Saturday, 12 March 2011

Underground Poetry (UP)

Underground Poetry (UP) is a new movement founded by Nina Ellis that distributes poetry leaflets to London Underground travellers. More information here: http://undergroundpoetry.org/

UP have run three events so far this year (two in London, one in Cambridge) which feature poetry readings and musical performances.

The most recent event was held on 2nd March at Proud Kitchen, Stables Market in Camden. I shot a few clips on my Flip-cam. Here’s Nina Ellis and George Worsley reading poems, and Will Adlard and Benjamin Compston performing together on guitar. Cool.






--

Ian McLachlan

Wednesday, 9 March 2011

Howl did they manage to make it so boring?

For those of you hoping to see the daring, honest, brutal, sexy, filthy and scandalous on film, choose something else as you will certainly not find it in Howl, tonight, at the Curzon Soho.

Howl is rubbish. But let’s take a closer look. This film is made of scenes of Ginsberg reading Howl, scenes from the obscenity trial, an interview with Ginsberg, and HORRIBLE animation. Aside from the horrible animation, the ingredients for a decent film are there. But at a certain point film makers need to stop and think about how they're doing what they’re doing, who will end up watching it and whether it will work or not. Here it just looks like this wasn't done. Putting together all the ingredients is not enough, you must have some kind of vision, an instinct, something that will make it all gel together - and it should involve the ability to hire a better casting director.

Turning Howl, poem poet and crowd, into a film didn’t work - let's see why.

First of all, this is like being at school, the poem is paraphrased either visually, via horrid animation of people shooting up or mating (heterosexually), or through endless repetition, or – final straw really – through dialogues, literally explaining, in the trial scene, what the words might or might not mean. Surely to find out about Howl, one would have rather read the poem itself, or the relative wikipedia entry.

Second: there are times in which films set to tell stories we already know the end to, like the obscenity trial in this case, but these films generally manage to create some sort of tension, work their magic so even if we know the outcome, we might either put it out of our minds or wish to see how we got there anyway. Not here, this is not a film about the trial, nobody gives a crap about it. This is a film where the trial is thrown in for good measure, no tension is built around it and nothing justifies it even being there. Oh, and did we have to cast Don Draper as Don Draper? Doesn’t the fellow want to try something else for chrissake?

Third and final, third and main: excitement, or the total lack of. If you go and see Howl you are either a Don Draper/Franco fan, or know Howl. If the former, you are dismissed. If the latter, you are expecting at the very least cock and balls, insatiable ecstasy, or both. As on screen Franco fails (was he even trying) to look less like the badly cast unremarkable hotshot he is, and more like Ginsberg reading Howl to an enraptured, galvanised, and adoring crowd, people in the auditorium start to leave or fall asleep.

Snoring.

Really.

This might have been acceptable or even a source of pride for, say, Antonioni or Pasolini, Bergman or Haneke, at times, knowing that this or that film they made was not designed to be immediately accessible to all, but just to an élite; but here?? That such a blood pumping, all shaking, whirlwind of a poem (and of a poet) [and of an era] should be translated so tamely into film that people fell asleep is in itself a certain failure.

All this film needs now is a subtitle, a caption:

‘Howl, by Disney'

‘Howl, was it in fact censored? I can’t remember’.

‘Yawn..’ sorry I meant ‘Howl, soon on a plane near you - for those who fear flying and would rather be asleep’

--

Faye Fornasier

Wednesday, 2 March 2011

Nutshell Winter Boum, Islington

Family performing at the Nutshell Winter Boum, Sunday 27th February 2011. Much of the ambient noise is provided by Faye yacking away about something or other. The decision to shoot directly at a pillar is an innovative one, but I think artistically it paid off.



Having shot a few clips of Family I then forgot about my flipcam until Faye went up to take a photo of These Furrows, at which point I retrieved it and captured their dying moments on stage. I realise such a short clip is of no use to man or beast and present it here for perusal by amphibians.



Luckily, early on in the evening, I did manage to record a clean audio track of Josh displaying a worrying absence of knowledge about his siblings’ work in our magazine. It wasn’t clear he’d looked at either Kat’s or Alex’s poems in Nutshell 1, and, though he claimed to have read Kat’s story in Nutshell 2, damningly, he then failed to recognise the issue it appeared in. How distressed Josh’s poor mother will be to hear this tale of fraternal impiety I can only imagine. Now I’ve never been one for blackmail. Faye, however, has no such reservations, as one might expect from the national of a country that routinely elects Berlusconi to power, and we’re hoping a financial backer for Nutshell has at last been found.

Monday, 31 January 2011

Never Let Me Go - Film Review

My friend Siobhan and I have started going to the cinema together, there seems to be one implicit condition though, we can only see unbearably depressing films. It's unbearable or nothing. Which is fine, I guess, since we both enjoy that kind of pain, and we seem to bear it all right. Recently she suggested Blue Valentine, then I suggested Never Let Me Go. You can see them both and let me know which one you found to be the most depressing.

First of all, let me admit that prior to watching them I had no idea what they were about. Of Never Let Me Go I knew the cast, and the only reason I suggested it is that I quite fancied seeing pan-faced Keira and pig-faced Carey in action together again. It might be a bad habit but in the past few years I have started deliberately avoiding reading plots and reviews of films I might want to see at the cinema. I am far too put off by genres, so not having a clue what it is that I am about to see makes it easier to actually go and be surprised - sometimes. This doesn’t, of course, explain why I knew nothing of NLMG, since it's based on a novel which I own but i haven't read yet. I won't apologise for that though, I am busy, get over it. It's on the pile of books to read, I keep adding to the pile and keep reading the last book added. I was going to read it at the right moment and the moment hadn't come yet, so, from the poster alone (I don't read back cover plot outlines either) I assumed I would be a coming of age smooch fest, a boarding school version of Pride and Prejudice, only modern and therefore – I hoped – more explicit.

Imagine my surprise seeing Keira play the part of the selfish bitch in what turned out to be a really disturbing story scripted to spin sci-fi on its head and free it from any sci-fi elements bar one, microchip bracelets, a cinematic addition apparently. As it was a Q&A, I had the chance to see that the book lovers had no objection to the filmic rendition, and Ishiguro himself – I hear – is fairly happy with it, as he was consulted every step of the way to make sure everything felt right and nobody got pissed off. The casting worked really well, the children, in particular, were well trained to mimic their adult correspondents; and the Japanese aesthetics were well respected. What annoyed me, I have to say, is the exasperated cinematic cliché of colour representation of emotions. Blue, gray, green and the combination of the three equal sadness and hopelessness. Great, let’s turn this film into the winter installment of a knitting catalogue. In fact, let’s also design our intertitles to match that and turn the film locations ans time placers into knitting chapter openers (Hailsham: child wear, The Cottages: farming housewives, Completion: er... shawls?)

Anyway, enough technicalities, what is the film about? Should you see it? You should read the book first - you should always read the book first unless we're talking of The Girl With the Pearl Earring - but if now is not the right time yet, I'll be happy to spoil it for you. NLMG is the story of three children who meet in a special boarding school for clones who are created and raised for the sole purpose of becoming organ donors in their 20s. As the three protagonists grow up friendship, love and resentment get tangled, until Completion time approaches (death, that is) and they have to let go. The sadness is constant and justified: just like normal humans the clones know their existence will come to an end and hope to postpone it, the difference is that unlike that of most humans, their life will terminate in their prime and they don't get a chance to forget about it. Their desperation is not the raw, uncontrollable one of the replicants in Blade Runner, which is probably why this film didn't do well in the US market. The fact that the characters don't run much, reveals Romaneck, has displeased some critics over there. There is only one run in the film and not much screaming and confrontation; this is down to Romaneck's desire to remain close to the Japanese concept of Yūgen, according to which emotions should be expressed subtly, elegantly, like a small ripple on the surface of a river troubled by very strong, deep undercurrents. Not in the screamy, snotty way we go about things.

Ignore the remark on the overindulgent photography, I recommend this film because it surprised me, and also because not watching films only because Keira Knightley is in them is no longer a good excuse.

Good for you, Keira.

-- Faye Fornasier

Tuesday, 25 January 2011

Circalit Launch Crime Fiction Competition with Leading Literary Agency

Circalit, the new online hub of the literary world, has just announced a competition to find the next big crime fiction blockbuster with winning entries being submitted to the leading literary agency, A.P. Watt.

Circalit, whose social networking and digital distribution platform aims to bring writers and agents together, are hosting the competition online where the public are able to read all submissions and vote for their favourite novels. The top submissions will be read and considered for representation by A.P. Watt. The competition is free and those wishing to enter must start by creating an account at Circalit and posting their work online.

Raoul Tawadey, founder of Circalit, commented, “There is a wealth of literary talent across the globe, only a fraction of which gets the recognition it deserves. Crowd-sourcing is a great way for the publishing industry to find literature that already has a proven readership. We hope this competition will give talented new writers the opportunity to get their work noticed and demonstrate the power of the internet to create a global talent pool.”

To enter your script please visit www.circalit.com.

About Circalit
Circalit is the world’s premier social networking site for writers. Originally launched in February 2010 as a place where screenwriters can showcase their work to film studios, Circalit is now also home to novelists, playwrights and short story writers across the globe. Its free service allows writers to have their work reviewed by peers and professionals, enter into free writing competitions, create a fan base, make industry contacts and market their work, and apply for professional writing jobs online. Circalit’s mission is to digitise and democratise the way that good literature is discovered by agents, producers and publishers.

Monday, 17 January 2011

Cool For Cats presents the Nutshell Winter Boum

Cool for Cats and Nutshell Magazine team up to bring you the perfect Sunday do. Expect to stuff your belly with the best Sunday roast in town while watching live acts that are the pick of the crop, then the night will escalate both in beat and in heart rates as drinks replace food and it all turns into a massive party… without the hassle of a late night.

Aside music, food and drink there'll be a crafters' couch, and a Nutshell mag corner to keep your hands busy.

The line up includes: The Palpitations, Chapter 24, Microdance, These Furrows, The Inevitable Pinhole Burns, Raven Beats Crow, and Family

FREE ENTRANCE - you can't miss it!

Old Queen’s Head, Essex Road, Sunday 27th February, from 3.30 until night falls

Sunday, 21 November 2010

Dior Illustrated: René Gruau and the Line of Beauty

Kimberley Chen reviews the thrills and frills of the Dior Illustrated: René Gruau and the Line of Beauty exhibition, showing at Somerset House, Embankment Galleries, until 9 January 2011.


After many university students lugging hefty, hardback sketchbooks, busily scribbling and sketching saucy, seductive and wonderfully dressed figures at the
Design Museum’s Drawing Fashion exhibition, Somerset House have also decided to open its doors to yet more fashion illustration fans. This time it sets out to explore the amazing relationship between Christian Dior and René Gruau.

There were many screeching girls who ‘oohed’ and ‘ahhed’ at the sight of beautiful Dior Haute Couture clothed mannequins. Bright, unmissable pink paint splattered over a pristine white dress would usually be an utter tragedy to behold, but the Olga Sherer outfit inspired by Gruau for the Autumn/Winter 2007/08 collection makes this so-called “clumsiness” into a thing of great beauty. Attach a pink scrunched rose detail to the hip of the dress, pull up sleek, long, black gloves, embellish the neck with a chunky pearl necklace, tilt a paint palette hat on the head (Complete with generous dollops of thick crimson, navy and black paint, and a giant paintbrush) and voilá here is an outfit that screams glamour and stylishness. Vintage perfume bottles also got their fair share of admiration, and no wonder, since these golden beauties possess such a commanding elegance just begging for attention. All the bottles were shaped as gorgeous amphoras, and the Diorling 1963 bottle and the Diorissimo 1956 bottle used Dior’s favourite motif: flowers. The former perfume bottle has a delicate rosebud stopper, whilst the latter has a spray of golden roses and jasmine as an ornamental lid. These miniature cuties gain a great amount of respect as well-sculpted works of art.

Despite all the gaping jaws at the mannequins, the obvious star attraction of the show was Gruau’s exquisite fashion illustrations. One thing which I wasn’t expecting was a rather kinky and naughty looking cookbook. La Cuisine Cousu-Main is a Dior cookery book filled with recipes Dior himself liked to prepare, plus 10 original drawings by Gruau. One picture showed a naked woman having a bath in a frothy gigantic glass of alcohol. There is a huge nest of alcoholic bubbles resting on the woman’s head, whilst the woman gives a wide, mischievous and suggestive smile.

René Gruau’s fashion illustrations for Christian Dior show intelligence, humour and attitude. The five contemporary UK-based illustrators who contributed images inspired by Gruau, indicates how he continues to impress and influence artists today, and beyond.

Kimberley Chen is a London-based writer. She has previously written for a number of publications including Blueprint magazine and The Architect’s Journal.

Wednesday, 10 November 2010

Solovino - He came alone by Alona Ferber



It’s past midnight. Outside the street is dead quiet. No car drives past the colourful houses. Even the cars speeding down the avenue at the end of the street cannot be heard. The local dogs that live on these doorsteps are all sleeping too, guarding the people they wish were their owners. Solovino, one of the most famous dogs on the block, the one who knows all the faces and is known by them all is curled up outside number 16, dreaming of rabbits. As he chases them through his field of dreams, his raggedy ears twitch nervously and his dirty paws scratch at the pavement. In his dreams Solovino is a champion. No rabbit can evade his sharp sense of smell. He is a graceful huntsman, shiny of coat and wet of nose, who can track down any of those fluffy, big-eared little creatures with hardly an exertion. Yes, Solovino is feared and respected in this field of dreams. No bitch can resist his canine charm. They wait eagerly with their bums raised exaggeratedly in the air, just waiting for him to sniff. While he is sleeping, the speeding taxi that caught him unawares that fateful morning disappears from the limited view of his memory and his right hind leg becomes not an impediment but a definite advantage. What dog would be more attractive than one who not only is the best hunter for miles around, but who does it on the strength of only three good legs?


And so it goes. Every night he waits outside the girls’ house. He cries and whines and scratches on the door, just waiting for them to say yes. He knows he has convinced one of them. Every time she sees him there is the warm pat on the head, the “oh Solovino, how are you?”. He has taken to following her whenever she leaves the house, just to prove how faithful he can really be. The other two, however, are a different matter. They never stop to say hello, always walk away as quickly as they can and try not to look him in the eye. So Solovino makes a decision. He is going to try harder than he has ever tried, he is going to make them love him, make them need him and make them feel guilty as hell for not having given him a home sooner.


Luckily for him, or not so luckily, depending on your point of view, the rainy season is just beginning. Every afternoon round about four o’clock, the sky opens, and as everybody knows, in a few weeks or so every afternoon will see inundations as heavy as anything. So Solo, as those close to him sometimes like to call him, parks himself outside the house at rain time and whines away like a poor lovesick little puppy. He knows that maybe you can ignore a dog crying at night, when it is still warm and dry outside, but when the street is like a river? When all the other dogs, or at least those who are lucky enough to have owners are safely tucked up inside? What he wasn’t counting on however, was how little the other two girls feel when they see him there outside as they run home in the rain, or quickly make their way to the metro station under their umbrellas. Of course girl number three still looks at him with those wish-I-could-adopt-you eyes, but the other two don’t seem to budge.


Solovino has to think long and hard about this. In his experience, there are two types of people. People who love canine company and those who can think of nothing worse than waking up to a dog slobbering all over them first thing in the morning. And even worse, a vast majority of these are actually self-professed cat people. He suspects that the other two girls are of the latter kind. The first one, he has noticed, is the glamorous type, the kind of girl who never leaves the house without at least two coats of mascara and exciting shoes on, whatever the weather. Girl number two is the smart, down to earth, type. His tactic of following them down the street, nibbling at their shoes and placing his filthy paws affectionately on their breasts has done him little or no favours so far. He could almost kick himself now he thinks about it. He has even noticed that girl number three has started to recoil at his affections.


One Saturday afternoon, when the girls have still not stepped out of the house, Solovino is curled up outside their door in the sun, dreaming once again of rabbits. Solovino rarely dreams of anything else. In fact, it is a secret little known to humans, or cats or even birds for that matter, that dogs, even those who will probably never ever meet a rabbit, are hard pushed to dream of anything but the eternal rabbit chase. The colour or species of rabbit might change, the dream might take place in a field, or a car park or even a road filled with cars racing past, but the subject will not change. The rabbit, the universal rabbit signifies a host of things to dogs worldwide. It is the vehicle through which the humble dog understands the world. And so when Solovino awoke from a dream where there were no rabbits in sight, where he felt the absence of rabbit so deep within his soul that he started to howl and whine in his sleep, he realised that the only recourse left to him in these desperate times was the one thing that he had never tried before. After all it is not only humans who know the old saying. Absence certainly does make the heart grow fonder.


Solovino makes all the necessary arrangements. He makes sure he explains what’s what to the other dogs on the street. The new guy, who came to the street a few weeks ago, who looks like he hasn’t washed in years and who no one on the street has deigned to give a name, is sad to see him go, but understands. The ginger cat, who Solovino has never been particularly close to, gives him a brotherly nod, wishing him luck on the road. The other dogs of the street, of which there are about five, promise not to let on that they know he will come back, and more importantly, promise not to try to win their way into the affections of Solovino’s girls. “Don’t worry, they’re yours Solo”, says the one with half of one ear chewed off, “Yeah m’ijo, don’t worry, just make sure you come back”, says captain, the graceful dog who has not let the hard life of the street life rob him of the good humour of the Labrador. Bertha, the big mama dog who has been pregnant a million times and always lets the others in on it when she finds food and makes all the newbies feel like part of the family, gives him a reassuring lick on the neck.


With one last bark, Solovino makes his quiet escape. He runs all the way to the big avenue at the end of the street, makes a left and runs up the avenue, passing little streets identical to his own, stopping every once in a while to sniff the scent of other dogs, eat food left on the pavement and relieve himself. A long life on the road has made Solovino see life with eyes wide open, and one of his favourite past-times is to make his mark in just those places that humans would really rather he didn’t. It is not only that he finds it funny to watch them scream and shout as they step into the shit he has just left on their doorstep. There has been many a late night where he and the other dogs have discussed at length the political implications of controlling where a mutt can go to the toilet. Defecating and pissing where he shouldn’t is his way of protesting the human arrogance that assumes that they own the pavement.


The life of a street dog is not easy. Solovino has been doing it since he was a pup. His is the old story of the unwanted Christmas present. It only took them a few weeks to realise that she was allergic and then that was it, it was either little Juanita or him. Of course, they chose Juanita. Solovino had never really been able to get over that rejection. He had never been able to fully accept ownership again. But now, after so many years living la vie en rue, he was ready to settle down. And the girls were not like any other family that he had ever seen.


Not that he hadn’t enjoyed life. As he walked along now, nibbling at a broken ice-cream cone over here, picking up the scent of a bitch on heat over there, his mind was flooded with the memories of a lifetime under the stars. The first time he had ever come to the street, all the faces were different. The families who live in the same pile of bricks generation after generation had changed a little of course. The little girl in number 18 had started wearing make-up, and he had noticed that relations between her mother and her grandmother had started to strain under the weight of their daily convivencia. The old lady across the road had started curtain-twitching less and less as the pain of arthritis kicked in. But really it was the animals, his extended family, which came to mind.


Bertha, the stereotype of the dog mama that every dog knew, had made him feel welcome in the way that she had made many a dog feel welcome over the years. She was the strongest, most generous dog he had ever met. A mongrel who had never met her real parents, she had been raised by an assortment of dogs and humans over her many moons. When Solovino first rounded the corner into the street, she had been lying in the sun across the road from number 16, nursing a brood of seven newborns who were the result of a one night stand with a sexy Alsatian. This was before Solovino’s accident, when his four legs were all working fine, and he could run as elegantly as any dog. Bertha had explained to him which houses tended to leave food out, which humans were receptive to doggy affection, which were the good places to shelter from the rain. Him and Bertha had become fast-friends, and a tear welled up in his big brown eyes as he remembered the day that the last of that particular brood, now grown-up and independent, had turned arses to Bertha and trotted off round the corner to find their fortune. Bertha had been through this many a time, and it never failed to make her melancholic. Which of course was only natural. It was never long before she would forget and get pregnant again, only to live through the same agony.


One time, one of Bertha’s children had actually made his way back to the street by accident. The reunion was very touching, and Bertha’s pup, who had been away for years, regaled the dogs and cats on the street with the adventures she had lived in the city. Most of the dogs in the suburbs rarely made it very far into the big smoke, where the dogs where mean, and the humans worse. Not that life in suburbia was not full of its own tragedies. Solovino could remember the countless dogs who had made their lucky escape from cruel owners only to be found again and kidnapped, or the many a dog caught unawares by the irresponsibility of a speeding and thoughtless driver. And then there were the men who came quietly in the dead of night, who would put a dog to sleep and carry him away to an uncertain future. The dogs on the street had organised a watch to protect each other, but very often it would be the very dog on watch, the only one awake who would have disappeared by the time everybody had woken in the morning.


Yes, Solo had lived many an adventure on that street, it was a part of him now, and he was determined to make it his permanent human home, with all the benefits that that entailed. His friends understood that it wasn’t that he was abandoning them, but that at his age, he craved a little stability. And so he would make himself disappear for a while, until the girls would begin to wonder where he had gone, would begin to miss his crying and whimpering outside their door, the affection in his eyes to welcome them home when they had had a bad day. He had known dogs who had won their way into the most icy of hearts, and he was determined to follow in their footsteps.


Time passed. For a dog there is no more accurate measure of time than the ebb and flow of smell and sound and light. A dog knows that when the complicated mix of what humans know as daytime smells has faded in intensity, when the distant whrrr of cars, which to a dog is as loud as thunder, really has reduced itself to something more like a whhrrr, then another of life’s mini cycles has come and gone. Soon the light will slowly seep its way into the world’s four corners, and life will begin again. But as far as measuring long periods of time goes, for a dog it is slightly tricky. Having no calendars to rely on, the humble dog can only try to remember how many times life’s mini cycle has renewed itself, and more often than not, loses count somewhere around 20. Solovino was not sure exactly how long he had been away from the street, but what he did know was that he had seen the yellowy-white circle in the sky, known to humans as the moon, change shape significantly, that he definitely had got past the count of twenty and that the rainy season was now in full throttle.


The day that Solovino decided to go home was a Thursday, unbeknownst to him. He sniffed his way along the street, picking up the distant scent of his friends and neighbours until his nose led him round a corner and into his old familiar territory. The closer he got the more excited he became. He started to run awkwardly towards Bertha and the dog who when he left had been the new guy, who were sitting on the pavement in the sunshine, his tongue hanging out of his mouth with happiness as he ran. As soon as they caught smell of him they stood on all fours and began to bark in surprise. He sped up and jumped towards them in a scene that would seem to the untrained eye like a fight in the making. Bertha began to lick his face and paw him with glee. The new guy began to chew one of his paws to welcome his return. The little girl at number 18, who happened to be staring out of her window at the house across the road where a certain handsome young 15-year-old gentleman lived began to shout “Mama, mama, Solovino’s back!” Yes Solovino had certainly been missed by some.


When the excitement had died down, Bertha started to fill him in on the goings on while he was away. Two new dogs, one young bitch and an old (unlikely) mongrel mix of chihuahua and dalmation had started coming to the street and stealing the food left out by the good resident folks for the good resident street dogs. One of the other street regulars had been killed by some poisoned food. Bertha and the New Guy weren’t sure enough to name names, but had their theories about one family who had shown nothing but contempt for the streets animals ever since they had moved to the street. Captain had finally been adopted by the old curtain twitcher, who had always shown a special fondness for him. A series of break-ins in the neighbourhood had made her realise the extent of her love for the old dog, and she had opened up her doors for him, living room and all.


“What about the girls?” he asked, “How are my girls?” The ensuing silence and averted eyes told Solovino everything that he needed to know. Bertha gave him a reassuring lick on the face, and the new guy pawed him and said “I’m sorry Solo, but you were gone for so long…” Solovino couldn’t say that he wasn’t disappointed. Away on his own, walking unfamiliar city streets, one of the only things that had kept him going was the idea that awaiting him, finally, was a home. That the three girls would have grown to miss his whining and his company on their way to the metro station so much, that they would even have bought special dog food bowls just for him to welcome him on his return.


“So come on then, who was it?” The answer to his question was a long and awkward silence. “Come on, I can take it. Did they adopt the new guy?” Bertha started to whine a little, “It was wasn’t it, or was it Captain? Yeah that whole curtain twitcher story was a good cover, last time I trust any of you…” Solovino was so far into his monologue that he was yet to notice a small, elegant ginger cat, wearing a brand new sky blue collar complete with tinkling bell, glide his elegant cat way along by the gate of number 16 and up and over it into the overgrown, messy garden on the other side. If he had stopped for just one minute and looked in that direction, he would have noticed the brand new metal bowls, one full of milk, the other full of cat food, which had been placed outside the front door of number 16. If he had seen the direction in which Bertha’s eyes, filled with compassion for her dear and disappointed friend, were looking, he would have seen girl number one actually holding that smug ginger cat and letting it claw her brand new jumper and get cat hair all over it. But Solovino would not find out about this treachery until later that day. And when he did, he would want to kick himself forever having let old ginger know his plans. After all, you never can trust a cat, especially not when there are cat-people involved.

Sunday, 10 October 2010

Follow your own path and don't worry about the darkness


Cheltenham Literary Festival 2010
Dreams and nightmares

After an early morning and a longer than anticipated train journey (yes, I had my northern head on and presumed that, being in the south, Cheltenham must be only just outside of London), I finally made it to the wonderful little Regency town of Cheltenham.

The theme of The Times Cheltenham Literature Festival 2010 is Dreams and Nightmares, and as I made my way into the Inkpot venue, I mentally prepared myself for a voyage into the supernatural world of ghouls and ghosts.

And what better way to begin than with an event called Fantastic Fictions, a discussion largely centered around Black Water, an anthology of supernatural tales put together by Argentine-born Canadian writer Alberto Manguel.

Manguel was joined on stage by China Miéville and Maggie Gee, and after a quick reference to the recent ‘Franzen Freedom fiasco’ (the very thought that this can so easily happen gives me the shivers), they each read a couple of passages from some stories in the anthology, such as ‘The Wizard Postponed’ by Jorge Luis Borges, ‘The Door in the Wall’ by HG Wells, and ‘Lady into Fox’ by David Garnett.

Now, having expected tales of vampires, monsters and other ogres, I was actually confronted with something rather different. As opposed to fantasy, the fantastic deals with the quotidian – using only slight tweaks and twists to give an intrusion into the ordinary, with horrifyingly nightmarish effect.

So, no vampires or zombies here, but all the same, I think I’ll throw my Monkey’s Paw on the fire – just in case.

So, where would my quest for dreams and nightmares lead me to next? Well, to Shakespeare’s Sonnets it seems. A slight diversion from my supernatural journey then, but I think you’ll forgive me when I tell you that the Shakespeare lecture was given by Nutshell favourite Don Paterson. Don has written a new book, Reading Shakespeare’s Sonnets, in which he approaches the work in a non-scholarly, contemporary way. And it seems Don had a whale of a time writing it, mostly whilst in the bath, apparently.

The audience is largely made up of elderly couples, and I’m not sure how his controversial approach will go down, but the crowd loves him. He is certainly an entertaining speaker. He is joined on stage by an actor, who reads out some of the sonnets, with Don providing his own interpretations. And one thing’s for certain – I never expected to hear an analogy between women and hamburgers in a Shakespeare lecture, but I definitely won’t forget it. Lecturers take note.

On the way out of the auditorium I hear one man say to his wife, ‘Well I thought I was going to hate that, but he’s great! Let’s buy the book.’ Success.

But, back to the quest. After a complimentary wee dram of Highland Park (it was free, how could I decline?), it was time for Classic Chills, with Martin Jarvis, Andrew Lycett and Nicholas Royle. As with the Fantastic Fictions event earlier, the panel read and discussed some of their favourite Victorian ghost stories, by authors such as Algernon Blackwood, MR James, Wilkie Collins and Arthur Conan Doyle.

More ghosts this time, but there was still that eerie feeling that the most terrifying stories are those in which something under the surface of everyday life slowly reveals itself.

I left the event suitably chilled and, sadly, it was time to leave the festival. As I made my way back to the station in darkness, I considered the events of the day, and the thing that impresses me most about Cheltenham Festival, more so than other festivals I’ve been to, is that it is a truly individual experience.

The theme, Dreams and Nightmares, is a broad one and, with such a huge range of events taking place, you really have the scope to follow your own path through the festival. I chose a haunted path, but which path will you choose?


The Cheltenham Literature Festival 2010 continues until 17th October, and there are events with many great writers, politicians, comedians and historians still to come. Find out more at www.cheltenhamfestivals.com

Thursday, 23 September 2010