Sunday, 20 November 2011

The Commuter Blues

I do like London so please believe me, my view of the city is more positive and rounded than these grey London-based posts suggest! When speaking to friends who have moved to London from elsewhere they have often grown hugely attached and fond of the city too. But the hardest adjustment?...it always comes down to riding on the tube. Here is a little ode to that...


The Commuter Blues
Noiseless, joyless,
blank pale moons,
eyes averted.
Making connections costs, apparently.
You can glance,
but when the other pair of eyes feel the glare and turn to meet you,
turn away.
Fight or flight.


Sometimes we want to chuck the balance,
throw in a spanner, see what happens.
Why are people so afraid of each other?


We all feel the urge to cut through the silence,
laugh hysterically on the platform,
ask a name,
stare at a stranger,
ask if someone wants to swap shoes.
See what unfolds,
carry the unknown like a trusted lover over the threshold into the known.

But I am the same too,
the risk of too many people,
of a fight, or worse,
of falling in love.
The risk of losing precious power,
of a disruption to our distraction.

Tuesday, 1 November 2011

Letter from Martha Graham to Agnes De Mille

I want to share the best piece of creative wisdom I have ever come across...

There is a famous letter that the influential dancer/choreographer Martha Graham (1894 - 1991) wrote to her friend Agnes De Mille (1905 - 1993), also a perpetual figure in the twentieth century dance world. This letter is often passed along in creative circles across every sphere of the art world, and no wander. I think it captures the essence of creativity perfectly. These are words to encourage everyone to develop their creative side; artist or amateur. I don't think this letter is exclusive to the art world either, the words can also be applied to how we live our lives. They struck me the first time I read them and I return to them everytime I feel lazy, bored or restless for a little kick up the bum.
“There is a vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all Time, this expression is unique.

And if you block it, it will never exist through any other medium and be lost. The world will not have it.

It is not your business to determine: how good it is; nor how valuable it is; nor how it compares with other expressions.

It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work.

You have to keep open and aware directly to the urges that motivate you. Keep the channel open … no artist is pleased…there is no satisfaction whatever at any time.

There is only a queer, divine dissatisfaction; a blessed unrest that keeps us marching and makes us more alive than the others."
We only need to watch Martha Graham's dance works to appreciate her words all the more. Much of her choreography could easily be described as frightening, angular, and even uncomfortable. For example, her pivotal piece Lamentation (1930) expresses grief and inner turmoil. Graham performs alone dressed in a purple tube of material. Her movements are tortured and self-conscious, a far-cry from the classical ballet style typical of the 1930s dance world. The piano accompaniment is harsh and dis-jointed and adds to the morbid, drained tone of the movement. There is no averting ones attention though or gliding over the aesthetics, we are gripped by Graham. She has us completely in her possession for these few minutes. Many find her style ridiculous, pointless, ugly - 'that's not dance' is a popular reaction. There is no technical prowess or talent displayed in her movements it could be argued.
I would, however, agree with the opinion that Martha Graham was very much the founder and 'Mother' of Contemporary dance in America. She bared herself unflinchingly through her love for movement. Her work was true to herself and therefore could speak to others who understood the movements and emotions she conveyed. I am not a big fan of the style itself but I admire Graham's approach to her art and determination to stay true to herself through her dance.

Thursday, 27 October 2011

Winter is coming for us...

It's getting dark outside. It's 5.46pm. There's a thick, beefy, grey night hanging around outside waiting to knock me off my still-summer-shoe-clad feet when I step out of the office in 10 minutes. Not cool.

The clocks will go back an hour on Sunday, signalling the onset of British Winter 2011 brrrr...making way for...mmm mulled wine, red wine, mulled wine, mmm repeat etc.

Incidentally, why is David Cameron trying to mess with time itself? In my opinion, nobody should be allowed to do this except God, Hiro Nakamura (from 'Heroes') and Bernard (from 'Bernard's Watch'). I don't think David is quite on a par with any of these guys. I'm not David-bashing as such, just wandering why he's thinking about long summers when we're about to enter winter? Live in the present, seize the day and all that.

Perhaps he has just been watching too many 'Bernard's Watch' repeats? In which case I don't blame him. But then why doesn't he just issue similar magic pocket watches to every Briton and we can decide Time for ourselves, "each to their own" style?

This may sound naive and silly, but this is very probably the next step in our technology-obsessed, power-hungry modern world...you heard it here first...watch this space...(didn't even intend a cringey time-based pun there oops.) 

Wednesday, 5 October 2011

A Day in the Life of....A Scarf

Yes..that's right. A scarf.

I am currently attending a weekly writing class at The Institute and I love it. The teacher is fantastic and puts everyone at ease and we have a great group of people so it's lots of fun. Our task this week was to hold out our hands with our eyes closed. The teacher placed a different object in each of our hands. All of these objects were everyday, boring, and obviously inanimate. We had to feel them and describe them through the sense of touch alone. Although for most of us, it was easy to tell what the object was we still had to really hone in on this sense. With our eyes open, we then wrote descriptions of the object through each of the other senses. I got a pashmina-type scarf so I did feel a little creepy holding it to my face and inhaling the scarf like I was trying to breathe in the scent of my teacher. I refrained from tasting the scarf, as I thought this may be taking it a step too far on the creepy scale...I like her, but not in a stalker-eat-her-scarf kind of way.

We then had to think of memories evoked by the object and it's texture, smell, sight, sound and taste. It was surprising and fun what some of us came up with and we learnt a lot about each other too through our stories and relationships with the objects.

For homework we have been set the task of taking this exploration further and writing 'A Day in the Life of' our object. I actually really enjoyed doing this.

The point behind this whole exercise was to learn to look at familiar objects and the world with new eyes. We have labels and such familiarity with the everyday world as we view it, so rarely find reason to stop and think about the qualities of things we see everyday.

It is also very hard to sit down and 'decide' to write something interesting and profound off the top of your head. Our teacher Elizabeth explained that by starting with something everyday and mundane and writing about it in detail, we find new ways to engage with these subjects and they often provide a path to something more interesting/ profound when we are not even trying.

If you would like to see what an animated inanimate scarf does during a typical day please read on:

A Day in the Life of A Scarf

I am rudely woken from my slumber by sharp rays of sunshine pouring in all over my body.  Sunshine is wonderful, don’t get me wrong, I love the warmth and the brightness. However, I think it is simply bad etiquette to force the transition from clammy dark slumber to the brightness of the morning upon anyone. My wearer has never learned to refrain from this habit. In my younger years, this was easier to live with, but as I grow older I worry about my colours fading in the light. I prefer the preservation and peace of the darkness. Here I can nestle amongst other scarves, socks and knickers. The drawer always smells of fresh sweet apples. When I sleep I feel like someone has draped me around the boughs of an apple tree and left me here to rest.  
After abruptly pulling open our communal wooden bed, the wearer continues her inconsiderate routine by plucking me out of the drawer. My body is still limp and numb with sleep. Her touch is rough. Can she not see that I am getting old? Sometimes when I am working for the day and I leave the house with her in the morning, I see thick brown cardboard boxes of various sizes being carted gently to front doors by delivery men. I often wonder why the wearer does not touch me like this, with caring hands. Eventually I decipher that the delivery men touch the packages gently due to giant labels taped to the boxes reading ‘FRAGILE: HANDLE WITH CARE’. I often think at a certain age, we clothing items should also get a similar label sewn to our skin. My tassles are untwizzling you see, my rainbow coloured stripes are dusty now and I have a small hole in my left corner, where someone burned through me with a cigarette at a dinner party. There is also a tea stain on the pale, cream coloured part of my body. I remember the occasion when this occurred all too well, and how could I forget? The stain is a constant reminder and has not come out despite three hand washes and one, dare I say it, machine wash since. I had been delighted that the wearer had picked me from the drawer that day to adorn her classically cut black office dress. Despite picking a lovely dress however, the wearer was clearly sleep deprived herself, and running late. We stopped on the way to work so that she could buy a styrofoam cup of tea from a street vendor by St Johns Wood tube station. Once on the train, the wearer lifted the lid from the cup to let the tea cool. Steam rose from the milky liquid and harassed me. It was hot enough on the tube without this added wet heat. Now that I have since encountered the dreaded machine with all of the common clothes, I could liken the steam to the shock of heat that rose from my skin by the end of this terrifying fiasco, when I was finally removed from the machine in a giant heap with all of the other clothes. Although my care label is now faded, the wearer knows that I am a ‘hand wash only’ item. To add insult to injury on this particular tube ride, after receiving an unwanted sauna, the tube carriage halted at Baker Street station sending scolding hot tea jolting out of the cup and all over me. Needless to say, this was ‘one of those days’ at work for both of us.
There are younger scarves in the drawer that I used to be jealous of, but now hardly care to notice. One is particularly attractive. She is made of red and pink silk and gold threads pattern her luxurious body with delicate roses. These younger scarves do get picked more often than me these days, and I am often discarded at the back of the drawer. But as I said, it is cool and dark and peaceful in here so that suits me just fine.  
It is still nice to be worn occasionally and despite my annoyance at such a wake-up call I do find that I feel a hint of pride that I am the chosen one today. The wearer drapes me around her neck. My top half is always pleased to be nestled against her warm, delicate, soft skin. But the trailing bottom half of my body is disgruntled with the wearer’s outfit. She is wearing that stiff, itchy navy blue blazer and we do not get on well. There is a sterling silver butterfly brooch attached to the top lapel of the blazer and I always scratch up uncomfortably against him and get stuck. The delicate strings of my netted middle stripe get caught on the butterfly antennae today. I am not best pleased. The wearer swirls around and parades herself in front of the full length mirror. She fidgets with me and pulls my ends this way and that. I try to cry out as she pulls me at one end and the strings wrap tighter on the antennae, the metal poking through the larger holes in my weave. The wearer ignores my discomfort. She sighs and her shoulders drop. She rips me from her warm pulsating throat violently and throws me to the bed. I flutter through the air as gracefully as I can and land on the unmade bed. “Get off” comes a gruff angry voice, muffled by the duvet. I look to my left and realise I am lying over a thick brown cracked leather belt. He’s also been discarded today by the wearer and we know we’ll be laying like this all day until she clears us off the bed later when she returns home.

Tuesday, 20 September 2011

An Autumnal and somewhat gloomy take on the city...

I came across this old poem I wrote a few years ago. It describes the grey, hostile side of the city, viewed from a park bench (without a bottle of cheap cider, which would have been a perfect accompaniment given the mood of the poem). I was very much playing around with the structure/ form of the lines and I am not sure it works here, but anyway:

The city.

My hands. A bursting grapefruit full of acid juice.
A half-smoked cigarette smoulders in the gutter,
rolling to and fro with the breeze in a restless dance.
Ash bleeds into the drain.

An old man cycles past on a battered bike,
wisps of silver hair
whisper his secrets to the world from his pink head.

Ten kilos of wet sand sit in hessian sacks,
slumped at the foot of a nearby silver birch tree.

Red flowers of passionate velvet create hints of sex in this grey cityscape.
Conkers lie scattered on the grass and gravel,
smashed underfoot to a bruise coloured mush.
The smattered brown skins bear broken pearls of brown and black.
Fleshy, spiked green shells are but a distant memory,
no longer a muse.

A blue-eyed child runs wide into the embrace of the wind,
mittens flying beside him,
desperate to keep up the pace.

A smug roly-poly sausage dog raises his hind leg and
trickles confirmation of his existence onto some conker mess,
making a pungent muddy soup.

Leaves paper the poop scoop bin
with their fragile veins
and deep decorative shades
of red, orange, yellow and brown.

A filthy pigeon flutters from his lampost perch to the bin below.
He stops, jutting his head from side to side,
then sweeps away into the sky,
a little dot dunked in a vat of the city's shit.

This is the city.

Beautiful in its naked ruin.
Ferocious in its pace,
fragile and lingering in its traces.
I watch in the wake of its life.

A quiet tide sweeps over the roads like a tired, maternal broom.
The debris of another city day washes over the grey tarmac
and trickles
down the cracks
in
the
pavements.

This is the city.

Tuesday, 30 August 2011

Note to self:

I will be writing some stories soon too. This blog is not just going to be book reviews, as I have promised to have 'words of all kinds.'

Graphic novels: I am not wearing a hat yet as it is still sort of summer, but if I was, I would take it off to you...

Three weeks since my last post! I could not have been busy enough to create a baby inbetween posts this time (If I had conceived since then, would it even be an embryo by now?) I will stop referring to my posts in terms of pregnancy, as I realise it's a bit odd, and a bit sexist for a woman to be relating everything to babies.

I have digressed. I wanted to talk about graphic novels. I have only recently discovered this medium of literature and I am hooked. I was always put off before by the comic book look when I flicked through. The first graphic novel I gave in and read was 'Pyongang' by Guy Delisle. A friend recommended and leant me the book so my curiousity caved and I succumbed. (Thank you Sophie)!

The book unravels Guy Delisle's experience as an illustrator working on a project in the North Korean capital of Pyongyang. He is assigned a 'guide' upon arrival to North Korea and is not allowed to leave his compound without his 'guide'. There are pictures of Kim Il-Sung (the deceased, but "Eternal President") and his son Kim Jong-Il (the current Leader) on every wall of every public space.
Delisle is taken to 'The International Friendship Museum' - a hilariously conceived example of propaganda imposed upon the North Koreans to convince them of their own regime? The museum is full of valuable gifts of 'thanks' bequethed upon Kim Jong Il and the late Kim Il-Sung by leading figures from countries all over the world. Gifts are displayed from over 146 countries - a supposed show of reverence and adoration to the North Korean Leaders from around the globe. (Of course, the fact that this gift-giving is mere protocol for any official visitor entering the country is a small-print fact of little relevance).
Delisle probes a little to try and dig beneath the conditioned veneer. Are the North Korean population actually convinced? Brainwashed? Too afraid to speak their true minds? He lends his guide a copy of Orwell's '1984' to see if he can open up a dialogue. I won't give anymore away...have a read.
The book is simple, funny, moving and a really interesting and eery insight into the workings of North Korea, possibly the most isolated country in the world in a day and age where people read all the versions of 'the truth' they can lay their hands on and blab their opinions in blogs like this all over the internet.

I have since read other graphic novels too. Some of Marjane Satrapi's books (Thank you Mike), including the highly acclaimed 'Persepolis' (which was also made into a film in 2007, co-directed by Satrapi). The three books I read were set in and around Tehran during the Islamic Revolution. They are based on Satrapi's own experiences growing up in Tehran and Europe. 'Persepolis' (Parts 1 and 2) are highly personal and I love the quirky, insightful and intelligent perspective cast upon life and the important political events of the time by the confused and rebellious adolescent Satrapi, who narrates the story.

J.P. Stassen's 'Deogratias, a tale of Rwanda' provides another interesting read. It was first published in Belgium in 2000 and tackles the 1994 Rwandan Genocide. The tale focuses on Deogratias, a young Hutu man who has been driven crazy as a result of living through the genocide, which saw longstanding tensions between the majority Hutu tribe and minority Tutsi tribe explode in the most tragic way. An estimated 800,000 people were killed in roughly 100 days. The story takes place before, during and after the genocide and traces the struggle of genocide survivors to continue living 'a normal life', having witnessed such atrocity.

I have just read 'Stitches', by David Small, another fantastic and highly original creative accomplishment. This chunky volume is made up more of pictures than words. Small's autobiography recounts memories of his grim childhood and strange, shockingly unaffectionate parents. The terrifying facial expressions of the Mother and Grandmother stuck with me. Small's drawings are so vivid that we experience this tale very much through the eyes of Small's young self.

I found all of these books deeply engrossing. The graphic novel is a powerful medium often used to tackle difficult and dark themes, both political and emotional. The genre seems to allow apt exploration of the dark and often repressed or less talked about face of human nature. The patchwork of words and pictures together provides a channel to focus in on these dark subject matters in a thought-provoking, but simultaneously, somehow lighthearted way. The books themselves (at least the ones above that I have read) are not depressing. Perhaps this is because descriptions in words are often kept to a minimum, with emotive but simplistic pictures weaving together the narrative. This allows for subjects that are often too atrocious to be described or adequately approached in words to be explored effectively, without tip-toeing or excuse-searching. These books are raw and vivid. I realise that I may well be generalising in a big way and these statements are rather sweeping, but I speak of the books I have read. And I urge you to pick up a graphic novel that grabs your interest and give it a go!