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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

 

,

,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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TO HELL AND HOVE      

                                                                                                                   

                            On Pariah Genius by Iain Sinclair (Cheerio Books, 2024)

 

 

In his 80th year, having left, Sinclair circles back towards London,
Admittedly not through back doors, but through the entrance
Of two galleries; in which, hung like Saints, as well as martyrs
To the myths which first scarred them, hang Francis Bacon,
John Deakin, and all of the other ghosts gathered in Iain Sinclair’s

Coterie. For this a biography which becomes something further
Than fiction; framing fact while Iain’s word-colours bubble
And burst on the page, for no-one can write as he does;
The prose stylist as painter and photographer too, like his subject,
Who is also soloist, sage, and harmonsier, as he transposes,

Transfigures and advances the form for each age. 
Pariah Genius as a phrase and as this book’s title
Spans the greatest journey that any human can breach,
As all of society is contained in its scope, and the limits
We lick through potential. And as Sinclair’s private view

Becomes public, he reveals the secret Gods and the shadows
That only he can still reach. Our greatest writer? He’s one.
Alongside the fellows he follows. Alan Moore, Derek Raymond,
Chrises Petit and Torrance, Arthur Machen of course,
Swedenborg. Mystics of the mask placed over the modern;

Classicists for a future in which with language forsaken
Words and espousements will rouse once more from the morgue.
And Sinclair is Death’s dutiful servant scribing free while faithfully
Attending to Deakin. Unearthing (a la Alan M.) The Hidden Files
Of an age which is but a few decades done; as the Sinclairian shovel

Digs deeper, and where instead of soil and stone he strikes titles,
Including Derek Raymond’s lost memoir in which he too detailed
Soho and the origin story behind the Black Novel’s page.
I dug Iain’s dig, with its circuituous roots back to Malta
And to Dylan Thomas in the 40s. Patrick Hamilton’s shadow,

  

Sourced earlier still inks lost air.  Just as Deakin’s photos reveal
An artists’ textured touch alongside a poet’s prod in the tapping
Of the smear and sheen and the stutter of the shutter release
Framing care. Everything becomes written of course as soon as
Memory makes it legend. Poetry pierces pictures. And everyone

Described herein becomes poet, of lens or line, brush, or act.
Sinclair shields them all, as he always does. Dream’s Defender.
As he writes and weaves montage and mosaic each story shimmers
With a force and a feeling strong enough to crack cataracts.
Orpheus himself varnishes as the underworld is resurfaced.

For Deakin dipped in the oil, piss and sperm spilt by Bacon,
And the Kray-dark tastes of those days.  He was there when London
Was brylcreme and blood and the chipped porcelain made,
As each One-Man Empire crumbled. And Eye-Ess IS his shadow
Through Deakin’s daring and despite his long disarray. 

This book is its own gallery, portraiting everyone to and fro
From Bacon’s 1962 Exhibition. The old Tate at Millbank becomes
A lost state of mind. Some bright Shangri-la, caught inside Deakin’s
Camera which Sinclair now develops. In the red light, image-water
Starts bleeding the gold this book finds. The sentences stun.

No-one can arrest the eye like this writer: ‘Fever dreams empty
the streets and let the old ghosts out.’  Man as music.
‘Croydon is  a necessary penance. They live there under a compulsion.’
Drumroll, please. ‘Retrievals from chaos illuminate subsequent histories’
Thankyou, Iain. ‘The invisibly published enjoy a great privilege: they are
Beyond the reach of criticism.’ Art as ease. Sinclair’s words photograph

As he takes in everybody. As a former Film Student, soil worker
Trader in print, pundit, scribe, everyone slides though his ink,
From Gascoyne to Pinter whose No Man’s Land he transfigures
As those pre and postwar progressives drink their day dry
Yet imbibe on a continuing standard unsought and unreached

By anyone in the present. Here, Sinclair’s singing Pinter’s prosody
For all time. Deakin was a one-shot novelist. Sinclair is one
With each sentence. Nevermind his own novels, and meta-texts
By the score. He tells Deakin’s tale while tapping on Hirst’s
Huge window. And provides spine for Spooner by hosting

Harold’s generous aid for the (often pissed) and passed poets
That Deakin detailed through closed doors. Everyone is scorched
Here and stretched. Everyone fries beside Bacon. ‘In a punctured
Hampstead of the soul’ doom is blooming as David Archer,
Houses Deakin’s love and George Barker, superimposing

Their image on Pinter’s play. Faces scored into pigment
And print and time itself lifemask for us. As with Blake’s
Etched by Bacon, each visage as vision is a ghost skimmed
Stone on the Thames. Images of Keefe and Mackenzie’s
Long Good Friday vapour in, as the Dockland bowl brims

With bodies, and as this soul soup starts spilling,
Forgotten names bob like croutons along that great brown
Stew’s weeds and stems. All is dispensed in this book
As Deakin links every diner, from Colin MacInnes,
Jorge Leon, WS Graham, John Minton, Henrietta Moraes,

John Heath-Stubbs, from each drop in the dark bubbles care:
Elizabeth Smart, Dom Moraes. Muriel Belcher, Tom Baker
Elias Canetti, Vincent Van Gogh, David Hare,
Colquhoun and MacBryde, Michael Reeves, Daniel Farson,
Bruce Bernard, William Empson, Joan Littlewood;

No-one’s spare, with each tainting time in this tome
Which is a biog-bro to Peter Ackroyd’s London,
Where instead of location, vocation and attendant voice
Chronicles how everyone wins a word prize. Deakin caught
Them all in his glare, Sinclair sits beside, scribing swiftly,

Taking us both up and Downriver, Lights on (and out)
For all Territories as his new Orbital oracles. For there is
In this book, all of the books Sinclair’s written. In having
Returned from the Congo he must once more reengage
With the streets from which the Gold Machine was first dreamt,

And a life’s practice fashioned; one bred from books sold
And written, from books that remain incomplete; by which
I refer to the dreamt, and Sinclair remains our best Sandman;
He can convey like no other the Lost’s resonance and their worth.
He is a Don Quioxte aware of each dream day drawn before him,

As well as a Sancho Panza keeping raised feet close to earth.
Pariah Genius marks two worlds, and both contain ruin,
But in what has passed as he’s raking Sinclair sees palaces.
He glimpses them in the light of the Poetry Library window,
And the Colony Room’s ghost gin glasses which become

Grail-like chalices.  Sinclair scours all through his search,
As traipses and trails beside Deakin. From the French House
To Brighton, from sea-scape via strain, to deterioration
And decay, Heaven and Hell intermingle. As what was bright
Is blurred always when the hangover spikes the smudged brain.

And so one man’s story is told through a cityscrape of other people.
Criminals, lovers, the designated dead, prostitutes, who fucked,
Or failed remain the earthly compromise of all angels, sucking
Man’s sins to spit secrets; as this is what this book constitutes:
The classic drift of a time and of a sea ever turning. This is what

We hear in a seashell: the shipping forecast of the past.
To which Sinclair tunes. Behind that sound Deakin’s snapping.
And performing a radio play in soul-static made with a truly
Glorious cast. In John Deakin’s unsteady finger caress
e brushes Bacon and George Dyer’s nipples. In the camera

Click, crap is cutting and Raymond’s uppered crust finds its fall.
This Genius hung a ghost gallery, full of Screaming Queens,
Popes and Poets. This book becomes Boho’s Bible, burning
Through, singeing, singing. A scavenger can be sacred.
Shelter them on shelves.  Light your wall.

 

 

 

 

                                                                              David Erdos 23/2/24

 

 

 

Photos by kind permission or Anonymous Bosch

PARIAH GENIUS by Iain Sinclair will be published by Cheerio on April 25th 2024

 

 

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BREAD FOR BERNARD


 

                             For Bernard Kops  (28th November 1926 – 25th February 2024)

 

 

The world was a wedding from which you always stayed faithful;
To Erica first, then the angels who bit into bagels beside.
You shmoozed with them all from Jerusalem to West Hampstead,
Via Bacon and MacInnes’ Soho, language spilling from you,
A kind of Canute then, dry-landed, forever in search of fresh tides.

You were almost the last of the jews as I understood it;
Or that East End section that was a form of shtetl and street,
Along which Rabbis grew as if they were roses, and bombs
Burst from bookstalls from which the search for new worlds
Felt complete. Everything became kitchen sink, yet all was first

Science friction; what with the dreams bred from sickness
And the neurotic germ as it ate into each moment and soul
And you, as symbolic worm fed and fattened, moving in
From the outside into the temporary heat of charmed fate,
In which you erected your tent, stocked your shop, and then

Staged your drama, marrying Shakespeare with Stepney
And forms of urban folk-song. From Peter Mann’s Dreams
To Solly Gold’s entrance. Your Synagogue syntax was grammar
And grace not for throngs (as your initial audience thinned)
But for those who would feed on the fat and faith in a poem,

And who were keen to see and feel babble bagel and rise
Chagall-like from the page.  As you were Anne Frank
And numerous speed-freaks in Margate, one could taste
Steam and sugar, glory and grain, oil and sage,
With each matzoh ball baked in some ancient fire, hot

In the hands of your children and offered out through the years.
You were dramatic, damaged and a Yiddish Lear copping Kingdoms,
Watching them divide, as new Drama saw your Friday night table
Cleared. Harold remained at its head, but whither Wesker?
Ask Arnold. As with him, demand lessened but not vibrancy.

As your books boiled up stews stirring the sting of time
With old honey and you, still folkloric oracled fate’s clemency
On your failed and flawed characters, from settling Simon Katz,
Back to Gloria Gaye, Daniel Klayman, you were stitching
Each tempest into a new tapestry, not from Bayeaux,

But E8 and those other hidden regions of London, now written
Over by Diasporan tales of all creeds. Those former jews
Disappeared. And your Shalom Bomb has exploded, as the actions
Of Israel see the semitic stained, thereby upping the Anti
As hate once more gets its feed. But Bernard, in being read,

You still boil. Whether  tasted or not,  your work simmers,
Bubbling beneath counters, unfairly set in which those
Who once changed the stage sought the specific shelter
Of novels. Or radio plays where versed voices could still
Offer the ear a sound rose. And where an old world
Was remade, as you sailed with Homer, accompanied
By Simon at Midnight, or with Just One Kid at the stern,
Spotting Ezra Pound in his cage, or passing Cafes Kropotkin,
Or Zeitgeist, as Antigone’s anemones surfaced you showed

How an old dog can still learn. You, bagel-breathed,

Chopped herring charmed, egged and onioned. You soothed
And raged, sanguine, yet sure to take affront’s stance;
Incensed that your generation are mostly known now
To those who decrepitly surf theatre’s ocean. But we can
See you still, below surface, as if you were some bright

Coelacanth: a living fossil.  Now dead, your work retains
Your potential. With sixty plays and twelve novels, ten books
Of poems and two Autobiographies as bookends,
Where selves meet. You lived a near Century, from poverty
To wild riches; from fear and shame to abandon, to acclaim

And prize, sun and sleet. From life’s cold assize to the warmth
Within your wife’s bosom. From the love of friends and family
To the feeling that you might never fill Shakespeare’s feet.
Or Potok’s, or Roth’s, or Kafka’s for Chrissakes! You brought forth
Beauty as one could bite into your books and taste challah,

Kugel, bazargan, latkes. There is cream and crunch in your pages,
There is scent and salt when we look. And more. So much more.
It was on Finchley Road where I saw you. You were delighted
That you had been recognised. By Waitrose.  Just as you will be
Again, perhaps at a time when we know that there is a world
Of work that’s pure Talmud; a range of holy scrolls holding
Writing that is offered in praise of new Gods, which can’t close.
But whereas Gods can still fall, with new Deities designed
Every moment, we as congregations can carry mezzuzahs
Towards our own calvarys and honour the home

That a writers voice can still furnish. Their uniqueness,
Their vision shows where the true power is; for whether
Faded or not, the frame is refashioned, inside a book
Jacket or within the confines of a stage. That someone once
Imagined and wrote. Writers dream their dreams for us.

It is this act of sharing that seeks to dignify every age.
Bernard Kops coped with lots, he sought acclaim,
Then he won it. And then surrounded by others,
From Mercer to Livings, Simpson, Rudkin, Cooper,
Osborne, he saw sleep’s food withdrawn and yet still

He kept eating. Break bread once more then,
With Bernard.  Butter it with love. Be reborn.

 

 

 

                                                                             David Erdos 27/2/24

 

 

 

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An evening event, billed as: Sage & Gaz + Friends celebrate: ‘Notsensibles’


Some words and pics from Alan Dearling

First up was Stephen Hartley, aka Sage.  The Stephen Hartley Band offered an intimate set of largely autobiographical songs. ‘Stories’ from Stephen’s life, especially from his years up to his time in Scotland where he trained as a doctor.

Stephen told me that, “I’m also known as Sage – it’s a nickname I got at school, because there happened to be several Stephens about. My initials: SH therefore became ‘saitch’, equals ‘Sage’.”  Stephen was joined by Gary Brown, the original and only Notsensibles’ bassist, on bass. Tyler Hanley, the current mayor of Todmorden was on drums. Stephen told me: “Tyler is my sons’ age and was in their band The Strange. He’s played with me and Gary on a number of occasions and he’s the best drummer I’ve ever come across.”

Obviously, Sage is pretty political, and the songs included a nod towards George Orwell in ‘George’s Brother’ which offered a condemnation of foodbanks. His set certainly came to life with the energetic and catchy, ‘I’ll meet you at the bar’. An obvious invitation for punters to go and buy Stephen a beer! The closing number, ‘Swampland’ also got the audience energised, in readiness for the set of Notsensibles’ songs. Obviously, many in the audience were long-term fans of the ‘Sensies’ as they are affectionately known.

A bit of background: Stephen Hartley and Notsensibles

Stephen Hartley is best known as guitarist with iconic north-west punk band Notsensibles, who recorded four singles, an album and a Peel session. He’s continued to play in bands ever since, playing anecdotal, autobiographical songs, which he’s released on his DIY back room label, Eli Records. After the engineering apprenticeship that he was serving during the days of Notsensibles, he spent five years as a busker, playing classical guitar.

He went back to school on the day that his daughter was born, to study medicine, eventually becoming an A&E consultant. He runs a one and a half acre organic smallholding. His book ‘Painting Snails’ uses the annual cycle of the land as a framework for stories from his past.

For the last ten years Stephen has teamed up with original Notsensibles’ bass player Gary Brown, playing original material and always including Notsensibles’ songs in their sets. Lindsay Riley was on drums.

Stephen said after the gig: “Our gig at The Golden Lion in Todmorden was extra special, as we were joined by special guest, Roger Rawlinson on keyboards. Roger wrote most of the Notsensibles’ songs.”

During the second set, Gaz took centre stage as lead singer, as they played all the singles and songs from their infamous album, ‘Instant Classic’.” This was crammed full of lively fun with much singing-along. Many members of the audience behaved like the grand-parents of punk rock! Like the songs themselves, the musos and the punters didn’t take themselves too seriously. The song ‘Death to Disco’ was released as a  single in April 1979, and probably their most famous song  arrived later in 1979 when they,  (depending on your point of view), ‘lampooned or celebrated’ the election of Margaret Thatcher as Prime Minister, with, ‘I’m in Love with Margaret Thatcher’. 

At the live gig, stand out moments included the powerful, frantic and frenetic, ‘I am The Bishop’, the dippy bonkers-ness of ‘I thought that you were dead’ and the North of England music-hall pastiche, ‘Little Boxes’,  and the obvious ‘finale’, the duo of songs, ‘Death to Disco’ and the ‘Maggie Thatcher’ song.  The Notsensibles’ songs are at times strangely reminiscent of a punk band fronted by Spike Milligan and The Goons!

The musical spaces in between and after the live sets were uplifted by some great punk tunes played by the DJ, including The Adverts’ ‘Gary Gilmore’s Eyes’ and ‘London Calling’ from The Clash.

Gaz & Sage + friends will continue to gig in 2024: Landed festival in Wales in July, with other festivals in the pipeline.

 

 

 

 

 

 

 

 

 

 

 

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A Game of Needles

 

Everything is as it should be, though neither you nor I would recognise the hints and shifts beneath the written surface. There is a woman made of needles, though not the kind that pricks your finger so you sleep for a hundred years, or until a stranger enters your chamber with all of its suppressed connotations; nor even the kind that litters the phone box outside the 7-11, that makes you scratch your tender forearm before you realise what you’re doing, and then feel a guilt that has never truly been your own. Don’t overthink it. Beneath her lights and fabrics, she is pine needles, secret as the forests we have only flown over on our way to safer cities, bursting with beasts still sweating from the hunt. Predator or prey? There are party games in her slate grey eyes, and nobody’s expecting to lose.

 

 

 

Oz Hardwick
Picture Nick Victor

 

 

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IT OUR DEMANDS

This is an idle threat
Nothing will happen to you
If you ignore. Life
Will go on. The things
That would have happened
Will happen anyway. It
Will make no difference
To the well being of you
Or your family. Simply
Pay the money into
The numbered account
Before bank closing
On Wednesday
Or Thursday, whichever
Is most convenient

 

 

Steven Taylor

 

 

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i am here to ruin your gender a transmasc manifesto

 

gender is an identity. gender is an expression. gender is how you look, how you act, how you’re expected to act by others. gender is a role. gender is a position. gender is an imposition. gender is what the cisheteropatriarchy wants you to do, wants you to be—how it wants you to submit. it assigns it to you at birth, based on how you look, and from then on you’re expected to keep up your act for the rest of your life. gender, like Judith Butler famously says, is a performance—but some of us don’t follow the script. some of us won’t follow the script.

and some of us aren’t even satisfied with not following the script either. no, we want to burn the whole stage down. trans, not as in transition, but in transgression. transmasculinity—transgressing masculinity. i am not here to act like a man—i am here to ruin your gender. i am here to look like you without acting like how you want me to. i am here to destroy all unities among expression, emotion, interaction, domination, and submission which you hold sacred and essential to your role as creator and enforcer of the cisheteropatriarchy. and in my destruction, i will not only create myself, but create space for others to do the same to you and your enabling ilk.

agender isn’t enough—i need to be antigender. i am not simply satisfied with removing myself from your system and finding community with others who have done the same. i will not be satisfied until your entire system of domination and exploitation of all who are not your gender is gone. gender is a conspiracy. gender exists to serve hierarchy. and i refuse to serve.

Reprinted from typhotic iceberg

 

 

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Auntie, why does your house smell funny? Jumble Hole Clough

 

 Auntie, why does your house smell funny?

Jumble Hole Clough

The album-cover of Jumble Hole Clough (aka Colin Robinson)’s latest album, Auntie, why does your house smell funny? is an old family photograph, taken back in 1912. When you look at it closely, all the people in it have a look of surprise mingled with slight puzzlement on their faces. It makes you wonder what was happening behind the camera. Perhaps the photographer had just completed a round trip in a time machine and was playing them Fanny Robinson’s great-grandson’s latest album on his phonograph.

The music of Jumble Hole Clough is, as Robinson describes it, ‘influenced by the landscape, industrial remains and experiences around Hebden Bridge in West Yorkshire.’ The end result is a distinctive musical world that combines these elements with elements of his own dream-life and other flotsam and jetsam dredged from his subconscious. (His previous trilogy of albums dealt explicitly with dreams, but you get the feeling they’re an important part of much of his work). The dream-like quality of the music is no coincidence, I think. The area in question has, itself, the feeling of being some sort of humongous surrealist installation: the place names, the strange rock formations, a deserted radar station, an obelisk on top of a hill with a dark windowless staircase inside (overlooking the site of a former asylum), right down to the way the present is built on the wreckage of a past, the exact purpose of which, though industrial, is often not immediately obvious. And when we humans inhabit a place, our memories become embedded in the land. When they do, the landscape becomes a kind of external collective unconscious, full of archaeology the meaning of which is perhaps forgotten or, at best, half-understood: a kind of ‘jumble hole’, if you like (although the place, Jumble Hole Clough, really does exist). The associations we pull from it – waking, ancestral dreams – bear analogy with the dream-worlds we pull from our own subconscious minds and are, in turn, filed away there to re-emerge as future dreams. We talk about inhabiting an environment (environs – surroundings) but, in fact, we are, ourselves, part of the environment. We are, psychically and physically, part of the landscape, just as we don’t live on the Earth but, just like its rocks, are a part of the earth (and our thoughts, the fleeting electrical discharges in our minds, are no less part of it than lightening). This album – despite a brief field-recording made in Sevilla and the odd day-trip out –  is, in a very real way, a rendition of a spirit of place.

I often wonder where Colin Robinson gets his titles from, much as I used to wonder how Iain M Banks created the names for his spaceships. As he says in his accompanying notes, ‘As always, the titles are of the utmost importance, they explain everything.’ Reading through them, it’s immediately apparent that the theme running though this album is death (and then, of course, we realise, all the characters in the album cover photo are dead). It begins with ‘A Christmas Card from Karlheinz’, which, perhaps, refers to the late composer, Karlheinz Stockhausen. Then comes Jackfield and Bedlam. This is not a reference to the famous London asylum but to Jackfield, a village in Shropshire and, perhaps, the nearby Bedlam Furnaces. These places, like the area around Hebden Bridge, represent the not-too-comfortable (for the workers, at least) seat of the Industrial Revolution in England. The lyrics describe it as ‘the land of the living dead’, the modern equivalent of a Hieronymus Bosch nightmare. And this sets the tone: what this album most reminded me of was a medieval danse macabre, itself an emotional response by the people of the time to the ravages of the Black Death, the modern corollary to this being Covid. And, like it’s medieval counterpart, it’s not a solemn affair. On the contrary, it laughs in the face of the Grim Reaper, albeit in a slightly off-kilter, unsettling sort of way.

If you’re still in any doubt, check out the title of the next track, ‘Friday 13th Part 12′, the 2009 American slasher film. I won’t go through all the titles – you can ponder the references yourself – but they do include ‘6am Marston Moor’. Marston Moor was, of course, a battle in the English Civil Wars in which the Roundheads killed four thousand Royalists, ending any chance of the latter controlling the North of England: you could describe it as a real life, seventeenth century, Friday 13th. Whether the ‘6am’ refers to a personal experience of Robinson’s, the morning before or the morning after the battle, is left to the imagination.

In his notes, Robinson says how much of the music began life through an ongoing exploration of generative music which began in 2022 with the album …and I think the little house knew something about it; don’t you? This becomes more obvious in the predominantly instrumental second half of this album, in which the macabre dance really gets underway, with titles like ‘May Day in the Ossuary Parts 1 and 2’ and ‘The Wondrous and Most Efficacious Electronium of Happy Valley’. There is an area not far from Hebden Bridge known as Happy Valley (it’s not just the title of a TV series) and intriguingly, going back to the first track, the electronium was one of Stockhausen’s instruments of choice. On reflection, I wondered if Robinson, like me, had been listening to the Today Programme’s interview with the composer on the occasion of his seventieth birthday, back in 1998. When the presenter asked him what he hoped to achieve before he died, Stockhausen replied, indignantly, ‘die? I’m going to live eternally!’ It could perhaps explain the Christmas card.
 
I once got lost in the fog on the moors in Robinson’s neck of the woods and found myself wandering down an uncanny, seemingly endless valley in which phantasmagorial shapes of ruined dry-stone structures kept looming up at me through the mist. After what seemed like an age, this ramshackle world gave way – almost imperceptibly – to the outskirts of Hebden Bridge. I often think of this experience when listening to Jumble Hole Clough.

TS Eliot’s Prufrock measured out his life in coffee spoons. It would be nice to think that, for a growing number of people, it’ll be Jumble Hole Clough albums. This, by my count, is the forty-fourth. Keep ’em coming.

 

 

Dominic Rivron

 

 

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I AM AN ANARCHIST

Bhante Sujato on being an anarchist and why he thinks Buddha was too.

Ajahn Sujato left a career as a musician to become a Buddhist monk in 1994. He took higher ordination in Thailand and lived there in forest monasteries and remote hermitages. He spent several years at Bodhinyana Monastery in Western Australia before founding Santi Forest Monastery in New South Wales in 2003. Following Bhante Sujato’s wishes, Santi became a nun’s monastery in 2012, and he returned to live in Bodhinyana.

Ajahn Sujato has written several books including A Swift Pair of Messengers and A History of Mindfulness. In 2005, Bhante Sujato co-founded the Buddhist website SuttaCentral along with Rod Bucknell and John Kelly, to provide access to early Buddhist texts in their original language and make translations available in modern languages. After being unable to secure copyright-free digital translations of the Pali Canon for SuttaCentral, Bhante Sujato moved to the island of Chimei, off the coast of Taiwan, to undertake the task of creating English translations of the four, living there from 2015 to 2018. These translations have since been published on SuttaCentral, and as free edition books.

In 2019, Bhante Sujato moved to Sydney to establish Lokanta Vihara (the Monastery at the End of the World) with his long term student, Bhante Akaliko, to explore what it means to follow the Buddha’s teachings in an era of climate change, globalised consumerism, and political turmoil.

 

 

 

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Life is hatching

Life is hatching,
peeks through the shell
and waves
with paws,
with wings,
with hands.
It comes out
of the dark womb,
like a sudden sunrise
from a black hole,
such as creating the light.
And it starts to move,
to crawl
to ramble,
to roll over …
Life,
like fire magic,
immediately declares himself
and everything around starts to shine.

 

 

 

Dessy Tsvetkova
Picture Nick Victor

 

 

 

 

 

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Pollens, Golden Anchovy

A man bicycling,
an empty case of some car battery
tied to his backseat
with the rubbers
from the tubes of two useless wheels,
crosses screaming,
“Shrimp, fresh. Golden anchovy, cheap.”

A woman in housecoat
wants to know the prices
from her flat roof.
Dust rises as the wind accumulates heat
and releases the last cold.

My father whispers,
“Fish used to be my dish.”
as if death can be refreshed only with
the scent of water.

 

 

Kushal Poddar
Picture Nick Victor

 

 

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NEWSPAPER SEA


Trident missile test failure raises

questions about UK’s nuclear deterrent

‘Each Vanguard-class submarine can hold up to
16 intercontinental ballistic missiles and will carry
up to eight Trident rockets and up to 40 nuclear warheads,
each capable of carrying a 100 kiloton bomb, over six times
more powerful than the bomb dropped on Hiroshima in 1945.
– The Guardian, 21 Feb 2024

we recent wrong
right into the between
go failure boosters
firing at itself
nuclear remains nuclear
missile prevented passing
fired no problem
significant deterrent
missiles motors between
assurance and ineffectiveness
splashed operation
systems work implications
shadow submarines
unlikely plopping implications
anonymous spending
ballistic embarrassing
the that the them the
confidence test dummy
test launch speculation
quoted efficiency gone
systems shakedown
nuclear parliament insisted
only failure only failure
ignite the information
destroy the politicians
no have missiles
no have missiles
no nuclear any more

 

 

Johnny Fall-Out Brainstorm

 

 

 

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Sunshine On My Shoulders

I See You Live on Love Street – Music from Laurel Canyon 1967-1975 is kind of weird in the way it leaves out the bad bits of LA and pretends everything is and was hunky dory. Considering how much actual space America has, it’s kind of weird that everyone pretended, and still pretends, that the hillside suburbs directly above Hollywood are idyllic countryside, despite the fact they are on the edge of the whirl of smog that tends to hover over the city.

Now of course, it’s all luxury condos and big houses, with swimming pools and garages and decking and whatever. (Check out Google Maps: you know you want to.) Back in the day it was more ramshackle wooden house with swimming pools and whatever. Musicians and artists, would-be musicians and would-be artists, moved in and then hung out with their stoned friends at endless parties. Apparently it was perfect: everyone was welcome, everyone sang and lived in harmony together in the endless sunshine and a free love utopia.

Kind of weird then, how this 4 hour, three CD set from Cherry Red takes the rough edges off anything. The Doors could get into a mellow groove, sure, but they were drunken leather demons, intent on summoning spirits and sex through their peculiar blues. Barry McGuire made some great hippy albums, but they also contained political and social declamations, not least on his hit single ‘The Eve of Destruction’. Steppenwolf were biker heavy rock, but not here; just as Love were acid-fuelled acid-rock weirdos and Captain Beefheart was just plain weird, but again, not here.

It’s a pleasant enough anthology but it pretty much ignores the interesting musical stuff in favour of charting how Sixties harmony pop moved to singer-songwriters, country-rock and on into the dangerous land of M.O.R. (The collection ends with a Fleetwood Mac track!) It also ignores the dark side of Los Angeles, Charles Manson and other cult groups, an extensive range of mass killers, endemic poverty, institutionalised racism, not to mention the downside of homeless teenagers succumbing to addiction, exploitation and prostitution, as documented by Joan Didion and William Volmann. But if you think being a rebel is wearing a fringed leather jacket, growing your hair, skinning up and sitting in the sunshine, you’ll love this shallow missive from the Golden State.

 

 

 

Rupert Loydell

 

 

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RESTAURANT #6

 

Mona ordered the spiced venison, a cold potato salad, and grilled courgettes and aubergine with crème fraîche and chives, while her mother opted for a smoked sirloin steak with grilled pineapple, stem broccoli and green peppercorn, and a blue cheese sauce. Do you think Daddy will ever be his old self again? asked Mona. Men never change, said Jacqueline. He may be comatose but it’s still him in there. With an imperious finger she summoned a waiter to the table. This is dreadful, she said. Take it away and bring me something that isn’t an affront to the intellect. Okey-dokey, said the waiter, and sashayed away to the kitchens. Speaking of men – and I use the term loosely in this instance – I’ve given Sebastian the chuck, said Mona. Not before time, said Jacqueline. I never liked the way he behaved at the dinner table. You’d have thought he had never seen a fish knife before in his life. Using it for the butter indeed! The in-house pianist doodled a medley of tunes from Pink Floyd’s ‘Dark Side of the Moon’ long-playing record, intermingled with a leitmotif not a million miles distant from the ‘Imperial March’ in John Williams’s score to the ‘Star Wars’ films. The waiter returned and placed a dish of something ambiguous in front of her. What’s this? she asked. We have a variety of names for it, said the waiter, depending how we feel. Let’s see, there’s “Chelsea Pensioner”, “Last Chance Saloon”, “The Faerie Queene”, “Indian Uprising”, “South London Crime Syndicate”, “Your Place or Mine?” . . . .  Alright, alright, said Jacqueline, I don’t care. It looks and smells yummy-yum-yum. Ambrosial, in fact. Merci beaucoup, mon ami. With which she tucked in. Actually I’ve been seeing quite a bit of Tarquin lately, said Mona. Oh Tarquin’s a dear, said Jacqueline, chewing on something. He has a pleasing way about him, and carries himself well. Nice chassis, and good bum, too. I’ve taken him for a test drive and he performed very well, said Mona. But I think he may have faked his mileage and, if I might be allowed to extend the motoring metaphor, I think he isn’t being wholly truthful about how many owners he’s had. You may so extend, said her mother, and if I may further extend, I must say I enjoy a gearstick, and Tarquin’s definitely manual, not automatic. Mona hesitated a little, forced a smile, and then toyed with her potato salad, pensively.

 

 

 

Conrad Titmuss
Picture Fabrication Nick Victor

 

 

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PRODUCT PLACEMENT

Self-medicating under the spell of Covid
with whiskey, night nurse, whiskey, sleep-aid
and whiskey. I found myself in hospital lying

saying I must have simply tripped
not been looking where I was going, hence
the cuts and bruises, the blood, once wiped away
that leaves a mark,

just like the Nike swoosh
on the basketball boots
once worn by Michael Jordan

I read that Nike, the company
are almost nothing, everything

is sub-contracted to workers who work
anonymously, subvert or circumvent
any labour laws, and do so for a pittance

Global capitalism
is (a kind of) philosophical connectedness

The doctor (I can see)
doesn’t quite believe me
when I say I must have tripped
and sends me for a brain scan
to see if I am stupid. Now

I’m waiting on the results
beside a man on a morphine-drip

more warily than the players
sitting at the ceremony

hoping it’s their name
announced for the award (MVP)

and not some other bozo

It was Jameson

 

 

 

 

Steven Taylor
Picture Nick Victor

 

 

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The Cassandra Schedule

 

Premonitions are all very well after the fact. Everybody knew it was coming, knew it was going to happen, and could have described exactly how it would all pan out, if only someone had been willing to listen instead of thinking they had all the angles covered. Now, show us just how it happened. Show us the scars, show us the bodies piled high, then show us ads for mediums and mountebanks, for a better life through paranormal enquiry. Now, show us the close-ups and the forensics. Show us the dreamlike patchwork of grainy CCTV that always heralds trauma. Show us the witnesses with stolen voices, gesturing like cast bones as they mine the collective unconscious in order to mime the inevitable. Show us the lack of possible alternative outcomes. Everybody knows what’s coming, but no one wants to speak. No one wants to listen.

 

 

Oz Hardwick
Picture Nick Victor

 

 

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A Secret History

 

Peace! Books! Freedom! The Secret History of a Radical London Building, Rosa Schling (188pp, £10, Housmans Books)

Every now and then, I get sent a book to review which is a sheer joy from start to finish. Peace! Books! Freedom! is such a book.

A short gallop through the history of 5 Caledonian Road, the Kings Cross home of Housmans Bookshop, Peace News and many other radical organisations, it’s a great story of activism, resistance and community.

It begins with the generous donation by pacifist curate, Tom Willis that enabled Peace News to buy a building in Central London to create the movement centre they’d always wanted.

Since then, ‘Cally Road’, as it became known, has often been at the forefront of UK activism.

The book documents many of the campaigns run from Cally Road, including successful sit-ins at Trafalgar Square by the Direct Action Committee (DAC) to protest against nuclear proliferation; the ‘gay days’ and first Pride march organised by the Gay Liberation Front (GLF); the formation of the Campaign Against Arms Trade (CAAT) – and London Greenpeace’s calls for an end to French nuclear testing in the Pacific.

Inevitably, such campaigning led to arrests and trials, such as the Wethersfield Six (for planning to enter military bases), the occupiers of the Greek embassy (in response to the 1967 coup), the British Withdrawal from Northern Ireland Campaign (conspiracy to cause incitement to disaffection) and the famous McLibel Trial.

5 Caledonian Road has also been also a haven for disaffected people and where vital support work has been carried out. The London Gay Switchboard was a critical resource for gay men and lesbians at a time when homophobia was rife.

The book contains an excellent array of photos of newsletters, leaflets and office documents.

I particularly enjoyed reading the notes Mark Ashton made when interviewing Mick Jackson for the London Gay Switchboard. Jackson got the job and the pair were to become firm friends setting up Lesbian and Gays Support the Miners, the subject of the wonderful film, Pride.

Peace News Trustees lent money to a neighbouring shop to start a wholefoods business, while Housmans was a popular hangout for people from a wide range of backgrounds. Over the years, the occupants of the building were active in opposing gentrification.

Perhaps inevitably, with so many groups of passionate committed activists, there were also occasions of conflict. Older activists were concerned about the dilution of pacifism in Peace News – when it focused on nuclear weapons – and, a few years later, when younger activists seem to widen the scope to include broader social justice concerns.

Pat Arrowsmith caused consternation by creating a situation where she was publicly arrested at the Peace News office, without thinking of the ramifications for staff.

Peace News became a collective and left London for Nottingham in 1974, not returning for 20 years.

In the early days, there were tensions between the more middle-class workforce at Peace News and the lower-paid workers in Housmans.

Despite these issues, what shines through Peace! Books! Freedom! is the incredible work done by the people of 5 Cally Road since the building was opened in 1959.

From the DAC activists who normalised nonviolent direct action and the GLF who tore down homophobia, to the workers at Peace News and Housmans who continue to promote peace, anarchism and community today, this book is a testament to the power of people to change the world.

Full of stories to entertain, educate and inspire you, this is essential reading for every activist.

Get your copy today.

 

 

 

Virginia Moffat

 

 

(Reprinted from Peace News under Creative Commons licence, with a title given by IT)

 

 

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UNDERGROUND MOVIE

 

Strange Reflections V

 

What popular mythology paints as ‘the good old days’ counts for nothing in Tooting Bec. Vince took them all to the local flea-pit for an evening out.

“It’s just another bloody awful old B-Movie, isn’t it?” snarled Brad. But they went all the same.

It was The Curse of Mommo, made on a shoe-string by ex-Hungarian Dog-Boy Laszlo ‘Fireball’ Zednick. Dr Thomas Bewlay was in attendance throughout. Fearsome charge nurses ran the place like a barracks.

After the first feature there was a jovial concoction of comic turns, ballads, singers and acrobats. The streets echoed with the cries of traders and the clatter of hooves. However six out of ten are the wrong size. Sister Sofia-Marie, clad in her astrologer’s nightdress of blue silk, velvet, lace and mesh (this is a new, tough-edged femininity) thought it had something going for it but she didn’t know quite what. She’s waiting for you.

“Well, that’s modern art for you, luvvie,” Brad sneered. Everyone else was bored rigid. Vince, however was strangely quiet the whole night and into the next day.

In the film, evil Baron Rudolf (cursed by the mysterious Mommo in a previous depraved incarnation of bizarre and brilliant visual theatre) gets assassinated by a troupe of strolling mummers. It was a dark, lavish and disturbing vision of mayhem and romance, and, like some campy villain in one of those ghastly old B-Movies, ‘dreadful’ Baron Rudolf dies in horrible circumstances.

Her heart flipped. It was all like a fantastic dream. Time and space twisted into weird origami shapes.

Next morning a policeman rang. He knew who started the fire in the wainscoting.

Inspector Flapper showed his chipped teeth and laughed in her face. “It’s the curse of Mommo! Har! Har! Har!”

Where do they come from? Have they simply been cast out to make money?

Back at the office the phones were going berserk. Very sleek and sporty in regal corsetry, his little piggy eyes narrowed as Sister Marie polished her crystal ball. This could be a feeling that lasts all day. God I hope not.

Laszlo’s underground movie-type mise-en-scene called for high camp and all sorts of tricksy far-out anachronisms.

So… ‘frightful’ Baron Rudolf, played by New York City gay porn diva Johnny Detroit, wafts about the set with a silver cigarette holder, now a ‘pretty boy’, now a post-phallocratic ‘homme fatal’ with an attitude problem, now a low-backed ‘couture man’, trailing pink scarves and quoting from The Magnetic Fields. The scheming court chamberlain (played with great panache by Nancy Bosch in a floppy white fright-wig),  looks just like Andy Warhol filming everyone on Super-8, creating dramatic self-contained episodes from footage shot over three years of disreputable urban adventuring.

He believed it summed up the contemporary world, he said at the press conference.

Learning to speak correctly was an uphill battle for Karen, although, through her new interest in music, she finally made some friends. My Aunt Ada gave her a recorder served hot with chips, salad and lashings of mango chutney. Other kids laughed at the noise she made. Was that the gearstick?

“They are scapegoats, everyone is against them,” Otis looked depressed.

Sister Marie gazed into her crystal ball and saw an unusual welcome sign: a naked body crucified to the gates of Knobheresberg Castle. And, sure enough, there’s evil Baron Rudolf preening himself to ‘La Paloma’ on the soundtrack..

“So, well, you know, whatever it is, you know, I feel like…well, you know…er…ummm…this film gives a voice to people who wouldn’t have one…so, well…okay…I’m an ex-stripper, but I’ve made ten films…so, anyway…”

Some bizarre press conference in LA.

“The triangle represents advanced technology, winners and losers, and this and…er…that…”

It was Johnny Detroit in a black and white pin-striped pyjama suit. The press pack fired a barrage of questions.

Pushing wet hair out of his eyes, Johnny said, “There are neither nights nor days…”

Eventually I got up off the bathroom floor and wiped my tears away. They walked out together chatting nineteen to the dozen like they were bosom buddies. The world was simply an immense ship. I shut the door behind them chuckling. Given half a chance these neurotic moral crusaders will rant on about anything from the evils of white rice to the ordination of women. Vince told us about his psycho mum.

Despite all the soft-soap and free booze bystanders predict the result is foregone conclusion. Things hotted up in Lorna’s kitchen.

“No sign of John Thomas,” thought Sister Marie, scanning the horizon with her opera glasses.     She was a lost soul without him, she knew that now. Her peachy, spacious apartment was waiting for the return of the spicy spook, his Ninja Turtle slippers warming in front of an overheated whirlpool bath.

The rolling hills of her perfumed hair stretched in a crescent from Hessle on the Humber to the cliffs of Flamborough Head. She was a tribute to the skills of early photographers, affording him glimpses of familiar places and snatches of London low-life, including cab drivers’ shelters, Annie’s Bar, the Deptford Blades and Crash Course Counseling in Catford.

The self-destructive sickness of national cynicism, a “poison” spread by the chattering classes was all grist to his mill, a peculiar malaise stretching from Guildford and Winchester to Titchfield and Godalming. In a series of well-choreographed broadcasts and speeches the schedule was changed. The canary panicked. Her jaw almost hit the floor.

This is where twentieth century history begins.

But The Curse of Mommo was a stunning antic and a dark, noisome shadow outside every bedroom.

 

 

AC Evans

 

 

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Angry Shouts, Catchy Slogans and Shock Tactics

Women In Revolt, Tate Britain
Women in Revolt (CD, Music for Nations)
The Fascist Groove Thing, Hugh Hodge (PM Press)

Is this an art exhibition or a political documentary? Who has the right to question what is or isn’t art? Clearly, men cannot criticise women’s experiences, white criticise black, straight criticise queer. This exhibition is rooted in the personal and the experiential: in places it is witty and provocative, elsewhere it simply tries to capture the momentary actions and politics of yesterday.

Were the Women’s Peace Camps at Greenham Common an artistic event or a political one? I think the latter, albeit a very important one, as are most of what is remembered here. But I am less convinced of it as visual art, it is an archive: of action, badges, magazines, posters, happenings and concerts. The majority of what is exhibited here was not made as or ever intended to be art, it was made as propaganda and provocation, information and slogans, and I think there is something questionable about it all being framed and displayed. It is social history, glimpses of the past, supporting evidence for changes demanded and what happened, or didn’t, as a result.

Much of it is informative and intriguing, some of it slight and some of it somewhat skewed. The Rock Against Racism exhibits seem to try and exclude men from the story, though the documentary considering the then government’s response to AIDS mostly features male talking heads. The recreation of the Greenham Common fence, strung with kitchen implements and children’s clothes is somewhat squeaky clean and unmoving; better are the sections of women’s involvement in squatting, refuges and music, as evidenced on the music compilation which shares the same name as the exhibition.

The album, to be honest, has little that is new or ‘undiscovered’, but it is a nice mix of energetic and sometimes shambolic punk and more gentle stuff. So we get upbeat tracks by The Slits, X-Ray Spex and Essential Logic contrasted with pastoral tunes by The Marine Girls and Strawberry Switchblade, anarcho-punk by The Poison Girls, a herky-jerky Ludus track and Vivienne Goldman’s domestic reggae about her visit to the launderette, just before Chris & Cosey’s deviant synthpop love song, which ends the selection.

 
           

Meanwhile, Hugh Hodge’s The Fascist Groove Thing: A History of Thatcher’s Britain in 21 Mixtapes, which I picked up from the Tate bookshop, tells a story with songs as evidence, even when they are unreliable or implausible, and offers little critical judgement of the music discussed. Instead, the book simply states what the tracks are about, how they approach their subject and are a product, celebration or critique of the politics of the time.

So Duran Duran tracks rub shoulders with the most obscure DIY anarcho-punk and indie-rock as Hodges weaves a way through each of his subjects, gathering up songs from a cluster of years. Very little of the music is related to anything specific, although many of Hidge’s choices are songs of resistance and defiance, youthful exuberance, angry shouts and catchy slogans, whatever the musical genre.

Hodges has the sense to realise music has little effect on society and politics (although he seems oblivious to how Rock Against Racism was an important part of defeating the National Front) and that even the most outspoken anti-Thatcherite anthems were mostly a soundtrack to drinking, dancing, sex and concert going. Having said that, he is definitely drawn to the most unsubtle lyrics of bands like The Exploited, perhaps because they offer a straightforward riposte to the banal soundbites and bullshit offered up by Thatcher and her ministers

Strangely, alongside the occasional jibes at Phil Collins and other popstars, which seem totally understandable, Hodges manages to make excuses and apologies for Gary Bushell and the Oi! bands, mostly on grounds of class (which apparently means racism and violence is OK) and also has the usual obsession with posh boy mockney rebels The Clash. He also has an encyclopaedic knowledge of obscure punk and indie music, which he places alongside the chart hits of the day, although that may simply be so he can enjoy satirising the latter. (Which isn’t, of course, a judgment value. Ahem.)

Despite a desire for Hodges to fly his flag and show his political colours, and perhaps do more critical deconstruction and contextualisation – particularly in regard to some of the warmongering rabble-rousing during the Falklands, and the contradictions of supporting the Miners’ demands to carry on with their shit jobs – this is an enjoyable and intriguing book, which through its inclusive and generous musical selections ends up forming an authentic and alternative history of Thatcher’s political rise and fall, as well as the effect it had on a wide spectrum of musicians and performers.

 

Rupert Loydell

 

 

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Orb A film by Lawrence Jordan

 

 

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Writing About Tom Raworth In 1972

 

These poems by Tom Raworth aren’t about

anything I can grasp.  I wrote that

in second aeon’s voluminous reviews  

declaring most of the verses to be short and

very very cryptic        I hadn’t learned not

to double adj back then     I go on to say that the poet  

has deployed all the elements in a sort of soup

leaving no holds to hang onto.

We should go back,  I say,  not on

in our search amid the trackless

shimmering.      The others though,

the academics and the lit critics,

insisted it was there    what we sought. 

Like op art.     Flickering.      It’s just.

that I couldn’t see it.     Not then.

 

 

 

Peter Finch

 

Tom Raworth reads from Lion, Lion, at San Francisco State, 1976 —The Poetry Center

 

 

 

 

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Crate digging for music-nuts!


Some non-linear thoughts from Alan Dearling

Many of us fall into two categories: hoarders & collectors, or, minimalists & throwers, the chuckers-out. I realised very early on in life that I’m a natural-born squirrel. I like to collect, to nourish my life with knowledge and new stuff, whether it is books or music. And my earliest music purchases were 78s on thick, easily cracked wax. That was at the end of the 1950s. Then it was 45s and 33s – singles and eps (extended play singles) and albums. They were vinyl. Alongside that, a lot my music-besotted generation acquired tape-recorders, known by the cognoscenti as open-reel machines, at the top-end made by companies like Revox, Ferrograph and Tandberg.

My student years were in the sixth form in West Sussex and at universities in Kent and London – a lot of us immersed ourselves in live musical experiences. Live gigs and the early festivals. We also amassed, if you like, ‘collected’ hi-fi (high-fidelity) equipment – turntables, cartridges, loud-speakers and amps from an amazing range of really rather fabulous manufacturers, such as Thorens, SME, Quad, Leak, Rogers, Goodmans, KEF,  Neal, Nakamichi, Harmon-Kardon, Armstrong and more.

Then in 1970s came cassettes. Pretty poor audio quality with lots of sound drop-outs, especially on the pre-recorded products, which were manufactured as high-speed copies. Certainly the audio quality was inferior compared with vinyl, despite their propensity to get scratched and suffer from pressing faults, like pops and crackles. Compact Discs (CDs) came next. A lot of older albums were re-mastered, often with extra tracks. These became collectible too.

Now, since the 2000s, there’s streaming. Single tracks are more frequently downloaded rather than whole albums. Some streaming services charge differential rates depending upon the download quality of the audio.  Many music fans, even older ones like myself, create and use playlists (and random play) made up by themselves or sourced online. There’s a lot of services like Spotify and Amazon to feed this new market and passion. But vinyl has been more resilient than initially expected. Established and new bands have returned to getting their ‘product’, their ‘merchandise’ pressed on vinyl, and in some cases even on revitalised strangely trendy, cassettes. CDs are no longer de rigeur!

So why and what is crate-digging?

It seems to me that there are many typologies of crate-digger. Our motivations are remarkably varied. Some of this relates to our personal relationships with the music on vinyl, CDs and cassettes. Have you ever wondered about your own musical collecting habits? Do you compare and contrast, and exchange your experiences of ‘crate-digging’, with friends and musical mates?

Completists – filling musical gaps in collections by particular artists, labels etc.

Genre-hunters, such as prog-rock, modern jazz, metal, blues, folk, rap et al.

Artist-hunters – the search for the rare, the extraordinary almost mythical recording

Samplers and music producers, djs and mixers

Collectors for financial gain –  and the sub-category of collectors – those who seek to acquire the most obscure, valuable and rare ‘specimens’ as ‘investments’

Discoverers, seekers – looking for new artists, sounds and musical inspiration

I’m mostly in the ‘discoverer’ category, plus instances of gap-filling, random ‘finds’ and purchasing new mixes and formats of old music. And on occasions, I hunt out artists who have often played live gigs I want to hear, or, have performed on sessions with musical friends.

The ‘what is crate-digging’ conundrum has become more complicated (perhaps?). It’s an example of supply and demand economics.  On the supply side, below is an attempted draft diagram of some of the locations ‘where’ modern crate-diggers may find their musical fare. I’m sure I will have missed some. At a personal level, I have lots of charity shops, record stalls in markets and a fair few music/record shops near where I currently live. But, I already almost have too much vinyl. An almost heretical admission for many music collectors! However, I find the portability of CDs and these days their improved sonic audio quality is useful as I move between different sound systems and locations. So, many of my purchases are in the CD format. But I review a fair amount of vinyl releases too. I also have a full Spotify subscription which I use to try out new music and check out obscure sounds.

Crate-digging’ is often a sensual pleasure. More of an art than a science, though there are ‘bodies of knowledge’ and decision-making processes behind our searches and purchases. At least some of the time! Perhaps it is (for different individuals), a mix of passion, impulse and compulsion to ‘search’ for a particular real or imagined musical nirvana. Perhaps!?! We live in an ever-optimistic state, hopeful of hitting the seam of gold, or at least a few nuggets. This week I discovered a Willie Nelson album produced by Don Was, ‘Across the Borderline’. Definitely full of enough ‘nuggets’ to make crate-digging worthwhile. There’s a Dylan duet and co-write with ‘Heartland’ and a beautiful version of Peter Gabriel’s song, ‘Don’t give up’, with Sinead O’Connor sharing vocal duties with Willie: The video is the short version: https://www.youtube.com/watch?v=gO6fAJcN89k

There’s Bonnie Raitt, Paul Simon and Kris Kristofferson on there too. Much of it is absolutely drop-dead gorgeous!

The music stalls in my local markets on Thursday and Sunday at the Todmorden Market in West Yorkshire are one readily available hands-on supply source for me, though there is much more vinyl on offer than other formats. But it also provides some music books sometimes too. Premier Music Fairs’ Mel is a regular stall holder on Thursday, and Heightside Records on a Sunday. In addition, both are regulars at Record Fairs.

As a discoverer, a ‘new-to-me’ music seeker, and on-line reviewer, I do receive a fair number of review copies and music from musician friends of newly released music. My crate-digging falls most frequently into two categories:

Targeted searches for specific ‘wants’, particular albums, music by artists who I am interested in. Sometimes it is akin to a quest on an Ancestry or a musical Family Tree!

Random acquisitions. These appeal at all sorts of head and heart levels. It can include, a particular musician, perhaps only featured on a track or two; musical genres and countries and cultures of origin; cover designs; the descriptions included in the package; historical provenance – a situated place in time.

Here are two examples of random purchases from one of my local music shops, Revo Records in Halifax. I would not have discovered them by proactive searching – definitely a case of random crate-digging in the music racks.

  1. Tony Joe White: The Beginning (2001). The cover is stark monochrome. Stripped-back like the music itself and the playing. It’s late Tony Joe, solo, back to basics, heavily blues-oriented, but almost entirely written by the artist. Sleeve notes say: ‘ voice, guitar, harmonica and foot’. Really enjoyed it for many of the lyrics which made me smile, and the clear, clean playing style and uncluttered production. Apparently it was TJW’s 29th solo album! You might also remember him for the songs he wrote, such as ‘Steamy Windows’ for Tina Turner.

Here’s an example of his swamp blues live: https://www.youtube.com/watch?v=foi7O42KHcQ

  1. Kenny Garrett: Beyond the Wall (2006). The photo on the cover of the Wall in China is striking. The line-up of musicians is something of a roll-call of modern jazz, including the sax-playing of Pharaoh Sanders and vibes from Bobby Hutcherson. And from the cover info it looked as though it was going to allow the artists to explore the musical frontiers between jazz and ‘world’ music. It does. It’s challenging, a mix of the melodic and the more discordant. ‘Tsunami Song’ which melds into ‘Kiss the Skies’ are just beautiful:

https://www.youtube.com/watch?v=1hvDeRaNkSQ

 

I’d missed this album in real time. It was nominated for the Grammy award as Best Jazz Instrumental album of 2007.

 

 

Targeted search.  I offer one example of a rather personal complex search process that’s still in progress! This is an almost embarrassingly anorak-affair…

I was at the University of Kent (UKC) 1969-72. We didn’t exactly realise that we were in the midst of what has become known as the ‘Canterbury Scene’. But hey, there were really quite a lot of musos and bands living and playing on the campus and in the immediate vicinity. Many members of these bands were my student and Canterbury contemporaries, such as Max Hole (manager for Spirogyra, he latterly became CEO of the Universal Music Group), Richard and David Sinclair, Steve Hillage (pictured), Pye Hastings, Barbara Gaskin, Pip Pyle (Khan, Gong, Hatfield and the North and the National Health) and more. I saw many of these bands associated with the UKC play ‘live’, not always at the university. Caravan, Spirogyra and Hatfield and the North, The Egg and Gong amongst them. But many, many other musicians and bands played on the UKC collegiate campus such as Family, Groundhogs, Fleetwood Mac, Hawkwind, Dr Strangely Strange, Steeleye Span, Quintessence, Al Stewart, Fairport Convention, The Who, Chicken Shack, Babe Ruth, Nico and Led Zeppelin, to name but a few!

I bought my fair share (or what a student grant could stretch to!) of albums during those three years in Canterbury. We swapped albums, put up ‘For sale and wanted’ notices on the student advertising boards. Two LPs that I definitely bought were ‘St Radigund’s’ from the jazz-inflected folk-rock outfit, Spirogyra, which included Barbara Gaskin, Steve Borrill, Julian Cusack, Mark Francis and Martin Cockerham amongst their members. Dave Stewart (not the Eurythmics one), Steve Hillage, David and Richard Sinclair, Max Hole and Pip Pyle were very much central players in this Canterbury musical melting pot.  But probably it was Caravan which emerged pre-eminent. They were quite a pervasive music force on the UKC campus, and the cover of their vinyl album, ‘Land of Grey and Pink’ was seen everywhere. They are still viewed as being one of the originators of ‘prog’ (progressive rock), along with the likes of Camel, Rare Bird and Atomic Rooster, who are often added into the ‘Canterbury Scene’, though I don’t believe that they were really part of it, in any significant way, but may have performed there. It’s a long time ago now!

 

However, the ‘Canterbury Scene’ had begun before my arrival in 1969. The Wilde Flowers’ members lived and grew up around the city and pre-dated the Soft Machine. Their influences were still apparent as the ‘60s gave way to the 1970s decade. There had been an ever-changing roster of Wilde Flowers. Daevid Allen went on to form Gong, Kevin Ayers often joined Daevid in musical enterprises and sojourns in the Balearics at Deia, and went on to create an illustrious and no less quirky musical career. Members of the ‘Softs’: Robert Wyatt, Mike Ratledge and Hugh Hopper became mainstays of a variety of jazz-rock outfits.

 

Until his untimely demise, I kept in occasional contact with Daevid and he contributed to a couple of my books including ‘Alternative Australia’. In Oz he considered himself primarily as poet, rather than a muso. This photo is of him as a street performer around Byron Bay, where I met up with Daevid and performed with him on a couple of occasions. My own musical writing and photography have also allowed me to coincide fairly frequently with Steve Hillage solo, with System 7, and with his Steve Hillage Band.

Now for the targeted ‘crate-digging’ element. I don’t want to attempt to buy all the records associated with the Canterbury Scene, but I am in the act of potentially searching out and maybe buying records from Khan, The Egg, Hatfield and the North and the National Health. I already have many from Steve Hillage, Gong and some from Henry Cow. So, here’s a ‘toast’ to “On-going crate-digging”, along with discovering more titbits of information regarding the lives of my old Canterbury contemporaries…

 

 

 

 

 

 

 

 

 

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Matthew One Man


Alan Dearling shares the One Man vibes!

It was an experience to catch up with Matthew in a live performance prior to his Italian tour. Hypnotic, haunting and mesmeric. Crammed full of vast musical shimmerings. It took places on a small bespoke stage in the Three Wise Monkeys’ Thai eaterie and music venue in Todmorden. Bare toes at the ready, for Matthew to utilise to push and pull all his  myriad array of pedals, buttons, loops and delays.

His offerings provide an odd-ball, mystical, musical brew. High-flying tinklings, with echoes of the Shadows too, with added hints of John Martyn.  Strangely-strange and even seriously peculiar.

Alternately, chugging rhythms and exhilarating arpeggio crescendos.  Worth taking a bit of time-out to listen and witness his curious show and unique brand of live guitar extemporising. Mucho harmonics, oddly weird extra-terrestrial sonics, bleeps, burps and splurges of audio colour. Not to mention his hands flying around the acoustic guitar fretboard in seemingly endless contortions.

Self-described, or is it proclaimed as: “The Michael Flatley of guitar music.”

Certainly, a vast amount of technical wizardry. Weird shit. Strangely perhaps, I was reminded of scenes from ‘Withnail and I’. Matthew has more than a tinge of bohemia and thespian about him, onstage and off…

Here’s Matthew and his soundscape piece: ‘Oranges and Blue’.

It’s from his performance for ‘Sofar’, Live in London :  https://www.youtube.com/watch?v=AVepP1PtpBM

My favourite Youtube comment: @dannycleave

“Absolutely mesmerising as usual from the ‘Greatest toes in Egham’. Such beautiful soundscapes!”

Seriously unhinged weirdness, alternating trips into the light firmament above, and the deepest heart of darkness.

 

 

 

 

 

 

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Lunch in Breclav, 1991


 
While the train gathers breath
to return there is time
for coffee underneath a long
and indecisive trail of cigarette smoke
in the not-so-grand hotel
where the waiters retain their pre-revolutionary
scowls even as they pass
between the swinging doors of freedom
and the monochrome photographs
of trees and water and loneliness
looking down from the walls
on these dusty afternoons
with lace curtains to filter
whatever news comes from outdoors
where change is changing yet
everyone walks at the pace
of the old days
to and from the forecourt
at the railway station where Gypsies
await each arrival with the promise
of something special
to trade beginning with the sunlight
they collect from the waiting room
tiles and offer for sale
to take home
duty free.

 

 

 

David Chorlton

 

 

 

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Carnage

there’s another slaughtered shrew
laid by my bedroom door today
another sacrificial offering
from our alley cat forever intent
on her destruction of all wildlife

perhaps she’s nipped the throat
of this tiny blameless rodent
as usual it still feels warm
but registers as lifeless
when I pick the poor creature up

the coup de grace alas
becomes apparent only
when I lay the corpse to rest
somewhere in the killing field
our innocent garden has become

this latest mini murder reveals
nature red in tooth and claw
as our Lordly Poet did proclaim
but my grief is so brief
it might as well not happen

now the toll of war dead
on every radio station
diminishes each and every death:
statistics show no feeling
indifference so revealing
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.Jeff Cloves

 

 


 

 

 

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Pocket full of poses


Pocket full of poses

It’s the gap, tarted up as it is –
ribbons, bells on, smooth voice,
eyeball the camera, never a flinch –
between truth and lies.

With nothing firm to stand on
we all fall down.

 

 

Walker Brothers

When you sit in a café its life-blood ebbing,
the coffee tastes bitter.

The sun ain’t gonna shine any more.

You feel for the owner, want to buy more than coffee.

The moon ain’t gonna rise in the sky.

I want to hug a circle of love round this man,
large in his small café. Great music, I say,
before I walk away.

 

 

Dabbling with care

Washing up is safe
news muted, headlines mulched
splashing soap operas over lipped dishes,
forget journey’s end by drowning
planes of plates, mugs. Scour of steel wool
plastic-bellied whales, washed-out coral
cleansing smears of jam and fat of goose.
there’s plenty to eat but not for all
Patting dry ersatz carnation liquid
belly-up fish in toxic-dump water
on fluted glass and Le Crueset pan.
knee on a neck, raging storms

View from my window as I dabble?
A squirrel bush-whacking the lawn.

 

 

When we saw stars

The Square was the shape of a u-bend under a sink,
sunk in mud.

We played in the Square (when not on bombsites,
down the Docks or up a crane) until it was dug out

and stacks of crazy paving arrived and were left
in squat towers until ready to lay.

Days later, we, the ragged-arsed skinny kids
of the council flats, had made crazily-paved ramparts

behind which we played and planned raids on gangs,
till someone, later fingered, reached up over the wall

and let fall a broken biscuit of concrete onto my head.
I saw stars. Perhaps he didn’t know who’d get the hit.

Mum, raised in bucolic Ireland (her dad a farmer with
a dray horse) had been uprooted and here she was,

foreign in south London; her accent melodious.
She mopped my tears, buttered the egg on my head,

and with no hesitation, marched me across the Square,
shape of a heel on a boot, to Johnnie’s flat.

She knocked. My knees knocked,
and the mother answered. Apprised of the situation

she yelled Johnnie get ‘ere. Wordlessly, she threw
back her arm as if in a volley with a champ and

closed with a powerful slap to his face. He must
have seen stars, it was like fission in a bomb.

 

 

Joan Byrne

 

 

 

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Fending for Ourselves

After his foot turned purple
overnight the ship’s doctor

found that a Peruvian wolf
spider had laid eggs in his toe.

We no longer have any sense
of a firm footing but these statues

are three times actual size &
what we have here is a race

of supermen. More than anyone
else he understood the power of

images yet our biggest competitor
is apathy & all the light is focussed

onto the page. “Everybody in this
film is impossibly thin & good-looking

& everything looks expensive
& glamorous,” she said.

 

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Steve Spence

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Quiddities

what’s left of their bones
indistinguishable from the soil

their quiddities concealed
in the lines of our faces

leaving us wondering
what they thought of it all

and if the trains of our thought
run on similar tracks

and if this will be enough
for us to find a way through

 

 

Dominic Rivron

Quiddity: the essence of something that distinguishes it from other things. It can also mean a quibble.

 

 

 

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THE HOWL MOVEMENT

                                                      

                     

                     On GUT FEELS by Johny Brown (tiny GLOBAL productions, 2024)

 

One part Mike Scott and one part Bob Dylan,
And another part Piaf, Johny Brown spills his guts
As this solo collections splits stars, already stained,
If not folded onto the whores and the hoardings
To grease the societal doors which stay shut.

His ‘heart bleeds like creeping surveillance,’
He sings as these joyless songs sound as holy,
As those sung from an angel clambering to survive
His sparked fall. With a mix of rancour and rhyme
And an undeniable rawness, these songs capture

The spirits of ‘unread, writers’ ‘Old Hopefuls’
And the souls he sees passing on his regular
Coffee/Book sessions where Brown stirs sensation
To source a spell for song’s call. Old Hopefuls embitters
Bands as they strip hack critics of chatter,

While the main matter is how to go on despite slurs.
And the music is charged by intent as Brown’s band chimes
And clatters; as John Clayton’s cello and organ, and Katy Carr’s
Uke and vibes act as spurs for Brown’s voice and guitars,
And Lee Stapleford’s fiddles, while David Coulter whose

‘library of inspired instruments beautifully deployed’
Colour steam which seems to seep from this songs
As they stain the air with their passion; from Pigeon
Channelling to Punk Badges, this boy from all ages,
Wipes through reminiscence the dust, rust and chaos

And makes both the spew stricken river
And the broken brick start to gleam. Brown is a kind
Of Geordie (Tom) Waits, city set, aligning himself
With the rats and the ‘roses that grow wild amongst
The docklands at the edges of stadiums,’ and the dream

That the impassioned reader can have, fuelled by coffee
In the Café, as David Lynch does; Brown’s flowers of intent
And idea are weed-green, as they rise before us and wrap
Around conventional vision. In so doing they’re warping
The world that we know, knew and lost, while raising lands

Which will be as Brown describes ‘misbegotten.’ As he sips
And sings, Johny’s reading  both tea-leaf and bean at our cost.
His heart bleeds, yet he feeds on the steam of hope as it vapours.
With his cup as chalice Johny’s a King on the make. As he attempts
To fuse fast with those he observes trailing past him; each person

A city, a ruin to rouse, a God-take. From the ‘toxic landslide’
Of his heart to his faded and once famous blue raincoats;
From his lost at sea Sailors for whom the world is a pearl;
From ‘stupid gold’ to angelic attitudes towards poets;
From the nice shirt, to crap hair, to prospects bare, DMT,

Brown colours clouds already bruised by pollution
Not just from exhaust pipes, but from the bile of those
Who are failing and must surely know they’re not free.
Brown sings not of Lucifer’s fall, but of his cinematic hangover.
He trawls the gutters fror shmutter and the taint of time

As it seeps, not as Dali’s clock did, for even though the heat is on
We’re not melting.  Instead as Brown colours, we get to see
And hear how years weep. ‘Barbaric kisses’ abound in
‘I’d love to be a character in one of your bad tattoos’
As ‘Brutal attraction’ is ‘erased from the public gaze’ 

We grow for. And as we forget to reform, or form at all
True connection, the marks we make on each other
Whether for or against send lost skies of love
To the floor. Johny Brown is teacher. Sad clown,
Poet, preacher, soul-screacher, stirring us up

With the coffee and as his Monday Morning reads
See muse hurled, from Cabut to Cohen as seen in
Gut Feels lyric booklet, which acts as brochure
For this special tour-de-force between worlds
Featuring photos by Inga Tillere, and unknown street

Artists, and Gabi Rojas’ design, we have roadmaps
For this spectacular journey within where Gut Feels
Are a force for community and for action. Actioned
In the essay with which Brown seals this deal.
Cold Deliverance fed to those who know they are starving
Despite café culture and that which is cancelled or cut.
Brown’s poetry makes a plea for universe and unification
Under the same star and signal, in which we can all learn
To be with no but. This then is book and album as Church.
A testament of tunes proudly offered in which the common

Man, child and woman of whatever creed can align.
As Johny sings from the street and of the street also.
He howls all that’s holy. And he moves pride and pavement
So that we can travel beside.

Song as sign.

 

 

                                                                 David Erdos 20/2/24

 

 

 
 
 
 
 
 
 
 
 
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from Jim Henderson’s A SUFFOLK DIARY

Thursday, February 15th

With my wife in York at her parents’, helping out in the wake of her mother breaking an ankle (allegedly: for all I know it might be a ruse for her to spend a few weeks away. I don’t care.) I am just getting used to having the run of not just the place but also of my day. If I choose, I can stay in my pyjamas until bedtime if I’m not going out anywhere, and I am not shaving: I have never had a beard- I have never been close to being “hirsute” – so I am going to experiment while there is nobody to nag me about how I have forgotten to shave or how scruffy I look. I shall be interested to see how it turns out. After two or three days I am already beginning to look tougher than usual, and Kristina, behind the bar at The Wheatsheaf, has already said she thinks the rugged look (her words) suits me.

I bumped into Miss Tindle outside the village shop this morning, and we had quite a long chat about the Parish Council and village affairs, especially whether or not there really is a threat of the government trying to send us a lot of illegal foreigners to live in the village hall once it is back up and running. Frankly, we do not know, but as she said, we should not put it past them because they are very daft and without decency. She said that, in her opinion, recent meetings of GASSE (“Go Away! Stay Somewhere Else!”) – the group we have set up to counter and resist the government’s plans – have been very depressing, and more about personalities than any kind of useful strategic planning or decision making. There is more to Miss Tindle than meets the eye, and I think she is wasted on just making armbands and helping with the tea and biscuits. I told her that John Garnham had been pushing me to stand for Parish Clerk at the elections in the Spring – or had been until our minor disagreements over last week’s shambles with The Ipswich Players and the hall – and she said she thought I would be excellent at the job, which has made me think again about standing. I was really not interested, but perhaps I could do it. Miss Tindle could be my deputy. Or maybe my stubble is just making me feel like Clint Eastwood. I think I do look a bit like him in a certain light, and from a distance.

Friday, February 16th

John Garnham telephoned and was somewhat beside himself – I think “apoplectic” might be the word –  on account of The Ipswich Players have sent him a formal written claim for £500 compensation for the late cancellation of their “Waiting for Godot”. I have to admit I laughed. I am no theatre or literary critic, but I am pretty sure the play only has 4 or 5 characters, requires next to no scenery, and The Ipswich Players are not exactly professionals. I looked them up on Google and their “leader”, it turns out, is also their “founder”, who established the company in 2015 “after a long and distinguished career in the insurance industry”. So he is definitely not Kenneth Branagh. I told John to reply to them by laughing in their faces, although I am not at all sure that the writing ­­­of mocking laughter is the kind of thing he has in his skill set. As far as I recall, John used also to work in insurance, which explains a good deal, come to think of it.

He also told me that the GASSE meeting with the village youth, to allow them to air their views and, I suppose, to take the moral high ground and prattle on about human rights before we ignore them and plough ahead anyway, is now scheduled for next Friday evening in the old cricket clubhouse. There are apparently loads of chairs in there, which will be needed because the youth are likely to once again send a large posse (that is, I think, the term they use)  so they are not outnumbered. That we may freeze to death because all there is in there is an old Calor gas heater seems not to be of any concern.

Sunday, February 18th


After lunch at The Wheatsheaf (they do a v. good Sunday roast, but my wife says it is a waste of money to go out for a Sunday dinner, so we never do, but today I did) I was at a bit of a loose end, so thought I might Google to see exactly what a Parish Clerk does, in case I decide to be one. I have a vague idea of what John Garnham does, which includes that people send him little problems and he pretends to try to do something about them, plus he has also been the village Father Christmas dishing out gifts to the children each year, but I thought there must be an official description of the job somewhere. I discovered that a Parish Clerk is a bit like a Chief Executive in a County or District Council albeit on a smaller scale, which still sounds pretty important, and that he (or, I suppose, she) is the ‘engine’ of a Parish Council. I can be an engine! It also said that Parish Clerks usually have a lot of common sense, the confidence to handle administrative work, and are good organisers, are IT literate and able to get on with most people. That is me “to a T”, as they say. I also stumbled over a website with all there is to know about Parish Council elections and how they work and all the legal technicalities and what-not, but it looked really boring and I shall have to have a look at it properly another day. Then I discovered that “Fiddler on the Roof” was on the television so that was my afternoon sorted.

Monday, February 19th

Bob Merchant’s crew were back working in the village hall today, and the word is that they expect to be finished with the repairs and refurbishment probably some time next week. Then we will just have to wait for the County Council to send their inspector in to give it the all-clear for health and safety and public consumption.

My wife telephoned this evening to see if I am alright. I told her I am alright. She said she thinks she may have to stay with her parents for at least a month, or perhaps more, because it seems that not only did her mother break an ankle but her accident brought on some problems with a hip and her general mobility. I managed to sound suitably concerned, sent everyone involved my best wishes, opened a fresh bottle of Cabernet Sauvignon, and settled down to watch Dana Andrews in “Curse of the Demon”.

 

 

James Henderson

 

 

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Heads up – The Shape of a Pocket

 
 

‘The pocket in question is a small pocket of resistance. A pocket is formed when two or more people come together in agreement. The resistance is against the inhumanity of the new world economic order.’
John Berger 

 

 
Dear Friends.
 
To let you and your diaries know that I have established, with  performer Tina Grace The Shape of a Pocket – a series of events inspired by the work of John Berger. The venue – Upstairs at the Gatehouse; Highgate’s theatre and arts centre are hosting bi-annual events of film, poetry and visual art. The launch event is Sunday April 14 – 5-8pm. We’ll show the film Surrender – Ways of Hearing John Berger, a British Library commission, looking at immigration and migration. There’ll music, poetry and a performance inspired by Berger’s Ways of Seeing.  An art exhibition too, with refreshments in the Green Room, and a talk by Peter Kennard.  A rich evening indeed. Website on the way, and the event is on sale here.
 
 
It would be lovely to see you.   Jan 
 
 
 
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SAUSAGE Life 291

SAUSAGE LIFE
By Bird Guano
The column that just says no, even when it means yes

READER: You look upset, what’s up?
MYSELF:  I parked my unicycle outside a certain pub, which you know and I know but whose name must remain unspoken, and when I came out someone had stolen the saddle.
READER:  Ow! That must have been an uncomfortable ride back.
MYSELF:  Put it this way, although an innate sense of modesty and a sincere wish not to offend my public prevents me from describing my journey, suffice to say that by the time I reached home I found the high notes in Bohemian Rhapsody surprisingly easy to reach.

APOLOGY
The editors have asked me to mention that the painting featured in the arts section of our last issue was mistakenly captioned Spring Lambs at Beachy Head and attributed to Lucian Frightwig, when it should have read Hyenas Devouring the Body of Marcel Proust by Damien Hurst. The editor of this newspaper unreservedly and publicly apologises for any offence taken, but in private, sniggers like a broken fireman’s hose.

GULLIBLE
Professor Gordon Thinktank’s latest invention Splatgon, his patent disposable nappies for seagulls, have proved a big hit with the seaside-dwelling car-owning public, but not so with radical environmental group Poop. Their spokesman Bill Toblerone told us “Yes, capturing gulls and getting them to wear nappies – a skill which requires strength, cunning and the ability to keep the birds still long enough to put the nappies on – has created much-needed jobs; but let us not forget that many of our members work in local car washes and these nappies are destroying their livelihoods”.
Professor Thinktank’s office has confirmed that the inventor has started work on an update to a previous patent, the Gullgon Displacer as a possible replacement for the controversial scheme. “I accept that the nappies are not everyone’s cup of tea”, Thinktank told us, “So I am reintroducing a new improved version of the Gullgon Displacer which takes my original idea one step further. This time the decoy rubbish bin will be stuffed with brightly coloured McDonald’s containers to attract the gulls. Once inside they will discover that the boxes contain not the expected McDonalds burger gloop but Pizza Hut crusts and KFC Chicken Lumps and there will be no chips, which completely disorientates them. The bin flap springs shut behind the confused gulls whose only means of escape is the door to a 38 mile tunnel. which eventually leads the seabirds to a secret location near Brighton where, as soon as they exit, the door springs shut”.

A QUESTION OF GARDENING
Our green fingered tree psychiatrist Mimsie Borogove offers advice on all things haughty and cultural.
Dorothy Palindrome, of Upper Dicker writes:
Dear Mimsie,
I have a fifteen foot tall Wisteria which, after the recent damp winter, appears to be taking over the garden! What shall I do? 

Dear Dorothy,
This looks to me like a cry for help. Your poor Wisteria is suffering from a clear crisis of self which may require more than a simple re-pot. Wisteria sinensis, is a passive aggressive species, prone to feelings of guilt and rejection and should on no account be prevented from exploring its gender-identity, as this will serve only to restrict its personal growth. If you happen to notice the smell of gin, or pools of tears collecting around the roots in the morning, the chances are your wisteria may suffering from mild depression. Tell-tale symptoms may include night sweats, projectile vomiting and a type of plant-based Turette’s syndrome known as gymnospermian hyper-onomatopoeia. My advice is to smear goose fat on the outer stem and prune off the quark tendrils every four days until the behaviour returns to something approaching normality.

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SOCCER SHOCKER
According to sources inside the club, Sergio “The Horse” Peccadillo, outspoken Italian manager of Hastings & St Leonards Warriors FC, appears to be contemplating the final curtain. The club’s tenure in the Nuclear Waste Disposal Solutions League (south) looks to be over after the humiliating 8-0 midweek thrashing by league leaders Hellingly Supernaturals.
Ever the controversialist, Sergio was tracked down to the Tortured Cat Karaoke Lounge in Lower Wilmington, where, having taken the team for a post-match debriefing, he appeared surprisingly upbeat about the whole affair. Relaxing between two cocktail waitresses after a stentorian rendition of Simply the Best, he gave us this statement; “Football is like algebra, where x is the ball, y is the ref, and the unknown quantity is the score. The players gave their hearts for me out there, and in some cases their livers. We’ve only been in here half an hour and most of the team are inconsolable already. We are not finished yet. Even though we are certain to be relegated, we could still stay up. Football is a funny old game and I’m certainly going to miss it when I’m sacked.”

BOOTS ON THE GROUND
Ron Maserati, the managing director of a firm of bootmakers based in the UK has been blamed by Republican front runner Donald Trump for America’s defeat in Vietnam. The ex-president made the accusation in Bigly, Indiana whilst opening the latest branch of Trumpco his chain of MAGA-themed supermarkets, where he told the braying crowd of morons he was going to “sue somebody’s ass off”.
When we spoke to Mr Maserati of The Maserati All-Terrain Boot Company (registered in Panama), he flatly denied responsibility for losing the war.
“Frankly I am outraged” he told us “It was all a long time ago. Nobody told me nothing about the men wearing them boots, nor what sort of ground they was going to be put on. All I done was deliver boots to the US Army as requested and whatever went wrong afterwards had nothing to do with me. Read my terms and conditions.”

 

 

 

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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By Colin Gibson

 

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At The High Court For Julian Assange Extradition Hearing

The fate of Julian Assange and the future of journalism and free speech

 

https://freeassange.org/

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Why I’m an anarchist

 Sophie Scott-Brown discusses anarchy, democracy and freedom.

Is there any room for leadership in anarchy?

Sophie Scott-Brown is an intellectual historian based at the University of East Anglia with research interests in modern European political thought and the history of education. She is the author of The Histories of Raphael Samuel: A Portrait of a People’s Historian and Colin Ward and the Art of Everyday Anarchy.

00:00 Introduction
00:20 How do you define leadership in your work?
03:45 Could direct democracy ever work on the national level?
10:33 How can we respect democracy in the face of its misuse by certain groups?
15:54 What led you to study anarchism?
20:02 Which historical anarchist thinker would you most like to talk to?

 

 

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ECHO THE CLOUDS

 

Strange Reflections VI

 

Not unnaturally Vince was keen to avoid the attentions of Flapper of the Yard, so he slipped back in time to The Summer of Scandal, the last gasp of the Macmillan Era. He surfaced in a rented flat in Bayswater clutching a battered copy of Colin Wilson’s The Outsider.

Meanwhile, gazing into her crystal ball, fluffragette heroine Sofia Marie saw a towering column of blackness far out in space but approaching fast – it was Lord Lytton’s ‘Thing of Darkness’, The Shukkoth, La Shukke Noir, The Mouth of Shadows.

Her jaw almost hit the floor.

Half an hour later she was snogging in a taxi. They went on picnics, he cooked her pizzas, his eyes sparkled. Then she noticed his accent and saw an abominable, squamous mass invading vestigial Christian space.

Just four hours separate the damp of a British winter from a restaurant in a chalet in a sunny south-facing hamlet called Findeln, run by Hans and Gerda, lovely people we met on holiday. There was an obscene cackle from her U-Bend. Was it that old weirdo dialect she found so seductive?

Somewhere north of Luton there was an old dried-up reservoir. Factory chimneys belched sulphurous fumes into the lower atmosphere, newborn babies died of concrete cancer, motorway bridges melted into thin air. My Aunt Ada went on the rampage.

Was there no escape?

Brad’s muse and confidante Karen belonged to an extraterrestrial intelligence agency. She monitored the situation closely. Military and security heads demanded explanations.

“No definite and conclusive evidence is yet available, there were other distractions.” she reported in clipped, esoteric lingo.

Someone said the operation was based in Ohio, someone else suggested Kettering of all places. Controversial findings – mounting pressure; things were hotting up. Vince didn’t see much of his rented flat after that.

Dressed in a Paco Rabanne silver trouser suit Sister Marie brushed her hair and polished her gleaming fingernails.

                “The truth is out there…Oops!” she muttered to herself. Items of spotless, white lingerie littered the Op Art carpet; it had been a night to remember but no sign of the canary.

In Bayswater Vince gazed at a newspaper photo of Christine Keeler and wished they could get hitched in space. But he knew his soul belonged to The White Lady.

Brad found life in Kettering uncongenial. Nonsequiturs were off the agenda, the Contarnex clock was a hostile, alien object and there was no chance of softening the alien impact. The new technology will make all fossil industries obsolete.

Carl prepared a detailed report for Hackabout, Bridewell & Studmuffin, which is how he met Lorna who was temping at the time.

It was a strange yet convincing sequence. Brad was only ten days old when doctors discovered he had three chambers in his heart and face-to-face experience of social cataclysm. I couldn’t help laughing when I saw him miming to an old Peggy Lee record. Spectacular phenomena like this baffle scientists and researchers alike. Old red stars fade over Wandsworth.

Sister Marie banished the squamous monster from her crystal ball as, lurking outside in a typical London fog, Flapper huddled into the cavernous depths of his khaki, army surplus trench-coat. Merrie England was not his scene, oh no, not at all…so his small piggy eyes dwindled to distant specks then blinked out. All fugitive killers would be cornered. All hunky hubbies castrated. All streets swept clean. Life would be so straight-forward, after all he was common-as-muck and filthy-rich.

If only he could get the crystal ball.

He hated fine distinctions, diversionary tactics, business managers, flea-marketeers, do-gooders, interfering busy-bodies and the receptionist back at the ranch who snapped “Eat carpet, bozo” when he mistook her for a Fluffie. He had a hard-nosed, bluff, down-to-earth approach to every case, if only he had a mind of his own. Matrix mechanics could be the key. At school they called him ‘Face-Ache’ Flapper on account of his wild squint, his sagging cheekbones, his triple chin and his soluble flesh. He hated them then and he hated them now.

The eyes have it, so does the hair.

Sister Marie rehearsed a secret sign language and changed tack. Karen carefully forged several letters to me, signed them ‘Nadja’ and left them in an empty room at the Sphinx Hotel, Paris, France. After ten minutes the Q-Tips were running low so she decided to use just a quick flick of mascara and thank your lucky stars your partner understands the situation. Ah, the moment, the memory, the dream-echo of the clouds.

As the flying squad wrapped up, seriously ambitious global gourmets checked into very hotel and bistro in town, only to be faced with ghastly dishes served up by Slab City Trailer Trash. So pack your Hex Files and head for someplace else. Shut your stunning trap from the inside and reply with designerish understatement.

“That’s the ticket”, I decided, entering the former church hall through a fake cocktail lounge quaking with raucous rock music. The waitresses wear tight T-shirts and decorate themselves in student union Gothic. These were the best barbecued ribs I’ve tasted in London.

Face-Ache prepared for a loathsome transformation.

If this was a life-or-death situation: Sofia felt, well, somehow casual.

What you say? What you say?

Appearances can be deceptive.

Get connected.

Echo the clouds.

 

 

 

 

 

A C Evans

 

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Hejira

Hejira is a 7-piece band set up to celebrate and honour the masterpiece works of Joni Mitchell, mostly from the late ‘70s. Having released the albums The Hissing of Summer Lawns, Hejira, Don Juan’s Reckless Daughter and Mingus (regarded as her ‘jazz period’), Mitchell then toured briefly with a band made up of some outstanding jazz musicians: Pat Metheny, Lyle Mays, Michael Brecker, Jaco Pastorius and Don Alias.

The tour was recorded, producing the outstanding live album, Shadows And Light; it is from this album that the band Hejira is drawing the body of its repertoire. Comprising highly experienced jazz musicians, this band is fronted by the brilliant Hattie Whitehead who not only has in her own way assimilated the poise, power and beauty of Joni’s vocals, but also plays guitar with Joni’s stylistic mannerisms.

2024 Tour Dates:

Feb 26: London, Jazz Cafe.
March 1: Wavenden, The Stables
March 7: Nottingham, The Bonington Theatre
April 18: Leicester, Y Theatre
April 19: Derby, Derby Jazz
April 20: Hungerford
April 21: Horseley
April 22: New Vic Theatre, Newcastle-Under-Lyme
May 5: Falmouth, The Cornish Bank
June 8: Eastbourne, Royal Hippodrome
June 14: Northampton, Royal & Derngate Theatre
June 15: Beverly, East Riding Theatre
June 20: Glasgow, Mackintosh Queen’s Cross
June 21: Brampton, Live @ The Union Lane
June 22: Newcastle-Upon-Tyne, The Cluny
June 23: Cockermouth, Jazz @ Kirkgate
June 27: Worcester, Marr’s Bar
July 13: Buxton , Buxton Int. Festival
July 22: Cambridge, The Junction
July 26: Witham, Town Hall
August 3: Camden, The Forge
October: 17: Hull
October 18: Leyburn Jazz festival
October 19: Cumbernauld
October 20: Edinburgh
November 14: Swindon

 

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Stick Man

slipping
on a slippery floor

or hiding in plain sight
on a door

or shovelling
(for a fraction

of what he’s worth)
a pile of earth

stripped down
to the bare minimum

five lines
and a circle

no pockets
to put things in

stridulating
arsonist

..

.

Dominic Rivron

 

 

.

 

 

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New Robert Montgomery Book “Parrots”

“Parrots” is the first book of Robert Montgomery’s work since 2015. It covers all of his work over the last 20 years, from the early guerrilla billboard works in Shoreditch in 2004 up to the major light works for Mons of 2024, which were commissioned by the BAM museum to celebrate 100 years of Surrealism. A complete survey of Montgomery’s entire body of work with a special section dedicated to his paintings. Many works previously unpublished. A 440 page catalogue raisonee hard bound and beautifully printed on 200gsm art paper. Published by New River Press in February 2022, this book is a heavyweight addition to your art library.
440 pages
size 22.8cm x 30cm
Full-colour printing on 200gsm silk FSC art paper
Hardback casebound, with red satin marker ribbon, purple & white cloth head and tail band, and candy pink endpapers.

 

 

 

https://www.thenewriverpress.com/shop/robert-montgomery-art-book

https://www.instagram.com/robertmontgomeryghost/reel/C3Nf0x7K2aq/

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Fire in the Wire (episode fifteen)

Steam Stock

Tracklist:
Rankin’ Toyan – Spar with Me
Linval Thompson – Look How Me Sexy
Baba Brooks Band – Watermelon Man
Sister Nancy – One Two
The Mighty Diamonds – I Need a Roof
Desmond Dekker – Fu Manchu
The Wailers – Hallelujah Time
Uniques – Watch This Sound
Upsetters – Rubba Rubba Words
Burning Spear – African Postman
The Saints – Sleeping Trees
Eek-A-Mouse – Ganja Smuggling
Bongo Herman & Les – Hail I
Cynthia Richards – Conversation
Aswad – Dub Fire
Black Uhuru, Nicodemus and Scorcher – Bad Girl
Don Carlos – Lazer Beam
The Three Tops – It’s Raining
The Gaylads – Don’t Try to Reach Me
The Conquerers – You Hold the Handle
Harry J. All Stars – Je T’Aime

 

 

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Memory House

We often think about time as being a social concept, anchored in a palpable present, routing between the past and the future but nevertheless a construct that makes sense once we engage, in perpetuity, with our human experiences. In fact, what is infinite and constantly subject to our imagination and our creative processes is the past; the memories stored, processed and shared, that integrate and ground our being.

Memory House is an art collaboration searching to explore the collective aspect of memory that leads to social integration and reveals human commonalities beyond ethnicity, background or political colour. Memory House is a place where different generations and cultures reveal the archetypal aspects of our humanity.

Memory House includes new work by the artist Mark Mawer, printing and art book produced by the artist Andrew Morrison and writing by the poet and sociologist Maria Stadnicka, whose research is focused on transgenerational trauma transmissions, social haunting and collective memory.

 
The exhibition Memory House takes place at The Lansdown Gallery, Stroud, Gloucestershire, 21-26 February 2024, 9am-5pm, and includes paintings, collages, letterpress printing, as well as the new art book Memory House published by Kerbstone Press.

Free entry and all welcome.

More information at https://lansdownhall.org/memory-house-mawer-morrison-stradnicka/

 

 

 

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American Football a critique

 

I’m referring of course to the annual festival of all things idiotic in American corporate-sponsored sport which will soon be causing our growing population of male Yankophiles – the sort who like to say elevator and sidewalk and drink beer that tastes like polar bear’s piss – to wet their Calvins in anticipation. If you’ve never seen it, this is how the ridiculous made-for-TV spectacle unfolds:

After several hours of overblown ‘build up’ (ie: endless clips of thick meatheads crashing into each other, incomprehensible statistics and slobbering fast food commercials for flag-waving fatties), a reverent, patriotic silence falls as the USA national anthem is murdered by a talentless billionaire.

Next, to tumultuous applause, two teams of overpaid jocks (usually named after one of the Native American nations decimated by European “settlers”), jog on to the field wearing huge crash helmets, shoulder pads and tights stuffed with pillows and at the umpire’s signal begin colliding with each other.

Sometimes one of the players grabs the “ball” (which is really a sort of pointed egg), and runs off with it but is soon caught and crushed under pile of men from the opposing team- this is the signal for the umpire to blow his whistle, ushering in a long, expensive commercial break featuring fast food, “beer” or imported cars as the two teams file out for some well-earned rest.

When play resumes, both teams will have completely changed personnel, depending on whether they are O fence or D fence. Two actors, one black, one white, will pretend to be pundits who understand what is going on and quote more obtuse statistics to the baffled TV audience.

That’s all you need to know, since the whole eye-popping charade is essentially a marathon junkfood-sponsored pantomime without the drag. If you must watch, make sure you have nothing else to do for at least six hours.

 

 

 

Colin Gibson

 

 

 

 

 

 

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Letter On Silence

 

It’s difficult to talk about poems in these circumstances. London is a razor, an inflamed calm has settled, we’re trapped outside on its rim. I’ve been working on an essay about Amiri Baraka, trying to explain the idea that if you turn the surrealist image – defined by Aimé Césaire as a “means of reaching the infinite” – if you turn that inside out what you will find is that phrase from Baraka: “the magic words are up against the wall motherfucker”. Its going very slowly – hard to concentrate what with all the police raids, the punishment beatings, the retaliatory fires. It’d be too much to say the city’s geometry has changed, but its getting into some fairly wild buckling. Its gained in dimension, certain things are impossible to recognise, others are all too clear. I wish I knew more about maths, or algebra, so I could explain to you exactly what I mean. So instead of that I’ll give you a small thesis on the nature of rhythm – (1) They had banged his head on the floor and they were giving him punches. (2) He was already handcuffed and he was restrained when I saw him. (3) He was shouting, “Help me, help me”. (4) He wasn’t coherent. (5) I went to speak to his mum. (6) He couldn’t even stand up after they hit him with the batons. (7) They knocked on her door three hours later and told her “your son’s died”. I can’t remember exactly where I read that. I’m pretty sure it wasn’t in a literary magazine, but I guess you’ll have to agree it outlines a fairly conventional metrical system. Poetry transforms itself dialectically into the voice of the crowd – René Ménil made that claim way back in 1944 or something. But what if that’s not true. What if all it can do is transform into the endless whacks of police clubs – certainly you get that in official poetry, be it Kenny Goldsmith or Todd Swift. Their conformist yelps go further than that, actually, as the police whacks in their turn transform into the dense hideous silence we’re living inside right now, causing immediate closing of the eyes, difficulty breathing, runny nose and coughing. Because believe me, police violence is the content of all officially sanctioned art. How could it be otherwise, buried as it is so deeply within the gate systems of our culture. Larry Neal once described riots as the process of grabbing hold of, taking control of, our collective history. Earlier this week, I started thinking that our version of that, our history, had been taken captive and was being held right in the centre of the city as a force of negative gravity keeping us out, and keeping their systems in place. Obviously I was wrong. Its not our history they’ve got stashed there – its a bullet, pure and simple, as in the actual content of the collective idea we have to live beneath. They’ve got that idea lodged in the centre of Mark Duggan’s face – or Dale Burns, or Jacob Michael, or Philip Hulmes. Hundred of invisible faces. And those faces have all exploded. Etcetera. Anyway, this is the last letter you’ll be getting from me, I know you’ve rented a room right at the centre of those official bullets. Its why you have to spend so much time gazing into your mirror, talking endlessly about prosody. There is no prosody, there is only a scraped wound – we live inside it like fossilised, vivisected mice. Turned inside out, tormented beyond recognition. So difficult to think about poems right now. I’m out of here. Our stab-wounds were not self inflicted.

 

 

.

Sean Bonney

 

 

.

 

 

 

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Brown

The Spanish Armada fell up
A brownish glittery run amock
The stupefying silence
All around me it carves me
Out in my nestled bustling crowd
The spring came this time
A greyish lantern up in her knitted rob
But all around me a global winter
Wither away before the great fall
Till it runs a river inside your deep rooted
Falsifying truth
Telling lies before your own parlance
Keep it simple in the face of winter
Gloomy bed ridden sickness
The river runs north
A zigzag mere glance of Zeremiah
The floated moon of two penny opera
My moonsicked silence
Just like the Spanish Armada
A brownish noisy bush
All glittered in the tapestry of bemoaning.

 

 

 

Sayani Mukherjee
Picture Nick Victor

 

 

.

 

 

 

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Lady Dada In The Hit Parade

it was Friday and the Baroness had lost the yacht
she had abandoned it hove to in Juan-les-Pins
along with her snowy white Pomeranian husky
that matched the cargo of cocaine for distribution in Cannes

huit heures found her siphoning soda into her Scotch
in the Café le Dome far from New York but near her Parisian home
after sampling the sample her entitled body was sweating
as she awaited sweet Caresse her partner in crime

man those rays of moonlight froze and fused them forever
as they softly floated the two blocks to Les Bains Douches
in their favourite candlelit Hammam they gleamed and steamed
till the stars spangled like snowflakes in the dawn’s early light

 

 

Julian Isaacs
Picture Hannah Höch

 

 

.

 

 

 

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Our Name-string

A non veg recipe
we claim as ours
has been here since
the abiogenesis.

We inscribe and
hang a name-string
taut between two poles
of our minds.

The chime plays with
the tags we own in this birth.
Flour mists the breeze.
Moon breaks, streams out its yolk.

 

 

Kushal Poddar
Picture Nick Victor

 

 

 
 
 
 
 
.

 

 

 

 

 

 

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from Jim Henderson’s A SUFFOLK DIARY

Thursday, February 8th

On Monday I thought I would drop by to see how the repair work was going in the village hall, because it needed to be finished this week, otherwise there would be a big problem with The Ipswich Players who were scheduled to be in the hall on Saturday doing their “Waiting for Godot”. They are going to have to wait a bit longer. I was surprised to find nothing going on at the hall at all. It was locked up, with no sign of workmen. A peek through the window showed that work was still very much “in progress”. I thought I should alert John Garnham, the Parish Clerk. Anyhoo, long story short, he called Bob Merchant who said that Michael Whittingham had told him the dramatic people had cancelled so there was no need to finish the work this week, so he sent his chaps off to an emergency job in Lincolnshire. John says this was obviously a determined act of sabotage by Whittingham to get his own back for their recent disagreement.

But every cloud has a silver lining, and this one has two. One is that John asked me how ticket sales had been going, and that I would have to organise refunds. I told him I did not know anything about ticket sales because ticket sales are nothing to do with me. But he said they were something to do with me because I am the Parish Council’s CLAPO, the Community Liaison and Publicity Officer. Then I said that perhaps he should have told me about tickets when he told me about the theatre visit, plus there was nothing on any of the publicity about tickets. Our “discussion” went back and forth, hinging on the facts that (a) we have not sold any tickets because we do not have any tickets to sell and (b) the hall is not going to be ready anyway so what were we arguing about?

Silver lining number two arrived  on Wednesday when somehow or other it emerged that the Parish Council’s licence for staging events of a theatrical and/or entertainment nature in the hall is expired, and also that the hall cannot be used for anything involving the public after its refurbishment until the County Council have sent a buildings inspector to give it the “all-clear”. 

On Monday there was one other thing John Garnham and I had to sort out, which was that someone had to telephone the Ipswich Players chappie to cancel the show. John wanted me to do it but I said that the person who booked it in the first place – i.e. the Parish Clerk – should do it. After further discussion and deterioration in our relations we tossed a coin. Heads I won. John was not happy, and has told me he is having doubts about me as a future Parish Clerk, and I told him I had no intention of standing for the post in the upcoming elections and if this shambles was anything to go by I might stand down from the Council altogether. Then I went to The Wheatsheaf.

Saturday, February 10th

Yesterday evening’s scheduled GASSE (“Go Away! Stay Somewhere Else!”) meeting with the village youth was the perfect end to a perfect week. John Garnham was not in a good mood, and evidently the youth felt that if they were going to argue successfully against our taking a stand against the government possibly sending their unwanted foreigners to sleep in our village hall then there would be strength in numbers, so they matched ours. A dozen of them, led by Nancy Crowe, turned up at the appointed time, much to the dismay of us all, because the Shepherdsons’ summer house, which is where we meet while the hall is out of commission, simply is not big enough to hold a couple of dozen people, never mind that Bernie and Bernadette do not own 24 chairs. Who on earth does? After some debate out on the Shepherdsons’ drive it was suggested we adjourn to the old cricket clubhouse, which community groups have been using instead of the hall, including my wife for her yoga class (“Oh Yeah! Yoga!”). But who had the clubhouse key? Nobody knew. I telephoned my wife to see if she had it or knew who did, but there was no answer, either from our landline or her mobile, although I knew she was in. I undertook to hurry home – it is 5 minutes at a quick walk or slow trot – and find out what was going on etc. When I got home my wife was in the bath, and she said she had heard the phones but she was in the bath and she was not going to get out of it just to answer the (expletive) phone. I ask you! Anyhoo, she did not have the key to the clubhouse, and said that the groups who use it pass it on to one another as required, and I should try Doris Spencer who runs the weekly Scrabble Lunch, because she would have had the key last. What is her phone number? I asked. My wife did not know. Neither did Directory Enquiries, because Doris only has a mobile phone and not a landline. I trudged back to the Shepherdsons’ to find that some people had already given up and gone home, and our talk with the youth was postponed with a future date and venue to be confirmed in due course. I was tired and fed up, and did not feel like going home to the wife just yet, so I went to The Wheatsheaf. Quite a few people came with me, including some of the youngsters, even though I am pretty sure some of them are not old enough.

Monday, February 12th

My mother-in-law has had an accident and broken her ankle, and as a result is partially immobilised, and my wife has announced she is off to York to help out because her father is old school and does not know how to boil an egg, never mind do anything remotely resembling housework. I am not sure how long she will be gone, and I have to say that she seemed mighty pleased to be going. “Oh Yeah! Yoga!” classes have been suspended for the time being, which she said is not a problem because almost everyone is fed up of using the old cricket clubhouse. So, I am a singleton for the foreseeable future, and the world (or the village, at least) is my oyster. I plan to grow a beard.

James Henderson

“Waiting for Godot” at Gerald W. Lynch Theatre (Photo: Richard Termine)

 

 

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NOW AND THEN


You want to be on some people’s minds –

that occasional part of their thinking

that unravels in the way a clock may rewind

itself through afternoons slowly sinking

into thin misty days that disappear

behind drawn curtains – faded blinds –

as sleep circles what is neither clear

nor unclear on some people’s minds.

 

Phil Bowen
Photo: Italian Graffiti, Rupert Loydell

 

 

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RESTAURANT #5

Tarquin ordered lamb shank and lentil stew. Mona, another lamb fan, chose the lamb and aubergine moussaka with fresh green salad and a herby tomato dressing. She was on a sort of diet. What do you think of Sebastian’s new beard? he asked. He’s got a beard? Mona replied in surprise. It must be longer than I thought since I last saw him. It’s probably so he doesn’t shave his spots and bleed to death. Tarquin called a waiter over. This is dreadful, and it’s got a funny smell, he said. Take it away and bring me something I can eat that doesn’t remind me of a tramp’s underwear. And be quick about it. Okey-dokey, said the waiter, and crawled away to the kitchens. You don’t stand for any nonsense, do you? said Mona. I like that in a man. It’s my upbringing, Tarquin said. Father’s philosophy of parenthood was based on his years in the army. Don’t stand any nonsense, that was his motto, and it’s mine too. I can’t say I enjoyed being beaten with barbed wire, or the occasional solitary confinement on bread and water, but Father had the best of intentions and in my opinion it paid off, and made the man you now see standing sat before you as smug as a bug in a rug. The waiter returned and dumped a bowl down on the table, splashing Tarquin a bit more than slightly. What’s this? Tarquin enquired as he dabbed spots of a dark brown something or other from his jacket with a napkin. Some kind of soup thing, and I think they’ve put some leftover meat and vegetables in it, I’m not really sure, said the waiter. That sounds very much like a stew, said Mona. We don’t do stew, said the waiter, although we do knock up a pretty decent casserole, but this isn’t it. Okay, whatever, said Tarquin. I’ll give it a shot, because it smells yum. Gracias. While he gobbled it all up, Mona nipped to the restroom where she applied some “Softly Private” balm to where it was much-needed.

 

 

Conrad Titmuss

 

 

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One

 

The girl on the news was one of us, one of a kind, one wrong move away from the graveyard, conducting conversations like a tree conducts lightning or an anarchist concocts explosives. Exposed to the elements, expected to fly, electing instead to hide in her head, she couldn’t decide if she was mirror or mirage, maker or monster, or marker burning in a night that threatened never to end. So, she pasted notices on lampposts, with a photo and a phone number, a phoney name and fantastic rewards. She recorded messages denying all knowledge to leave on her phone, and informed friends and family she was never leaving home. I sent flowers when she lived and sent flowers when she died, shredded all her letters, and tried to forget that I carried her touch like blown eggshells or full-blown stigmata. She was one more statistic that didn’t make the papers, didn’t make a wish, didn’t make peace with the pieces she left behind.

 

 

 

Oz Hardwick
Picture Nick Victor

 

 

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A Parisian epiphany and vision

Giacometti in Paris, Michael Peppiatt, Bloomsbury Publishing, 2023, ISBN: 9781526600974.

Alberto Giacometti’s story and career hinge on an epiphany on boulevard Saint-Michel in Paris. There, he viewed the artist Isabel Rawsthorne, with whom he was falling in love, from a distance and silhouetted against a big, dark doorway.

The vision that he retained and which he sought to realise from that point on throughout his life was one of the intensity of life in the human figure. In the static mediums of drawings, paintings and sculptures, the realisation of intensity and liveliness was an almost impossible aim, yet one that Giacometti rigorously attempted accepting always that failure was part of the deal.

Michael Peppiatt keeps this epiphany in view throughout, at the same time that he also describes Giacometti’s love affair with Paris and with the cultural and intellectual life of Paris from the 1920’s to the 1960’s.

Outside his humble studio – the focus for his life and art – Giacometti availed himself of Montparnasse’s cafes, nightclubs and brothels while interacting with artists and writers from Rawsthorne, Picasso and Breton to de Beauvoir, Sartre and Beckett. Linked to Surrealism and Existentialism, Giacometti ultimately had too individual a vision to remain aligned to such groups on an ongoing basis. As he himself expressed it, that vision was “not to reproduce reality, but to create a reality of the same intensity”.

Peppiatt, himself, arrived in Paris in 1966 with a letter of introduction to Giacometti, penned for him by Francis Bacon. That letter “was never handed over because Giacometti had just left Paris for the hospital in Switzerland where he died”. This double portrait of the artist and the city he loved is Peppiatt’s letter of introduction for his readers to an artist whose idiosyncratic life and loves lie hidden behind the intense focus and in-your-face realism of the standing figures and heads he created.     

 

Jonathan Evens

 

 

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carnage

there’s another slaughtered shrew
laid by my bedroom door today
another sacrificial offering
from our alley cat forever intent
on her destruction of all wildlife

perhaps she’s nipped the throat
of this tiny blameless rodent
as usual it still feels warm
but registers as lifeless
when I pick the poor creature up

the coup de grace alas
becomes apparent only
when I lay the corpse to rest
somewhere in the killing field
our innocent garden has become

this latest mini murder reveals
nature red in tooth and claw
as our Lordly Poet did proclaim
but my grief is so brief
it might as well not happen

now the toll of war dead
on every radio station
diminishes each and every death:
statistics show no feeling
indifference so revealing

 

Jeff Cloves

Photo: Ultimate incarnation
Tiggy
by Nick Victor

 

 

 

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Villages of the Detached Heart 

 Cycle with Celeste, Bouldon, Corvedale, Shropshire, 2ndAugust 2023

 

 

How can you compare and contrast

two things never seen only sensed:

An atmosphere or corner left behind                                    

that backward shadow edging across the mind

mislaid to the eyes

unclear – yet pre-eminent.                                                                

 

 

From social city to rural lostness

where does isolation or assurance triumph?

The crossing-keeper’s house keeps its stare on the rails

its redbrick back to these woods which crown the edge

hill ridge, not limit, end or fracture . . .

No windows face this way – of attack it lies blind

a strict human focus to disdain all mystery.              

Do not sing or show me the tears in your eyes

this deep country was ours until yesterday

landlocked far from every tide

barring those which fill and empty the head

with indecision.                                                                                  

 

 

Mansion or hovel and the circumstance of poverty,                         

struck dumb or smoothed away by croquet              

forget the callous lopsided stamp of history

unto money and materiality

embodied, extrinsic, intrinsic, mort . . .

which finds expression – direct or by default            

in a chain of moats and shattered sheds

red-flagged beans above nuclear sprouts

regimented vegetables perhaps, but embodying toil and care

to oppose the crosscut fade of pointless innovation.                        

 

 

Yet in the end, bland cars line the greens and smother the lanes    

to kill the freedom they propose

numbing every minefield of marrow

and straggling air-burst of rose –

faint scents in the dormitory of a world long asleep

to fairness

or questing ambition.                                                                        

 

 

What is forward, what reverse?

there is no answer but the one always sensed

silent, like the abandoned farm where the soldiers hide

escaping towards Dunkirk and find

a phantasmagoric rest, out of sight

under squadrons of nocturnal thrumming threat

an oppressive drone of black silhouettes overhead, but

a brief home (with lookout) nevertheless.

Inside, away from creaking cottage panes,

a comforting childhood throwback to friendly barns and proper eggs

crooked landings and calm wallpaper, billets in the eaves

an interlude which cannot last

sliding to deep deathless oversleep, that pillow-cloud of dreams

before panic breaks with the morning light,

a glimpse of movement seen too late,

seven stairs stricken, 

doors burst open

protective walls out of reach . . .

murderous machine-gun behind the oast house

explodes a stream of bullets

fierce-chatter among the orchards, apple and cherry of my eye

and Eden is destroyed

unshared

all blossom denied.    

                                                                                                                       

 

                         *        *        *        *

 

 

High summer in Shropshire and more than eighty years have passed,

have we become a different race?

Looking down from the wooded edge,

the villages of my heart were never tied to place

yet remain both vivid and detached,

fictional ideal, communities out of reach,

a hub of doorways and lives only sensed:

an atmosphere or crossroads moving on

left behind and found again,

a forward light drawing the mind

through woods, fields, another sequence of lanes

– towards the pub’s tranquil garden

or the maze’s quiet end.        

 

 

 

 

 

Lawrence Freiesleben

 

 

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The Only Animal That Laughs 

For Lenny Bruce

 

Does a purple-arsed baboon hurl its turds in a Frisbee comedy? 
Does a kangaroo do pouch vulgarity shocking Marsupial decency? 
Does a mouse have satire to live in the terror of the cat society? 

What do you say, your honour? 

Jean-Paul Sartre, on hearing of the torture of Algerian 
prisoners, asked why we go to so much trouble to remain human. 

Do you know why, your honour; 
you, the arbiter of the nation’s truth? 

Why do we consent our entrance to this grotesque 
vaudeville act of suffering and violence we call reality? 
There is nothing left to do but laugh the blackest gallows chuckle. 

Your verdict will be that I am a nauseating spin of slang; 
a maelstrom of dirt-chat sicked-up from the city’s sewers. 

Won’t that be so, your honour? 

In this, the new Babylon, to be convicted of 
obscenity means I must be definitive depravity. 

Do I have anything to say in my defence? 
Those who cannot see the joke are doomed to repeat it.

 

 

 

Michael Wyndham

Note: In April 1964, Lenny Bruce was arrested as he left the stage after a gig at the Cafe Au Go Go,  in Greenwich Village, New York City, by undercover police. Bruce was found guilty of obscenity on 4th November, 1964, and sentenced to four months in a workhouse. He was set free on bail during the appeals process but died of a Heroin overdose before the appeal was decided.

 

 

 

 

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Eat the Gold: Brand new album release from Aircooled  

Some words and thoughts from Alan Dearling

At the end of 2023 I mentally looked back through the past year of live gigs and album reviewing. An ‘Absolutely Wow experience’ was witnessing Aircooled live on their first tour in support of their album release, ‘St Leopards’. (Connected, I think with where they are based, St Leonards, near Hastings).

Now we have the release of their sophomore album, ‘Eat the Gold’. It’s quite a musical evolution. Last year’s Aircooled was pulsating electronica, what they described as offering, “…extended motor grooves and disco blitz.”  I saw them as the children of motoric Kraut-rock. Kosmische. Exciting, pulsating music for both the dance floor and extended listening at home.

‘Eat the Gold’ displays the results of an Aircooled line-up that has solidified around core members, there’s a new vocal dimension. Drums: Justin Welch; Bass: Katherine Wallinger;  Keys, flute and vocals: Riz Maslen, and, Guitars, keys and vocals: Oliver Cherer.

Their vinyl album is a lovely pressing. A clear, yet enveloping sound. Psychedelic, with epic soundscapes. Big screen sonic creations. ‘Airports’ kicks off Side One with a psych electro-pulsating bass-line, soaring guitar, plus electronic keys’ excursions. The track leads into what is the first single from the new album, ‘No reason to lie’. This marks the departure from the driving Hawkwind-Floyd-Can musical formula. This is assertive, a full-on vocal track with accompanying electro-breaks. Glitchy, unsettling, even a little challenging. Certainly far more in-yerr-face than the earlier Aircooled fare.  ‘Japanese Brute’ continues the hard, driving sound, moving more into the worlds of 1960s’ underground music, ‘70s’ ‘Tubular Bells’, with Byrds-like phasing from the ‘Notorious Byrd Brothers’ era.  Next up, ‘Star Rider’ shifts gear again, entering Kraftwerk territory, blending a mix (perhaps) of ‘Trans-Europe Express’ robotic rhythm with Vangelis pomp.

‘Sing Pilgrim Sing!’ offers chugging, train-like, pulsations… locomotion rhythms, with keys wefting and weaving over the repetitive beats, bass and drum propulsions. ‘Transmission Transmission’ welcomes us into the Psychedelic Underworld. Nicely doom-laden, with almost sitar-like sounds, breathless chants. It evokes a sense of foreboding. A spit and venom vocal delivery. “This machine is unclean.” Gothik! Tribal – Calling all cannibals, perhaps?

Impressive and at times distinctly awesome!

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From the Aircooled publicity release:

Listen to Eat the Gold: https://on.soundcloud.com/xrBQK

Bandcamp: https://aircooled.bandcamp.com/album/eat-the-gold

No Reason To Lie (video): https://youtu.be/QCipFDZKRNQ

‘St Leopards’, the first Aircooled album has also recently been re-pressed. Artwork for both albums by Mew.

Aircooled’s ‘backstory’: Justin Welch (Piroshka, Elastica, Suede JAMC.), Oliver Cherer (Gilroy Mere, Dollboy, Miki Berenyi Trio.), Katharine Wallinger (Wedding Present, Viv Albertine) and Riz Maslen (Neotropic).

 

Aircooled on tour 2023

 

 

 

 

 

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Drawing the Line

Buy low and sell high
The price is what you’re willing to pay for it
Even under duress
Yes well is it three for you and three for me
Or some other conceit entirely
Maybe you have special needs
And maybe it’s not all bluster
Isn’t the removal of rules
A cause for new rules
How about traffic signalling
Or air traffic control
Or subway routing and timing
Well the trains run on time
They used to say
What you seem to be saying
Is that you don’t like the suite of rules right now
But won’t we still need referees and umpires
Hang the bloody DJ
Maybe I just grew tired
On you insisting you could tell me what to do
What gives you the right
Who put you there in the first place
It’s not conspiracy theory
A rule of thumb
Can be a useful thing
I just can’t get reconciled
To you claiming access
To all the rules that matter
This is my space
I have every right
Rules are a work in progress

 

 

Clark Allison
Art: Rupert Loydell

 

 

 

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Finding Our Way

Joe Hill Makes His Way Into The Castle, Katy Evans-Bush (CB Editions)

Katy Evans-Bush has several previous poetry books and pamphlets out, but they are very different to this new volume, produced during lockdown when – lonely and uninspired – Evans-Bush returned to a favourite poet from her teenage years, the countercultural anarchist poet Kenneth Patchen. As well as re-engaging with his poetry, Evans-Bush cut out phrases, mixed them up and used a handful to riff on for a whole new series of poems: a kind of Dada-esque starting point that was quickly subsumed, overwritten and processed into her own work.

Having said that, Bush-Evans seems quietly paranoid about acknowledging her inspirational material: there’s a long list of ‘Source Notes’, listing the individual Patchen poems she took phrases from at the end of the book. For me, this is totally unnecessary, since each poem is titled ‘From lines by Kenneth Patchen #(1-51)’ and the phrases are adapted, recontextualised or reworked into new texts.

Like Patchen’s own writing, these poems are by turns emotional, confessional, political or declamatory; sometimes relying on simplistic stories, emotion and opinions:

     What are these stories? Are they for self justification,
     & only when we think we’re caught? Is this really
     the best we can do?
          [‘From lines by Kenneth Patchen #38’]

The poems are best when they look out at the world rather than inside, to what the poet is missing or feeling, whether that is sorry for herself or angry at what’s going on:

     No no no Oh we here are living out our
     little pretend lives drinking our beer feeling
     bored or annoyed no no the pandemic the
     three-storey lockdowns with wine and jig-
     saws and too much Amazon piss off you
     old men with your paranoid answers no
     don’t you come to me chatting your facile
     self-satis
          [#34]

What is said is totally understandable, and I imagine fairly representative of how many of us were feeling, but it doesn’t make for great poetry. Better is #37, also self-reflective but more structured and orderly, considered:

     You’d be a ghost too
                                        Worn to a stub

     Expectoplasm
                                        A thing of the past

     Don’t touch a thing
                                        Oh wait it can’t

     It’s a Zen thing
                                        About opening up

     Examining yourself

Evans-Bush understands, however, that ‘there’s always another viewpoint’ [#15] and that

     The origin of this, and this, about which we know nothing,
     becomes its own folkloric meaning & open to interpretation,

     thus nothing.
          [#14]

That ‘nothing’ hovers around the edges of lockdown depression:

     It wasn’t much of a summer. You could as well
     write the biography of the northern rain as sit
     on a deck chair in a sweeping expanse.
           [#13]

but there is also some gentle wit, often at the expense of the narrator:

    The whisky wraps its duplicitous arms around me;
     I always pull at a party and this one’s just the whisky
     & Robert Burns & me.

and by #44 even the author is ‘So tired of all this pathos, this emotion, all these / particulars’.

However, in her ‘Preface’, Evans-Bush quite rightly suggests that the world now (or as the book went to print) is even darker than it was back in lockdown, and that her worries about ‘the material beginning to feel dated were misplaced.’ Instead, she now sees the book as ‘like a map’ as well as ‘being like a diary, or a phone’. (The latter is a reference to #29 where the narrator speaks directly to Patchen through an [imaginary] tin can and string telephone.)

A map is a good thing. It suggests finding a way, but also allows for the fact it is only one possible way of offering directions and locations, only one way of understanding landscape and place, only one set of symbols and shorthand. So, your reading of this book may be different, less melancholy than mine; you may concentrate on the revolutionary zeal and optimistic declamations scattered throughout the text. Either way, this is a fascinating project, a brilliant way of engaging with Patchen’s poetry, and the legacy of Joe Hill. The penultimate poem, #50, notes that ‘We find / out by being & then it’s too late’, but we also find out by engaging with being as it happens, as we go through life. And trying to find the truth, perhaps even having a private revolution:

     & we all know, everybody knows, that
     truth is always what they don’t say. So
     shut up, sing up, kiddos. What a revolution.

Marc Bolan (a kiddo who sang up) quite rightly stated that ‘You can’t fool the children of the revolution’ and although the 60s dream turned into a 1970s hangover and never bore the utopia hoped for, lockdown and politicians’ antics since, seem to me to slowly, ever so slowly, be provoking dissent and a desire for change. Evans-Bush is a voice to listen to, as indeed is Patchen’s; and thanks are due to CB Editions for publishing this persuasive, personal, original and revolutionary collection.

 

 

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Rupert Loydell

(First published at Tears in the Fence)

 

 

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Alan Tomlinson (1947-2024)

The trombonist Alan Tomlinson, who died on 13th February, was a major figure in the world of free improvised music. Born in Manchester in 1950, he got interested in classical music as a teenager, after hearing Mozart’s Jupiter Symphony. He bought his first trombone when he was 17. Even though he’d only been playing for a year, he got a place on the jazz and light music course at the City of Leeds College of Music, where he developed an interest in contemporary music. He became involved in free improvisation and experimental music in the early 1970s. He played with John Stevens’ Away and Tony Oxley’s Angular Apron and, around the same time, was a member of the Portsmouth Sinfonia (he appears in the trombone section on their 1974 album, Hallelujah). He also played with Barry Guy’s London Jazz Composers’ Orchestra and Keith Tippett’s Celebration Orchestra. His first solo album, Still Outside, came out in 1981. In the same year he appeared on Pete Brötzmann’s album, Alarm. He has appeared on numerous albums since and Scatter Archive in particular are still curating and issuing recordings of his work. As an improviser, he worked with many musicians, including Steve Beresford, Roger Turner, Jon Corbett, David Toop and Phil Minton. He toured Europe, North America and even Siberia, on some occasions performing as part of an ensemble and, on others, solo.

Like many improvisers of his generation, Tomlinson could be very funny. As Clive Bell said, writing in The Wire, ‘Is there some synergistic link between UK improv and comedy? To the headphone-clad listener deeply immersed in an AMM album, the answer might be no. To the audience chuckling at an Alan Tomlinson trombone solo, it’s clearly yes.’ He worked with The  Electro-Acoustic Cabaret and had a real sense of theatre, performing, for example, dressed as a US general, his chest full of medals, delivering a speech – on his trombone. (It’s a sense which seems to have extended beyond his musical performances: it was Tomlinson who suggested fellow trombonist the late Paul Rutherford’s trombones be bequeathed to the Cuban People, which they duly were). In 2013, he agreed to perform in Brawby in Yorkshire stood up to his knees in sewage escaping from a neglected and decaying Yorkshire Water treatment plant in a whimsical, but deadly serious musical-theatrical protest. As for the humour, Tomlinson himself (quoted in The Wire) said that although he was a humorous guy and liked comedy: ‘I’m very serious about playing the trombone. I don’t fuck about – well, I do fuck about, but I do take it seriously. You’ve got to find the moment to do it. It’s not humour, it’s putting another element in there that happens to be humorous.’

Since 1992 and until quite recently, Tomlinson, alongside other projects and commitments, had been playing with the Alan Tomlinson Trio, which comprised of himself, guitarist Dave Tucker and drummer Phil Marks. The trio performed widely, and recorded three albums, the most recent to be issued being Live at the Klinker Club (2023).

Tomlinson was not only involved in the free improvisation scene: he also worked in the field of contemporary classical music.  He was part of New London Winds and Sounds Positive, a contemporary music group which commissioned over sixty works from British composers as well as doing educational work in schools and colleges. He performed works by Vinko Globokar, Xenakis and Berio, among others. Several composers have written works for him. His death will be felt not only in the world of  free improvisation but across the wider musical community, too.

Alan Tomlinson, born Manchester, 1947, died February 13th, 2024, aged 76.

 

Dominic Rivron

LINKS

The Alan Tomlinson Trio:
https://www.youtube.com/watch?v=C3oUoH2b4BY

Alan Tomlinson with Lawrence Casserley:
https://www.youtube.com/watch?v=8W08g9NXCCE

Alan Tomlinson solo:
https://youtu.be/eHkqwdbMV3c?si=ktwEGGlY–X940xs

Boggart Hole Clough – a track from Still Outside (1981):
https://www.youtube.com/watch?v=cmX0Y94F6lQ

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ELKS

1.

It turned out that the rather splendid-looking coffee table book entitled “The Elk: A Photographic History” did not once mention the elk or feature any photographs of elks. Apparently it’s all a very clever in-joke among very clever people who are in on it. It was on the coffee table at Anthony and Cleo’s dinner party on Tuesday (Tuesday! What kind of day is that to have a dinner party?) and everyone, more or less, was going on about it and laughing and saying how great it was. There had been an article about it in that Sunday’s “Weekend” magazine, which I always avoid, amusingly called “What the Elk is Going On?” which everyone thought was very clever too. Personally I am not fond of coffee table books, or books of any sort, come to that. And Anthony and Cleo are pretty bloody awful, too. Cleo is my wife’s friend, and Anthony is her current husband.

2.

If I had to choose between an elk and a wasp I’d choose the elk every time but there’s been a survey and apparently the majority of people – 66% – would go for the wasp. I don’t know how they do those surveys. Maybe they just asked three people, and two of them confused the elk with a yak, which is something different altogether. An elk can be a fantastic pet, and is very undervalued in that respect. You wouldn’t want a wasp for a pet.  Most people, if they know what an elk is, think it’s only good for supplying a very expensive high protein milk and good quality outdoor coat material when they kick the bucket, but they are much more than that. I can confirm from personal experience that they are wonderful additions to the family circle, are playful, can be trusted to keep an eye on the kids when you and the missus want a night out, and are very cheap to maintain. We called ours Elsie. When she went missing we put posters up all around the neighbourhood, tacked to telephone poles and the like, but to no avail.

3.

Frankly I was rather appalled at the idea of an elk hunt, but we were assured that they were not real elks but students in elk costumes doing a holiday job, and they would just run around and let us chase them. Plus, we weren’t going to be firing live bullets, it would be blanks, and if any of the pretend elks fell over they would just be pretending to be dead. I couldn’t see the point, and it seemed quite tasteless, but the wife and kids insisted, and we’d paid quite a lot of money to be there, so I felt like I had no choice but to go along with it. I admit it was all pretty convincing, and in spite of myself I was quite taken up with the thrill of the chase, and I scored a couple of “hits”, which I was pretty proud of. But that evening at dinner the hotel restaurant was invaded by a dozen or so elks handing out leaflets and protesting at the demeaning nature of the whole enterprise. One of them climbed up on a table and gave a speech, and I think he or she had a point. I mean, how would we like it if students dressed up and ran around pretending to be us?

 

 

 

Martin Stannard

 

 

 

 

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Take Note: ‘Whom the Gods Would Destroy they First Make Mad’

 


Yes, and this is exactly what we are witnessing today. It means that the chief oppressors of humanity are not about to claim victory in their lust for world domination, but are in fact heading for a crash and are blindly living out their final days.

Their madness is already on view to anyone who follows the antics of the despotic globalist regime so brazenly flaunting its self contrived stardom. It’s not a pretty sight.

Drunk on power and super inflated egos, these less than human humans stand as high as they can on the world stage to project their pompous profiles – only to reveal their true colours as obsessed psychotic war mongers caught in the web of their own morbid megalomania.

However these architects of central control are not alone in being sentenced to an inglorious end. The madness bestowed by the gods also falls on those passive couch potatoes who ‘look on and do nothing’, burying their heads in the sand so as to avoid having to stand up against the rank injustices that stare them in the face.

Then a similar madness creeps up on those who turn away from anything which disturbs their ‘faux spiritual’ retreat into a world of passive inner contemplation. The gods do not smile on such misuses of genuine spiritual disciplines adopted by true aspirants striving to evolve into conscious, active and responsible human beings.

There is no route to a higher calling which does not incorporate service to humanity and confronting injustice. To turn away from such basic responsibility is a form of soul suicide – brought about in the mistaken belief that by shirking a natural humanitarian responsiveness towards the collective welfare of mankind one can remain ‘undisturbed’ in moving up some invisible stairway to heaven.

Then there are those ‘apologist’ professional men and women whose all consuming ambitions lead them to unquestioningly play by the rules of the game, trampling on others in order to make it to the top.

Do the gods smile upon such cowardly behaviour? No, they will increasingly cause such individuals to suffer the inevitable pain that results from going against their better conscience, of being complicit in the cause of evil.

Such people will, unless they change their ways, also be subject to a creeping state of madness. One that corrodes away the natural sympathetic qualities that keep mankind responsible, humane and sane.

What about those who accumulate disproportionately high levels of personal wealth and use the great majority of it to feather their nests and further bolster their sense of self importance over others less financially secure?

What view do the gods take about those harbouring obsessions of material gain?

They cause such people to feel increasingly insecure; increasingly afraid of losing the velvet padded ease of their sumptuous life styles. Cut off from the world of real people, real emotions and real human affection.

Perhaps such bloated examples of excess cause the gods to pass a message across their field of vision, such as “It is harder for a rich man to enter the kingdom of heaven than for a camel to pass through the eye of a needle”.

How tormented such mindless millionaires become by not being able to completely dispel the poignancy of such a message. How empty they feel inside, in spite of all their exterior wealth. How easily they get irritated by small things or any challenges to the worthiness of their indulgences.

Yes, an ongoing form of madness awaits those who who try to deny that their greed is in any way responsible for fanning the flames of social depravation, jealously and ultimately war.

The human race, in spite of what sometimes appears to be the opposite, is evolving. Evolving from crude to subtle; from brutish to sensitive. This process cannot be stopped, only delayed.

We are entering a time when the contrast between the light and dark side of mankind becomes increasingly stark; increasingly recognisable.

So you might think that church/religious leaders would be open receptacles for such rising spirit energies, finding the courage to speak-out loudly about blatant acts of destruction on this planet.

For example, about the horrific evils being perpetrated on the people of Gaza; the vile persuasions of high ranking paedophiles; child molesters and traffickers for profit. The two faced politicians heading for the Masonic Temples in the Halls of Westminster. The producers and distributors of Covid bio weapon jabs. The overall pandemic of deception and lying of the big corporate bankers and news media chiefs; of government ministers and CEO’s of hegemonic global institutions – those who take it upon themselves to claim the authority to control every aspect of other people’s lives.

Of course the list goes on and on and on…but do the ‘holy men’ of the Judeo-Christian tradition – or any other ‘faith’ for that matter – step forward to put a stop to such mass degradation of the moral, ethical and spiritual values of our world?

Certainly not. With a few rare exceptions, they hide away in their vestries and synagogues and turn their heads from taking any kind of responsibility for the world outside – or from displaying the courage to practice as they preach.

The gods respond by publicly revealing these representatives of religious dogma to be fakes, parodies of virtue completely lacking any genuine spiritual convictions. Their particular variety of holy madness comes from suffering the indignity of being exposed as plagiarisers of the teachings of genuine spiritual masters while claiming the protection of their ‘holy church’ and of the State.

Such protection is generally granted, providing the bishops, priests and clergymen keep their side of the deal ‘not to get involved in politics’.

So now that we have dispensed with any lingering attachment to institutions falsely claiming to represent the will of God, we can turn our attention to the real issue: discovering in ourselves and encouraging manifestation of the true expression of our existence as reflections of an omnipotent
and omniscient Creator.

This is the only way of gaining sufficient inner resilience to rise above the essentially cowardly manipulators of manufactured darkness – and to finally overturn them.

Going head to head with the villains running this planet should not be a frightening prospect. On the contrary, it should be seen as a challenge to be fully embraced, coupled with a determination to develop one’s latent powers to become a spiritual warrior fully supported by the highest universal forces.

We have arrived at that point now, and there is nowhere else to go – nothing else left to do – other than enter into an honest confrontation with those who so cunningly vampire humanity’s God given powers.

Now we must finally break-out of the spell binding artifice of mass indoctrination that has been allowed to suffocate our fundamental freedoms, in exchange for the generally feckless adoption of an AI/IT ‘culture of convenience’. A spineless, superficial cul-de-sac of life which in turn opens a door to the techno-insanity of the Transhuman agenda.

No more! There is, at this very moment, a great ‘call to arms’ ringing out across the length and breadth of the planet. Respond to it we must. Rise up in unity we will.

Have no doubt that an extraordinary reversal of fortunes lies ahead. A gathering storm that will sweep aside all that which so desperately attempts to thwart the rising tide of human emancipation.

Human emancipation cannot be thwarted. A pulsating new dawn is gathering together its scattered radiances at this very moment. Who would not want to be party to paving the way for its dramatic appearance over the Eastern horizon?

 

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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The demolition of the museum of neoliberalism

 

MUSEUM DEMOLITION

The Museum of Neoliberalism which I’ve been running at the front of my studio since 2019 will be closing this year, as my developer landlord proceeds with plans to demolish it and turn Leegate shopping centre into a tower of luxury flats. You could say it’s a fitting end for a museum about neoliberalism, or you could say it stinks, and it sucks and its an absolute nightmare.

A collaboration with Gavin Grindon, the museum in its current form was always intended as a trial run for an eventual permanent museum about Thatcherism. Ideally my hope is that I can find a new studio somewhere large and affordable enough that the museum can reopen/relaunch there, but without a lottery win I will likely have to leave London for that to be feasible.

Demolition is scheduled for October, (just shy of its 5th birthday) so in the meantime I’ll be on the look out for spaces and trying to sell as much of my stuff as possible with the insane dream of being able to afford a deposit on a place, rather than renting, and then build a permanent Thatcher Museum inside it. (If you’d like to help with that my shop is here!)

Essentially it comes down to the fact that the higher I can get my income before March 31st, the better chance I have of getting a mortgage large enough to afford somewhere that can host both studio and museum. In order to try and do that I’m basically having a clearance sale except all the prices are the same (except for a little t-shirt sale below). As well as the stuff in my shop I have loads of unlisted stuff kicking about so get in touch if you want to buy any of my larger works. Like the Pocket Money Loans sign from Dismaland. How much can I get for that? Where’s all the mad art collectors at?

My originals are for sale, my sculptures are for sale, fuck it I’d even do commissions for the right price. No adverts or brand collabs tho, let’s not lose our fucking minds.

I’m kind of resigned to the fact that this whole process is going to eat up loads of my productive capacity this year so I’m going to try not take on any major projects and just paint lots of paintings.

If you’d like to visit the museum, please do! It’s free but as always it’s best to make a booking at museumofneoliberalism.com at least 24 hours in advance or call ahead before travelling as opening times can be sporadic!
 

 

THIS IS ISRAEL

100,000 people killed, injured, or missing.⁠

Colonisation and genocide go hand in hand. It’s impossible to read about European colonialism and not see the parallels with the Israeli state and how it acts towards the supposedly ‘barbaric’ people it has colonised. Not least in the way the coloniser regards itself as a shining beacon of civilisation on a dark continent, even while it unleashes incredible violence against defenceless civilians. The destruction of farms and wells, forced deportations, indigenous people as second-class citizens in their own land. There is nothing really new here except the technology of murder. This is Empire, red in tooth and claw.

When European and North American nations cannot see genocide happening in Palestine, it’s because they are unable or unwilling to see it in their own story either. If what Israel is doing is genocidal, then maybe what we did was too? Then we’d have to stop pretending that it was only a handful of enemy regimes that engaged in genocidal policies against ‘undesirable’ peoples. And we’d have to stop skipping those pages of the history we tell ourselves.

‘There is no flag large enough to cover the shame of killing innocent people.’ – Howard Zinn

Reference photos for this painting were from a mass grave in southern Gaza in November, in the ‘safe zone’.

 

STARMER’S LABOUR


This “vote Labour” poster I designed (free download) has been spotted in Wes Streeting’s Ilford North constituency, on the same road as his MP surgery. Now The Telegraph have picked it up too.

 

For the next election I’ll be putting my weight behind efforts to make right wing Labour MPs lose their seats. To the liberals in my Instagram comments who have constantly berated me and others for not falling in line behind the most right wing Labour party since it’s formation, I asked them to please tell me some actual policies they’re voting for, beyond simple loyalty to a different neoliberal brand of political party.

I also asked that if they think they can pressure Labour after they’ve given them their vote, to explain how they think bargaining works in the real world. If they think we “just have to get the Tories out” then to please tell me how that won’t simply change into “we have to keep the Tories out” when they’re berating people in a few years time for turning against a Labour government that offered us nothing.

To be honest though I have heard all of the arguments, and I can only assume by this stage that if someone is still advocating for Labour then they haven’t been paying attention to what the leadership stands for and the type of people who now run Labour, what they believe in and how they’ll act in power. Because I feel like I’ve spent a lot of time trying to understand these people, and because of that I’m terrified at the prospect of a Labour government.

The poster was also featured on BBC Newsnight intro on Valentines Day, right after a shot of Starmer getting into an SUV. Makes it look like an official Labour campaign. Delighted with that –

 
 

                 🇮🇪 FREE SHIPPING TO IRELAND 🇮🇪

I’m going to be in Ireland for a few weeks in March so I’m offering free shipping to Ireland until the 13th of March, although shipments may take longer than usual. This also applies to addresses in the North of Ireland. Use the code FREEIRELAND

T-SHIRT SALE

If I’m going to stand any chance of putting a deposit down on a permanent home for the Museum of Neoliberalism / Thatcher Museum / new studio I need to sell as much stock and make as much money as possible before the end of March. To that end I’m doing 20% off all t-shirts in my shop. Just use the code: TAPSAFF20

 
 

ZINE FOR PATREON BACKERS

If you subscribe to my Patreon, you’ll likely be wondering where your 2023 Recap Zine is. Well I got a bit distracted by events but I’m putting the finishing touches to it and hope to have it in the printers by Monday

If you’d like a copy all you have to do is

back me on Patreon at the £3+ level.

Massive thanks to everyone who has supported me on there so far!

Thanks

Darren

 

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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Burning Byzantium

 

 

 

 

 

 

 

 

 

 

 

 


Charles Donaghue

Charles is one of the poets taking part in the Earth Words Poets’ Workshops, run by Heidi Stephenson at Brixham Library, Torbay. The poem refers to the Maltese bird massacres, which will start again in April (though it never really ceases). Europe’s Red List birds are being decimated when they are at their most vulnerable.
 
 
 
 
 
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TAYLOR SWIFT DOES NOT EXIST (EXTENDED VERSION)

 

 

The “talking about everything” that erupts like a thunderstorm over the mass audience is a special form of voracity and survives through permanent digression. It mutates into something ghostly. We find ourselves on a flat, horizontal terrain where once there were mountains. The third person, be it the traitor, the parasite or the messenger, has disappeared or merely expresses itself in the first person. But it is no longer possible to attribute anything at all to the millions of selfie facial expressions. The more techno is a modulation of machines, the more its consumers demand the selfie face called DJ. But for you to see the neo-pop star, he would have to dip his face in a liquidiser. At that moment, producer and consumer might forget to breathe, as if the air no longer needed them. There will be film footage not just of this ending, but of the end of everything, and we are already seeing it now, and its most salient feature is its apparent inability to draw a conclusion. Perhaps at some point there will only be the footage and no one left to watch it, which is the joke of course; but the light version, which is the pop that absurdly demands the ever more, will always find its audience, because what is it but our own boredom in the face of the spectacle of this never-ending end.

Humanity is so bored with itself that it uses pop music like a soft drink to hear what it is doing, the mass of songs is gigantic, the yield boring, predictable, pathetic. Consumers give it the nod. It’s like watching billions of metronomes, made more tedious, not less, by the knowledge that each one thinks it’s alive. Consumers feed on Taylor Swift, Instagram and porn, like a deep-sea sponge feeding on the plankton of simulated sociality that swoops down from above. Their murderous agony is that they are secretly perfectly content. Imagine the true that has absorbed all the energy of the false: then you have the simulation. In it, the neo-pop stars blur like water in water that disappears. And the consumer builds a home with pop in the lift, adapts to reality and at the weekend is haunted by the discomfort of vagabonding as if by a missed opportunity. The end of the story is a visit to the club. The virtual music world is neurotic to the point of implosion.

The fate of the music consumer is to merge with his surroundings, real or virtual, to disappear without feeling it, to go on like this forever because boredom precedes life – boredom as the sounding shroud of a customised immortality. Consumers are the eschatology of the non-existence of death. We are monkeys who have put their prehensile tails to a new use: Without our fear of falling, there is no need for the tails to still cling to the world, instead they wrap themselves around our throats and kill us with music that is indistinguishable from what is not music anyway.

The condensation of the over-communicated social succumbs to the same fate as American sauces, in which the natural seasoning is filtered out and the taste is resynthesized in the form of artificial flavors and consistency-preserving, preservative additives. The social is filtered to find its synthesis in the superfluous abundance of the most diverse therapeutic sauces in which we swim around – an invisible programming that falls prey to pleasure as an inorganically cancerous sociosphere of contact, control, persuasion, opinion and point of view defense. The white pornographic hyperreality, whose density matrix is increasingly condensed by the obese structure of the feedback (until it bursts?), makes any thought of a meaning-bearing structure disappear. The market-oriented multiplication of taste and eating habits as a result of the multiplication of competing product offerings corresponds to the multiplication of opinion habits as a result of the multiplication of media offerings. Like Taylor Swift.

Ultimately, a mass of taste has emerged, which, with its contrasting and differential connections – think broken and chic – levels out the last class cultures both on screen and at mass events. In the best case, each participant in the mass becomes the taste policeman of the other, whereby the specificity of each taste (ordering of fantasies in between the private and the public, whereby the latter is structure-forming) remains recognized, and this is precisely what constitutes mass taste. However, this is no longer the taste of a social class or group, but taste is ultimately produced as a texture by serial and simulative mass production. On the one hand, luxury goods will eventually be available as a simulation at Aldi, on the other hand, junk food will sooner or later become a delicacy or at least simulate it. In the age of simulation, the ecstasy of images and mass tourism, no elite can keep its taste completely exclusive and at the same time stage it publicly; rather, it is now almost the privilege of the masses to have taste attributed to them, for example in tourism. Today, the travel situation simulates Disneyland into totalitarianism, as in Venice, so that you return from the trip more kitschy than when you set off. The journey in mass tourism is a journey into kitsch. The tourist occupies beaches all over the world in order to celebrate a mixture of permanent drunkenness, orgy and children’s birthday party, interrupted by the protestant-capitalist forms of doing nothing, such as solving crossword puzzles, writing postcards, buying souvenirs or relaxing. Thus, even on vacation, habit becomes the real pleasure. On the other hand, the elite still wants to accuse the masses of lacking taste because they ignore or are unaware of exclusive indulgence, but cannot avoid admitting that today, due to a lack of time and imagination, it may be necessary to draw one’s taste inspiration from the ghettos of the subculture.

Listen to Eldrich Priest: “Our society is therefore not a digestive system—a contemplation complex—but “a channel through which sensations flow, in order to be eliminated without being digested” (110). Entertainment’s diversion is the systematic bracketing of the hesitation that consciousness is, and this bracketing is how “sensation passes without obstacles” (110). Sensation of this sort, the free-flowing sort, is essentially pure “information”—or, more accurately, it is a sheer fluctuation in the force of existing that refuses to take expression in anything more elaborate than the experience of its own occurring. For this reason, Flusser contends that ours “is a society of [sensation] channels that are more prim- itive than worms: in worms there are digestive functions” (110). Where there is simply input and output— sensation as information—there is only swallowing and shitting: no memory, no digestion, no gathering up of awareness in a difference that makes a difference. A worm, because it has no apparatus for diversion, loses the purity of sensation to the bureaucracy of its living organism. For a worm, sensation enters into an advancing matrix of vital activity and tendencies, where it feeds into already-established circuits with more or less ap- parent functionality.”

And as a symptom, a Taylor Swift is winning the race for the public’s favour. Sam Kriss writes in a blog post:

“This is what sets Taylor Swift apart from all the other white girl pop stars in her cohort, the Katy Perrys and Miley Cyruswho were her equals a decade ago and who, who knows, might even still be alive somewhere: Unlike them, she never sexualised herself. The others very obediently did everything they could to make themselves desirable, assuming that desire was an unlimited resource: it’s not. You will have noticed that Taylor Swift’s fans are singularly incapable of explaining what they actually like about her. Except that she writes her own lyrics, that it’s all so personal and relatable, that she’s so much herselfBut the rocks spinning silently in the room are themselves, too. This year, news outlets began reporting that people who had seen Taylor Swift’s Eras tour live were coming down with a strange, localised amnesia: after the concert, they suddenly realised they couldn’t remember certain things that had happened. Very scary! The BBC brought out a psychologist to explain that this amnesia is caused by too much overwhelming stimuli in too short a time for the brain to process it properly This is obvious pop-psychology drivel from a person who has no idea how a brain actually works. No: you don’t remember any specific events of the concert because there were no specific events.

I don’t think the Incels can ever adequately describe their own state, because their state is a mask that obscures what it’s really about. Likewise, I don’t think a Swiftie can ever hope to adequately understand their idol. Taylor Swift is the formless crisis of the present and the void over which everything is spun.”

Taylor Swift is the hyperreality of the influencer. She IS the look. Look in Baudrillard no longer inhales narcissism, but rather poses an offensive self-exhibition as a video image, a kind of egoism that brings all possible forms of individuality programs into play with its illustrated selfies, which not only identify the ego as a post-creative producer, but above all as an end consumer of social media. This could also be described as a self-optimizing existential and normalised striptease (not a sexual, erotic or a cute one). But thats not true either. She IS simulation as such. All energy of the false (phantasm and so on) is absorbed by her at once and disappears into the calm sea without leaving any bubbles behind. In a way you can only saywhat she is not. Not a phantasm, not a living curreny, not the traditional star (Klossowski). 1 She is the Coke Zero of pop music. (Anthony Galluzzo)

Definitely its like Freddie deBoer writes more a problem of the consumer than of Swift itself:

“She is one of the most richly rewarded and privileged people to ever walk the face of this planet, and the ambient attitude in our culture industry is that we should be ashamed that we haven’t done more to exalt her. It is madness. And yet no one seems to want to point that madness out, I strongly suspect because they don’t want to find themselves on the hitlist of those unfathomably passionate fans. But someone needs to point out that waiting in a line for five months to get concert tickets is not a charming human interest story, but rather a record of deranged and deeply unhealthy behavior. Putting a second mortgage on your house to buy concert tickets isn’t a cute sign of devotion, it’s evidence of a parasitic attachment that can only lead to long-term unhappiness. And I’m willing to guess that many other people feel the same way but are afraid to say so.”

1)In a further step, according to Klossowski, the translation of the celebrity or the star (whom Klossowski calls an industrial slave) into living money can be understood in the same way as the Marxist transformation of gold into money, whereby gold as money is exclusively opposed to all other commodities, in that the commodities express their wealth in it; at the same time, the star must become a sign of general wealth, whereby it still remains part of the wage system. The next, decisive and at the same time conceivable step would now be for the star to know how to use the general excitement directed at it, which is expressed in solvent demand, to put itself in the place of money, more precisely to embody the general equivalent (money) itself, whereby the star would actually mutate into a living coin. But gold is useless in itself, it is the money that gives value to gold, that makes it valuable. So it is not surprising that Klossowski finally talks about money as a sign again. He writes: “As ‘living money’, the industrial slave is at once a sign guaranteeing wealth and this wealth itself. As a sign, she stands for all kinds of material riches, but as wealth she excludes all other demand, if it is not the demand she represents the satisfaction of “16 In contrast to the industrial slave, therefore, living money will directly claim the status of the sign, indeed it will directly embody the sign, and by doing so, living money not only embodies the sign of abstract wealth, but also represents wealth itself with its body. However, as long as the star serves only to raise the price of any goods (sunglasses, shoes, television programmes, toothpaste, etc.), he remains what Klossowski calls an “industrial slave”. However, because the star remains the target of the masses’ desire, he still represents the unrivalled wealth and can thus, at least potentially, set himself up as living money. Money and star thus converge in pure semiotics (of money), the sign of an empty phantasm representing everything and nothing.

At the same time, both money and star represent value as a void, which here is to be understood as completely arbitrary/virtual. And this is also what Klossowski’s arbitrary/virtual value qua money in the book “The Living Coin” aims at, which is like a phantasm answering another phantasm. For Klossowski, the value-money phantasm is the better concept than the commodity fetish, both of which contain anything but subjective illusions, but are to be understood purely objectively, also in the sense of how the objects actually appear to the consumer, namely with a power/magic, i.e. endowed with phantasms that are not only based on responding to other phantasms, those of desire, but on disposing of this in all its opacity for the subject. And it is precisely this power that now exploits living money to take the place of dead money. And if prices are now largely detached from the value of goods qua abstract labour, as is the case today with branded goods, among others, and prices thus mutate purely as a result of the willingness of marketing- and advertising-seeking customers to pay, then it seems only logical to agree with Pierre Klossowski’s statement: “In the world of industrial production, it is no longer what seems to be free by nature that is attractive, but the price of what is naturally free. ” Klossowski is not primarily alluding to the fact that consumers today are prepared to pay extremely high prices for the image or information value of a product, but rather to the fact that the price of body/lust/sex/emotion is rising, especially when not everyone has the means to rent a body for sexual intercourse.

 

 

 

Achim Szepanski

 

 

(Republished from copyriot)

 

 

 

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Love-Locks – the ‘stories’ for the Le Jardin Victor event: Valentine’s Day 2024 in France


Rue du pont 8/10, Coulanges-sur-Yonne, France.

Alan Dearling explains a little about the event that Virginie Moerenhout has curated and created in France and on-line

Kaléïdoscopies III Bar de l’Amour

Virginie tells us that, “…the format of Kaléïdoscopies consists of one main artist and or artwork as a focal point, which other creative people connect to. Adding their ingredients to the mix, so together it forms something new; a kaleidoscope of different colours, shapes, viewpoints, materials, matiers.

The form in which everyone expresses themselves, the material they use for expression, the experience that this expression produces, all of a completely different nature. With a common denominator: passion.

See, hear, feel, taste or smell.

A tactile experience, a taste or smell sensation, a feast for the eyes or a musical experience. What elements and inspiration do very different people draw from the same starting point and how do they shape it?”

Kaléïdoscopies number three centred around Phileas Le Cléateur and his Cadenas d’Amour. The 800 love-locks he rescued from the Pont des Arts in Paris.

Some love-lock stories have been uncovered, but most of them remain a mystery. Food for the imagination. The names on the locks, who were those people? What was their story?

Kaléïdoscopies  III provided ‘shapes’ and ‘forms’ to ‘unlock’ these lost or forgotten stories, creating ‘faces’ and characters for the unknown. …With the help of Artificial Intelligence (AI) and a mix of international artists and writers. On Valentine’s Day, Victor opened the doors of his Bar de L’Amour. Replete with love-potions, love-locks and other food for the imagination.

 

I was personally invited by Virginie to feel inspired by this concept, and create a ‘story’ related to two pictures of a specific love-lock, the names written on it, ‘Chip & Holly’, and the unknown story behind it. I created a short labyrinth vignette ‘story’ for inclusion in Kaléïdoscopies III.

On Valentine’s Day it was presented in Le Jardin Victor. This included his public space being transformed into a love potions bar, a love apothecary and a kiosk. I was informed that the combined art may at a later stage result in a booklet. My stand-alone story, ‘The Lock’, is included at the end of this article about the event.

A bit of background: Love-Locks in Paris, the City of Romance

The thousands of Cadenas d’Amour  (love-locks) attached to the parapets on the bridges of Paris for a number of years became the new, iconic image of ‘Paris Romantique’.

The first love-locks appeared in the city back in 2008, probably on the Pont des Arts.

From Wikipedia, I’m informed that: “Parisians and foreign visitors wrote their names with a love message and the date on a padlock.

They then attached the locks to the parapets’ fences and threw the keys into the Seine, sealing their love forever.

It’s believed that the tradition originated long ago in Asia .

In fact, it’s still widely practiced in Huangshan (China), Niigata (Japan) and in Korea, where love-locks make entire sections of walls. Newlyweds propagated the ‘romantic’ tradition when on their honeymoon abroad.

Love-Locks then appeared on the Ponte Vecchio in Florence, Ponte Milvio in Roma, Ponte de l’Academia in Venice, and Westminster Bridge in London.”

And this almost obsessional behaviour in locking  ‘love-locks’  to bridges has also been a part of my own personal experience working and living in Amsterdam.  That city provides at least  two popular locations where couples and individuals  leave locks. These are  both classic Dutch draw bridges:

 

– Staalmeestersbrug, the bridge that crosses the Groenburgwal.  And,

– The Magere brug (or Skinny Bridge) that crosses the river Amstel.

From Russia with love…

It is thought that the tradition originally spread from Russia over to Paris, and particularly on Pont des Arts.

The number of padlocks increased so quickly that spaces to place the locks soon became scarce on the bridge’s parapets. Love-locks then started to appear the other bridges of Paris: Pont-Neuf near La Samaritaine and Place Dauphine, but also Pont de l’Archevêché by Notre-Dame Cathedral.

Again, according to Wikipedia: “In 2011, the City of Paris contemplated removing the padlocks for fear that their weight would damage the structure of the Pont des Arts.

The extent of the social phenomenon, however, led to the decision to be reversed.

However, shortly after, the padlocks disappeared overnight along with the fences they were tied to.

Interestingly the padlock tradition triggered the appearance of a new trade. An army of padlock-sellers set up their stalls by the entrance of the bridges!”

Love locks issues

“Love padlocks might be romantic, however, they triggered major safety issues!  It is quite difficult to appreciate that these tiny shiny locks represented a load of about 255kg per meter of fence.

 

Entire fences of love locks regularly collapsed under their weight, as on June  9, 2014.

On that day, the 155 metre long Pont des Arts could have entirely collapsed under 79 tonnes of excess metal!  This accident prompted the City of Paris to clear the bridge of all the locks in 2015.

However, the mayor is looking for an alternative location, as the tradition has indeed become a ‘Must Do’ experience when visiting Paris. That said, many Parisians and tourists are delighted with the removal of the locks. But many more still love the love-locks.”

I’ve also personally witnessed the spread of love-locks on bridges in Lithuania in the Free Republic of Uzupis in the capital city, Vilnius.

 

The Lock

A vignette…a little labyrinth…

Alan Dearling

“The time is right.” Chip spoke the words quietly, almost silently, in her direction. ‘Her’ was Holly.

“Probably…almost definitely…what options, choices…err…”

“The time is right.” He almost whispered. Holly nodded. Perhaps in resignation. Maybe in assignation, assent.

“The Legend Days are over.”

The power has come to them. In trance-like, oft-time drugged haze states, they had cuddled up to each  other. Curled their bodies together. Become as one body, one mind, a single entity. They had smiled many a shared smile, slipped into shared dreams, memories, into hopes, fears…that’s what sleep offers, promises and nightmares. Reminders, memories…22 years of them. Times, experiences, places and people, good, indifferent and some deeply bad, dark…moments, minutes, hours and occasionally days and weeks, much better forgotten.

Daytimes, brought both pain and respite. But daytimes brought also very, very different thoughts. Reality checks.

“Reflections,” suggested Chip.

“Choices…”

“Regrets are not options. We can’t go back.”

“You’re right, but fuck, shit, we’ve always known that it might come to this.”

They picked up the lock that they had bought with some of the money that had come into their possession. Not exactly legally. In fact, very illegally. Dangerously so. Those times, those choices seemed now to be part of their own pre-histories, almost shadow worlds. A few nights before, they had scraped, gouged their names into the surface of the lock. That was before Paris.

The power has come to them. The time is right. Legend days are over.

The lock clicked. Holly held the lock in place, stepped back, placing her hand on Chip’s forearm. She fiddled with a stray wisp of her auburn hair and let her head snuggle down into Chip’s neck.

Chip looked into her eyes. They were slightly red-rimmed, filled with the beginnings of tears: “We guessed, we thought that this might be a time that would come. We knew that it might be like this.”

Just three choices now. Three small brown, undistinguished, sealed envelopes, like the ones used for pay slips in pubs, restaurants and hospitality.  Pre-planned, plans.

The power came to them. Holly chose one envelope, opened it. Passed the slip of paper from inside to Chip.

“The Legend Days are over,” Holly said in a voice seemingly strangely resigned. The Fates had spoken. Their hands joined, fingers entwined. They grasped at the lock. Their lock, linking their fingers around its uneven surfaces. A symbol of past paths. Life and lives lived with and without regrets during their Legend Days.

**********************************************************************************

Alan Dearling has had over 40 books of non-fiction and fiction published, some ‘solo’ works, some co-authored with other writers and editors. Alan suggests: “In some ways I’ve nicked the premise of Jorge Luis Borges, the Argentinian writer. This is outlined in the introduction to his first published volume of fiction, ‘The Garden of Forking Paths’, where Borges remarks, ‘It is a laborious madness and an impoverishing one, the madness of composing vast books, setting out in five hundred pages an idea that can be perfectly related orally in five minutes. The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them.’ ”

Here’s another photo from Kaléïdoscopies number three.

And here is one of Virginie, the curator of the event, which she generated using AI technology.

https://www.facebook.com/jardinvictor

 

 

 

 

 

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Sesame

Sesame, please,
open the gates,
we need to see all this treasure!
We need to know,
all that glossy shining exists!
We need to get back
our initial beliefs!
Precious and beauty
exists!
Whole that colourites, the uncountable gamma!

To be able to continue,
to sip in that grey and dusty repetiveness of the recent days…

Sesame, open the gates of beliefs!

 

 

 

Dessy Tsvetkova
Picture Nick Victor

 

 

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THE DIGNITY OF LABOUR

 
Sisyphus wears an old man’s back
weathered, pale and pitted
yet adequate for the purpose

of pushing, rolling, bending

Until it isn’t

and they replace him
with someone cheaper, inexperienced
less mythological

unlikely to appeal to the Gods
groan, or join a union
become a symbol of something greater

a philosophical backwater
is required
undiscussed, unnoticed

forgotten, amidst the tumult
the noise of modern living

The parents
of our parents

if I remember correctly

used to mark his silhouette
against the skyline
if the sun was shining

not exactly a lazy man
but he could have rolled
more quickly

with greater emphasis on satisfaction

shown some gratitude
for the opportunity
 
 
 
 
 
 
Steven Taylor
Picture Nick Victor
 
 
 
 
 
 
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from Jim Henderson’s A SUFFOLK DIARY

Tuesday, January 30th

Of late The Wheatsheaf has been figuring larger in my life than usual because home is a bit grim. It is not so much that my wife and I are not talking – being able to be silent in the company of one’s partner is (or can be) a sign of ease and comfort and oneness; you do not have to be constantly prattling away at one another – but it is that what talking we do is more or less limited to things such as “Dinner’s ready” and “I’m off to bed”, and is almost always delivered from her direction in a tone from which icicles hang. The intellectual engagement and stimulating discussion regarding the burning issues of the day are simply not there. At The Wheatsheaf there is, at least, conversation of sorts. And things are looking up insofar as the clown they got in to replace the lovely Lulu (Justin – and “clown” is far too complimentary) did not last very long. Alan Foster, the landlord, said he lost patience, and recycled the John Cleese remark from “Fawlty Towers” i.e. it would have been easier to train a monkey. Anyhoo, we now have our beverages served with a smile and a pleasing flutter of the eyelashes by the vaguely attractive and possibly 30-something (I’m guessing) Kristina, who I gather is from Eastern Europe via post-Soviet Stowmarket. Early efforts at light-hearted small talk and my trademark badinage, which usually goes down well, left her looking a little blank, so I think her English is not yet up to speed, but she knows how to pull a decent pint.

Thursday, February 1st

I very much dislike February. It is often the most depressing month of the year. My wife and I were married in a February. I forget the year.

Friday, February 2nd

GASSE (“Go Away! Stay Somewhere Else!”) – the group formed to prevent the government dumping a bunch of its unwanted (“illegal”) immigrants in our village hall – reconvened this evening because it looks like the plan to send the unwanteds to Africa may be headed for the rocks. Even if they do get away with sending some of the unfortunate people to a place that sounds about as pleasant as a Saturday night in Ipswich at closing time then it looks like there will still be loads left here with nowhere to call home. Much as we sympathize with their plight, we do not sympathize with them that much. Our village hall is a vital part of the community, and hosts a large number of important social community events, including my wife’s yoga class (Oh yeah! Yoga!).

Anyhoo, we met this evening in the Shepherdson’s summerhouse. Before things got properly underway there was the small matter of the personal contretemps that had occurred in the car park of The Wheatsheaf at the weekend between John Garnham, the Parish Clerk, and Michael Whittingham, a Parish Council member and a member of GASSE (although quite what he has ever done apart from swear has so far escaped me). John Garnham proposed a formal reprimand, asserting that Whittingham’s drunken behaviour and personal insults were unbecoming of a community representative. Whittingham, meanwhile, counter-proposed that he was still waiting for the Parish Clerk to perform the physical act he had recommended on Saturday evening. I am not going to write down all the verbal back and forth that went on – I am not even sure it will be fully recorded in the meeting’s minutes – but, long story short, Michael Whittingham is no longer a member of GASSE or of the Parish Council, and Miss Tindle, for one, has probably learned a few new words. Even I am not quite sure what some of them mean.

Once the brouhaha was done with, and Bernadette Shepherdson had made everyone a nice cup of tea and brought in a couple of plates of biscuits, we turned our attention to roles and responsibilities to see if any further changes needed to be made. That the group has only a dozen members means this was not actually very complicated. John Garnham, given that he is the Parish Clerk, remains GASSE Operations Organiser (GOO); Bernie Shepherdson is Logistics and Strategic Services (LASS); Major “Teddy” Thomas has agreed to continue to put his old army jeep at our disposal, but declined, without explanation, the title of Former Army Road Transport officer; and I am still the Advanced Round-the-clock Security Executive (ARSE). Ted Crockett, who hardly ever says anything in our meetings, surprised us all by wondering out loud why anyone needed a job title or should be called an officer, and he seemed to imply that it was all a bit unnecessary and hifalutin’. Then John Garnham asked him if he would like to be our Technology, Internet and Telecoms officer (TIT), and he accepted, so that put an end to that minor hint of dissent in the ranks. As had been mentioned at the Parish Council meeting, some people have mislaid their GASSE armbands, and Miss Tindle has undertaken to make new ones, but she said she has not had time to make them yet. She pointed out that she does have other things to do. (She did not say what they are.)

What with one thing and another we did not get around to deciding anything about what we might actually do as regards the unwanted foreigners, and because John Garnham wanted to get home to watch the second half of the rugby on television it was put off until the next meeting.

I cannot help thinking that this evening was something of a waste of time, but it is February. A few of us went to The Wheatsheaf, where I half expected to find Michael Whittingham laying in wait, but thankfully he was nowhere to be seen.

Monday, February 5th

The youth are revolting! Apparently Nancy Crowe, who last summer told us she and some of her friends thought we were being racist and xenophobic, and prattled on about the European Convention on Human Rights, has contacted John Garnham and demanded a formal meeting with the Parish Council on the grounds that GASSE does not fully represent the younger generation in the village and this is a democracy and their views should be heard. (Can views be heard? Surely they should be seen . . . But I digress . . . ) She has said that she has acquired the support, too, of our Member of Parliament. How on earth did she get that? We can never find him! Also he is supposed to be on our side. Anyhoo, it has been agreed, if only so their parents do not give us a hard time, that we will meet with a young people’s delegation next week – I assume it will have to be at a time when they are not needed on loiter duty at the War Memorial.

 

 

 

 

James Henderson

 

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Audit

The shareholders sit in hard chairs, absorbing the hard facts. There have been significant losses in light and predictable weather patterns, with zero growth in perspective. Empathy has flatlined and integrity has taken a hit. Shares are shrinking and the chairs, too, are markedly smaller than they were yesterday. There are reports of declines in dietary options, bird species, and daytime radio playlists. Money, of course, talks, but the roads are flooded with collateral damage, so it couldn’t make the meeting, and instead Zooms in from an undisclosed location, far, far away. There are graphs and charts with lost abstracts, and promises cancelled in the speaking. The shareholders sit on the hard floor, but there’s no time for hard questions, as the signal’s breaking up, the sign  ‘s   eaking up, the si n  ‘s     king   .

 

 

 

Oz Hardwick
Photo Nick Victor

 

 

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Making Connections

     

David Bowie, Enid Blyton and the Sun Machine
, Nicholas Royle
(Manchester University Press)
Modern Fog, Chris Emery (Arc Publications)

Nicholas Royle’s book is a strange and wonderful book where the author attempts to find common ground, connections, between David Bowie and Enid Blyton, Covid and its effects on family life and his own employment, photography, language, literature, art and music. I only have the book because I made a wrong connection. Despite knowing perfectly well that there are two Nicholas Royles I bought this volume thinking it was by the author I vaguely knew: the novelist, short story and creative non-fiction writer based in Manchester. It isn’t, it is by the other Nicholas Royle, an academic based in Sussex.

It doesn’t matter because it’s one of the best books I’ve ever read. It’s not traditionally academic (in fact I’m not sure it’s even untraditionally academic), rather one that follows networks of possibilities, exploring tangents, asides and even a few dead ends; just the kind of book I like. Turns out both Royles have now left academia, which is another topic that underpins this volume: What is a university for? Why don’t neoliberal governments and management ‘get’ university? How did Covid lockdown become an excuse for university management and politicians to offer redundancies, ‘voluntary severance’ and generally try to get rid of any sense of discussion, debate, discovery and exploration, instead trying to turn degrees into tickbox learning – this plus this equals that; these are the correct ways to do this – rather than encouraging students to think for themselves.

Royle’s book opens with a fictional, seemingly hyper-real, version of the author’s family in lockdown. Dealing with teaching online, home schooling, exhaustion, entertainment and various disappointments and decisions. Mole and Goat, a pair of glove puppets, feature heavily here as characters able to help articulate what’s going on. Mummy’s disappointment at putting a new self-employment on hold, Zeph and Monty’s brotherly discontent and confusion, the author’s decision to take the severance on offer and create a series of eight online lectures as an unasked for farewell gesture.

It is those lectures that make up the middle section of the book, but they are intimately connected to the family’s engagement with Blyton’s Famous Five books and the author’s re-connection with the music of David Bowie. Throughout lockdown, the parents have ended-up reading The Famous Five aloud, sometimes inadvertently from different books in the series, and the boys have also been listening to audio versions of the same or different volumes; and then, each evening, Daddy retreats to the kitchen to sip whisky and listen immersively to his chosen Bowie tracks, cranked up loud.

What the book is really about, of course, is ‘the sun machine’ of the title, which Royle uses as a title for his exploration of how things can transport us, through memory, prompt, daydream and nostalgia, to other places and moments in time. Sometimes that leads to new ideas and new information, other times it reinforces what we already know, sometimes it is salvage work, digging up something we had forgotten or put aside. One of those is a remark by his mother that Royle had forgotten about, that his grandmother had an affair with Enid Blyton; another is how much he remembered of the Blyton books as he read them, and how much Bowie meant to him.

Somehow, Royle’s thesis hangs together, as he meanders through memoir, family history, literature and philosophy. We discover why his father frequented The Croydon Bookshop, often with the young author in tow, yet rarely bought anything, why Shakespeare’s Hamlet evidences time travel, how to misinterpret – and not misinterpret – Freud’s theories of the uncanny, why Polaroids are different to other photographic processes, the etymology of ‘picnic’, and are introduced to the work of Lola Onslow, an illustrator who had an affair with Blyton. Yes, grandmother Royle, who gets a short final section of the book to herself, following a return to the lockdown household.

That’s not the end though. There’s also an Afterword by Peter Boxall, who appears to be an Oxford academic and a Visiting Lecturer at Sussex University, who has written a kind of lengthy blurb, a mini-essay if you like, that praises but also attempts to legitimise what we have just read. He notes that the book itself is a kind of sun machine, one that transports the reader elsewhere, into possibilities and potentials; a book which ‘belongs to a small but noble family of works whose effects rest on the blurred distinction between what they are “about”, and what they “are”.’ He concludes that ‘Royle’s book produces new relations between literature and philosophy, between thinking and imagining, between listening and seeing’, which seems fair enough to me, but rather spoils it all by suggesting it is ‘a free festival that generates a new kind of imaginative possibility’ and hyperbolically declaiming that the book ‘projects a visionary university, in which literature, painting and music live on, sustained by nothing other than the light and warmth of the sun.’

Trying to explain Royle’s book in this way, attempting to somehow push it into a more established genre or framework, or even a utopian vision, undermines it for me. The book’s ambiguity and unexpected connections are what makes it so original and exciting to read. There’s been a spate of this kind of critical add-ons recently, and they’re really not needed. Boxall’s piece would be much more interesting as a stand-alone review or essay. Anyway, as I noted earlier, it’s one of the best and most original books I’ve ever read.

The connections Chris Emery makes in his poems between medieval churches, Norfolk, landscape, pilgrimage, nature, creativity and perceptions are as wide-ranging as Royle’s, if not, perhaps, as unexpected. After all, poetry always works by allusion, omission, metaphor and language’s musicality. And Emery’s connections are often ones I understand, perhaps even share, having taught sailing in Norfolk each summer and easter back in the 70s and 80s, having written about place and family. Modern Fog is surprisingly clear to me: a world of pilgrimage, architecture, history and subdued spirituality, one leavened by melancholy, family and love.

Emery, however, writes very differently from me. His poetry is gently lyrical, often making use of subtle rhymes and controlled metre. He situates himself, or his narrator, within the world and responds to it. At times there is a specific domesticity here, poems about what is revealed by the contents of ‘The Memory Box’, strangers and relatives, romance and commitment, the turning of the seasons, rituals and observances.

‘Pentecost’ offers a subdued take on the descent of the Holy Spirit. Here, it is a pigeon flying home to its dovecot, and there are no tongues of fire, only a feeling of cold to be alleviated by a projected return indoors ‘to stir the grates, / to light all the fires.’ Elsewhere a fox’s corpse, seen over a period of time, decays and changes, ignored it seems by everyone except the narrator:

                              He was pathetically shiny
     and under-featured in the wet waste where
     it seemed cruel nothing had feasted on him.

     He was slowly withdrawing from us
     nothing to clear the debris of him, the world
     relaxed into him with all its fiery prayers.
            [Day Fox’]

It is this attention to what is seen, alongside a sense of what is unseen, that marks Emery’s poetry out. Is ‘The Start Of It’ simply about Spring, time passing or something more dramatic? The poem starts by gently addressing the reader: ‘But there will come a time you’ll surely know it’, a time of distraction, where ‘something abstract stiffens in the grace of it’. The word ‘grace’ here and ‘rapture’ earlier in the poem gives a nod to the spiritual, makes me think that not only is the narrator marking the moment when we start thinking about our mortality, what we have and haven’t done or achieved, but also making sure we understand that in due course we will

                        see the formal shape of things you make in time,
     the here and there of sweet things and bitter things
     we all carry silently – and that will be the start of it.

It is this silence, what is left unsaid, the numinous and unknown, that underpins the work gathered together in Modern Fog. Central to the book is ‘At St Helen’s, Ranworth’, a poem in twelve parts, that uses a visit to ‘the cathedral of the Norfolk Broads’ as the basis for riffs on Norfolk, where ‘The mildew and mint air saps’ as ‘the silent River Ant drift[s] through / a world all emerald and silver’; tourism, relocation and how a place can become home; how history is evidenced by ‘vague […] mustered fragments’; the spiritual as revealed by nature, medieval buildings, decay and human love. Everything, in fact, that lurks ‘Somewhere in the moon mind’ of the poet.

Modern Fog embraces that ‘moon mind’, does not attempt to clear away the mist and fog, instead embracing it as a way of seeing, as a source of potential illumination and reimagination of the world around us. Emery somewhat disingenuously claims to only ‘remember what we all remember’, but he does not. He pays attention, notices, responds, is busy

                                         hanging on
     to make sense of it all
     as the sap runs out.
         [‘The Day Storm’]

Like Royle, Emery is adept at taking unexpected twists and turns, surprising and delighting us as, despite his chosen route, he somehow always leads us back home.

 

 

Rupert Loydell

 

 

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Finding God in Punk Anarchism


Life in a gnostic underground

     When Jesus descended into hell, the sinners listened to his words
     and were all saved. But the saints, believing as usual that they were
     being put to the test, rejected his words and were all damned.
         —Marcion, Antithesis

I went down to hell when I was little, before I knew anything about God.

If you’ve never had a seizure, it’s hard to describe. You are lying in bed feeling weird. When you finally drift off to sleep, you are pulled down through your mattress, suffocated by its innards and springs with the weight of G-force and then swallowed into a dark underworld, larger and more vacuous than outer space, filled with horrors and wretchedness beyond description. The mind splits open to the vast black of endless space, and tiny marble-sized planets that you could put in your mouth and roll around collide with a BOOM against the Jupiter-sized behemoths, like some desktop kinetic toy. Body parts don’t work as they should—the arm is limp and dead, then the leg, the ears are ringing.

I woke up with an IV in my arm, surrounded by paramedics and my horrified family, mother crying. After all the spinal taps and tests at the hospital, the doctors said the seizures were grand mal—two words that perfectly capture the experience. As if “Mal” was some demon of the Egyptian underworld who momentarily showed me his face, which was indeed grand and terrible.

Having no clue what caused them, they prescribed me a medicine called Tegretol, a pink pill with a long list of side effects I never read. I gained weight and puked every morning before class. From then on, no more sleepovers, no more all-nighters, the little pink tablets every morning. Then I turned thirteen and, as mysteriously as it had arrived, the mind virus disappeared.

My first experiences of religion were in a Catholic preschool in South Carolina. There I learned about pleasure and pain. They washed my mouth out with a bar of soap for cussing and an administrator paddled me ruthlessly when I got into fights. But the food was good and we got “candy canteen” on Fridays, so I came away with relatively few negative memories, just a misty sense of unreality. When we moved to North Carolina, my parents joined the Episcopal church at the end of a cul-de-sac. I remember Big Macs and pancake suppers and Sunday-school stories, but the Bible was clearly secondary to the sense of community—the lunches, women’s prayer groups, church beach weekends, and general sociability. Church was one answer to the isolation and fragmentation of 1980s to 1990s suburban life.

My father had a beautiful singing voice, as did my mother. But I felt that the hymns they sang with the ushers and parishioners somehow rang false. It was like each singer was afraid to sing out with anything resembling passion or spirit; they all sang like one another, their voices moderated to fit into the harmony of the others.

I hated church. I hated listening to the preachers drone on and I’d do anything to block out their flat, meaningless homilies. During the services, I would daydream, doodle, flip through the hymnal and the Book of Common Prayer, anything to temporarily escape and hasten the moment when the preacher would say, “Go forth!”

As many times as possible, I would walk out of the service and make my way across the breezeway to the men’s bathroom by the kitchen and church office and hide out in there. I would stand on a footstool and look at myself in the mirror for a while, then lock myself in a stall and read or fantasize and wait for the time to pass, jumping with terror whenever any of the old, jolly, suburban church dads in their suits would saunter in to take a piss.

I would come back just in time to take communion, the little plastic-tasting wafer and the wine which tasted so nice. The Lord be with you—and also with you! and a smile from the church elder, and then, finally, the service would end with a Hallelujah, Hallelujah.

I’d come out of the church into the North Carolina spring of my youth—the white dogwood flowers all in bloom, birds singing, insects buzzing, dogs barking, the smell of life in the air. These remain some of my most vivid memories today. I learned that life was at its sweetest when juxtaposed with deadening non-life, that nature was at its most beautiful after you were forced to sit indoors in a stuffy church or classroom or office building. If God loved humankind so much, why, I wondered, did his representatives force precious human life out from the sunshine and into stuffy dark rooms? Wasn’t nature made by God and buildings by the corrupted, grubby hands of man?

Outside of familiar platitudes, no one spoke to me about why I would be a Christian, even what it might mean to be Christian. No one spoke of the eternal things or the history of the Catholic Church or the immortal soul or the desert fathers. In my eyes, our church seemed to foster smallness and mediocrity, but I was not brave enough to break away completely and disappoint my family.

The harshness of a religious upbringing has turned many young people toward radical leftism—rebellion against entrenched and unjust authority. Stalin, Lenin, Bogdanov, Bukharin were all products of strict religious schools, whose brutality is almost unimaginable today. Many of the “progressives” in the Spanish Civil War who ended up shooting up churches and corralling papists and nuns had been raised in the faith. Even in the British schools of the mid-twentieth century, wanton cruelty turned young people against God and toward pop and politics.

But it wasn’t the harshness of religious education that led me away from the church and toward politics. It was the blandness—the absence of true intensity or spirit. While I was made to say the Lord’s Prayer, we didn’t go to church every week, my parents weren’t zealous, and I was in no way forced to accept Christian morality, memorize the Gospels, or even read the Old Testament. Late twentieth-century American Protestantism seemed soft and flabby.

I sought and found the Holy Spirit elsewhere, in punk music, which quickly led to anarchist hardcore music, radical politics, rioting, rallies, and trips across the world to disrupt World Economic Forum meetings. The anti-globalization movement was in full swing at the time.

I embraced this world based on gut emotions, rather than sustained study of all the Noam Chomsky and Howard Zinn books we shoplifted from Barnes & Noble. I embraced it based on the externals: the look, the vibe, the other people involved. We dismissed Marxism and embraced anarchism without having read Marx, just as my family were Christians without really reading the Bible or knowing the history of the Church.

Although I had turned away from organized religion, I now see that I was attracted to the inverted, heretical call of religion that was everywhere in the subculture. Take the messianic, anarchist North Carolina band Catharsis, whose lyrics are like a call to prayer:

     When those before you lost their heads upon the blocks
     or sold themselves into the service of the snakes
     new gods will shape the world in their own image
     and all the others turn their eyes away
     So we will set out with a fire in our hearts
     and a desire that cannot be bought
     to snatch the morning from the jaws of the night
     and take the dead and bring them back to life”

I could hear the anarchist martyrs replacing the Christian martyrs, the sound of a new world being born in the ruins of the old, not unlike the Christian era bursting forth from the end days of the Roman empire. The Catharsis record was called Passion.

Some members and fellow travelers of Catharsis were part of an influential, mysterious anarchist publishing collective based in North Carolina, which printed books and propaganda, and was forming a kind of post-Situationist politics of passionate living, veganism, and asceticism in the corners of the anti-globalization movement. Their books and propaganda all provided examples of different new ways to live free amid the excesses of capitalism—by literally eating trash, for example. Some shoplifted and dumpster-dived, some traveled the world on the cheap, some rioted and liberated animals, and some made public art that punctured the gray monotony of the routinized world.

This exciting new vision for life was all happening in our backyard—friends and I soon got involved, going to conferences and protests, distributing broadsheets, wheatpasting posters. We were becoming second-generation disciples and evangelists for the worldview. I did not have to actually read anarchist authors like Paul Avrich and Murray Bookchin to know that I wanted to be intensely alive and see every dawn from a rooftop. The late-nineties, early-aughts anarchism scene dovetailed with the teenage lust for life, boosting the effect of both.

In previous eras, I might have joined a socialist society or a utopian religious movement. But the anarchist movement was fundamentally symbiotic with atheism, and, at times, even a tongue-in-cheek Satanism. Our symbols were the Baphomet and the upside-down cross. Records were titled things like “Storm Heaven, Unleash Hell”; t-shirts read “God Hates Fags, Fags Hate God.”

But the fundamental contradiction of anarchism is that for all its alleged atheism, it relies on moral, spiritual, and religious impulses to gain traction. In that way it is unlike Marxism, which, in its orthodox form, isn’t intended to inflame your emotions—it’s “scientific” and attempts to appeal to data and economic facts.

I began to notice how eaten through anarchism and punk were with religious themes, most of them just turned upside down to appear secular—martyrdom, asceticism, purity, beloved community, moral righteousness. Even the names of the bands and labels hark back ironically to Christian history—Profane Existence, Gehenna, Azazel, Undying, Society of Jesus.

Already I had a sense that a radical political sect could be substituted for a radical religious sect, that they served the same fundamental human need, in different ways—to resist the world, to deny oneself, and to feel connected to a small community. It didn’t matter how obscure the black-and-white copies of Crimethinc’s Inside Front punk magazine were; nor that the band behind that limited-release seven-inch that had changed so many people’s lives in Chattanooga broke up after a year; nor that the black-bloc march that smashed up a couple of banks on the streets of downtown Raleigh warranted only a single day’s notice in the local paper.

In hindsight, I see these forgotten and fragmentary radical sects as eerily parallel to the early heterodox Christian sects—the negation, the zeal for life, and the contempt for all authority, even the neglect of the minimal structure and record-keeping needed to perpetuate themselves. The Anchorites, the Essenes, the Basilidians, the Valentinians, the followers of Simon Magus, the mystery cults—who cares about them or remembers them today but a few marginal scholars?

There is something pure about letting a culture be forgotten, and something slightly sullying about insisting on longevity. Being dust in the wind was a good thing. Live frugally, money is evil, all things in common, all people one, the kingdom of God is within you—how many times, in how many different forms, have these impulses appeared and reappeared in history?

In his beautifully written 1973 book The Gnostics, Jacques Lacarrière discusses the heterodox Christians of the second and third century who believed that human beings were torn against their will from the divine by some cruel angel, god, or demiurge. Their view, as he put it, was that:

“We on earth are rather like survivors condemned to eternal solitude, planetary detainees who are the victims of injustice on a truly cosmic scale. Stars, ether, aeons, planets, earth, life, flesh, inanimate matter, psyche—all are implicated, dragged into the universal disgrace…. [O]ur thinking being is tied to evil as ineluctably as our physical being is tied to the carbon in our body cells…. [E]ach birth, each perpetuation of life, increases the domain of death.”

In Jesus’ historical time and in early Christianity, the earth was lousy with prophets, magicians, conspirators, oracles, all manner of idiosyncratic metaphysics and belief. Some believed in indulgence, others were ascetic, some worshipped the Ouroboros in the sky, others thought we were living in a simulation. What is lost, according to Lacarrière, is how so many of them engaged in the social and political realities of the empire.

While he makes no explicit comparison, Lacarrière seems to put the Gnostics up against the New Left guerillas and self-styled revolutionaries of his own era:

“I see them on the streets, handing out pamphlets signed The Proletariat of the Stars, but also taking the struggle further, to limits almost inconceivable nowadays (since for them a truly revolutionary combat would be nothing less than total), waging war against the very nature of our presence here on Earth. Modifying the means of production, transforming the nature of economic exchanges and the distribution of wealth, without tying these changes in with an asceticism operating conjointly on man’s mental structures, could achieve nothing more in their eyes than changing one master for another.”

Like so many other radical projects, theirs involved rejecting the world as it was. They took one step forward and two steps back and were eventually repressed and condemned as heretics and then erased from history—their sense that the world was an evil trick was a prophecy self-fulfilled. They were too resistant to the numbing effort of reproducing themselves and too enamored of oblivion.

In 2005, my father lost a grueling five-year battle with a rare form of male breast cancer. I had watched him slowly waste away into a husk, call all his friends sobbing, and say his goodbyes. It didn’t help that his demise was shepherded by a nascent and questionable North Carolina hospice system.

These bureaucratic midwives of the “good death” provided “family support” by monitoring the progress of his decay. On the final night, they indicated to us that the time had come to cease letting nature take its course and induce labor—the death labor. We were given a large dose of morphine to “ease the pain” and told to administer it ourselves. Though they reassured us, both my mother and I knew that it was a fatal dose. I administered the medicine as instructed. He was gone by morning.

Compared to the way our ancestors died three centuries ago—shallow graves dug in frozen earth and marked with a piece of wood—the hospice system seemed to be a strange and sterile approach to dealing with death. According to it, death was best when it was “painless,” “gentle,” “holistic.” But my impression was that despite the hospice’s analysis, my father was not ready to go. All of us who remained behind have taken notice of a strange presence lingering about in the house where he passed, all these decades later.

Faith has long been decried as a crutch for those who’ve hit rock bottom, were born in difficult circumstances, or lost the people they love. Freud portrayed religious belief as a fantasy of wish fulfillment. But for others, loss leaves them with hatred and contempt for God. I think of my old friend “Evil” Ernie from the borderlands of West Virginia.

A near-mythical wanderer with dirty coke-bottle glasses, Ernie was always riding freight trains across the country, seeking or running away from something. He hopped freight trains through the jungles of Cambodia. Once I rode with him to Washington D.C., lying flat under a refrigerator car. We saw each other along the circuit of Earth First! Rendezvous, anarchist gatherings, convergences, conferences. We picked each other up hitchhiking when someone had a car.

Ernie didn’t talk much about his past, but everyone knew his story, which he occasionally told at spoken-word events. His father was a preacher and Ernie himself had been a child preacher. His father got sick and died young and unexpectedly. Devastated, Ernie blamed God, held him in contempt for abandoning him and his family, fled the church, and became an apostate.

He became Evil Ernie, embracing the wandering life, hitchhiking and train-hopping around the country. Every time I saw him he was wearing the same oversized black Venom t-shirt with an upside down pentagram Baphomet face, a leering broadside at every believer. Sometimes he would perform at radical spaces, squats, environmental forest encampments. At the end of these monologues, I was told, he would shake his fist up at the uncaring sky with the forsaken rage of Job, and in his thick Appalachian drawl, say, “Fuck you, God, I’m an anarchist punk rocker.” He was a thoroughly American character, in his train-grease-covered Carhartt overalls and bull-like septum piercing.

My experience of losing a father was the opposite of Ernie’s. It was after my dad’s death that I saw firsthand the power of a religious community during some very trying times for my family. When the hearse came and the dust cleared, the youth culture was not there for me or my family. But the church was. For all that I’d held it in contempt as an institution, institutions are made up of people, and these were good people and friends of my father and my family. They fed us and comforted us as we mourned.

I didn’t turn into a religious person then, but this firsthand experience gave me respect for the church as a vast institution. For all of its checkered history, it was still awe-inspiring in its scope, having perpetuated, enlarged, and guarded itself for over two thousand years. It had insinuated itself across the planet to such an extent that even in my small, suburban North Carolina town there were dozens of church communities—each with its own denominational interpretations, financing, internal politics, outreach, and ways of nurturing the sick and aggrieved.

Christianity is impressive on a strictly material and logistical level, in the way that Walmart or Amazon is impressive. And it has the permanence of the Pyramids or Stonehenge. You know the church is still going to be there the day after tomorrow, when you might need it.

The empty rhetoric and transient configurations of the anarchist movement gave me great respect for institutions with the durable structure to manage life’s inevitable difficulties and tragedies. When people leave subcultures like the anarchist movement, they often speak in vagaries like “people grow up, people change.” But there is actually shrewd decision-making going on behind the scenes. Do I want to throw my lot in with the disorganized and unreliable community, taking the risk that I might end up stuck there with the dregs? Or do I want to rejoin society, have a family, and try to do the best I can with the ideals I picked up from the inside?

In this way, a kind of “brain drain” starts. Some people defect from the revolutionary community and rejoin reliable society, taking the subculture’s talent with them, leaving behind those without the resources to make it outside or stubborn people who just stay on principle. Others feel pushed out by changed circumstances. Couples have kids and find that their community relates to them differently afterward. My old friend Sparky lamented that “when I got sick, everyone just kind of disappeared.”

Still, like the character in Maxim Gorky’s forgotten epic The Life of Klim Samghin, “at the age of 25,” I had not yet experienced the necessity of “solving the question of God’s existence or non-existence.”

Then I had an experience that I can only describe as an epiphany, contact with the unseen forces beyond the realm of nature. It occurred after a long night of walking around my hometown under low, glowing, light-polluted cloud cover, the air still and humid as if trapped inside an orb. I wandered all night down the empty streets, past the blinking stop lights, through the strip-mall parking lots, on the dirt sidewalks past the construction and drainage ponds where ducks gathered behind a Barnes & Noble—so much life just behind the Mondrian-like glow of the box store and strip-mall facade. I walked past my old high school, through the overgrown graveyards, past the eyeless split-level houses of friends who’d moved away after their parents died, behind the CVS and Kmart, whose asphalt loading docks looked like stage sets.

At dawn, in the lilac dark, exhausted and cracked-open and eyes runny like egg yolk, I ended up in a little copse of woods behind a bagel shop I had been going to since I was kid. Perhaps it was something about being back there again—the distance between the bright, hopeful dawn of life and this nether midpoint, nothing much changed except my perception of the world duller. Or perhaps it was feeling hidden from the cold, judgmental eyes of the world, between civilization and nature, the pregnant and cloud-laden night turning to dawn. Or maybe the motes of morning light coming down through the pine trees and dancing all around me triggered some synaptic response.

Whatever it was, I felt something welling up, bigger than me. I felt seen by some all-knowing presence that had always been monitoring me through his surveillance cameras. I saw that humankind was a great mistake, a fundamental tragedy, that we were separated by a great perforated veil from the universal. That our lot was to wander the world, to resist our lot, and eventually to plunge into death, like all those millennia of people who had come before, our brothers and sisters who still call out to us from their beyond. I felt and saw my frailty and smallness, my brokenness—a little wrecked creature with a very limited timespan—and I saw the pathetic beauty in this frailty.

I held this heretical and solitary vision at the center of my heart and it became a private conviction. My friends didn’t believe in the divine, they believed in human progress—that we are always on our way upward to somewhere better. They would say that whatever occurred to me that night was purely biochemical. Whatever it was, it all came together to communicate a sense of distinct presence where there was no presence and the knowledge that this was God.

I sought to acquaint myself with the variety of religious texts, the heresies and apocrypha, the Nag Hammadi manuscripts that resonated with the penetrating truth of this vision. Later, I saw this truth reflected through totalizing, ecstatic messages in literature and music, even in the work of the Canadian hardcore band Fucked Up, whose two major full-length releases were lousy with references to the Apocrypha. In their song “Invisible Leader,” they sing:

     from the Books of Enoch
     to the bible codes
     We spend our final days still looking for that gold
     and once we find it
     how will we know?
     Will it cleanse the rot from our souls?
     Will it help to save us from the fires below?

Or take “Days of Last,” which makes cynical reference to the cycles of prophets and martyrdom, to the persistence of literal interpretation:

     The Essenes still wait for the returned Elijah
     Pious devotion shackles them to their faith like a slave
     The Greek gods watch down from the heights of Mount Zion
     Joking that the worship of the literal doesn’t fade with time”

In “Son the Father,” the chorus goes, “It’s hard enough being born in the first place, who would ever want to be born again?”

How do we trace the form of this dark lineage, from the zealous and forgotten prophets and revolutionaries of the past eras to the life- and world-denying messages of punk and the periodic gusts of radical movements? Lacarrière wrote, “Our world exudes evil from every pore.”

Some time later, I managed to talk my way into a Christian retreat center deep in the Adirondacks by portraying myself as an aspiring young seminarian. I said that I was in need of prayer and reflection on the true nature of faith and God before choosing a denomination—that I was torn between the Unitarians and the Episcopalians.

This wasn’t so far from the truth. At the time, I was working in magazine publishing but quietly researching master’s programs in theology. I felt that I was wasting my precious days in cancerous midtown Manhattan publishing offices basking in the fluorescence of huge digital billboards, working only for the cold materiality of my own middling title, status, and survival. I was in the business of churning out ironic, detached, but ultimately meaningless content that portrayed itself as having real value, advancing some public dialogue. But I felt it was ultimately just an increasingly obsolete form of idle entertainment that helped sell luxury products and make rich people feel better about themselves because they were supporting “culture” and “keeping up with the conversation.”

When the retreat center offered me a week of repose in one of their little spare monk cells, I took the train up from Penn Station through the wild beauty of the Adirondack wilderness, stepping off into an empty field beside Lake Champlain. A big, autumnally cinematic sign by the side of the road read “Welcome to New York State,” and I walked for miles along a country road past fallow fields and Greek revival farmhouses and a fort from the Revolutionary War, until I arrived in the little village of Ticonderoga, with its old diner and boarded-up houses and alleyways.

To get warm, I crept into the baseboard-heated one-room library, where the elderly librarian told me it was too far to walk and called me a local cab. Fat snowflakes were falling when the cab showed up. The eighty-year-old driver sped down the winding roads, telling me about his woodstove and that “not much has changed around here in fifty years.” He dropped me off at the beginning of a gravel road and I walked the final half mile, coming up on a big 1920s property—a little like the hotel in The Shining—perched between the lake and mountains in the woods.

The place was operating with a skeleton crew for the winter. After getting settled in and eating alone in the empty cafeteria with my big biography of the Apostle Paul, I tiptoed into the facility’s magnificent wood-paneled library with big desk lamps and a huge circular window that looked out onto the dimming lake and black mountains. It was regal and well appointed, packed with volumes on Islam, Sufism, and the collected works of Freud and Jung. Being in this space, alone, in this dark night with the snow falling on the mountains outside, having left my cell phone back in Brooklyn, is easily one of my life’s best moments.

I wanted to be working for the spirit and the common good, but as with all compromised positions in life, didn’t know how to extract myself from the mire or start over. An oversized, antiquarian edition of the Septuagint—the original Greek translation of the Old Testament—sat on an ornate bookstand, beckoning. I flipped through the thin pages of the Book of Job, which Heinrich Heine described as “the song of songs of skepticism.” My eyes scanned until they fell on these lines:

     Is not man’s life on earth nothing more than pressed service?
     His time no better than hired drudgery?
     Lying in bed I wonder, ‘When will it be day?’
     Risen I think, ‘How slowly evening comes!’
     Restlessly I fret til twilight falls.

As I read, my eyes welled up with tears. How could a story so many thousands of years old be so gut-wrenchingly beautiful today in its portrayal of the monotony of depression, anxiety, bitterness, and melancholy, the feeling of being marooned on this barren rock by an uncaring God?

I read on. It was the truest and most beautiful piece of writing I had ever read. It is like an eternal engraving on a windswept cairn; one origin point, a protozoa for the millennia of tragic writing at the horror of human existence that was to follow.

I closed the big, dusty book, shut off the light, and left the little library. I felt a strange connection to the wood-paneled room, knowing that like what I had just read, the space I read it in would forever be etched onto my inner landscape, the one true hidden map. I took a walk along the lake out to a gazebo and a jetty, looking out on the snow and black-metal mountains, feeling like I was in Thomas Mann’s Magic Mountain. I wanted the great watchers of the night to reveal themselves to me, but like God, they always seem to be hiding when they’re being searched for. I still had so many questions.

 


Aaron Lake Smith

 

Aaron Lake Smith is a writer from North Carolina and a former senior editor at VICE. His Substack is Empty Railroad Gulch.

The photo, of Anarchist protesters in Berkeley, California, August 2017 is by Roger Jones/Wikimedia Commons.

First published in Commonweal; found via anarchistnews.org

 

 

 

 

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The Weary Blues

Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway. . . .
He did a lazy sway. . . .
To the tune o’ those Weary Blues.
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming from a black man’s soul.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan—
“Ain’t got nobody in all this world,
Ain’t got nobody but ma self.
I’s gwine to quit ma frownin’
And put ma troubles on the shelf.”
 
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more—
“I got the Weary Blues
And I can’t be satisfied.
Got the Weary Blues
And can’t be satisfied—
I ain’t happy no mo’
And I wish that I had died.”
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He slept like a rock or a man that’s dead.
Langston Hughes, “The Weary Blues” from The Collected Works of Langston Hughes. Copyright © 2002 by Langston Hughes. Reprinted by permission of Harold Ober Associates, Inc.
Source: The Collected Works of Langston Hughes (University of Missouri Press (BkMk Press), 1987)

 

 

BY LANGSTON HUGHES

 
ABOUT THIS POET
 
Image of Langston Hughes

Langston Hughes was a central figure in the Harlem Renaissance, the flowering of black intellectual, literary, and artistic life that took place in the 1920s in a number of American cities, particularly Harlem. A major poet, Hughes also wrote novels, short stories, essays, and plays….

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