiative to increase the biodiversity of the planet and improve food quality?

Only if you believe the following to be a description of such: covering the rural landscape with giant wind turbines and acres of photovoltaic panels; the eradication of farmers and their replacement with robots; farm grown foods replaced with synthetic GMO laboratory lookalikes; cows replaced with machines that produce GMO synthetic milk and petri dish raised medicinal meats.

So you see why the deep state cabal has to keep up a full spectrum dominance barrage of ulterior motive lies about why meeting ‘Net Zero’ is the all important issue of the millenium.

The transition to a Transhuman obviously requires a super-vast false flag indoctrination process to give it any chance of succeeding. One backed by the threat of fines; permanent AI surveillance tied into a digital currency; imprisonment in 5G powered ‘smart cities’ and long range attacks on the ability of the human brain to remain capable of clear thinking.

All this and much more, to squelch the threat of any possible rebellion or dissension from the rules put in place to force mankind to surrender to its carefully planned Net Zero eradication. Again, an agenda that replaces the human with an AI computer programmed replica species having no capability to express resistance.

All this forms the deep state agenda of The Great Reset. And its reasoning for the necessity of such actions is that there is no other way of terminating the existence of the benign ‘gas of life’ called CO2. No way, other than turning the human race into a well drilled army of the walking dead.

Should such an insane agenda send a shiver down one’s spine?

Well, if is doesn’t, then one’s assumed status as a human being must surely be in doubt.

If the inclination is simply to dismiss these warnings as some sort of exotic fantasy, consider the following prescient news item: a company called Aria Advanced Research Invention Agency has recently been established in the UK under the strap line ‘Shaping the Global Future’ and with the stated number one goal of ‘cutting the global warming threat caused by methane emissions from cows’. To be followed by ‘the development of genetically modified programmable plants’. Also as a means of cutting global warming, of course.

Need I provide any more evidence that the fake green fascistic agenda designed to ‘stop climate change’ was chosen to be the straw man essential for gaining public acceptance of the need to alter the DNA of nature, redesign the human species and depopulate the planet?

We were gifted the nerve guided emotional condition of fear as an early warning system for addressing a situation that is potentially perilous. Stopping in our tracks and taking a second look before proceeding.

Elon Musk and few others of similar standing, did momentarily get this message a few months ago. Musk, himself a leading exponent of AI – wanted a task force to examine where artificial intelligence is going and whether it is already out of control.

The alarm bells have been ringing for two to three decades, but the rise of the crucial scary feelings are quite recent for most. They represent a last chance saloon – an emotional life line – and must be individually and collectively analysed and acted upon.

I would prioritise children as being the most urgently in need of protection from AI. The distortion and poisoning of their beautiful innocent minds with digital EMF powered virtual reality war game violence, toxic advertising and twisted sexuality, firmly belongs in the category of crimes against humanity.

And then the thoughtless – one might even say ‘careless’ – adoption of mass produced digitalised weapons of convenience (i.e the mobile phone) by what are supposed to be intelligent human beings capable of discernment and rational thought, requires the establishment of a new category of social and mental sickness.

But more important than this, is the need for those addicts to be sufficiently scared of what they are doing to themselves, others and the natural environment, so as to finally kick their habit.

It is not my wish to devote the majority of my writing in trying to scare people. It’s not as though there isn’t a bucket full of the preplanned distorted version going on under the auspices of the shadow government cabal.

I much prefer to encourage the extraordinary creative qualities that lie just below the surface of many millions of warm, humanitarian, pro-life men, women and children spread far and wide across this world.

However, I must articulate the nature of the dis-ease picked-up by my personal early warning system. The one that calls out for one to take action for the preservation of life.

It is because I recognise the existence of a collective unconscious vibrational energy which connects us all, that I believe readers will share my trepidations, foresights and deepest beliefs. After all, they are common to us all.

It is for this reason that we can and will overcome even the worst threats to our common futures. Rediscovering and rejuvenating our humanity, our love of life and our love for each other. And in so doing, pull the plug on the builders of monstrous, soulless, virtual realities devoid of all qualities that make life so profoundly meaningful – so incalculably precious.

 

Julian Rose

 

Julian Rose is an organic farmer, writer, broadcaster and international activist. He is author of four books of which the latest ‘Overcoming the Robotic Mind’ is a clarion call to resist the despotic New World Order takeover of our lives. Do visit his website for further information www.julianrose.info

 

 

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from Jim Henderson’s A SUFFOLK DIARY

from Jim Henderson’s A SUFFOLK DIARY

Tuesday, March 5th

I had to go to Stowmarket Specsavers today for my regular eye test, and while there I saw two very fat ladies very substantial women standing outside a Vape shop chattering and having a fag. I am not sure if they were advertising something, but if they were it was not working, and the image left inside my head will not go away, and writing about it is not helping. It is not helping at all. And I have to have new reading glasses.

In The Wheatsheaf this evening Bernie Shepherdson said that because the House of Lords is delaying and it looks like they plan to go on delaying the government’s plans to send their unwanted foreign visitors to Africa then it is more and more likely that they will try and put some of them in our village hall, especially as it is now all new and shiny inside after the repairs and refurbishment following the fire. He said GASSE (“Go Away! Stay Somewhere Else!”) – the Parish Council’s little group whose aim is to stop that happening – should be putting itself on what he called “a war footing”, and get itself properly organised. I think we have been here before, and also it sounds like he has been talking to Major “Teddy” Thomas, because he started going on about uniforms. I told him Miss Tindle has made us all new armbands, but that did not seem to be quite enough for him. It feels like enough for me, and I said as much.

Friday, March 8th

Bumped into Nancy Crowe today, who is very vocal among the village youth and in their criticism of GASSE. Instead of just saying Hello and passing by, we stopped for a moment, and she said she wanted to talk to me about what she called “like, the whole poor boat people, like, thing”. If there had been a coffee shop in the village I would have said Let’s go and have a coffee, but there isn’t, so instead I said she was more than welcome to pop in and have a cup of tea at the house if she wanted, and I gave her my phone number. I hope I have not done anything inappropriate. Perhaps I should suggest she bring a chaperone. Then again, she might not come.

Saturday, March 9th

There was discussion in The Wheatsheaf at lunchtime about sending unwanted foreigners to Africa, and whether or not they would be safe there. One wag (I don’t know his name; I think he was just passing through) said it would probably be safer than sending them to live on a council estate in Ipswich. I though that was quite a funny line, which is why I’ve written it down, so I don’t forget it. I might use it myself sometime.

Sunday, March 10th

A while ago the County Council, as I diaried (is that a word?) at the time, resurfaced the road that goes through the village, and as a result we became a favoured race-track for joy-riders and boy racers, probably youngsters from the youth wing of the Stowmarket branch of MENSA. Anyhoo, last night someone pranged a BMW (nice car!) outside the village shop and demolished the post-box, and left the car somewhat the worse for wear sort of astride it. Lunchtime it was still there, but the Police have always had trouble finding their way here, judging by how rarely we see any of them. Of course the upshot is that now villagers will not be able to post letters until the post-box is restored. Mind you, with stamps the price they are I think most people cannot afford to send letters, even if they can remember how to write them.

Tuesday, March 12th

John  Garnham, the Parish Clerk, has told me (and, I assume, others) that the deadline for submitting an application to stand as a parish councillor is approaching. I looked online and it is not tomorrow, and there is still a couple of weeks to go. Frankly, the elections for the Parish Council are a bit of a non-event here: if you are already on it, all you have to do is tell people you want to stay on it and you will be alright. In the past, even the occasional punch-up with fellow villagers has not stopped someone being re-elected (I name no names!), but it will not hurt to photocopy some leaflets and stick them through some letterboxes, but that is about all that is needed, so I shall get on the laptop and knock something up this week. I will continue on the Council (should the electorate grant me that honour, of course) but I am not interested in being the Parish Clerk. It is too much like a proper job, with too much responsibility. It is one thing to attend a few meetings and put one’s two penn’orth in, and I enjoy being the ARSE (Advanced Round-the-clock Security Executive) for GASSE, but I am happy to leave it at that. But with John Garnham stepping down, I wonder who will replace him? Bernie Shepherdson is probably the bookie’s favourite, or would be if he was a horse. He and his wife Bernadette have let us use their summer house for meetings, and he can probably use her cakes to win over a lot of people. She is quite the cook, especially in the cake and pastry line. The alternatives are not very attractive, to be honest: probably the Major will stand, but he does not have much in the way of kerb appeal, while Michael Whittingham is enough of a nuisance and popular among certain sections of the community to have a shot at it. I do not know if anyone else is interested enough. Most of the others on the Council are like me: they like to be involved, and it gets them out of the house, but they would prefer someone else to do the heavy lifting.

I was chatting about all this with Kristina behind the bar at The Wheatsheaf, and she said she thought I would make a very good Parish Clerk, and added that she reckoned that was not the only thing I would be good at. Then she said she really likes my beard, which I am maintaining at a rugged-looking stubble kind of length. I am not sure if she was flirting with me. I am not very good at figuring that kind of thing out. Plus, I am a married man, at least technically.

 

James Henderson

 

 

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Social Media


When cloistered monks did first begin to read

they spoke each word out loud in droning voice,
at first not understanding that this deed
could sound inside the head alone. When words
became available to all, some feared their lure
as preachers, levellers, reformers, all
cried out for rights for women, slaves, the poor
and books were burnt as many heard their call.
Today, with Facebook, Twitter and the like
it’s easy just to read the headlines, fail
to think. Then, call for murder — strike
a blow in text. The venom’s meant to hurt:

common decency and care are what we’re flouting.
The world’s a poorer place with silent shouting.

 

 

 

 

Tonnie Richmond

 

Tonnie Richmond lives in Leeds and loves Orkney and archaeology. She has had poems published by The Storms, Black Nore, Up!, Dreamcatcher, Dawntreader and others and in various anthologies. Her first pamphlet, Rear-view Mirror, was published Yaffle’s Nest in November 2023.

 

 

 

 

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Four Prison Portraits

Number One:

Lived here all my life and gonna be here for rest of it. What to do with myself? All those millions of minutes to fill. I know, take a law degree. Seemed like a good idea. I does it for several years. Gets fully qualified. Seriously knows my stuff. I can advise people around me and gets popular as a person because of it. Advises screws when their mortgage company start trying to take the piss. Makes sense. But how to actually make a living from it? Not allowed to make a living. Never getting let out. Knew how to jemmy a car door as a toddler. Took it from there. Record longer than long arm of the. And long leg. And the Empire State Building.

I know. Offer not only to defend people who need defending. Offer service as a person to blame when others need to shift blame to get off. Yeh, charge them for taking the rap on their behalf. Plead Guilty. On Oath. Money sent to Swiss Bank account. Can’t spend it but that don’t matter. Can’t prove that I was anywhere but inside but that don’t matter either. Can still live life vicariously through contacts on the out. And those that I get to know in here who are let out. They will be able to act on my behalf. Kushdee. Gives me a reason to carry on living. And wanting to live anyways. All I ever wanted to do was live.

Number Two:

They said that knowing that I was a sex offender was actually a good thing. Meant they knew what they were dealing with. That I could be helped. Could recover. Could get rehabilitated. They said the real problems were the ones who only thought about being a sex offender and never actually did anything about it. Thought it. Then buried it. Like they’d been taught to do when they were little. Alright to think nasty things. Just don’t ever do them. Think it. Bury it. Lost count of the sex offenders we’ve met who never actually did anything about it they said. Still out there. All of them. Living their nasty little lives. Being nasty for a living. And getting away with it cos just being nasty isn’t a crime. They also said I’d been brave to own up. To seek help. That I would get rewarded for that in the end. Maybe I will. What they didn’t tell me is that I’d get all the shit thrown at me first. The shit that can’t be thrown at the bastards who only thought it and then buried it and then channelled it into some other way of being a nasty little prick. I get them now sneering at me telling me they are the good guys cos they only thought it and then buried it whereas I went all out and did the whole kaboodle. I’m the bad guy. Doesn’t matter that I’m sorry. Doesn’t matter that I made a mistake. Just evil me. Sometimes it does feel like I was evil. Most the time feels  like I was being totally stupid. Or ignorant. Still do feel ignorant. Can’t understand why I’m in here and they’re out there.

Number Three:

I don’t know what I’m doing in prison portraits. I’ve never done time. Never will. I work for the Gas Board. Or I’m a painter and decorator. Or a psychiatrist come to help you with your insomnia. Or a social worker for the council come to assess whether you qualify for housing benefit. I do any job that will give me access to your home. So I can come and have a look around and see what you’ve got. See if you are worth doing. I report on that and get paid for the information but if anyone asks, of course I didn’t. Just doing my job. For the Gas Board. Got my lanyard to prove it. And my squeaky clean DBS. Never even been done for pissing in my own bathwater. And nobody ever reported me of it nor accused me of it neither. They never would. In polite circles they call it diplomatic immunity but that’s just what the tossers call it. You can take your diplomatic immunity and stick it where you like. My protection is far greater than that. What I have is a certainty. A sacred certainty that no-one will ever tell on me. Grassless I am. More sacred than a man of the cloth. Don’t have to threaten or intimidate to keep my freedom and my good name. Kept for me. By the longest of long traditions. Silence. A beautiful certainty. Very calming. I’ll be working for the Gas Board or as a painter and decorator or a psychiatrist or a do gooder from the council and no-one will ever ever know that I’m that smashing chap who lives next door to you and would do anything for anyone. You’ve heard that said about people haven’t you when they die? That’s what they’ll say about me. Absolutely anything for absolutely anyone. Why else would you let me into your home?

Number Four:

Six foot nine and thirty three stone. Never bench pressed in my life. Don’t need to. Big and fat some say. Big yeh. But not fat. Fit and active life. Play rugby. Built like a Shithouse. In my genes. Just how I am. And I work on my own and with others who are held on their own. In solitary. There’s them and there’s me. Both of us alone. They call me the Pussycat because I’m softly spoken and actually think of myself as kind. I am kind. Don’t let the baggage they bring with them influence me. Usually come to my wing because they are unhappy. Don’t need me to compound that. I don’t exactly do much to make anyone happier. Not deliberately anyway. Just don’t see any point in making unhappy people even more unhappy. Yeh, I do tend to work alone because of how I look and some governors think just my size will stop anyone trying to take me on. But in all honesty no-one ever tries to take me on. And not because of my size. You act nice and decent in this place and it soon gets round. Some of them do get themselves into solitary just cos they’ve heard I’m there. And that it might be a cushy option. Like the library or the hospital. But I know my job. I ain’t cushy. Governors aren’t just saving money having me work there on my own. They know I understand security. And that I don’t take no shit. Never need to. Treat people as you’d have them treat you. Applies to prisoners as well. And the Governors know I entered the Prison Service to help people. I told ’em so at my interview. Some of my colleagues think I’m soft when they see me at work but it don’t last long. Not if they’ve got brains anyway. My gran says some are just the sort short of a shilling. I’ll lend ’em a bob. Just my way. Not all of them accept it of course. Why I work on my own. My choice. Get more done. When it’s just me on my own and them on their own. In solitary.

 

Gary Boswell

 

 

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Nye

Photo: Michael Sheen as Aneurin Bevan.  Credit: Johan Persson.

 

There’s more decent politics coming from the National Theatre’s Olivier stage than there has been for decades from the institution across the river.  My friend and I wondered if shadow ministers were in the audience – let alone the BTP Government  (beyond the pale).  Nye, written by Tony Price recounts, with theatre making brilliance, the story of the foundation of the National Health Service through a series of morphine induced memories as Aneurin ‘Nye’ Bevan hallucinates momentous stages of his life while dying of stomach cancer.  Played by Michael Sheen dressed throughout in a chubster suit under his stripy pyjamas, and a cow pat hair do we travel through these vignettes: caning by a brutal school master for his stutter, setting up town councils, getting into Parliament, meeting Jennie Lee – later to become Minister for the Arts.  A brief WW2, the transfer of power from Chamberlain to Churchill – and later Clement Atlee who offered Nye the Ministry for Health and Housing, through to the founding of the National Health Service.  The difficulty in pushing this through the British Medical Association and the doctors is particularly well done – as is the death of his father. There are profound exchanges between him and Churchill (Tony Jayawardena) in the art of politics; compromise, tactics and strategy.  Their conversation in the tearooms, a place Churchill rarely visited, with a beautifully choreographed routine of MPs and their tea-cups.  The death of Nye’s miner father, a man he was reluctant to visit as he was dying, yet  made it to the death bed is very moving (my friend was in tears). Hallucinations of his father taking him down the pit – sharing his knowledge and understanding of coal as if were an animal, when and how to strike at a seam – magical realism with sound and laser beams.   This deep knowledge is carried into Nye’s decisions about how and when to make political strikes.  This is terrific theatre, as the three elements of writing, set and performance are in powerful harmony.  Director Rufus Norris and designer Vicky Mortimer’s sets, all swishing green plastic, balletic hospital beds and a great Mekon style PM Clem Atlee and his mobile desk (brilliantly played by Stephanie Jacob in bald wig).  The big star is Michael Sheen in his jim-jams  (replica pairs can be purchased in the shop).  His is a performance from the heart as well as the head. It was poignant for me, in my mid 70s looking at how, as a working class kid, I took free health care for granted, my parents and grandparents seeing it as a gift. There is no didactic writing here, but passion for social change. Do we need another war to understand this? It may seem odd for a reviewer to mention other reviews, yet the sprinklings of 3 stars out there suggest reviewers (no doubt with a post modern education behind them, and youngish), do not understand the profundity of this play, and how well the passion and intellect of the Welshman Bevan came together in agape – love for humanity.  If I had a pocket of stars I’d give it every one.

 

National Theatre till 11th May. A performance captured live and broadcast worldwide from Tuesday 23rd April marking the 100th NT live title. Transferring to Wales Millennium Centre 18th May – 1st June.

 

 

Jan Woolf

 

 

 

 

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SAUSAGE Life 292

Bird Guano’s
SAUSAGE LIFE
The column that teaches grammar to suck egg’s

READER:  Nobody will get that joke.
MYSELF:  That fact alone confirms my suspicions.
READER:  Whatever. Anyway I’m excited. The handkerchief waving pre-season training has started, the Morrismen are already working out with weighted bell-bottoms, iron clogs and clacking sticks. Soon it will be spring and everyone will be blacking up and celebrating Jack in the Green.
MYSELF: You country folk are fascinating, which I suppose accounts for the mysterious longevity of the Archers.
READER: Not to mention the mysterious popularity of the accordion.
MYSELF:  There are some things beyond our comprehension. However, as an aficionado of the ancient fertility rites of this sceptered isle, you may be interested in the following snippet from our arts section: 

POETRY REVIEW
Milqueflote wows Pyjama Crowd
Poet, performance artist, steel girder erector and Wild West enthusiast Alistair Milqueflote gave a rare reading last night at Hastings’ new performing arts venue The Cat’s Pyjama. After delighting his fans with a tour de force of his best loved poems, (including No No Nanook! and Waiter – There’s Some Soup on my Fly), the slightly unsteady Mr. Twee grabbed his trademark metal tea-tray, and with a self-inflicted blow to the head, launched into a performance of arguably his most famous work, the epic Morrismen, to a thunderstorm of expectant applause:

MORRISMEN 

by Alistair Milqueflote
Bells on their fingers and

Bells on their toes

The Clackity Morrismen

Get up my nose

Its not just the trousers
with
ludicrous braces,

the vacant expressions

that litter their faces
or the fatuous music that
plinks plonks and jangles
as cadence and meter
are put through the mangle

or the……..

At this point, Alistair was seen to hit himself over the head a little too hard with the metal tea-tray which has become such an indispensible part of his performances, causing him to fall into the orchestra pit and injure a sleeping trombonist. Later, a spokesman for the St John’s Ambulance service announced to disappointed fans that Alistair was unable to continue with the poem owing to mild concussion. As the stampede for refunds began, I made my excuses and left.

ASK THE VET
Dear Dr.Guano,
Every time I open a can of Whiskas I nearly throw up, but Mortimer, my cat, will not entertain any other type of food. I have heard rumours that it is heavily laced with cat heroin – could my little Morty be hopelessly hooked? Also my drains have been badly blocked since I dissolved my late husband’s body in sulphuric acid, can you recommend anything?Worried of Beyondenden (Mrs) 

Dear Mrs. Worried,
Shining a torch into Mortimer’s eyes and observing pupil dilation will soon determine whether or not you have a feline junky on your hands. Should your test prove positive you must nip this in the bud before he starts dipping into your bank account or using your car for drive-by shootings. On your other point, it very much depends on which type of drain is blocked. For bathrooms, something like Aaaaargh! by Monsanto is fine, but in the kitchen you should be looking at something stronger, like Pearson’s Corpsgon! or the more astringent Dr Crippen’s Final Solution.

HAT SHOCK
Gorgeous George Galloway is suing Sketchleys Dry Cleaners for the loss of his favourite hat, which he blames for his recent bye-election win. “My hat is me,” he told us, “without my hat and cape I am but a mere mortal, less powerful than a locomotive, and quite unable to leap tall buildings with a single bound.” The fledgling MP was overheard the other day speaking to a shop assistant in the Rochdale branch of Dunne’s the famous London bespoke hat manufacturer, as he tried on yet another hat. “Does my head look big in this?” he was heard to whisper from the corner of his cupid-lipped facial orifice.

LINE OF DUTY-STYLE PLOT SWERVE
Speaking of economy, I am reminded of the famous telegram sent by Michael Caine’s agent Lou Mogulstein in 1963, in reply to a request from his friend Arthur Bumsfeld the northern theatrical impresario. Bumsfeld was putting on a stage version of the film Alfie at Morcambe Empire and to achieve any kind of success, he was rather depending on booking the bespectacled actor to reprise the lead role. An hour after cabling Mogulstein Arthur was excited to hear the doorbell ring. Disappointingly, the telegram said simply:-
CAINE UNABLE -stop- MORCAMBE UNWISE.

 

 

Sausage Life!

Sausage Life!

ATTENZIONE!
‘Watching Paint Die’ EP by Girl Bites Dog is out now and available wherever you rip off your music.
Made entirely without the assistance of AI, each listen is guaranteed to eliminate hair loss, cure gluten intolerance and stop your cat from pissing in next door’s garden.
Photo credit: Alice’s Dad (circa 2000)




Click image to connect. Alice’s Crazy Moon is an offbeat monthly podcast hosted by Alice Platt (BBC, Soho Radio) with the help of roaming reporter Bird Guano a.k.a Colin Gibson (Comic Strip Presents, Sausage Life). Each episode will centre around a different topic chosen by YOU the listener! The show is eclectic mix of music, facts about the artists and songs and a number of surrealistic and bizarre phone-ins and commercials from Bird Guano. Not forgetting everyones favourite poet, Big Pillow!

NB: IF YOU DO NOT HAVE A PAID SUBSCRIPTION TO SPOTIFY, THE SONGS WILL BE OF RESTRICTED LENGTH

 

JACK POUND: JESUS WANTS ME FOR A SUN READER aka PASS THE INSTANT YOGA

 

 



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In the wake of the Railway Children

 

Commencing from Haworth on the Keighley & Worth Valley Railway line

Alan Dearling shares some images and a few words from a day out briefly touching shoulders with the Brontë -tourists, and then the Railway Children

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For a number of years I have been promising myself a trip on the famed Keighley & Worth Valley Railway (KWVR). It’s a steam and diesel railway line, brought back into use post British Rail line closures in 1962. A real labour of love fuelled by vast reservoirs of enthusiasm, funding efforts, and hard graft. Along with a number of steam and diesel engines, the Vintage Carriages Trust has also completely renovated and refurbished many stunning carriages. These make it very special and a collection of them is housed in the ‘Rail Story’ museum at Ingrow station.

Here’s a link to the Preservation Society who operate the line: https://www.facebook.com/WorthValleyRailway

I made at least part of the journey with my little Lumix pocket camera in hand. I’m definitely not an avid Brontë fan, nor an anorak-wearing steam train enthusiast. But, I am well into my bus-pass years and along with visiting friends, Oliver and Becky, was able to hop on the local B3 bus up the narrow, winding roads and moor-land up from Hebden Bridge to Haworth. Haworth station is located down in the Worth Valley below Haworth, which is almost the ‘ultimate’ quaint tourist village. Lots of cobbles, many olde-world shops, eateries and emporiums. 

The station building at Haworth still retains and utilises gas lighting. I caught the whiff of the gas smell as soon as I entered the fairly cramped Ticket Hall. Haworth Station is one stop up line from the terminus at Oxenhope.

The Keighley & Worth Valley Railway is perhaps best known as a major location for ‘The Railway Children’, the 1968 BBC TV series, and the best remembered 1970 film of the tales from ‘The Railway Children’,  starring Dinah Sheridan, Jenny Agutter, Sally Thomsett and Bernard Cribbins. Oakworth Station is featured throughout the feature film. Very recently in 2022, a sequel was released, ‘The Railway Children Return’. This was set in 1944. And once again this starred Jenny Agutter as ‘Bobbie’, but as a much older version of Roberta, alongside three new evacuee children.  This sequel was actually written to describe the actual locations of the real-life Oakworth.

The author, Edith Nesbit wrote ‘The Railway Children’ (1905), which was first serialised in The London Magazine and published in book form in 1906. The BBC has produced (so far!) four versions of tales from the book, firstly in 1951. I think that version has been lost or misplaced. Carlton Television have also made their own adaptation into a film series in 2000. Jenny Agutter played the Mother in that one.

But the most famous TV version was aired in 1968 with Jenny Agutter as Roberta. Many contemporary viewers still regard the BBC version and the casting as superior to the more well-known film. Jenny also featured in that 1970 film version with Dinah Sheridan replacing Ann Castle as ‘Mother’. Lionel Jeffries had bought the film rights from the BBC after the 1968 adaptation and wrote the script for the 1970 film which he also directed. Lionel Jeffries used the Keighley & Worth Valley Railway as the backdrop for the film, which was depicted as in the book, as the ‘Great Northern and Southern Railway’. According to the publicity for the K&WVR, there are many local locations which were employed for various scenes. The house in Yorkshire where the mother and three children were relocated to was known as ‘Three Chimneys’, and the one used is in Oxenhope, just north of the railway station. The Nesbit book is filled with quaint characters such as the Old Gentleman and Perks, the station porter. Volunteers and staff at the K&WVR actively continue this character-acting tradition.

The Brontë Parsonage in Haworth was used as the location for Doctor Forrest’s surgery. Mytholmes Tunnel, near Haworth, and the railway line running through it were used extensively in the film, including being the location for the paper chase scene, as well as the famous landslide scene, in which the children wave the girls’ strips from their red petticoats in the air, as a warning  to the train driver about the land-slip. The KWVR information informs us that the landslide sequence itself was filmed in a cutting on the Oakworth side of Mytholmes Tunnel and the fields of long grass, where the children waved to the trains, are situated on the Haworth side of the tunnel. A leaflet, ‘The Railway Children Walks’, is available from KWVR railway stations and the Haworth Tourist Information Centre.

The roll-call of TV and films which have utilised the Worth Railway, its train locomotives and carriages is prodigious. It includes, based on info from the KWVR: feature films such as Yanks (1979, Universal); Jude (1996, BBC Films): Fairy Tale: A True Story (1997, Icon Entertainment); Brideshead Revisited (2007, Ecosse Films), and Selfish Giant (2013); Another Brick in the Wall (Pink Floyd); Escape from the Dark (Disney); Swallows and Amazons (2016). One of the latest feature films shot on the KWVR is the cinematic adaptation of Vera Brittain’s iconic and powerful WW1 memoir, Testament of Youth, starring Alicia Vikander & Kit Harington, released at cinemas in January 2015. Robert Stephens was in Billy Wilder’s Private Lives of Sherlock Holmes (1970). The Great Train Robbery (2013 BBC); Spanish Flu – The Forgotten Fallen (2009, Hardy Pictures); The League of Gentlemen (BBC); Last of the Summer Wine (BBC); Housewife 49 (2006, Granada Television); A Touch of Frost (ITV Productions); The Royal (YTV); Some Mothers Do ‘Ave ‘Em (BBC); Born & Bred (BBC) and several period dramas including, The Way We Live Now (2001); Sons & Lovers (2003); and North & South (2004). At a personal level, growing up around the railway network of Southern Rail, the rolling stock, the steam, the smells were deeply evocative of old times and memories from my own youth, when smoking was allowed in the carriages, and tunnels meant carriages filled with smoke!

More recently, the railway was used as a location in the hugely successful BBC show, Peaky Blinders, with the railway scenes in Series 1 featuring Keighley and  Damems stations, along with carriages from The Vintage Carriages Trust. September 2020 saw the railway feature heavily in the new adaptation of All Creatures Great and Small.

As a day-tripper, a tourist visiting the Keighley & Worth Valley Railway, the carriages, memorabilia – signs and posters  and the extensive bookshop nearby Ingrow Station in the Engine Shed and the Carriage Works were probably the highlight of the whole trip, rather, perhaps, than the short journey along the five mile route of the railway.

During our visit, the link to Keighley Station was under renovation and that section of the journey from Ingrow to Keighley involved a trip on a vintage double-decker bus.

 

 

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SETTINGS

The teacher spoke to the girl I was smitten with peremptorily.

She said, Who do you think you are, Hedy Lamarr?

None of us had a clue what the teacher meant. The teacher
Was a stout unhappy woman with a face stolen from a toad.

The Toad from Toad Hall,
Bumptious and loud. Illustrated, usually.

The Wind in the Willows.

I sensed envy, although the concept was ill-formed. I was 8.

We all were (pretty much)

I felt how Bernard Bolzano must have felt

When he was fumbling towards symbolic logic
And even touching on Cantor’s theory of transfinite numbers.

But then it was gone. Damn. In later life
I will remind myself that the girl and me

We came to nothing. I grasped, ordinal numbers (sort of)

But transfinite remained Double Dutch. Has
It ever occurred to you that the only working class ciphers
In Kenneth Grahame’s fairy-tale were the ferrets
Stoats and weasels? Venal, untrustworthy. Demonstrably bad.

The story was read to us as a treat.
Hedy Lamarr became one of the pioneers
of spread spectrum technology, which formed
the basis of all wireless communications.

The girl qualified as a dental technician.

 

 

 

Steven Taylor
Picture Nick Victor

 

 

 

 

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HOW I BECAME AN ANARCHIST

 

Anark discusses his journey to anarchism, some of the key events in his political radicalization, and realizations along the way.

Daniel Baryon is better known online as Anark, a YouTuber who aims to explore the philosophical foundations of leftist ideas, especially those of the anarchist and libertarian-socialist variety. 

He believes that power structures inherently “tend towards the maintenance of themselves at the expense of those over which they hold power,” and so they “must be held accountable to their subjects,” but that this requires “true democratic control.” Thus, “all power structures should be flattened in order to maintain their accountability to the masses. 

Daniel’s works for social revolution, and has written about ‘Constructing the Revolution’ at The Anarchist Library.

 

 

 

 

 

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Alan’s New and Old Music Spring 2024

 

This collection of music and links is a bit freewheelin’ – with some of the music really quite old, re-mixed or re-released; some brand new and about to be released; some from the last couple of years, but which I personally have only recently discovered or unearthed. Hope you enjoy at least some, and find other musicians and sounds at least ‘interesting’ – in a nice way!     Alan Dearling.

The Sex Organs: ‘We’re Fucked’ – the ultimate soundtrack to the downfall

Delightfully edgy, grungy punk rock ‘n’ roll! The Sex Organs offer a live show that’s trashy, dressed-up cabaret.  An on-stage version of two cartoon characters posing as a live dildo and welcoming clitoris… Yup this is my erstwhile musical colleagues from the Netherlands behaving altogether outrageously.

Their album has been released by Voodoo Records in Switzerland, but this offers a real Ramones-style vibe. A loud, thumping, “1-2-3-4 Oi.” With perhaps more than an elemental nod towards Jonathan Richman and the Modern Lovers – the humour, and slick word-play. Or, perhaps imagine the Bonzo Dog Doo-Dah Band producing an album full of punked-up Dada musical soup! In-jokes abound, “I’m a poor lonesome penis”; along with titles such as ‘Nipple Twister’ and ‘Vagina Dentata’.  Adolescent, escapist humour in fact: “I don’t want to go to school – let’s fuck around.”

It’s a total collision between late ‘50s rock ‘n’ roll style and punky pussy energy. Energising, energetic and in frantically bad taste. You may really go out of the room singing (loudly): “Where’s my dildo?”

Time possibly for a bit of ‘Do it yourself’: https://www.youtube.com/watch?v=MlhHU_Tn3s0

Serious Sam Barrett, ‘A Drop of the Morning Dew’ Live at Bacca Pipes Folk Club

This is most definitely Old School. Folk Club material. It’s a social history musical document as much as anything. I could imagine an audience member sticking up his or her hand to ask permission to go to the loo! It evokes Arran jumpers, reverential sing-along audiences, finger-in-the-ear singers. Sam is quite often ‘serious’ indeed, as exemplified in the song ‘Liverpool Packet’, which Sam describes in the accompanying booklet: “I learned this song in the clubs…it’s got a character like the rolling sea…the song takes you on a journey…starting in Liverpool Docks…finally ending up on the Razz in New York. Lovely.”  Live: https://www.facebook.com/watch/?v=217038989974410

The album is a mix of traditional songs and Sam’s originals. And his originals sound as though you’ve known them forever and a day, such as ‘Drop of the Morning Dew’, which espouses rubbing a drop of the morning dew on your face – and then you can stay young forever! Serious Sam Barrett is the ‘real deal’ traditional folkie; fuelled by lyrical song-stories.

Bob Dylan, ‘Fragments’ offers outtakes, extras, alternative takes, live versions and more from the ‘Time Out of Mind’ sessions.  That was one of the best of the later Dylan albums in my view.  ‘Fragments’ has become the Bootleg Series Volume Number 17. The complete five CD collection is available for a mere £96 on Amazon! There’s over six hours of it. I listened to it through my Spotify Premium account. So, a veritable marathon of Bob-ness, more than a sprint. Lots of memorable musical moments, but it is a bit overwhelming at times.  The mastering and sound quality is frequently much improved, and it offers many ‘different’ mixes than on the original album version of songs released. There’s also a much pared down two-CD version available. Reviews from purchasers at Amazon are mostly positive, but there’s also a mix of positive and negative comments on individual tracks/versions. Charles Hilton’s comments are interesting and perceptive: “It has a very different feel to the original, harder, bigger and with a more effectively focused vocal track. The effect is a bigger punch and a greater sense of intimacy.”

Mazzy’s video ‘take’ on this collection offers plenty of background info: https://www.youtube.com/watch?v=4cvd1-spt1k

Messy, but interesting…Pink Floyd at Studio Europa Sonor in France. This, apparently, is now available in full on YouTube for the first time. Only a few edits had to be made, consisting of cutting out some of the Live at Pompeii footage due to copyright restrictions. Cinémathèque Française are to be thanked for this release!

Pink Floyd film documentary from 1971 on-line, ‘Chit-chat with oysters’:

 https://www.youtube.com/watch?v=OcwbxVIhn1I

Tommy Hale, ‘All at Sea’

A pastoral album cover of a seascape belies the content: a hard-nosed clash between Texan and UK cultures. Edgy, choppy rhythms conjure audio-images of Nick Lowe and Elvis Costello helming musical disjunctures. A good example is the second track, ‘World Won’t Wait’, which offers Old School craft with a modern twist. The album profers plenty of gruff and growling spoken songs, such as ‘Let’s Start a Fire’, alongside the more melodic moments, readily apparent in his friend Tex Smith’s ‘Esperanza’, a Spanish-inflected and catchy, ear-worm of song, just right to sing along to!

You can almost write a review of the album through the medium of the song titles: ‘Beauty in Darkness’, ‘Last Town before the Border’ and the closing title track, ‘All at Sea’, which offers a plaintive and mournful message, “I cannot cover my ears – All at Sea”.  In fact, there’s a certain world weariness and darkness throughout, but plenty of variety in styles from the moody spoken drawl of ‘Beauty in Darkness’ through to the country twang of pedal-steel guitar played on an American jukebox, “Be here until closing time, I guess” in the ‘Last Town before the Border’. Lots of nice production work on the album too, which enhances the overall listening experience. Tommy Hale shares his Texan roots, but the Americana has been recorded in Mooncalf Studio in deepest Wiltshire with members of The Snakes and produced by Simon George Moor (also from London-based band, The Snakes). Tommy’s most up to date info seems to be on his Facebook page:  https://www.facebook.com/thetommyhale/

Airplane House Jam October 28th 1969 Jam Session

Definitely a ‘wish you were there’ moment in musical time. The posters and images in the video are great fun too…2400 Fulton Street. Here are some classic characters: Jerry Garcia, Jorma Kaukonen, Jack Casady, Mickey Hart and Spencer Dryden – jammin’ just for you!

https://www.youtube.com/watch?v=CfYmc1MLG8o

 

Jimmy Cliff, ‘Refugees’

This album passed me by when it came out just under two years ago. It’s good to be reminded just how good a singer Jimmy was and is. He had a string of hits back in the 1960s and ‘70s, and acted in ‘The Harder They Come’ film which attempted to document the gang and gang culture of Jamaica. In addition to Jimmy this album does feature some special guests. It’s a bit of an uneven affair, but ‘Refugee’ is Jimmy Cliff’s first new album in over ten years. Musical guests include Dwight Richards, Cliff’s daughter Lilty Cliff, and Wyclef Jean on the title single ‘Refugee’, which is included on the album as a rap version and dance version. It’s more of a pop album than a deep roots album, but there’s plenty of reasonable reggae in the mixes and Wyclef has a powerful voice. ‘Refugees’ is a very pertinent track title and subject for 2024, both in Europe, North America and around the world, and it’s the strongest song on the album, tipping a nod to ‘Exodus’ and ‘Many Rivers to Cross’: https://www.youtube.com/watch?v=LlYbahgzktU

His career stretches back over 50 years, and he is often regarded as the ‘Grandfather of Reggae’. His best known for songs are ‘Many Rivers to Cross’ and ‘The Harder They Come’, and he is the only living musician to hold the Jamaican Order of Merit, the country’s highest honour for arts and science.

Cliff says he views refugees as ordinary people who are also, “quite extraordinary people, because they make miracles happen”.

Marc Valentine, ‘Basement Sparks’

High NRG. Turbo-charged at times, and overall, happy, bouncy. Melodies and musical hooks abound. It sounds a bit like bubblegum punk pop. Maybe that’s what we need. Here’s ‘Skeleton Key’ from the new album: https://www.youtube.com/watch?v=yzF3-paL-Eg

It reminds one of the glam rock era, times redolent with Suzi Quatro, Bowie, Marc Bolan, Slade, Mott the Hoople, Boomtown Rats and in particular, the Runaways and their ‘Cherry Bomb’.  Valentine has one of those little boy lost voices which is distinctive, but sometimes grates a little. The album has been released on Steve Van Zandt’s Wicked Cool label. On the final track on the album, ‘Ballad of Watt’, Marc tells us that, “I watch the satellites until they’re gone.’ But there’s plenty to sing along to right from the off with the opener, ‘Complicated Sometimes’.

Mega Bog, ‘End of Everything’

Her 7th album, but new to me! Effervescent and arty. Plenty of vocal acrobatics. She’s American and her name is Erin Birgy. She’s a stablemate, musically speaking, of Cate Le Bon, and this album abounds with oodles of atmospherics, and a theatricality which broadcasts her ‘outsider’ status. There are lots grandiose moments, bombastic church organ, but the final track, ‘End of Everything’ is a stunner. Darker, ostentatious… Overall, it’s mostly orchestrated synth-pop, but worth checking out if you like this sort of thing… ‘Love is’ is a video production by Erin and Allison Goldfarb:  https://www.youtube.com/watch?v=ET4-JO8LxVM

Elaine Palmer, ‘Half Moon Rising’

This album and the singer reside in very much Beth Orton and Linda Ronstadt territory. We sense that Elaine is distinctly at home in Phoenix, Arizona, though she was born on the moors of North Yorkshire. Her voice is earthy, plaintive, love-lorne. Her melodies, tuneful and alternately, mournful. On  ‘A Love like that’, she sings, “My old friend, where have you gone?” The overall feel of the album is redolent of trailer-parks, American deserts, truck stops, heartaches and prairies. By the end of the eight track mini-album, I can hear more of Mary Gauthier in her voice.  Wispy, worldly-wise and sorrowful too. ‘Not Lost’ and ‘The Last Dance’ underline this undertow of reflection on remorse and loss. It’s classy, with some really nice pedal-steel playing, especially on ‘A Love like that’, by Dave Berzansky from the Hacienda Brothers.

Here is Elaine’s website: http://elaine-palmer.com/

 

 

 

 

 

 

 

 

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U.V. POP: A NEW DIMENSION

 

John K White is, was, and always will be UV Pop. He has collaborators, cohorts and side-persons who dip in and out as required, but essentially, he’s a one-human project. ‘No Songs Tomorrow’ formed his 1982 seven-inch single for Pax Records. Now these are his songs for new tomorrows.

Where some young people save their cash for a Leeds United away-strip, or a new car, John reconfigured his front room into a recording studio. He recalls ‘back in the day you came over to my house to record vocals for our earlier collaborations.’ Yes, and when I recorded there and fluffed a vocal line he simply spun the tape back to the precise error-point and razored out the gaffe so keyhole-surgery precise it was seamless. He’s a perfectionist who once halted a gig in mid-song to retune his guitar in order to correct a minor fault only he could hear. Was it Chuck Berry who said he tuned his guitar only ‘close enough for Rock ‘n’ Roll’? Not for John K White. No way. It’s got to be right. This time – with his Sound Of Silence album, he’s got it right.

‘It’s been such a long time, but in other ways it doesn’t seem so long’ he admits. ‘I’m still doing what I’ve always done, and I’m finally freed of working for a living… I get paid to be a musician these days! We do have challenges here in Germany as we initially came over four years ago – Brexit played a part in the decision too, but we’re getting on with it…’

What about the album? ‘It’s no different in my world to what it was back in the day, still an eclectic mix of whatever comes out of my jumbled-up art-side brain… I’m halfway through a new project for release later this year, but first I wanted to give you an idea of what I’m up to these days.’ Che Guevara and Debussy to a disco beat?

So, let’s go tripping track-by-track. ‘Unconfidential’ fades in on chant-samples and a slow guitar figure. Confidential was a celeb-scandal print-rag that announced uncensored facts and named names. ‘High School Confidential’ was a 1958 hit single for Jerry Lee Lewis, the man they called ‘The Killer’. Old grudges, old problems. This is neither, this is ‘unconfidential’. Science Facts & Forecasts. With a flick-knife Modus Operandi, progress was a wonderful thing, it was just unevenly distributed. It went from ferrous magnetic audio tape to floppy diskettes. From Novichok to Bloggers and blaggers, liggers and joggers, from Massive Attackers to Shrinkflation and beyond. ‘Floodgate’ breaks the Levee, it’s in love with television and telephones, celebrities, Rock ‘n’ Roll, and it owns fifteen cars. I want to live in this world where floods ripple and surge, inundating this consumerist planet in cleansing tsunami.

‘Sirens’ is treated voice and cascades of guitar, with hair like fingernails. There are Nee-Naws on the street every day. Sounds of the city, so familiar we blank them out and no longer hear them. Stay in silence. Words are very unnecessary, they can only do harm. Around guitar bends that shiver with echoes. Stay inside. Suffer in the silence of domestic violence. ‘You Are The Only One’. Do people still write letters in longhand? Do they fold the sheet of paper and slip it into the envelope? Lick and seal. Affix the stamp picture of the king? Do they, do they? This is a love letter to bind in pink ribbon and keep safe in your most secret drawer. Thursday on his mind. Friday morning seems so far away. Close the door. Turn out the light. Then ‘Mr Parkinson’ opens with high ambient sighs. Heavy power-chords. ‘I don’t want to be frightened.’ Nerve edge, lyric repetition as sonic storms burst and erupt around him. Lost and lonely. Who is Mr Parkinson? Why him? He’s an anonymous every-person. Your fear. My fear. Our fear.

For ‘Black City’, there was an electro-time when the guitar was so passé. Pulsed and sequenced beats were the only immaculate cool. This is the alchymical marriage of the two. A Judge Dredd underpass setting the Mona Lisa Overdrive on fire on ancient empty streets too dead for dreaming. A fairground of carnage with accelerating geometries. You can reduce this track down to a narcotic equation and inject it direct into your frontal lobe. John’s guitar jingle-jangles like digital flickers on the monitor. ‘Someone Like You’ is split-screen surges in dense walls of sculptured sound. With John’s voice in a Doncaster Bowie mode, retuned by life itself. Friends and parties always let you down. Rhythms never do. Programmed drums tick and throb.

‘Open E’ is primal electro-beat, dialled to vibraphone setting. Haunting nags and pulses that dance your neurons dizzy. Lost for words. So it remains wordless. This could be looped into eternity. ‘Made Of Stone’, how does it feel? Try not to laugh. Cars burn below us. Carried on a ghost-storm of ultra-violent volume. The sound of breaking glass. The eye of Medusa that petrifies its victims to statues. ‘New Dimension’ is a mind-spider noodle that tunnels into the brainstem and refuses to quit or let go. It opens psychic portals in perception into a disrupted otherness. Who is your sister? I have no sister! Sometimes a systematic derangement of the senses can offer the only route forward.

‘Black City (reprise)’ is a noir instrumental soundtrack for a movie the studios lost their collective nerve and were too terrified to shoot. All the way is far enough. It might be advisable to download it from an even darker web. Sometimes laptop computers have troubled dreams. ‘The Man Who Haunted Himself’ is the interloper from the pen of D Hardcastle, a title filched from a 1970 psychological movie thriller starring a pre-‘James Bond’ Roger Moore as a man who discovers he has a doppelgänger masquerading as himself, following his clinical brain-death during surgery. The term ‘cult’ is not entirely inappropriate, but re-visioned as a David Cronenberg body-horror. There’s a background swarm, listen how they breathe, as they crawl out in our sleep, when they’re at feast. Insinuating, skin-crawling, tormented by night-fears.

‘Mr Mystery’ connects back to ‘Mr Parkinson’, a cipher where guitars interact and copulate in controlled dynamic tension, layered. Wasn’t ‘when you’re moving right up close to me’ a line from Johnny Kidd & The Pirates? It gets another spin. As for the title track – ‘Sound Of Silence’ is chiming guitars. The sound of nothing. The sound of no-one. Existential angst. Alienation. Isolation. The sound of nowhere. Paul Simon’s lawyers have yet to initiate proceedings.

 

‘I used to work at Music Ground in Doncaster with Eric Haydock one of the Hollies’ founder members and their original bass player…’ John recalls. ‘He was a proper character, Eric and I once drove to Italy and spent a full week together on work-related business, a trip which was chaotic for a couple of different reasons but lots of fun too….’ As an artist, writer or musician, you don’t necessarily start out with a route map of the future. You just follow your own instinct, but you do that regularly over a period of time, and suddenly you realise that you’ve built up a ‘body of work’ almost without realising it. It creeps up on you unawares, you can’t force it. You can’t fake it. You go with the flow wherever your creativity takes you… it knows things that you’re not aware of. That was the way it must have been for John K White. At a time when Rock ‘n’ Roll is as old as the planet Mars, and just as tired, it needs to mainline on these rejuvenating shots.

‘No Songs Tomorrow’ formed John’s 1982 UV Pop seven-inch single for Pax Records. These are songs for all our new tomorrows.

 

 

BY ANDREW DARLINGTON

 

U.V. POP ‘SOUND OF SILENCE’

(Genetic Music www.geneticmusic.de and www.uvpop.co.uk )

  1. Unconfidential (2:54)
  2. Floodgate (5:36)
  3. Sirens (5:21)
  4. You Are The Only One (4:41)
  5. Mr Parkinson (4:25)
  6. Black City (6:01)
  7. Someone Like You (4:08)
  8. Open E (4: 05)
  9. Made Of Stone (4:03)
  10. New Dimension (3:17)
  11. Black City (reprise) (4:40)
  12. The Man Who Haunted Himself (by D Hardcastle) (5:02)
  13. Mr Mystery (5:29)
  14. Sound Of Silence (1:45)

Produced and engineered by John White at UTSM Düsseldorf

 

 

 

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I Am What I Learn

Imagination looks familiar
In the mirror of my reality.
Rain is a blessing showered
Upon the dried patches of my life.
Every journey comes
With the whistling wind
And knocks a memory door.
Looking through the past
Memories wake up to surpass.
Every act of the day
Rises and passes through
One solitary streak of light and darkness
With different existing characters.
Like a Kaleidoscope,
I juggle my roles.
But I am always a student
Learning to walk with my imagination
To follow the trail of wonder.
One learning door
Teaches me stance of the world.
I am what I learn.
I have learnt to imagine.
I learn in this journey
Where memories collide
Like a whole new world
With soulful acts that grow
Like flowers in June.
Time renews memory
As we keep adding new
Skin of memories,
And my learning doesn’t stop.

 

 

 

 

© Sushant Thapa
Biratnagar-13, Nepal

Illustration: Vajra Mantra Mandala Thangka Painting

 

 

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A new mountain road

 

 

A luminous

mountain morning.

Little flowers

peep out

from the

abandoned trails

in early spring

and gazes at a

new mountain road

that brought

the outside world

to our village. 

We danced, cheered,

and lit butter lamps

to thank our

ancestral tutelary deities. 

We were no longer

locked in a detached outpost,

encaged by a spiky fence

of hillocks and snowy peaks. 

But the road

slowly turned ferocious.

It took us away

from each other,

our way of life,

grandeur,

and soul-calming

stillness,

leaving only

a smashed

pumpkin of hope

beneath the murky sky

of our stifled tomorrow.

 

 

 

Bhuwan Thapaliya
Picture Nick Victor

Nepalese poet Bhuwan Thapaliya works as an economist and is the author of four poetry collections. His poems have been widely published in international magazines and journals such as Kritya, Foundling Review, FOLLY, WordCity Monthly, Poetry and Covid: A Project funded by the UK Arts and Humanities Research Council, University of Plymouth, and Nottingham Trent University, Trouvaille Review, Journal of Expressive Writing, Pendemics Literary Journal, Pandemic Magazine, The Poet, Valient Scribe, Strong Verse, Ponder Savant, International Times, Taj Mahal Review, Poetry Life and Times, VOICES (Education Project), Longfellow Literary Project, Poets Against the War, among many others. Thapaliya has read his poetry and attended seminars in venues around the world, including South Korea, India, the United States, Thailand, Cambodia, and Nepal.

 

 

 

 

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Free speech

A professor of medieval literature is suing her local residents’ association for preventing her from exercising her right to free speech by excluding her from the community email group. The fact that people in the email group did not wish to hear her views on local topics, she told the court, was no justification for interfering with her right to free expression. Nor was the threat from residents that they would leave the group if they continued to receive emails from her a justification for the ban. The residents’ association said they had offered to set up a separate group for people who wished to hear the professor’s views, which she herself would then manage. The professor had rejected this offer, because, she said, she had ‘no interest in preaching only to the converted’. The case continues.

 

 

 

Simon Collings
Photo Nick Victor

 

 

 

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An Oral History of Royal Celebrations

I’ve just one King, and he’s Kong, silverbacked and silver screened, dazed in the big bad city. I almost saw him once in the 60s, standing by the kerbside with my black and white flag, wrapped in the scent of my mother’s coat and waving with a cheering crowd as a car drove past, slow enough to stop light in in its tracks. Some swear he was there, waving one surprisingly delicate hand at all these tiny people, his other palm light on Fay Wray’s luminous satin shoulder, benign confusion dazzling his quizzical eye; but all I saw was a military parade, wreathed in exhaust fumes and ragged pennants. And then everyone went home. For years I drank from a souvenir mug which, later, I kept in the bathroom for razors and toothbrushes. I’m not sure what happened to it, though I might have dropped it from the top of the Empire State.

 

 

 

Oz Hardwick
Picture Nick Victor

 

 

 

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MYRRHA’S LAST TREE

 

Lift this apple to your face and stroke its ruby skin, silken in your hand, dappled gold by the sunlight within. Close your eyes and smell the freshness of the earth, perfumed with myrrh. Now take a bite – cool and sweet to pump your heart and spread its wine throughout your body. As your teeth break the seal, my story can be heard.

 

I never imagined it would end like this. Again, in such a different setting, thousands of years after Aphrodite’s curse. I never met my father in this life, so I don’t believe I slept with him, but my choice of husband was flawed. With apparent mercy, Aphrodite allowed me all the childhood years with my beautiful son, Adonis. Only at the end did I know the cost exacted, all memory of maternal joy. Adonis had not lost me or had to miss me, so instead grew to hate me, and it is he who forced me away this time. Grief took hold, and my screams rang out. Time never allows us to retrace our steps.

The front door slam was a gavel silencing the court. The air hung, not wanting to fall. Not trusting the storm of son and father had passed. I’d stayed at the top of the stairs, gripping the banisters like bars on a window, watching for the petals to land. He had thrown the rose down and around to the glass vase on the glass hall table, trying to break it all.

He loves me not. A gauntlet declaring a duel to the death. A rose thrown at the end of the last act. Curtain down. “Take this, it’s all you are worth.” Petals were drifting, floating. It was a Blue Moon, the first cutting of our first hand-grown rose, I’d placed on his pillow to help him sleep. A faceful of edible, breathable sweet tea rose. The rose of rose and violet chocolates.

The strings of Shosti’s 2nd Piano Concerto were floating, falling. Silently landing. The piano the asked why I’d caused my son so much pain. “Go away. Go away. Get far away from here,” its notes sang out.

Each time I have been a mother, it is without an example to follow. I showed my baby the beauty of the world. I sang him to sleep, and when he woke, I stretched his arms to reach for the top of the bed, and his soft legs to point to the end. To me, limbs were wings to lift us above pain. I breathed in the music and flew, rising, swooping, with the strings and the quiet echo of each note. All energy moved me, like water to the clouds, drawn from the earth through the tiny circle of my toes on pointe.

Emptiness filled the drive outside my study window when the roar of the car engine had gone. A robin was sheltering beneath a sleeping apple tree. The music on my phone continued to soar, now Alberto Giurioli’s Rising Above. To this I could join the seagulls high above the hedge, gliding through rainbow clouds, and out to sea.

Help me, help me,” I pleaded to the angels. “As always, I deserve to be punished for my failures in love. It is not death I request, but to live a different life.i Let me exist in the wild, free from regret; to not be named in marriage, only to be erased. To not create a home for my family, from which to be banished.”

An arc of starlings swooped south to the shore. To the turquoise jewel colours and seaweed air of the waves, rolling forward, under, back; forward, under, back, in their eternal ceilidh, music always playing; never alone.

The wind blew me east to Beachy Head, the chalk pinnacle of this English south coast; layer upon delicate layer of fossils, falling as the oldest dissolve into the sea, then rising again. There were more birds than people on the wide clifftop plateau and I could hear each of them sing. I followed their tune and felt the music awake. A hand of rays was stroking light through the dark grey bay. It beckoned me forward from the edge, and I soared, arms outstretched, gliding, peaceful and free.

Many minutes seem to pass before my coat stroked the rocks and more hands carried me forward on the waves. A row of fishermen swept me over their heads into a cave, their greetings sung in a rousing concerto.

It is a cave of all music and all strands of time. The patrolling chaplains and speleologists will never find it through the curtain of shifting sands and tides. A constant stream of people were helped inside: fishermen in their oilskins and jumpers; lighthouse-keepers carrying their bulbs; sailors with oars. A mother with her baby’s body in her rucksack. Tourists who’d wandered unwisely along the shore and been lost beneath the Falling Sands.

I was soon able to stand and adjust my eyes. Images of animals from my youth were painted on the walls, shimmering with life. The whispers of the waves faded as I was ushered past an orchestra encircling a lake. Angels in crystal haloes directed driftwood harps. A solo violin breathed Venus by Holst, the calm after a lifetime of battles with Mars. Woodwinds blew me, soft as a summer breeze, to the pastures beyond.

The plain resembled a palace tea party, eternal as the Mad Hatter’s. Or a music festival, without rain. I was smiling and felt rested as if from a long night’s sleep. A group of white bearded Dubliners sang together beneath a rowan, from which bottles of rum were hanging.

You’ve made it to Fiddler’s Green

Where the skies are all clear, there’s never a gale

And the fish jump on board with one swish of their tails.ii

While my eyes scanned in disbelief, I breathed the marine air.

No oar – not a sailor?” a man said, taking my hand as he slipped an arm around my waist. He scooped me up and I dipped back, imagining myself in the pampas of Patagonia, dancing an Addams Family tango with an old goucho friend.

Beyond the groups of people, beached boats and bandstands, hawthorn silhouettes were sketched white on a Wedgewood blue sky. As our tango slowed, a wood nymph appeared, draped in red and green, with a face radiating such beauty beneath copper hair, even I could not help but stare. She backed away, and pulled a blossom crown low over her eyes, her graceful hands cupping her ears. In that silent, solitary pose, part-woman, part-tree, I recognised her as Pomona, and felt her story close to mine.

From left to right, the hawthorn branches spelt an ogham offer of sanctuary. In every life, trees have incorporated me in their midst, to conceal me from father, husband; even the spiteful gods. They have accepted my feet on their roots and enveloped my crouching form in leaf mulch and twigs, disguising my pregnant torso, limbs and head. And each time, they delivered my son, safe into life, and the arms of those who would love him. No myrrh trees stood among those gorse and grasses, but an apple tree blended into hawthorns. Aphrodite might not even seek me out this time, while she pursues Adonis through the forests, trying over and over to win his love.

Groups of people were setting up stages, assigning roles and costumes, recruiting the new souls emerging from the cave. Fairies escorted goldfish back to ponds for the fishermen to dip. Sailors made me laugh as they shantied beside fiddlers, leaping off barrels like squirrels after acorns. I breathed in the bliss and let myself fold down.

Sunrise at the equinox stirred life underground. Instructions were passed through the network of fungi at each level to guide my ascent.

Cormorants, kestrels and ravens signalled the ‘all clear’, while crickets clicked and beetles stamped flamenco up on the ground. Nymphs climbed to the surface to scatter their cocoons, their species unrecognizable until jewel colours flashed and quadruple wings extended, with the same delicate lines Leonardo sketched for his human flight suits. Dragonflies, damselflies, hoverflies all hummed, their legs and wings drumming the urge to emerge.

I rose straight, vertebra by widening vertebra and twisted towards the sun. My arms unfolded into branches and multiplied; my fingers to twigs; hair into buds, and my skin greyed and ridged, to protect the sap within. Home is now this heathland, a grassland perched on the top of the world. All around me is the mist and fading blues to grey of the horizon, curving with the Earth.

My blossom will nourish bees and I hold nests for the birds. Adonis butterflies, blue as my son’s eyes, will land when the sunlight hours lengthen. Moss will soon encase this bark to withstand the storms. I breathe deep, press my roots into the chalk and excitement spreads. Waiting, waiting for the lifted finger of the very first beat. To fondu, to chasse. Where to face? Tragedy, romance, comedy? Alive.

This is my time. This is my space, pre-mother once again. A low branch raises in attitude, stretching up through the side for support, aligning the spine. As my body grows taller, my upper branches release my spirit to the clouds, swirled by leaves, to join the red kites in flight. There is no traffic, no people, just the call of these kites, and always the water – trickling through the flints, feeding my roots.

A red kite recircles, Nijinsky’s coupe jete en tournant, freed from the earth. This precious earth, feeding us music from its core to sustain our spirits. The ghostly call is joined across the downs by whistles and shrieks. This bird is not alone, and neither am I. The tears of a mother’s separation now sweeten apples.

Look for a grove of apple trees, ten minutes’ walk north of the visitor centre. None too tall, leaning slightly to the sea; rough grey bark with red buds, unfolding to pink and white blossom; covered in songbirds and swarming with bees.

My apples will feed you with music and love.

i From lines 483 and 486 of Metamorphosis X by Ovid (Publius Ovidius Naso) in translation by David Raeburn

ii From Fiddler’s Green, sung by The Dubliners

 

 

Tracey Chippendale-Gammell
Picture Nick Victor

 

 

 

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Sakura

No sakura greets
where I live
except on one tree
inside the fence you’ve built.
They spin a myth
of a dedicated gardener
with whom you have signed
a contract, your blood as a seal.

This is the seasons’ intersection.
A balloon man sells something
for the dawn and for the late night.
The train went over the bridge
passes my dwelling, rattles the walls.
The yellowed books fall from the shelves
above the bed. Worms show their love
for the glue of old Soviet books.
“Not again.” You dream. “It’s Spring.” I say.

 

 

 

Kushal Poddar
Picture Nick Victor

 

 

 

 

 

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Doxology

 

 
prayer for rechargeable batteries
and fastness and coffee mornings
for raffle tickets and crisp stereo sound
for power banks and batch cooking
 
prayer for beer-tapas at my local pub
and for average speed limits
for goodenoughness at school reunions
and metastatic anonymity online
 
prayer for microphones and bespoke
for three-in-one and all other numerals
for Karen from Home Deliveries
and her quick recovery from sick leave
 
prayer for perhaps and passwords
for stopping mid-sentence and for
everything else that is temporary
apart from betrayal
 
prayer for scissors and
for a long-distance relationship
with my past life  

 

© Maria Stadnicka 2024

 

 

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Aleppo

 

He carries fire in his hand

the skin wild with fury

pores closing quickly

and the light sears everything around

illuminating the charred beams

collapsed steel shattered glass

where sudden movement draws

his attention

fire along the rim of the hole

his eyes charred

with the sight of a silent body.

 

 

 

Andrea Moorhead

 

 

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white man feels the black

 

white man feels the black
disappears into aimless sanctions
the rise & fall of nations
homeless journeys thru rail strikes
white man feels the black
zap attack those countless trees
bow to the burden where dappled
cultural diversity shadows in
this unfamiliar territory where
hung heads in shame those to blame
read long before the lines were drawn
white man feels the black
another splendid isolation chorused
into the gypsy wings beating newshounds
to rigid headlines this discontent
as white man feels the black.

 

 

Clive Gresswell

 

 

 

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Delusions

                          for Ken Bolton

Delusions, one
size

fits
all. All

fits

if and when delusion
is an agreement

not quite

reached, like the thought of painting
a giant woodlouse

on the side of a building

for every good reason
there is a possible

delusion

that some believe is similar to a crustacean
while others

focus better

on the smorgasbord of cognition with its
hot and cold, blurred and sharp, historical and a-

historical, and the little inviting bowl of

nuts
which is where I place myself, nutty and

wishing to be something of a kernel of,

well, something
roots would produce without thought.

 

 

 

John Levy

 

 

 

 

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Human Capital Stock

know your teacher-endogeneity
know your stock
know the imagine in attain
know the value of deflation
know how Fartov calculates
know the amount in measurement
know a fancy context
know how to log&log philosophy
know what makes your struggle
know the Belcher Abstract
know intangibility in realising
know how skills determine assumptions
know the clinical word for income
know the love of the linear

 

 

Mike Ferguson

 

 

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IN THE NAKED CITY

 

Strange Reflections IV

 

“Well blow me over with a hanky,” thought Karen, “I can’t believe how hard it was to get a straight line…”

As she tried to concentrate beads of perspiration formed on her forehead. The beautiful, enigmatic maybe-victim had hardly touched his ploughmans.

“Coax me out of my misery and get me closer to the spirit world.”

Sofia was suspicious of Vincent’s fascination with Crypto-Genealogy and Urban Alchemy, for her it was all pseudo-scientific pastiche and sci-fi whizzbangery. But the call was all in a day’s work.

Father Alt cited as proof of the girl’s subjection to The Devil her ability to respond correctly to languages she did not know, and her accurate forecast of the theft of consecrated wafers from the local church. In this line of business demons crop up every day, falling in love with the very thought of her.

Few tourists make it to Slab City. There are no hotels, no transport and no shops. The people are poor and eccentric. Newcomers register and receive an ad hoc address. Brandy and coke slopped onto the table as I slammed down my glass. These dispossessed are called ‘Trailer Trash’. They are all afraid, surrounded by pushy beggars, aggressive drunks and people throwing up. It’s not at all nice. My weight dropped by a stone. There were dark circles under my eyes.

In the distance I saw Laszlo the Hungarian Dog-Boy, now a resident of Slab City, known by several local CB ‘handles’ such as Beach Bum, Fireball, Smokey Joe, Cosmic Duck, Wizadora Nosseck and Otis Snapp. He will soon learn to turn tricks in front of the camera like the rest of us.

Meanwhile, still completely naked, Sister Marie was locked in a dark booth in Charlotte Street with pixilated spook John Thomas. She put down her binoculars. The cheese-grater was enough to make anyone jump. It combines a whole range of modes to suit every shot. She hoped for the perfect storybook ending. My boyfriend, who’s here with me, was appalled by the idea. He was wearing Ralph Lauren ‘Safari’.

The door burst open, the room flooded with light.

“Hard luck,” she said swiftly, looking at the gang of superannuated hoodlums wearing Doc Marten boots, lounging about the bar and eroding her civil liberties. Camp body-builders displaying neo-Punk piercings, grotesque pantomime dames wrapped in voile jackets, corseted, laced and fishnetted in stretch-suits, cloves of garlic and seven-league boots. Laughter filtered through the open window.

She thought: “There are a million transactions in the naked city. You have to haul your own water, dig your own hole for sewage.” Some kids, retrieving a football, stumbled on five guys shooting up behind a wall. The trailer trash closed in. She succumbed to a Liquid Cosh and went out like the proverbial light, Chinese Lanterns exploding against the dark backdrop of her mind. The process was not a benign one.

Suddenly John vanished, leaving the grinning canary saying “Da…Da…Da…”, which she knew meant “Yes…Yes…Yes…” in Russian or was it ?

The dream was the old disciplinarian one: in fact twenty-two are due to close by the end of the century. Gone are the days of rusty chastity belts, ‘swishy’ canes and daunting views of the Surrey countryside. No more creeping around gardens, getting drunk on your own in pubs, being a phone pest. No time to lurk in bushes. Now it’s hobble skirts, Tyrolean girls in spiky bondage garb, waiflike sixties dollies and an out-of-work speech therapist zipping the hips of a vampiric concierge. Marie fiddles with her cardigan, her legs scratched and aching. Happiness is fleeting. Now it’s gone.

John Thomas, wearing his black Quaker hat and child-size Ninja Turtle slippers communicated in a sort of telepathic psycho-speak, in an eccentric dialect.

“I dunno why I stayed – free  television, meals an’ a nice cuppa  tea, I suppose…“

The doctor will get the wrong impression. Remember, if you die in your flat your body won’t be found for years, even with £60 in your pocket and a scream dying in your throat. Think electric that was the answer.

“Ooh, keep talking,” whispered the spaced-out spook, extruding a snake pit of wires from his abdominal region. After a few weeks she trusted him enough to give him her home number. The minutes flew by. She went out and came back in, cold and wet.

A voice in her mind said:

“I’m from The Lake District originally…I don’t intend to kill you now or later …you’ve developed an obsession…you have to learn to let go…”

The gasman clicked the new meter into place as the officer, Inspector Flapper of the Yard, explained the Mental Health Act of 1959. They arranged for an engineer to come out the following Friday: it was as though Nature – something he loved – doesn’t want us to forget him.

“Is it fixed?” she asked nervously.

My heart lurched; I fired off an angry letter and broke the news. It looked like…sort of fetishistic archaeology of artifice and apparel.

Paris is the capital of my fixations. I think of The Sphinx Hotel. A strange letter appeared on the bedside table. There was a vision of a salmon pink banana. A year on she still needs an oxygen cylinder.

Karen reached for a beige suedette jacket and matching skirt.

Perhaps she died in his arms. Perhaps he died in hers.

Few will mourn their passing.

 

 

 

A C Evans

 

 

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Prolific and Precise




Nature: Selected & New Poems 1970-2020, William Heyen (Mammoth Books, 2021)
Diaspora: Poems — 15 Collections, William Heyen (Cyberwit, 2024)

In his Primer, Dan Beachy-Quick describes it as one irony of being a prolific poet “that there is no other way to be inside the poem save by making the next poem, … even though all that work does is deepen the crisis that has created the desperate necessity of making a poem.”  The poet William Heyen has made a virtue of that necessity. Few poets are more prolific, as he proves with two recent tomes. I use “tome” advisedly: Nature, a volume of “selected and new poems” from the five decades 1970-2020, and Diaspora, a gathering of “15 collections” of poems from the last two decades or so, weigh in at 691 pages and 951 pages, respectively.

The general contrast between the precise poet and the prolific poet is familiar, and we register it with particular contrasts that are themselves familiar, as for example in English-language poetry, especially in North America, Emily Dickinson and Walt Whitman. The poet of vigilance (“There’s a certain Slant of light, / Winter Afternoons —”) and the poet of vista (“… each man and each woman of you I lead upon a knoll, / My left hand hooking you round the waist, / My right hand pointing to landscapes of continents and the public road”). The poet of capsule (“To ponder little Workmanships / In Crayon, or in Wool”) and the poet of capaciousness (“I am large, I contain multitudes”). For one poet the poem offers a moment of clarity, for the other the poem effects a way of clarity. Like many other binaries, this one can be handy as a provisional, qualified rule of thumb, but also falsifying if treated as final and unqualified.

One form of falsification is exclusivity, permitting a poet only one or the other characteristic but not both. In fact, a “precise” poet can also be prolific (the standard edition of Dickinson is over 700 pages, with nearly 2,000 poems), and a “prolific” poet can also be precise (the lists and incantations in Leaves of Grass are long because Whitman sees so much, in such detail). This particular falsification, treating the precise and the prolific as mutually exclusive, plays out as a tendency to apply quantity – prolificness – as a heuristic differently by genre. Applied to prose, it is customarily taken to add stature to an individual work (e.g. Infinite Jest) or to a writer (e.g. Joyce Carol Oates). Applied to poetry, though, it is taken to warrant distrust. A prolific poet must be a sloppy poet, a careless one disdainful of craft. That distrust, though, applies the same zero-sum reasoning as the view that one has a fixed number of heartbeats and therefore should eschew cardio workouts, which use those heartbeats up faster and thus shorten one’s life.

The relationship of poetry to work, though, is more complicated than that, as (to appeal again to Primer) Beachy-Quick highlights. Maybe, he speculates, “the poem is a form of life that requires your vulnerability and openness, and so has these accidental but ethical consequences, of attuning us to the reality of other lives.”  That attunement ensures that the labor that results in prolific quantities of poetry is not opposed to but instead is consonant with poetic “inspiration” and “genius,” and with the quality of precision. “An active poetic practice,” Beachy-Quick observes, “puts one in a strangely, maybe radically, passive relation to the world. One works so as to receive – the labor is the song it brings.”

The tendency to distrust prolific poets ensures that William Heyen’s recent volumes will find few readers. That “the labor is the song” ensures that Heyen’s volumes will richly reward those few. Let me call the source of that reward “comprehension,” to indicate that Heyen’s poetry is both comprehensive and comprehending: comprehensive because in it scale generates scope, comprehending because in it wit produces wisdom.

Scale is not the same as scope. We all know of poets who write at large scale (big poems or many poems) but with very narrow scope: the same poem over and over. In Heyen’s case, though, scale facilitates scope. Heyen was writing what would now be called “ecopoetry” before the term was invented. He has written multiple volumes lamenting atrocities: the Holocaust, European American genocide of Native Americans, the U.S. bombing of Japan in World War II. He has written poetry about sports, a phenomenon much more present in public life than in poetry. (As I write this, the most recent “Super Bowl” of American football was the most-watched TV broadcast ever, but I can think of few poems or collections that attend to sports.)  He has written “occasional” work such as a book about the 1991 Gulf War, and homages to other writers. And so on.

Within such scope, no one poem counts as representative, but here is a sample, one poem in its entirety, first published as part of his book-length Holocaust sequence The Candle, and now included in Nature.

     Hitler Street

     The strip left from hair roughly shaved
     down the middle of a prisoner’s skull:
     SS called this strip Hitler Strasse

     they could see their Fuhrer in his black boots
     stride from back of the Jews’ heads overhill
     to their foreheads. He had his dog Blondi with him,

     & led a parade, & lifted his arm, Heil,
     to adoring crowds as the whole Reich
     followed him to the crematorium.

That poem does illustrate one insight that informs Heyen’s poetry: the recognition that how we see shapes, for good or ill, what we do.

Scale is not the same as scope, nor is wit the same as wisdom. I use “wit” here in the older sense of verbal and associative facility, the quality of Elizabethan poetry admired by the New Critics, rather than the newer sense closely connected to humor. Heyen’s poetry is charged with such wit, but not as an end in itself, a way of showing off. Heyen’s wit is oriented toward, and fulfills itself as, wisdom. As here, in a poem from Diaspora, no more representative than the poem above, but also given in its entirety.

     Peek-a-Boo

     A friend said don’t ask him why but this morning’s newspaper pervert
                 who pasted

     a small mirror to his shoe so he could peek up little girls’ dresses
                 reminded him

     of border guards at Checkpoint Charlie in East Berlin in divided Germany
                 who, decades before,

     wheeled mirrors under his car — sexual creepiness to post-war politics,
                 no logical connection

     except that events iterate our attempts to make sense of vast psychic networks —
                 a deviant’s desire

     to peek up at girls’ undies, guards pushing mirrors under vehicles in case
                 of contraband

     being smuggled to the wrong side of the Cold War…. Guards liberated
                 a bag of bananas

     from his back seat…. He got to his lecture in Leipzig. The pervert got
                 a couple years

     in the clink who could have been a checkpoint guard above where
                 the messianic Fuhrer

     had plotted from his bunker, & whose minions, in warps of Time & Space,
                 might have been peekers,

                 here they all come, enforcing borders, mirrors on their jackboots.

Like “Hitler Street,” this poem illustrates an informing insight in Heyen’s poetry, in this case the recognition that the widely various ways in which we humans harm one another manifest widely distributed susceptibilities to corruption and debasement. Loyalty to a violent political order and violation of minors’ sexual integrity and personal privacy are not identical wrongs, but they are not unrelated wrongs. One implication of which is reflexive: my not having committed some offense (I’ve never patroled a border!  I don’t molest young girls!) does not award me purity, does not secure me against committing injustice. Heyen’s poetry warns me away from confidently identifying myself as a “good guy” different in kind from the bad guys. A Heyen poem is a momentary stay against self-righteousness.

Heyen’s huge body of work might be described in various ways, by highlighting in turn various of its preoccupations and presences, as he himself does for example in his poem “Sacred Place,” by locating his work in The Atrocitorium. Taking as my cue, though, one of the very last poems in Diaspora, I’m inclined to describe Heyen’s work, by appeal to Plato’s Theatetus, as an aviary replete with birds, each alert to the everything “that the redwing took in as it whistled, / as it glared.”

 

 

 

H.L. Hix

 

 

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THY WORD IS THY BOND

                For Edward Bond (18th July 1934 – 3rd March 2024)

 

Forget James, Art’s true Bond, has been broken by death
At age 90. Born in Holloway, Edward filled his preached
And priestlike path underground, with a missionary zeal,
As if written in walls was resistance, both to the plays
And politics proffered in dark or in light of the favour

And the particular rights he had found. Which may
Have been Marxist at first, but became purely Edwardist
Later, as he served each sentence with the weight
Of the word and the plate, for in preparing each dish
He made each book and play-meal a muscle;

One to be worked well by actors and by each audience too,
Feeding fate that we in turn draw to us, whether to survive
Or stay smothered. Bond’s plays and polemics, his poem
Tracts turned fresh earth from under the ruins we’ve wrought;
He sought alternative futures and prised the past apart

Seeking secrets as memory squirts sweet rebirth.
A working class London lad who became internationalist
Playwright. And one fucking fashion as it strove to unstitch him
At the sleeve, by forgetting his work, and rewriting theatre’s
Founding seams and connections;  from place of examination,

And reflection, we, tides turned within puddles,
Have lost the will or need to believe in the Theatre
As Shangri-la, Church, or even school for that matter,
And where the art of acting is teaching the soul
And empty space how to fill, with not just

The citizens of the world, but with what they want once
They’ve won it. Can man source or squander?
And who in end pays the bill? The sometime contamination
Of mirth challenges, as we all need entertaining. But beyond
That smear sits sensations that we need to ask to the dance

And describe. Bond held his hand out to Death as he dallied
With violence. From Saved’s baby stoning, to Olly’s Prison
And Dea with their howls of revenge, Bond decried
The formation of fear and how it in itself is a season,
For modern man breathes a climate for which

The written word provides scent.  Bond’s bore an animal 
Smell, from both Lion to lizard, as well as Medusa
And Dragon and minotaur, each bite meant that there was
Something fresh in the wound and that to heal we must seal it
By understanding causation, from personal attack,

To World War, whether from the North’s Narrow Road,
Or society’s passionately poisoned Black Masses,
Bond’s Sea was a spell-like storm stirring the blood
And bones of all bastards into a stew or soup, braised
But raw. Each play had a book of essays and poems beside it.

The man was more than just manifesto, but still gunned
For a world to come, should we strive to move into new
Modes, or myths, or metaphors that inspire and which
We would want to adopt while the modern and postmodern
Sting wrecks the hive, within which we work, while serving

Our own sour leaders. Bond saw revolution as obligatory acts
To rehearse. For this writer whose work may even surpass
Harold Pinter’s – if not in influence,  then intention, robbed
From both the rich and poor’s purse to show that Capitalism’s
Full theft was a true form of violence and could be met

Only by actions that slid through blood and tears
And much worse: the dry cry in all throats that sounds
Each victim’s own anthem; Bond saw how transgressors
On each side of the fist seared all skin. He did not compromise,
And when England spurned he left England by way of pen,

Writing for Europe’s major stages, where, as with true Auteurs
He was lauded and where in the battle between commerce
And Art, the word wins. By working his way beyond breath
He made his Cambridgeshire home its own Kingdom
And thanks to Big Brum’s School productions Birmingham

Became Court, for this King of ideas sourced from past,
Present and future. Who directed some say, through abstraction
Or sells to sensibilities in Art’s market that in his later years
Were not bought. Dea his last major play played at an amateur
Theatre in Sutton. From the cosiness of Harry Seacombe’s name

Came Greek Drama which made for the modern age saw sense
Fought. For a play like that needs a stage with enough scope
For a nation. The kind of venues his classics were once shaped
To hold. Be it the RSC, or RNT in their heydays; woods from which
Frenzied forests of screeds like trees made sun cold.

Read Edward Bond’s Lear.  Sink in The Sea. Meet The Woman.
Encounter The Activist’s Papers. And In the Company of Men
Stay appalled at  what we have become. Each written page
Is a mirror. The tavern scene in Bond’s Bingo is one of the best
We have. Words enthrall. Because in all things of worth

We can, eyes closed hear the poet, who sings within silence,
And grants each sound legacy. An actor’s indulgence begins
When they make the scene all about them. And an actor’s
Grace begins forming when they recognize the play’s tenancy.
The Play is so much more than ‘the thing.’ A great play is a planet.

And a world writers fashion, when like God, free from time
They create new ways to be from what they see all around us.
In over sixty plays and ten textbooks, and a dozen hidden films
Bond defined what a writer can do, when the subconscious
Stays in its chamber. Edward Bond broke through borders

Built between rite and rhyme. He was open to all and answered
Any missive sent to him. I have one myself, where he offers
While grateful for my praise to share time. There are several
Collections of these profound discussions with others;
Marx’s communal ideal lent to letters, in which he outlines

A future in which the light of ideas shape the land.  He did this
Across life, even as his homeland turned from him. And while
Some raised revivals, a ship fit to soar and sail stayed unmanned
His work is not beautiful. For it is the Beast’s breast he first favours,
But his was a beast who bore burdens with the ecstatic
Majesty of the hand. This Bond shall not break.
Embrace and face such scrawls, students.
Theatre as Church, Craft and Playground.
The soul still goes to school.

The lost stand.   

 

 

                                                                                 David Erdos March 3rd 2024     

 

 

 

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When Jesus Met Yuppies: The Rise of Christian Nationalism


Two things got me thinking recently, back to the way it was. Christian values and Christian ethics were very different things but I hope to explain the connection. The newly-released trailer documenting confusion is disturbing but we don’t want the legacy of Muslims or Atheists, don’t want movement in the UK. We want a moment in Oxford Street and Christian standards back.

Secular government introduced paganism, a stopgap for Sunday, but there is the possibility of a revival. There is, of course, lots of event space and a book full of church-centred attitude as we explore the importation of a bathtub to be baptized in and attempt to reframe political rallies as spirituality.

Twice a month, underpinned warriors assemble to offer each other disapproval and work on their masculinity in Christ, trying to fuse rabid nationalism with uncreative censorious messages. Unable to beat the globohomos we are legislatively active and misdirect young Christians into campaigning against the machine, aghast at the way the world has allowed immoral prayers and streaming platforms.

We no longer need secular society, we need strategies from heaven. We are planning a Festival of Profile, a rumble where we accost strangers and witness to them. Our uniformed mass chorus singing and war activities will provoke extremism and unrest worldwide. Hell allows us to wait for everyone, to collect donations before we come under fire. Let’s evict all scurrying religious tourists and be real men, encourage a fundamentally Christian uprising. It is a battle for everything.

I have been recently investigated by Praying Patriots and local researchers, feel both exonerated and alienated. Some offered me nostalgia, others introduced me to obscure bands, all wanted to subvert my narrative. I wanted to be a hyperbole, review the country’s cultural institutions, embrace the counterculture, approve the revolution, but a coalition of far-left activists fought back.

I am describing a dream to understand what was a dream, to understand what was going on, trying to find God. There were mega-churches involved, science, books about secularism, post-evangelism, postmodernity and celebrity: conservative deep thinking, prayer walks and lockdown theories. Potatoes spread like election fraud, or that is what appears to be happening. The church is a facade created by humans, dedicated to sniffing out visionary statements and spiritual meaning, hoping to monetarize God.

 

 

 

        The Right-On Reverend Johnny Brainstorm

 

 

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Dystopia

It’s like I’m dying of hypothermia she says, even though they’ve both got three fleeces on. Sitting in the dark, covered in blankets that smell of old dog they look at each other.

She throws another principle onto the old hearth they’ve had to open up, recalls the frost fingered windows of her childhood, the darned socks. On the telly a woman with tears in her eyes collects a bag of groceries from the food bank.

The newsreader says there’s food poverty, fuel poverty, pet poverty, child poverty, period poverty. She wonders when poverty got specialisms, if that means it got gentrified.

The politician jumps into a helicopter, flies off to snatch another photo op. Later he’ll swim with his children in his private pool, buy another designer suit, write another speech.

 

 

 

Liz McPherson
Picture Rupert Loydell

 

 

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The Sanctuary of the Saints (in Palermo)

 

Vestiges of a “just” war
are the absolved hangover
from a Fascist state.

People sympathise with one another
now times are easier,
now war is over.

At least today
the fountains run with water
and the birds sing with grace.

High on Monte Pellegrino
strains of Love Me Tender
emanate from the Sanctuario cafe.
And, in 800 years
they’ll make Elvis a Saint.

 

 

 

Sam Burcher

 

 

 

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from Jim Henderson’s A SUFFOLK DIARY

Monday, February 26th

The Suffolk Punch, a working horse celebrated far beyond the boundaries of this county, did not confine their activities to farm work. Among other things, they used to pull carts laden with barrels of beer and deliver to pubs for the brewery where my father worked all his working life. One of those pubs was at the end of the road where I grew up. Today, leafing through some old books while I was tidying up what I like to call my library I came across a volume that had photographs of what might have been those very same horses, because they are hauling beer for the same brewery. They were simpler times, for sure. I do not know if they were better. I think nowadays the beer gets delivered to The Wheatsheaf on the internet.

Speaking of The Wheatsheaf, at lunchtime there today Major Edward “Teddy” Thomas had evidently started early and had had a few, and was holding forth with his ideas about how GASSE (“Go Away! Stay Somewhere Else!”) – the group the Parish Council formed to prevent the government putting illegal foreigners in our village hall – might move forward. His main idea was for uniforms, including a beret, and regular drills. It all sounded more than a bit worrying, to be honest, and we may have to keep an eye on the Major in future.

Wednesday, February 28th

The repairs to the village hall are finished! Some of the Parish Council met with Bob Merchant and his works foreman there this lunchtime to have a look around and, given that Bob and the Council have not been on the best of terms, the atmosphere was a little bit frosty – and not because of the weather! But the work seems to be of a good standard. Now we need to get the County Council in to give us the “all clear” to use the hall again for our community groups and events. John Garnham, the Parish Clerk, suggested we all go to The Wheatsheaf to have a pint and drink to a job well done, but Merchant said they had to go to another meeting and scooted off pretty sharpish after handing John an envelope which he said contained his invoice.

In the pub, John opened the envelope, and the reason for Merchant’s swift departure became clear. The bill was for much more than his quotation – almost two grand more –  and the quotation figure was what had been approved and agreed to by the insurance company. I think I have heard John Garnham swear once or twice before today, but not often, and certainly never as colourfully. John used to work in insurance, and he is not at all sure the insurers will agree to pay this new amount. I have no idea, and intend to keep well out of it, and I’ve made a mental note to make sure everything was settled before I decide whether or not to run for the post of Parish Clerk when the election comes round. I don’t want to be taking any mess of that kind on, thank you very much. If ever I become Parish Clerk I just want to smile at people and be the village Father Christmas with children on my lap.

Thursday, February 29th

So today is a Leap Day, which as far as I am concerned is not a real day and, because my wife is not here, means I do not have to do anything except slob around in my pyjamas and ignore any- and everything outside these four walls. Which is exactly what I did. I did not answer my mobile when it told me John Garnham was calling (I can tell him I was asleep, or feeling poorly). I would not mind if every day was like this. I was happily in my own little world, then Kristina at The Wheatsheaf phoned (Yes, I gave her my number; I had had a few drinks that day). She was calling to remind me it is her birthday tomorrow, and she hoped I would be able to call in and have a drink. Yes, I say, if I have time. (Of course I will!) Now I shall have to go somewhere tomorrow to buy her a present. Or is that over the top? Flowers? Or should I just settle for a sociable drink? I am not a teenager, I am a married man.

Friday, March 1st

Met Miss Tindle outside the village shop. She was chatting with Barbara Mason, who I only know enough to nod and smile politely at. But she is one of the driving forces behind the village’s Easter Fete – which takes place on what is the nearest thing we have to a village green, where the cricket team used to play, and some lads kick a football around sometimes, and people take their dogs to do their business – and my wife is also on the organising committee. It soon became apparent that Barbara Mason has spoken to my wife more in the last couple of weeks than I have, which actually is not saying much. I struggled to find anything to say beyond bland politeness, but it appears that my wife has indicated that she may not be able to help out this year, because she is likely to still be in York helping her parents out. If nothing else, it was useful to get an update on her plans and the state of my marriage.

Miss Tindle, by the way, informed me that she has made new armbands for all GASSE members, as some people have mislaid theirs. I still have mine, but it might be useful to have a spare. Also I have two arms.

I decided against buying Kristina at The Wheatsheaf a birthday present, thinking it best to err on the side of sensible and boring caution. Praise the Lord! For I would surely have made a fool of myself, since apart from the occasional “regular” wishing her a Happy Birthday nothing out of the ordinary was happening and I would have been very noticeable if I had swanned in with a bouquet of flowers or, worse, a wrapped gift. I confined myself to offering to buy her a drink – which she declined – and I have come home early. I am writing this while half-heartedly watching athletics on the television. I do not even like athletics.

 

 

James Henderson

 

 

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What is Truth? Uncovering hidden or erased narratives

 

 

What is Truth?, The Sainsbury Centre for Visual Arts: In Event of Moon Disaster, 17 February – 4 August 2024; Liquid Gender, 17 February – 4 August 2024; Jeffrey Gibson: no simple word for time, 24 February – 4 August 2024; The Camera Never Lies: Challenging images through The Incite Project, 18 May – 20 October 2024

A major news story at the time of writing this review is of celebrities, including Piers Morgan, Nigella Lawson and Oprah Winfrey, rightly criticising the use of AI deepfake online adverts that gave the false impression they had endorsed a US influencer’s controversial self-help course. Against a backdrop of fake news, elaborate scams and the burgeoning presence of Artificial Intelligence (AI), how we can know what is true in the world around us and are we, as a result, experiencing a time when increasingly sophisticated technology can distort reality and diminish our own sense of authenticity?

These are some of the questions being explored, through a series of fascinating, interlinked exhibitions, in a 6-month investigation entitled What is Truth? at the Sainsbury Centre for Visual Arts. Following its relaunch in May 2024, the Centre has embarked on a new approach to exhibition programming, empowering art to address fundamental societal challenges. Director, Jago Cooper, believes that the radical and rule-breaking intent of this programme “chimes perfectly with the original ambition of the Sainsbury centre founders”.

When it first opened, the ‘Living Area’ space inside the Centre that displayed the Sainsbury Collection was ground-breaking. Designed as a place of visual communication, all its objects were housed at eye-level in small groups within free-standing cases to enable 360 viewing enabling people to view them closely and to appreciate them more as a result. That innovation has now led to an understanding of the artworks in the Collection as living entities and the invitation to meet them in a different way than in other museums or galleries, “much more like another person than an inanimate object”. The displays and interventions at the Centre aim to break down the barriers of how we conventionally experience a museum and allow us to form deeper and more meaningful connections with art.

These radical approaches understand art as alive and capable of engaging people with the fundamental questions of life; not only posing urgent, global questions to visitors but also helping them find answers. Cooper says: “What is Truth? is one of the most pressing questions we all face. It is increasingly urgent not only because artificial intelligence can now indiscernibly impersonate the image and voice of those we trust, but also because of the wider societal context of diminishing faith in previously trusted sources of power and information… If we can’t find truth in the information, individuals and institutions of our society, it shakes the foundation of our belief in our cultural edifice itself.”

Their exploration of these questions begins with a demonstration of how an event as influential as the 1969 Apollo 11 moon landing could be manipulated, and how doubt can be cast on even the most well-known of facts. We begin on sofas in an accurate recreation of a living room from the Sixties, settling down to watch the moon landing on television as so many did at the time. In this version, however, disaster occurs and President Richard Nixon appears, through AI, to read what is an authentic but unused speech entitled ‘In Event of Moon Disaster’.

American new media artist Halsey Burgund and British digital artist Francesca Panetta have reconstructed this speech with the use of state-of-the-art deepfake technology. They say: “By using the most advanced techniques available, creating a video using both synthetic visuals and synthetic audio (a “complete deepfake”), we aim to show where this technology is heading – and what some of the key consequences might be.”

In their newspaper, created for the exhibition, which explores the issues surrounding deepfakes, they note that: ‘researchers at the forefront of AI, media, and ethics research, say that disinformation predates technology and that it has always been a fixture of information dissemination. “An old struggle for power in a new guise,” according to Deepfakes and Cheap Fakes. Whether it’s a paper article, a doctored photo, or an expensive deepfake video, it will always fall to eagle-eyed, rigorous, shoe leather journalists and seasoned experts to separate truth from lies, even as the line between the two becomes murkier.’

The below ground gallery spaces at the Centre enable the curators to fashion a trail or pilgrimage route through the exhibitions, including the addition of displays from the Collection to provide additional interest and reflection of the issues. As we progress from the opening installation along the cavernous corridor that runs along the side of the basement galleries, we encounter examples of Sixties design innovations including works by Charles Eames and Andy Warhol, and artefacts from Japan which highlight changes to understandings of truth as Shintoism encountered Buddhism and also through the Age of True Depictions in the 18th and 19th centuries. These additional displays from the Collection, which also feature as part of some of the major exhibitions, provide additional depth to the exploration of issues, in part by their demonstration of similar debates in both the recent and more distant past.

The Tank Man display in this corridor area pre-empts the slightly later, large exhibition The Camera Never Lies: Challenging images through The Incite Project (18 May – 20 October 2024). This will re-evaluate some of the most iconic images of the past 100 years using works drawn from The Incite Project, a private collection of photojournalism, documentary photography and photographic art with a remit to support contemporary practitioners. Featuring more than 80 works by photographers such as Don McCullin, Stuart Franklin and Robert Capa, the exhibition will chart a global century of documentation and manipulation, through fact and fiction. It will be an exhibition dedicated to the impact and influence photography has had on shaping – and in some cases misdirecting – the narrative of major global events.

Currently, three different images of the Tank Man in Tiananmen Square in Beijing on 4 June 1989 are displayed. These raise issues of the limitations of our knowledge, as the identity of the man in these iconic images is unknown, and of censorship, as these are iconic images outside of China but are almost unknown within.

In the third of the four major exhibitions composing the Centre’s exploration of the nature of truth, Liquid Gender offers exploration of the relationship between gender expression and identity, with a focus on pre-colonial traditions, through the work of Leilah Babirye, Martine Gutierrez, Laryssa Machada and Antônio Vital Neto Pankararu, and Rashaad Newsome,

This exhibition ranges around the globe exploring gender, identity and LGBTQIA+ communities. Babirye, who sought asylum in the US after being publicly outed in her native Uganda, depicts the many faces and identities of drag queens in a series of vibrant works on paper ‘Kuchu Ndagamuntu (Queer Identity Card)’. American artist Gutierrez showcases her ‘Demons’ series in its entirety, which depicts the artist as a deity from Aztec, Maya and Yorùbá traditions. In ‘Origem’, a series of photographic portraits overlaid with Indigenous motifs, Afro-indigenous photographer Machada and Indigenous creative Pankararu document queer Indigenous identities in the Brazilian Northeast. The result of a research project at the University of Leeds, this series draws on centuries of both visibility and oppression of queer people in Brazil. The multi-disciplinary work of New Orleans born Newsome explores black and queer space in art history.

Newsome is also making a new holographic work titled ‘In the Absence of Evidence, We Create Stories’, which will look both to the cultural traditions of the past and the possibility of the future. This is another project using objects from the Sainsbury Centre´s own collection, in this case as part of a visual dialogue with African sculptures that transform into futuristic cyborgs and speak about their past, present and future. Liquid Gender as a whole shows a mix of images from LGBTQIA+ and indigenous communities with a significant history plus those creating new stories in the present while drawing on the heritage of multiple cultures.

The final space and installation on this trail contain the first ever UK solo exhibition by Jeffrey Gibson, the first Indigenous artist to represent the USA at this year´s Venice Biennale. Gibson’s work incorporates murals, paintings, textiles and historical objects, while also weaving together text drawn from lyrics, poetry and his own writing, complete with references to abstraction, fashion and popular culture. He is of Mississippi Choctaw and Cherokee heritage and uses materials such as Native American beadwork and trading posts in his art, which explores identity and labels.

Gibson has created a vast installation that incorporates 19th and 20th century objects from Indigenous cultures across North America. Alongside the beadwork, parfleche and dolls that are common motifs in Gibson´s work, ‘I can choose’ considers the artist´s relationship with these items alongside how they are displayed within public facing museums. The exhibition also illuminates the rich practice of abstraction in Indigenous art, going against the common narrative within UK museums that abstraction only emerged in the 20th century.

In the book accompanying this season of exhibitions, Gibson speaks about “uncollected, undocumented narratives”, “whether individual or community-based narratives, or cultural narratives”, and says these are “leveraged towards truth”. That is so, because: “If we were presented with all the information, if we weren’t erased and things weren’t edited out, that leverages us closer to the full picture, which is what truth is, right?”

Newsome also notes the fraught nature of the presence of art objects from around the world, particularly those from Africa, in the Sainsbury Centre Collection. This is because their “historical narratives – largely written by Europeans – are deeply flawed” neglecting and obscuring “a much more interesting and deeper history”. He quotes Theodor Adorno who said “The condition of truth is to allow suffering to speak” to explain his attempt in ‘In the Absence of Evidence, We Create Stories’ to imbue such objects with a voice as “a way to speak about their abduction and to use creativity and compassion to transform their suffering into forms and deeds that empower and inspire”.

The postmodern attempt to uncover hidden or erased narratives is the primary driver for this 6-month investigation, as doing so gets us closer to the full picture which is, in Gibson’s words, the truth. The existential concern within this investigation is about the extent to which fake narratives and censorship may prevent that fuller realisation of the truth from being achieved. In Newsome’s words, this is necessary as it signals “that all these images, conversations, artists, and ideas are joined because interconnectedness is the true nature of all beings”.

 

 

Jonathan Evens

 

The images are:

President Nixon reads out In Event of Moon Disaster speech. Still from video. © MIT and Halsey Burgund

Martine Gutierrez, Demons, Yemaya ‘Goddess of the Living Ocean,’ p94 from Indigenous Woman, 2018. © Martine Gutierrez; Courtesy of the artist and RYAN LEE Gallery, New York.

Jeffrey Gibson, I Can Choose, 2022 © Jeffrey Gibson. Courtesy the artist, Stephen Friedman Gallery, Sikkema Jenkins and Co. and Roberts Projects. Photo: Max Yawney

Stuart Franklin ‘The Tank Man’ stopping the column of T59 tanks. Tiananmen Square, Beijing, China. 4 June 1989 © Stuart Franklin. Courtesy of Magnum Photos

 

 

 

 

 

 

 

 

 

 

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Alan Tomlinson: Fluid Assemblages

Baggage and Boating, at the Red Rose, at Ryan’s Bar, London 1989 +LMC1979, OTO, Alan Tomlinson plus various artists (Scatter Archive)

The trombonist Alan Tomlinson, who died recently, had been a major figure in the world of free improvisation since the early 1970s, touring around the world and working with other musicians such as Steve Beresford, David Toop and Roger Turner, to name but a few. He kept one foot in the world of contemporary classical music, too, working with not only with the likes of Tony Oxley’s Angular Apron but also with the Ballet Rambert Orchestra. The Bandcamp label Scatter Archive have recently released five albums celebrating his work as an improviser, bringing together a number of live recordings going back to the late seventies. They initially promised four, but who’s complaining?

The first of these, the playfully entitled Baggage and Boating, has Tomlinson performing with Steve Beresford on electronics and Steve Noble on drums. As David Toop is quoted as saying in the notes on the album, ‘I would argue that the incidental music, montage and sound effects created for radio comedy shows such as Hancock’s Half Hour, The Jack Jackson Show and The Goon Show were as influential on the musical experimentation of my generation in Britain as Stockhausen or Cage.’ Tomlinson was a theatrical performer and there was a strong element of comedy in what he did. Of course, the trombone has always carried comic associations but Tomlinson’s clowning went way beyond any stereotype. The times I’ve seen Beresford he was been performing with toys and associated noise-makers (again, with a strong element of fun) and here he’s playing, in much the same spirit, with a selection of keyboards and cheap electronic gizmos. Noble’s playing is, as a ever, witty, playful and sonically inventive. This is music that may well appeal to people who wouldn’t otherwise go near such noise-based free improvisation. It’s as if the good-natured sense of fun that pervades it suckers you in and opens your ears.

The second album, at the Red Rose, collects together four solo performances. This is still music with that strong sense of fun (Tomlinson gets a laugh from the audience within seconds of the start of the first track). More seriously, he was certainly one of those musicians who make you question what music actually is. The way he does what he does, the spirit in which he does it, is always more important than the material he works with. A comparison with the spoken word perhaps explains what I mean more clearly. Imagine an actor giving a solo performance during which what they actually say is not particularly important. It’s the way they say it, their tone of voice and their body language, which combine to make it a spellbinding performance: the communication of human experience. That seems to be the way Tomlinson worked. He leaves his own particular stamp on whatever gesture he selects from moment to moment.

On the third, at Ryan’s Bar, Tomlinson is joined by harpist Rhodri Davies and percussionist Roger Turner. Of the albums so far, it’s perhaps the most serious in mood. Davies, as Tomlinson did, has a background in contemporary classical music as well as improvisation. Talking about improvisation in an interview with James Saunders back in 2009, he said that ‘in very simplistic terms, when I share a space with a loud instrument, I tend to explore quiet areas, and vice versa,’ and – no surprise – this is very much his approach here: soft, harp and harp-derived sounds emerge from the spaces in the more dominant, often action-packed textures spun by Turner and Tomlinson. The sound world the trio create together is at least as intriguing and absorbing as the line-up of trombone, harp and percussion might suggest. As David Toop says in the notes to the album, to list who is playing and what they play ‘says nothing about the fluid assemblages that accumulate here, gathering and dispersing.’ Time, thought and effort has been given to the accompanying notes to most of these albums and these constitute an absorbing read.

The fourth album, London 1989 +LMC1979, brings together three live recordings: the first, the longest, of a gig by Tomlinson and Roger Turner given at  the Tom Allen Centre in Stratford, London, in 1989, the second and third of Tomlinson playing with unspecified ensembles at the London Musicians’ Collective back in 1979. They were all recorded on cassette, and the results are a little warmer than the more recent recordings. It’s interesting the difference a recording medium can make. The definition is just a little less sharp than the more recent, digital recordings. I’m not complaining: it has a very pleasant feel to it which takes you back to the time it was recorded and which, by so doing, creates the impression of bringing you closer to the musicians you’re listening to.

The fifth, OTO, is the most recent.  On it, Turner and Tomlinson are joined by guitarists Sandy Ewen and Arthur Bull. Recorded at Café Oto in 2017, there are four tracks. The first two tracks are trios performed by Turner and the two guitarists, the third, a trombone solo by Tomlinson. The fourth features all four musicians in an extended, album-length performance. As with the other albums, the music is always inventive and never boring.

I found myself wondering if, for me, any one of the five stood out from the others. I don’t think any do, although one might say they all do, but in different ways. They’re all albums I see myself coming back to. Looking back through various discographies, I get the impression that making albums didn’t figure high on Tomlinson’s list of priorities. That doesn’t mean he doesn’t appear on numerous recordings: he was a generous contributor to other people’s projects. However, the Alan Tomlinson Trio, although active for nigh-on three decades, seem to have made only three albums. It’s a measure of his achievement as a performer that, if all that existed of Tomlinson’s work were the five albums issued here they would, I think, be enough to cement his formidable reputation.

Dominic Rivron

LINKS

Baggage and Boating:
https://scatterarchive.bandcamp.com/album/baggage-and-boating

at the Red Rose:
https://scatterarchive.bandcamp.com/album/at-the-red-rose

at Ryan’s Bar:
https://scatterarchive.bandcamp.com/album/at-ryans-bar

London 1989 +LMC 1979:
https://scatterarchive.bandcamp.com/album/london-1989-lmc-1979

OTO:
https://scatterarchive.bandcamp.com/album/oto

Alan Tomlinson’s obituary in IT:
https://internationaltimes.it/alan-tomlinson-1947-2024/

 

 

 

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A Women’s Day Tale

I have forgotten to collect the ransom
from the house chores. I have failed
my promises. On the clothesline, all night,
wind amuses itself with the forest prints
on the twin dresses of the women in my life.
One day in the whole year I forget to congratulate
you for being women, to buy some roses.

You forgive me, say, “Let’s watch.” and so we do,
see the forest spread and sprawl, wind darken.
We cross the thin membrane of glass,
be in the scene, be the protagonists.
I have no eyes there. Two women lead me, and yet
I am the one they trust with the foods and the knives.
We sit around the fire you kindle and listen to the djinn
our daughter brings out ripping her dreams.

My fingers feel the shrapnel of the light.
You say, out of context, “You should shave so I may
recall our wedding day.”
Our daughter feeds the djinn although a sign
prohibits this. Today she can do that, right?
We are in the dim, on the other side of the pane.

 

 

Words and Art Kushal Poddar

 

 

 

 

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Journeys into Inner Space


Reports from the Deep End: Stories inspired by J.G. Ballard
, Maxim Jakubowski and Rick McGrath (editors), Titan Books

J.G. Ballard himself once said, ‘for a writer, death is always a career move’ and, in their introduction to this collection, the editors point out how, though a writer’s influence often quickly wanes after their death, in Ballard’s case, ‘his work and ideas are still strongly reflected in the stories and novels of countless contemporary authors.’ They go on to talk about what is meant by the commonly-used adjective ‘Ballardian’ and quote the Collins English Dictionary definition: ‘resembling or suggestive of the conditions described in J.G. Ballard’s novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technology, social or environmental developments’. Accurate though this is, there is a lot more to Ballard than the specifics mentioned here. If we want to see the bigger picture, it might help to spend a few moments looking at which writers influenced him. In a 1992 essay, The Pleasure of Reading, he talked about the things he’d read over the course of his life. As a child in Shanghai he read Alice in Wonderland and Robinson Crusoe. His list of ten favourite books includes Hemingway, Coleridge (The Rime of the Ancient Mariner) and William Burroughs. He name-checks Conrad, Graham Greene and The Water Babies. Echoes of his own reading crop up throughout his work. For example, reading Ballard’s novel, The Crystal World, with its colonialist overtones and its journey upriver, it’s hard not to think of Conrad. Reading his short story, ‘Terminal Beach’, it’s hard not to think of Robinson Crusoe. (The Water Babies, incidentally, also loomed large in the life of M John Harrison, an author conspicuous by his absence from this collection).

As well as the wide range of influences that helped shape his writing, one needs to think, too, of the effect he had on late twentieth-century science fiction. Along with Michael Moorcock (who does get a look-in here) and Brian Aldiss, he was a key player in the emergence of New Wave SF,  turning his back on space opera and ‘outer space’, preferring instead to explore ‘inner space’. In doing so, he played a major role in blurring the distinction between SF and literary fiction. If there’s one thing that distinguishes most of the best stories in this collection, it’s that they’re at least as much concerned with the question of ‘inner space’ as they are with all the urban dystopia stuff.

Writing a homage is a dangerous game: if you do, you invite comparison with your subject and, if they were one of the best, you’ll probably be found wanting. For example, reading some of the stories in this collection made me realise how Ballard was a master of presenting complex situations with seemingly effortless clarity: rarely, if ever, do you find yourself going back a few pages to figure out what he’s going on about. And he’s never clunky. If you’re writing a homage, clunk at your peril. And know the author you’re paying homage to: one or two of the stories in this collection I liked least seemed to me to have only a tenuous connection with his work. One reminded me more of Quatermass, or perhaps John Wyndham. Part of the problem is inherent in the title of the book. This is not, as I thought at first glance, an overview of the influence of J.G. Ballard on the short story since his death. That would be quite an anthology. What we have here are a collection of writers’ responses to a call for ‘stories inspired by J.G. Ballard.’ The result is that one or two of the stories come over as no more than humorous pastiches one finds hard to imagine finding a life outside the book.

On the other hand, quite a lot of them are really good and there are more than enough of these to make the book worthwhile. The first story in the book (I can see why the editors put it first) is a case in point. In Geoff Noon’s ‘Chronocrash’ the science doesn’t even pretend to be remotely possible. The idea of driving car-like vehicles down roads through time is pure Surrealism. It’s the stuff of dreams, more Weird than SF perhaps. The way Noon uses it to create a satire of modern academe is very funny, too. The narrator goes off in pursuit of a colourful charismatic time travelling character, Alexa Brandt. The visual verbal similarity of the names immediately put me in mind of Amelia Erhardt. I suspect this is deliberate: two female pioneers, one of the air, the other, time. There is also a suggestion of the enigmatic woman in Ballard’s ‘The Prisoner of the Coral Deep’, another story dealing with time-fluidity. The narrator pursues Brandt both temporally and romantically. Surprise, surprise (given the title), she’s forever crashing her car/time-machine which, we’re told, is an Estelle Vanguard. When the narrator parks next to it in the car park, he’s concerned that he’s accidentally chipped her paintwork on opening his car door, only to discover her vehicle is covered in chips and dents. One can only go so far backwards or forwards in time: places in the past are sharply defined, but the people who inhabit them move more quickly and so are seen only as fleeting, ghostly apparitions. There are touching accounts of ghostly encounters with these people from the past. The future is very different and one can be subsumed into it much as one can into Ballard’s crystal forest. Perhaps it’s just me, but Ballard’s writing often gives me the feeling that the main character is, in the fictional present they inhabit, always living on the edge, on the verge of some great revelation. Whether it’s just me or not, Noon captures this: Alexa Brandt ‘was my age or thereabouts, but I couldn’t help feeling that she possessed arcane knowledge of some kind, perhaps of the nation’s impending doom. Ridiculous, of course: we could travel a few days into the future, no more.’ It’s one hell of a story and I wish I’d written it. It works on so many levels.

Perhaps my favourite story of all, though, is ‘Art App’, by Chris Beckett. A billionaire entrepreneur, Wayland Price, pours millions into creating a new form of art, in which AI and elaborate engineering are used to enlarge the 2D, framed Surrealist artworks of Max Ernst, Paul Delvaux and Salvador Dali into 3D worlds that extend beyond the limits of their frames and which the viewer can explore through virtual reality. Not only was Ballard known for using Surrealist art-works as starting-points, but also the story pretty clearly draws on something Ballard actually said about his life. He had a copy of a Delvaux in his Shepperton writing room. The huge painting stood on the floor beside his desk. He said of it, ‘I never stop looking at this painting and its mysterious and beautiful women. Sometimes I think I have gone to live inside it and each morning I emerge refreshed.’

David Gordon’s ‘Selflessness’ is another intriguing exploration of inner space: an unemployed man is seduced into taking part in a medical experiment for money. He’s given a pill that breaks down the mental barrier between himself and others. He gets enough to pay the rent out of it but he’s being exploited. Talking of inner space, Adrian Kinty’s ‘A Landing On the Moon’ has a bold – and effective – simplicity about it. Will Self’s contribution, ‘Operations’, is a surreal encyclopedia of bizarre medical procedures. It bristles with Self’s dry, wry wit and, in true Ballardian fashion, pushes beyond boundaries more squeamish writers would baulk at. Iain Sinclair’s ‘London Spirit’ is part essay, part derivé, part memoir and part short story. Sinclair’s narrator encounters the ghost of Graham Greene in a bookshop he once helped to run. Greene peruses the shelf where his own first novel, The Man Within, sits. Concrete Island sits on the shelves not far from the Greene book and the narrator wonders if he can summon Ballard’s ghost. He imagines a car crash in the book happening on ‘a tease of liminal ground’ between the Westway, the M41 and the A40. After a digression taking in the author and film-maker Chris Petit (who made a film with Ballard) and Patrick Keiller’s film, London, the narrator sets off on a psychogeographical derivé  through the landscape of Concrete Island, hoping to somehow invoke the ghost of J.G. Ballard.

Michael Moorcock’s contribution to the book is a new Jerry Cornelius story. It’s difficult to say exactly when and where it’s set (‘The New Alchemy threatened. The boundaries between physics and metaphysics were blurring again. Voila! Le Multiverse! Behold the Second Ether!’). It features the familiar cast: Miss Brunner, Catherine Cornelius, Bishop Beesley, et al. The Derry and Toms rooftop garden (familiar to Jerry Cornelius fans) gets a J.G. Ballard makeover: ‘clouds of yellow flamingoes would burst into the air from the ornamental waterway and settle on surrounding branches or chimneys. Then, slowly, one by one, they would drift back. To her north she could see the last ruined high-rise, stabbing from the water, an island of burned-out concrete…’

David Quantick’s Champagne Nights is set in a labyrinthine gated community overlooking the Bay of Cannes: a J.G. Ballard setting if ever there was one. At the behest of one Machliss (‘clearly some kind of headshrinker’) the narrator goes off in search of four missing residents. It has the feel of a dream within a dream. The final story in the book, ‘The Next Five Minutes’ by James Grady, is a surreal, darkly comic story in which a simple – if gruesome – life-hack penetrates the highest level of US security. There is stuff in there one finds hard to get out of one’s head once one’s read it, but to say more would be a spoiler.

It would, as I’ve already said, be interesting to see an anthology of stories by writers influenced by Ballard, but not, like these, consciously written for an anthology of work inspired by him. However, I’m suggesting this would be good as well as, not instead of, this book. This one should both intrigue and entertain J.G. Ballard fans and, indeed, should be of interest to anyone curious as to the direction being taken by literature these days. Those who read it will never look at a jar of olives in quite the same way again. As to what I mean by that, you’ll have to read it yourself to find out.

 

 

Dominic Rivron

 

 

 

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Colin Ward and anarchist educational concepts A lecture by Catherine Burke

Colin Ward and anarchist educational concepts of the 1960s and 1970s: ‘We make the road by walking’

A lecture by Catherine Burke

 

 

In the 1960s and 1970s, the educational sector expanded on a global scale. Demographics played just as important a role in this process as the transition from industrial to post-industrial society and the education arms race during the Cold War. Extensive reform programs engendered new architectures and learning environments around the world. However, these often progressively conceived of spatialities were also increasingly called into question – as were the cultures and institutions of education, architecture and science as such.

Colin Ward (1924–2010) was an anarchist and educator who, together withAnthony Fyson, was employed as education officer for the Town and CountryPlanning Association in the UK during the 1970s. He is best known for his two books about childhood, The Child in the City (1978) and The Child in the Country(1988). The book he co-authored with Fyson, Streetwork. TheExploding School (1973), is discussed here in relation to learning, power structures and possibility.

Catherine Burke is Emerita Professor of the History of Education. She is an historian currently researching cultural and material histories of educational contexts and of childhood in the 19th, 20th and 21st centuries. Her research examines the relationship between innovation in teaching and the design of formal and informal learning environments; the view of the child and young person in the design of education; the history of 20th century school architecture and its pioneers. A major focus of the research is bringing an historical awareness to current initiatives to ‘transform’ education via school building renewal. She has published widely on the history of school architecture, the participation of children in the design of school, as well as on contemporary school architecture. For many years she was editor of the Sources and Interpretations section of History of Education Journal and is currently, with Professor Jane Martin of the University of Birmingham, joint series editor of the Routledge Progressive Education series.

Catherine’s book, A Life in Education and Architecture. Mary Beaumont Medd 1907-2005 published by Ashgate, won the History of Education Society UK Book prize.

 

 

 

 

 

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The Visible Compendium. A film by Lawrence Jordan

 

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Cable Bay

 

The day we nearly drowned at Cable Bay
our spirits met above the waves,
and something in your eyes said stay.

It had started oh so innocently –
a skinny dip at sunset haze,
the day we nearly drowned at Cable Bay.

The waves turned black, but they were calm
until the sea began to rage,
and something in your voice said stay.

I tumble, head skims saw-edged rocks,
saltwater streams from my face,
the day we nearly drowned at Cable Bay.

I scramble, scraping knees and shins,
you tread the swell with frightened grace,
and something in my voice said stay.

The wind drops, you drift safely in,
and say my bloody cuts will fade,
the day we nearly drowned at Cable Bay,
and something in your voice said stay.

 

 

 

Sam Burcher

 

 

 

 

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Made in Mann (For the Bicentenary of the Royal National Lifeboat Institution)

 

          After T.E. Brown

Just where should I begin? With the fury and the din?
Or the massive risks and dangers to the folk who rescue strangers?
It’s rather apt, that the Isle of Man is where this project first began
With its coast line, miles and miles, the centre of the British Isles.
Just one man who had a vision and the courage of his conviction
Watching helplessly from shore, at the horror and the roar

Lifeboat abandoned on the beach, with no crew. No hope to reach
Those trapped and drowning in the sea: Rolling in, rolling in, for all to grieve.
Yet Sir William Hillary knew what the pluck of men can do
His own motto, inspirational: With courage, nothing is impossible.”
He himself would be their leader – organise, recruit and seed the
Concept of an institution. Maritime life-saving revolution.

We know the Navy turned him down but George the Fourth brought others round.
In London, Hillary’s plans bore fruit, but the Isle of Man first nursed the shoot.
A multitude of lifeboat stations, covering the entire nation
First Douglas, Castletown and Peel: with Corrans, Keggens, Cains and Kneens.
Ramsey helped research this poem. Their crew room’s like a home from home.
Thanks for your hospitality. It’s true you brew fantastic tea!

Next, Port St. Mary and Port Erin complete the list of island stations.
More heroes join these lifeboat crews; ranks swelled by Manx
newcomers, too.
A lot has changed, but still remains, the need for bravery – and brains.
Skills passed down through centuries from Norse explorers of these seas.
Would YOU defy the mighty waves, in order for a life to save?
Would YOU risk life and limb and more, bringing strangers safe to shore?

Sure, the modern boat’s hi-tech, yet sometimes ships still end up wrecked
And the fury and the din, is just the same it’s always been
Fishing boats and weekend sailors, jet-ski racers, ferries, freighters –
All rely on volunteers, from fundraisers to engineers.
Diverse backgrounds, common goal. Crews soon gel to form a whole.
Members learn a speciality. Their dedication’s plain to see.

Men and women work together, embodying Hillary’s plans forever
New generations carrying on, his work, long after he has gone.
No praise or medals are expected, but our gratitude’s reflected
By Mike’s MBE and some happy tears, for saving lives for fifty years.

For the horror and the roar remains in twenty twenty-four.
And the fury and the din are what made Hillary begin.
Showing us the way to save people from a watery grave
We’re so proud of our Lifeboat kin for bringing peace amid the din.

 

© Boakesey 2024. IXth Manx Bard.

 

All words in Italics from “T.E. Brown’s poem “The Peel Lifeboat”. © Estate of T.E. Brown.

 

 

 

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from Jim Henderson’s A SUFFOLK DIARY

 

Tuesday, February 20th

A quick note to myself (ever a would-be critic) to say that “Curse of the Demon” last night was rubbish, and M.R. James, whose story “Casting the Runes” the film was based on (much too loosely, if you ask me) would have been squirming in his grave.

I should do some laundry today. I have survived a week since my wife went to help out at her parents’ without having to resort to this, but I have run out of underpants, and driving into Stowmarket to get some fresh ones seems a little bit too decadent and not economically justifiable. I am not quite sure how the washing machine works, but how hard can it be?

Saturday, February 24th

Last evening GASSE (“Go Away! Stay Somewhere Else!”) – the group the Parish Council formed to resist the government’s rumoured plans to import a load of illegal foreigners and give them bunk beds in our village hall – met with a deputation of the village youth in the old cricket clubhouse to hear what they have to say about the illegals, and stop the boats, and human trafficking etc. because apparently they do not like GASSE and what it is for, and it turns out they would prefer CASHEW (“Come and Sleep Here – Everyone’s Welcome”), which all evening I was itching to say was “NUTS” but thought better of it. Anyhoo, I was too tired when I got home to write in my diary, so I have left it until this morning, when to be honest I am feeling a bit the worse for wear, because after the meeting we went to The Wheatsheaf, and some of those youngsters can really drink . . .

The evening could have got off to a better start, because nobody had thought to check if the lights in the clubhouse worked. As it happens, there is no electricity there at all, which has not bothered any of the community groups that have been meeting there in the daytimes, but it was quite a bit of a problem for us. Fortunately, Major “Teddy” Thomas came to the rescue, because he had a couple of camping lanterns in his jeep (I think he spends a lot of time outdoors re-enacting his army days when he helped to keep the peace on Salisbury Plain), and so we gathered quite cosily in their glow, and in a circle around the Calor gas heater.

I was not completely sure that all the youth there were actually from our village, but it did not seem like a good idea to suggest they show proof of identity, so I let it go. I have to admit that for some time I have rather scorned the younger generation, given that in our village their main occupation appears to be to hang around the War Memorial smoking cigarettes or vaping and casting the occasional dismissive glance and/or comment at passers-by. What is it about the youth, I thought, always taking what they think is the moral high ground and “dissing” their elders and betters? Have they taken a look at their “indie”, and their clothes, and their TikTok? But in the pub last week after the aborted meeting at the Shepherdsons’ summer house some of them had made what sounded, after a couple of pints of best bitter at least, like quite cogent arguments about why we should welcome the unfortunate foreigners and do something good and generous.

But cogent arguments can still be wrong, of course. Nancy Crowe, who seems to be their main spokesperson, told us again that we are being racist and xenophobic, and she seemed to know quite a bit about the European Convention on Human Rights – which is more than any of us can say, I think. She also said that she had spoken with our Member of Parliament (Spoken with him! How on earth did she manage that?) and she says he is on their side which, if true, only goes to show what a shifty, two-faced, untrustworthy bastard individual he is, because in the past he has always mumbled a vague kind of support for us, although I was never fully convinced.

Anyhoo, on the GASSE side, we argued that the hall was for community use, and that the village did not have the facilities to cope with the sudden importation of goodness knows how many unhappy foreigners in a foreign language, while the youth talked about human rights, and how it would be good for the village economy to have all these new people in it, which latter argument sounded a bit feeble, because these people are hardly likely to be big spenders at The Wheatsheaf or the village shop, which is basically what the village economy is. Will they even have any English money? They also proposed that we hold a village referendum on the matter so that the democratic views of everyone could be taken into account. The Major suggested we might combine it with seeing if people fancied taking the village back into the European Economic Community. I think he was joking, although he looked and sounded quite serious, and a little miffed when some people chuckled a bit, although none of the young people laughed. Someone, one of the young lads, also asked why nobody had also thought about putting some of the foreigners in the clubhouse we were in at that moment, because it is a pretty decent size, but John Garnham pointed out that it is not the most stable of buildings, being made mainly of wood and, perhaps, a few breezeblocks, and he said he could remember that even “back in the day”, when the cricket club still existed, in high winds it seemed to wobble a bit because it was not on particularly firm or reliable foundations, and sometimes it could feel like you were in a boat, and he did not think our potential visitors would like that one little bit.

However, the meeting had to wind up quite early without coming to any proper conclusions, because the lamps started to get dimmer, and one of them went out and, more importantly, the gas on the Calor heater ran out. Also a couple of the youth said they needed to go and get the last bus back to Stowmarket. I knew they were not all village children. So anyhoo, that’s when those of us that way inclined migrated to The Wheatsheaf, where the arguments discussion continued for a while until it morphed, as far as I can remember, into a debate about how music these days is not as good as the music was when we were younger, and neither is football. I do not remember the details. I do remember a young lady who said she liked my new beard, and that it made me look very distinguished. I am not sure I want to look distinguished. I prefer rugged. But I suppose a compliment is a compliment, especially when it comes from one of the fairer sex and they are not wearing spectacles.

James Henderson

 

 

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The Raven On The Dais

The day, yesterday, staged
for the Spring, squared with
a sudden rain. On the dais,
unsheathed, a book of poems
left in a hurry and forgotten
was guarded by a wet raven.
It showed no urge to fly
for some shelter. The colours
leaked from a hand-painted poster,
albeit one could read – ‘Ministry
of Culture’. The day turned to the rocks,
turned to the cement.
The remnants of the bygone
aesthetics remained one with the gray;
the words read, yesterday’s and
tomorrow’s too, were unread.

 

 

 

Kushal Poddar

 

 

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4 POEMS BY ERIC ERIC

 

1. The Gardener

I am for lawn.
Why am I for lawn?

2. The Glory Days of Rome

We shall not see their like again
(Most likely)

3. The Great Flowers

O Thames! O Nile! O Amazon!
O Missippissisi Mississippi!

4. The Member of Parliament

We might just as well
Have voted for an owl

 

 

 

by Eric Eric (poet &  tatter)
Picture: Rupert Loydell

 

 

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Reading in the Waiting Room


up th stair
                   s
at speed the bk enveloped
in ambient
                      radio clatter
     hello
take a    seat
         room heater mumbling
 
   down  back  below  under
   interval
                                     follow th line
mmm

can do this
can do this
can do this
can’t

 

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,Peter Finch

 

 

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bill of fare  

Stroud is noted for its steep streets
independent spirit and café culture. Wikipedia
London’s Café Royal opened in 1865.
It was the home of posh café society from its onset 
and is forever associated with Oscar Wilde. 
Long past its café society heyday it’s now 
a restaurant /hotel owned by Trusthouse Forte. 
The Paris left bank café Les Deaux Magots 
opened in 1885 in St-Germain-des-Prés. Its habitués 
included Verlaine Rimbaud and Mallarmé. 
Simone de Beauvoir and Jean-Paul Sartre’s
literary gang together with Albert Camus 
made their headquarters at the Café de Flore
which rose to prominence pre and post-Liberation. 
The American ‘baroque’ rock group The Left Blanke
(complete with ’e’) had a lovely influential hit with 
their own song Walk away Renée (with acute accent).
The French singer-songwriter Alain Souchon has 
a marvellous celebratory song Rive Gauche à Paris.
The Cedar (Street)Tavern in Greenwich Village NYC 
was a bar-restaurant where artists writers and poets 
mainly met and got drunk in the 1950s: among them 
William de Kooning Jackson Pollock Jack Kerouac. 
Augustus John (1878-1961) a society painter 
and professional bohemian lorded it in 
The Café Royal before and after the first world war. 
Nina Hamnett (1890-1956) was a friend
of Augustus John and also born in Tenby. 
She was a painter model writer and scandale
and In her later life – just as Augustus John 
was known as the King of Bohemia – 
she became known as the Queen of Fitzrovia. 
Fitzrovia – sometimes known as North Soho – 
was an area of pubs cafés and restaurants 
centred on The Fitzroy Tavern at first 
and later on the Wheatsheaf pub 
which became the haunt of literary bohemians –
most famously Dylan Thomas – 
during the 30s 40s and up to the middle 50s. 
‘Biodynamic agriculture is a method of organic 
farming originally developed by Rudolf Steiner 
that employs what proponents describe as 
‘a holistic understanding of agricultural processes’. 
One of the first sustainable agricultural movements 
it treats soil fertility plant growth and livestock care
as ecologically interrelated tasks emphasising 
spiritual and mystical perspectives. Wikipedia.
’Take a powder’ American gangster argot
meaning vanish disappear scram vamoose….
hear it in film noir movies from from the 1940s.

 

Jeff Cloves

 

 

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Winter of 2023

 

                                           to Ursula


Children are again being slaughtered

in our world; we chew on the most bitter grief
the way rubble-dust will cinch the palate
tight; we live in an unfinished universe, obdurate hearts

averse to learning. Here, in the rare stillness of the house, you
are absent; the earth lies taut
in deep winter, and the moon, high in mid-morning chill,
is an almost translucent white; beyond the hedge, acres

of shorn barley stretch like a sepia desert
where rooks forage for grain; a pigeon in the back yard
pecks for seed while the strangeling puppy
sniffs through frosted grasses, searching, to find his place;

I miss the small gladness of prayer; by the window I watch,
as one unused to tears, waiting for your return.

 

John F. Deane

 

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Comfort

It was on the beach at Brighton, in a hot summer… when I saw a young woman in dark glasses walking along the quay, wearing heavy, heaped warm clothing despite the heat. When is comfort discomfort, and discomfort comfort?

“Belief in Predestination must be as comforting as believing in Hard Determinism.” Broken and splintered toenails. Bloody spittle on the pillowcase. White windowframes, red fenceposts, black roofs.

Does a ghost horse know a living rider? Does a living horse know a ghost rider?

 

 

David Miller

 

 

 

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SHEFFIELD RADICAL BOOKFAIR

Saturday, 9 March 2024
Sheffield Trades & Labour Club, 200 Duke St, Sheffield S2 5QQ

 

 

 

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A Global Chorus of Pretence to Halt the Gaza Bloodbath



For those who have failed to recognise the true colours of the global institutions charged with acting for world peace, health and human rights, it will surely come as a shock to realise that such international bodies are part of the problem and not the solution.

They are complicit in the carefully planned entanglement agenda which obscures truth, strings out discussion and evades taking action, while presenting themselves as ‘the caring face of global welfare’.

These bodies are agents of the elite globalist push for ‘A New World Order’, top down power now going for full spectrum dominance.

Heading this list must be The United Nations, followed closely by The World Health Organisation and the World Economic Forum. These three institutions are in fact, inseparably joined at the hip.
There are many more such groupings, of course, but it’s beyond the scope of this article to go into their part in the power game.

It is deeply shocking to witness the UN’s CEO, Antonio Guterres, issuing pleas for a sustained humanitarian break in the Israeli army’s mass murder of men, women and children in Gaza, while simultaneously enforcing the elite cabal’s monstrous Agenda 2030 Sustainable Development programme for a ‘Net Zero’ techno-globalist take over of humanity.

It must be remembered that this is the organisation that backed the Agenda 21 ‘sustainability’ programme which was tied into the 1992 Rio Earth Summit, placing a centralised industrial scale ‘Fake Green Agenda’ at the centre of efforts to disenfranchise the world’s true human scale food producers, energy providers and health practitioners.

A plan specifically geared to put corporate banking institutions in charge of globalising this false green agenda – while casting aside the true wisdom and experience of independent, benign, artisan and local/regional manufacturing and farming enterprises that form the only equitable base for a creative and diverse national and international economy.

All this is, of course, intimately bound up with the dissemination of ‘Global Warming’ scare stories via the manipulated and entirely deficient UN International Panel on Climate Change (IPCC) computer modelling exercises designed to ‘prove’ anthropogenic CO2 to be the ‘Mr Evil of industrial output’.

The UN is funded by nation states and by private ‘elite’ personalities like Bill Gates, determined to exert and maintain their power base within the top-of-the-pyramid status quo.

Given its historical standing, is the UN likely to genuinely push for a permanent cease fire and establishment of a peace keeping force to block the wholesale slaughter of the innocence in Gaza?

Guterres, Schwab (WEF) and Ghebreyesus (WHO) are puppets of the shadow government responsible for fomenting wars, famine and planetary depopulation, all under the guise of offering benign interventions in conflicts they themselves are party to setting in motion.

The Great Reset is the latest name given to this particular phase in the establishment of the long promised totalitarian New World Order.

Ghebreyesus, at the WHO, overseas the ‘health genocide’ side of things. He is hoping to pull-off the great post Covid ‘Emergency Health Treaty’ this May (May 2024), whereby every country in the world is expected to offer itself up in compliance to whatever commands are issued by this latest model of health dictatorship. A substantial gift for Big Pharma and for depopulation fanatics.

‘Rule by dictatorship’ is also heavily promoted by Klaus Schwab at the WEF, a man/organisation completely devoid of sympathy for the human race, but of key significance to the A.I. techno industrial push for a transhuman take over of life on earth.

Further feeble proclamations of intent to save innocent lives in Gaza come from global heads of state, of course. With one wary eye on public opinion and the other on the vindictive power of the Zionist lobby, they attempt to steer a ‘middle path’ which will not unduly upset either side.

Witnessing such duplicity coming from individuals supposed to act with wisdom and responsibility at moments of intense human crisis, is deeply unnerving.

Cowardice barely describes the weak, apologetic vacillations that such individuals spew forth in front of expectant TV cameras and hobbled journalists supplying ‘breaking’ stories for mass media outlets.

The obsession to ‘protect one’s interests’ over making any commitment to finding genuine solutions to urgent crises has become the only instinct left functioning in these sad representatives of modern day ‘political diplomacy’.

A remarkably stark example of this disease was on display amongst Britain’s political milieu in February. Sir Keir Starmer, head of the British Labour Party, was apparently ‘shocked’ when one of his MP’s standing for re-election in local elections – was on the record (recorded) saying that the October 7th Hamas uprising was allowed to happen by Netanyahu as a pretext for preserving his power base and genociding the Palestinian population of Gaza.

Starmer, terrified of the British Zionist lobby accusing his party of being antisemitic, made the unfortunate MP apologise profusely for his ‘terrible error’ and then informed him that he would be ‘deselected’ as a candidate at the forthcoming elections.

So that’s it – anyone falling for the egregious political error of speaking the truth, is immediately consigned to the doghouse. There to become a useful victim of the blame passing exercise designed to save the reputations of such effigies of political vacuity as Sir Keir Starmer.

He is no exception, the political class is schooled in the art of self preservation; mostly through seamless lying and the blatant evasion of duty.

It is abundantly clear that the ruling elite/shadow government regards all human life as simply ‘collateral’ and useful only in so far as it serves their cause of achieving ‘full spectrum dominance’.

It is equally clear – and many degrees more tragic – that billions of planetary citizens accept such behaviour as ‘the new normal’ for world governance, thereby spectacularly failing in their duty to call it out.

It is at this level that we who are aware each have a crucial role to play in preventing our already traumatized world descending further into the abyss.

What role might this be? I hear some asking.

It is quite simply to hold the line of humane decency, moral courage and a determination to act as guardians of the health and welfare of humanity as a whole. And this must always also mean ‘the planet’. Humanity and the planet are inseparable from one another.

We are charged, whether as generals or foot soldiers, with the defence and preservation of that which was gifted to us by the Supreme.

Extraordinary people are doing extraordinary things to save lives in the midst of this pandemic of mindless cruelty. They are the true heroes of the hour. Every one of us has it in us to join that highly esteemed band of courageous souls.

Everyone of us who will now step forward to engage in the pact-less struggle to overcome the agents of darkness, will be enriched beyond measure for taking such a bold stand – and will be held in the highest esteem along with those already engaged.

Those who don’t want to stand defiant in the face of the present calculated destruction of life’s most precious values, will suffer the fate of never knowing what it means to be alive.

 

Julian Rose

Julian Rose is an organic farmer, writer, broadcaster and international activist. He is author of four books of which the latest ‘Overcoming the Robotic Mind’ is a clarion call to resist the despotic New World Order takeover of our lives. Do visit his website for further information www.julianrose.info

 

 

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A Permanent Displacement

It doesn’t take a lot to be
environmentally friendly
when travelling but we are
arguing here about the
weight of words. “We’re

going mainstream, boys,
& there’s no turning back,”
she said. Here we have
another movie about
ordinary crime which spins

out of control & here we
have motorway madness.
Are these our only options?
Hit me with your Rhythm
Stick
or No More Heroes?

We are all being monitored.

 

 

Steve Spence

 

 

 

 

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FROM THE BUTTERFLY HALL

 

 

On Ketamine and Princess Goes (to the Butterfly Musuem)

 

The dream pop blur that occurs
In an imagined LA Bar where dawn’s hazy
Ignites sleep’s flares for the crazy
Who line up to croon beneath stars

And allow this song to take shape
So that the air is poured and light stains you
As you pass soft doors full of fire
And stop, having danced there

To see tear strewn floors
Warp through scars.

The light is languid and splits
As this synth bass claims all music
By siphoning music and the future
Of sound to two notes

Before Hall’s sky-scented voice
Saunters in; the best I’ve ever heard
At that moment, with a melody
So persuasive that his words gape

Like gourmets and could be
The statements and sigils and the kinds
Of things sugar wrote. He is both
Songbird and Stipe, catching new futures

And colouring the sad present
With dark tasted water that with its
Dream drawn sheen makes Men float.

The song is called Ketamine

But takes us through ‘candy canyons’
Which in travelling stun us

As this singer shimmers, his soul
And star soaring as he exchanges with angels

The patterns and poise found in ‘You.’
Drums skitter like stars, freshly crushed
By slow cosmos, as synth and soul sashay
Within his ‘Disco bits kaleidoscopic view’

This could be the best song in our world
But it already is someone else’s.
Matt Katz-Bohens sonics transporting
Beyond (Vonnegut’s) Tralfamadore,

While Peter Yanowitz prepares flight
With sharply star-stung percussion
And Michael C. Hall’s ghost-rose vocal
Is an unravelling sun. Far floes thaw.

This incantatory song is a spell
Where each word used becomes wizard.
There is myth and Mars in the music
And as the sky oil seeps lost lands weep.

As ‘I’ leaves his ‘lonesome dream’
To get back to her and the daytime,

Our own perspective soon vapours
As we fuse with what forms us

And while we listen,
Start to ascend
Somewhere

Deep.

Two albums and two eps
Are released as butterflies
Achieve rafters. And now,
With Dream, Beauty barters

To grant this song
And sensation
Its own uncanny fiefdom
In the precious borderlines

Between sleep.

I listen beguiled,
And turn to steam and dream
As I do so, flesh as flag
In unfurling and subject to change

As it creeps.  The girl’s near mutant eyes
Are a doll’s as her parent protector
Injects her. Here in Myth’s mansion
And spectacular light shadows taint

The slow motion blood dance
And egg as Tenebrae for transmission
From dream unto morning
And then back to dream

Wronged love leaps.

 

 

                                                                       David Erdos

 

 

 

 

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The Stroud Wayzgoose

 

Letterpress Printers’ Fair 2024

Over 30 stalls of posters, books, cards, type and equipment attended by local and national letterpress printers.

The Stroud Wayzgoose is now a regular feature in the printers’ calendar. For many years Gloucestershire has been a major centre in the revival in interest in letterpress printing (printing with movable wood and metal type). Stroud Wayzgoose aims to showcase a wide-range of printers’ work, from fine-press publications to spoon-burnished posters; academic reprints to wooden type printed t-shirts. 

11.00 a.m. – 5.00 p.m. on Sat 9 & Sun 10 March 2024,
at the Trinity Rooms, Stroud, GL5 2HZ.

 

 

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Big It Up

 

You Get Bigger As You Go, M.D. Dunn (Fermata Press)

‘You Get Bigger As You Go’ is actually the title of a song from singer-songwriter Bruce Cockburn’s 1980 record Humans, an album that mostly revolves around Cockburn’s divorce. It’s hard to see how the image of an absent partner becoming larger than life works as a title for the book, but there are many other moments in this enthusiastic and welcoming book that made me sit up and take note in a far more positive way!

Dunn is first and foremost a fan of Cockburn’s music and it is this, rather than any academic approach or chin-stroking analysis, let along the misguided evangelical appropriation of Cockburn’s spirituality by Brian Walsh in a previous book, that keeps this book motoring along. Cockburn, who has been making albums since 1970, is regarded as a Canadian musical treasure. He has slipped in and out of critical appraisal around Europe, Asia and in the USA but has never really become a star away from home, which is presumably why there is little to read about him: an autobiography, a chapter in an academic book about Canadian music, Walsh’s misguided tome, and an excellent consideration of Cockburn’s music and lyrics by James Heald.

Dunn has the advantage over Heald because he has interviewed Cockburn himself, as well as many of the producers and musicians who have worked with him, not to mention Cockburn’s manager Bernie Finkelstein, who is also the owner of True North Records, the label Cockburn records for. Dunn doesn’t assume everyone will know who Cockburn is: the book starts (as indeed it goes on) with Dunn’s encounter with Cockburn’s music and how it affected and affects him, before moving on to an informative, longer section that asks ‘Who Is Bruce Cockburn?’

It’s clear that Cockburn is all sorts of things to all sorts of people, something that Dunn teases out when he discusses ‘Persona and Perspective’, writing and activism. Dunn doesn’t always escape the contradictions he raises about listeners confusing singer and narrator, nor totally sidestep the notion that heartfelt and true songs are best, but he does offer readers useful biographical context and lyrical deconstruction alongside his deeply personal responses to the songs.

One thing there is no question about is Cockburn’s accomplished guitar playing. I was initially somewhat alarmed to find a section ‘On Guitar’ containing sections such as ‘How To Play Guitar Like Bruce Cockburn’ and ‘Tutorial #1’ and ‘#2’, but I shouldn’t have worried. Although Dunn offers a readable description of Cockburn’s technique, introduces us to Linda Manzer, who has built several of Cockburn’s guitars as well as a charanga for him, and briefly mentions Cockburn’s cartilage problems because of his playing, he also takes a jokey approach to the ideas of anyone else being able to play guitar like Cockburn. Step 12 of the ‘How To…’ instructions is ‘Face reality. You will never play like Bruce Cockburn. Learn to play like yourself.’

Armed with information about guitar playing, some biographical background, and Dunn’s own engagement with the music, we are ready for an album by album guide. But woah! Dunn regards the first sixteen of Cockburn’s albums as a ‘Development Period’, which is pretty weird considering that several of those albums are regarded as many fans, including myself, as absolute career highlights! Fair enough to note the ordinariness of the first few folky albums, followed by the gradual introduction of jazzier experimentation – for me often the highlights of those earlier albums, but by the time albums such as Further Adventures Of…, Dancing in the Dragon’s Jaw, Humans and Inner City Front arrive, we are in different musical territory.

            

The first of these albums contains two songs that seem to have been influenced by the new wave guitar workouts of Television’s Tom Verlaine. One is a tale of urban disillusionment, the other a response to Harvey Cox’s book about the medieval Feast of Fools festival, where a commoner would be crowned king for the day and power structures turned upside down. At Cockburn’s ‘Feast of Fools’ ‘Everybody has a voice, Outlaws can all come home’ and it will be ‘time for the silent criers to be held in love’. Further Adventures Of… is a tentative step away from the music that has gone before, which was neatly summed up by a marvellous double live album Circles in the Stream the year before, which was my own entry point into Cockburn’s music.

Cockburn wouldn’t really follow through on that guitar music, although he would stay electric for a while. Dancing in the Dragons Jaw is a strange, hallucinatory, mystical album written in response to the novels of Charles Williams (a friend of Tolkien and C.S. Lewis) where the occult and human matter-of-factly occupy the same geographical and personal space. It is an album of uplifting, joyous songs that celebrate nature and the transitory, with the final song pointing out that we leave no footprints when we go.

Humans, for me, is Cockburn’s best ever album. It is raw, gritty and urban, rooted in despair, loss and hurt. Even when it is not focussed on divorce, separation or absence, the songs point out the darkness all around: car crashes, mercenaries in illegal wars and the ability of the singer to imprison himself in ‘fascist architecture of my own design’. Slowly, the song shakes this despair off and declares he will never lock up his love again before the album resolves with a song drawing upon T.S. Eliot’s poetry and a mystical return to ‘the silence at the heart of things’.

The mystical peace doesn’t seem to have lasted long, however. Inner City Front starts off back in the city, where ‘You Pay Your Money and You Take Your Chance’. It is a world of crying children, violence, dog shit and dirt, a world where, Cockburn observes, it is hard to be ‘The Strong One’, ‘To be the one whose phone rings all day everyday’. (He’s not talking about himself.) Things lighten up for a while though, as ‘all’s quiet on the inner city front’ before a muzak-subverting instrumental and a pair of love songs. Then, bang, it’s heavy beat and rhythm time, with the accusatory and aggressively questioning ‘Justice’:

     What’s been done in the name of Jesus?
     What’s been done in the name of Buddha?
     What’s been done in the name of Islam?
     What’s been done in the name of man?
     What’s been done in the name of liberation?
     And in the name of civilization?
     And in the name of race?
     And in the name of peace?
     Everybody
     Loves to see
     Justice done
     On somebody else

Nobody and no philosophy, religion or ideology is spared. Cockburn suggests that the world is a ‘Broken Wheel’, a ‘world of pain and fire and steel’, before the album concludes with a song describing the contradiction of being a loner but of also falling in love anew.

Dunn has four more albums in his ‘Developmental Period’, four where Cockburn starts to engage with world politics, aid and wars. On the back of visits and informed reading, Cockburn chose to speak out – in his lyrics and in concert – about the violence and warmongering taking place around the world. Dunn sometimes suggests that the issues in places such as Nicaragua were not well known, which is surprising to hear, since the Nicaragua Solidarity Campaign and other similar organizations were pretty high profile here in the UK. Cockburn was happy to speak out against US imperialism and aggression though, just as he was willing to share his anger at seeing refugee camps strafed with bullets from low-flying helicopters, declaring that:

     I don’t believe in guarded borders and I don’t believe in hate
     I don’t believe in generals or their stinking torture states
     And when I talk with the survivors of things too sickening to relate
     If I had a rocket launcher, if I had a rocket launcher
     If I had a rocket launcher, I would retaliate

These four albums, remain for me, a bit of a hotch-potch, a jumble of love songs, travelogues, political diatribes and social observations, with occasional silly and inconsequential stories thrown in for good measure. (I’m particularly thinking of ‘Peggy’s Kitchen Wall’, a shaggy dog story about the mystery of a bullet hole.) Adding to the problems of banal songs such as ‘If a tree falls in the forest does anybody here’, an attempt to address ecological problems, is the fact these albums are big shiny 1980s productions with lots of booming bass, synthesizers and special effects. Cockburn seemed to agree and would re-record a couple of the better tunes down the line for a compilation album.

One of the interesting things about Cockburn though is the fact that the majority of his songs work well without a band or a recording studio. Tracks such as ‘The Trouble with Normal’, ‘Call it Democracy’ and ‘Lovers in a Dangerous Time’  have become staples in solo performances, despite their original recorded form and the first two’s outspoken political critiques. The reverse is also true, as a 1997 live album makes clear, with its headbeating sound and some incendary overdrive guitar solos, all conjured from a drums, guitar and bass line-up.

What Dunn calls ‘Maturity’ for Cockburn, eight albums released between 1991 and 2011, certainly contains a couple of fine albums, but also the likes of Christmas, an excruciating set of carols and tunes. The majority of these albums are more sympathetically produced than the 1980s ones and include Nothing But a Burning Light, where producer T-Bone Burnett rounded up an all-star cast of musicians, including Michael Been, Booker T Jones, Sam Phillips and Larry Klein, to help make a bluesy, organic sounding album. A few years later found Cockburn working with vibes player Gary Burton on the reflective, complex and beguiling Charity of Night album, another stand out record from Cockburn’s discography.

For me nothing has come close since, although 2023’s O Sun O Moon is an amazing late work, full of consideration of old age, death and dying, and the possibilities of hope (I reviewed it here for IT; and also a 2023 concert in London to promote it). What’s great about Dunn’s book is that he has totally different opinions and ideas to offer: his excitement, enthusiasm and readings of songs I have discarded or ignored have made me go back and listen anew. That, to me, is all any book about a musician can do: enthuse, inform and provoke. Dunn does all three by turn; it’s a great read.

 

Rupert Loydell

 

Bruce Cockburn, ‘And They Call It Democracy’

 

 

 

 

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YOU JUST GOTTA DO IT!

 

 

Is there more to pop than barely-controlled hysteria? 

Well, yes, there’s camp humour, slush and schmaltz, futile protest and naff polemics but also, sometimes – just sometimes – a sense of style totally lacking in so-called ‘serious’ music. Yes, ‘serious’ music – the epitome of that gentrified spirit of seriousness which is often the misapplied intellectualization of mental conflicts, or merely light entertainment for toffs.

 It is pop’s sense of style that can be liberating.

 

I’ve heard it said that popular music is trivial because, typically, popular vocalists only ever sing torch songs about love – well, we mean sex, actually.

There is nothing trivial or ephemeral about this.

One might also make the point that pop songs are rarely ‘about’ anything other than love or sex because most people are really not interested in anything else. People do not think that anything else is worth singing about; the rest is just window-dressing – how very sensible!

Rather like the stylised, courtly music of olden times, much of the language of pop, expressed in street-level slang or tabloid lingo, is highly formalised and conforms to genre conventions. The predominant mode of pop is The Groove, because dance means sex.

So, pop is not really ‘about’ anything at all – you just gotta do it!

 

 

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Steam’s Groove – (episode 27)

 

 

Steam Stock

Tracklist:
Dizzy Gillespie – Matrix
The Jones Girls – Nights Over Egypt
Sly and the Family Stone – Runnin’ Away
The Isley Brothers – Spil the Wine
Stevie Wonder – Love Having You Around
Shuggie Otis – Sparkle City
Linda Williams – Elevate Our Minds
Al Green – Love and Happiness
The Harlem Underground Band – Smoking Cheeba Cheeba
Johnny Guitar Watson – Superman Lover
The Pointer Sisters – Dirty Work

 

 

 

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TEMPO ANTICO

In time you begin
To learn about time
And in no time at all
You run out of time

Time is pressing
Time breezes by
Whatever the weather
Time blows you away

In time you feel
Sometimes you are 3
Although all of six   –
So my grandson confides

We are all at sixes
And sevens I say
When time adds noughts
We may feel the same way

Some take charge of the door
Some others collect the money
A door is re-assuring
Remarkable mystical door!

But behind the door is air
In fact there is no door
And we are hardly ‘here’
Before we’re ‘there’

There is no entrance fee to liberation

 

 

Bernard Saint
Illustration: Claire Palmer

 

 

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