Surrey Poetry Festival

Surrey Poetry Festival year 8 V2

 

Surrey Poetry Festival

June 2nd 2018
11.00 am -5.00 pm

G Live, Guildford, London Road, GU1 2AA

Now in its eighth year, the annual Surrey University Poetry festival is curated by this year’s Poet in Residence James Davies. A day long wonder blast of innovative poetry from the following takes place in Guildford, a stone’s throw away from London. Featuring rare readings by American legends Tina Darragh and P. Inman.

Tickets a snip at £5 available from G Live or on the door.

Programme for Poetry Festival

In the Foyer

11 (until 1.30): Peter Jaeger durational performance

All below in Comedy Room

11.10: Introduction to festival

11.20-12.00: Surrey students & Scott Thurston

12.10-12.50: Rob Holloway & Rebecca Cremin

1.40-2.20: Sharon Kivland/Clémentine Bedos & Tina Darragh

2.30-3.10: Lila Matsumoto & P. Inman

3.30-4.10: Amy Cutler & Philip Terry

4.20-5.00: Emma Cocker & Emma Bennett

from 7 in Glass Room

Tom Jenks performs in the evening soiree – exact time TBA

 

Clémentine Bedos is a multidisciplinary artist whose recent shows include a solo exhibition at the Constance Howard Gallery, London ‘Contagious Hystories’. Currently exploring themes of identity, binaries and the Other. https://www.clementinebedos.com/

Emma Bennett’s recent performances include durational piano pieces, an exploration of pining for soft things, and interpreting the words of birdsong. https://emmabennettperformance.wordpress.com/

Emma Cocker is a writer-artist whose work explores the slippage between writing on page, to performance in time, between still and moving image, between individual and collective action. http://not-yet-there.blogspot.co.uk/
Rebecca Cremin draws on traditions of live art, Fluxus, performance writing and site-specific work using language as an object to expose, to investigate, to locate. http://www.veerbooks.com/Rebecca-Cremin-LAY-D
Amy Cutler is a multi-disciplinary practitioner with a special interest in geohumanities – the engagement between geography and arts/humanities. https://amycutler.net/

Tina Darragh is one of the original members of the Language group of poets. Her work explores class, race and ecology. https://en.wikipedia.org/wiki/Tina_Darragh

Rob Holloway is currently exploring sonnets and prose poems, and has been a DJ on Resonance FM. https://vimeo.com/93835233

P. Inman is associated with language and minimalist poetry. His work has been described as ‘thick with meanings that never quite complete themselves; full of social ironies and a sly and biting humor’ http://writing.upenn.edu/epc/authors/inman/

Peter Jaeger will perform a durational version of his latest book Midamble, on the lawn at G Live. The book concerns his recently completed walk on the Camino de Santiago de Compostela. https://www.youtube.com/watch?v=jG1EUZusDTY

Sharon Kivland is an artist who has recently been called a poet, five times, to her surprise. Her work considers what is put at stake by art, poliics, and psychoanalysis.  http://www.sharonkivland.com/

Lila Matsumoto’s poetry explores dailyness through allegory and literalness. http://www.shearsman.com/browse-poetry-books-by-author-Lila-Matsumoto

Tom Jenks is often verbivocovisual and always hilarious. https://www.zshboo.org/

Philip Terry uses Oulipian methods and translation to examine the crimes of bureaucracy and management. http://www.carcanet.co.uk/cgi-bin/indexer?product=9781847772206

Scott Thurston’s current work responds to ongoing encounters with various dance and movement practices including Five Rhythms, Movement Medicine and Open Floor work. http://writing.upenn.edu/pennsound/x/Thurston.php

Students from The University of Surrey have been exploring a range of poetic strategies during the workshop series Making Things Happen including the use of diaries, minimalism, Oulipo and collaboration.

 

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My Europe Anthology Launch – Review

MY EUROPE ANTHOLOGY BOOK LAUNCH HOSTED BY CONTEMPORARY SMALL PRESS AT THE UNIVERSITY OF WESTMINSTER ON THURSDAY 8TH MARCH 2018

Patricia Borlenghi, publisher at Patrician Press, gave a short introduction about how the MY EUROPE anthology came into being. She is a passionate European and wanted to publish a collection on what Europe, the EU and Brexit meant to poets, writers, politicians and lawyers she was able to contact to contribute to the anthology.

Andrew Graham, director of Europaeum, an educational charity, to which Patrician Press will be donating from proceeds of book sales, gave a short talk about the charity.

The contributors to the anthology who then read were as follows:

Suzy Adderley reading her Neither Black nor White, an analysis of the complexities of the Brexit situation.

Wersha Bharadwa reading Living History. This is set in a re-enactment section of a museum and underlies the paradox that influential Indians had suffered being in the British Empire, but that the British felt that they were being colonised by Europe.

Catherine Coldstream read three poems: The Conjuring, the one she contributed to My Europe; one from our first anthology, Refugees and Peacekeepers; and a new one about her mother, who died recently.

There was a short interval, then George Szirtes who came to England after the Hungarian Revolution in 1956, read his poignant poem, Je Suis Européen.

He was followed by Giacinto Palmieri, a stand-up comedian with a PhD in bilingual comedy who read his Because I Could (or What the EU Did for Me).

Last but not least was Petra McQueen reading her story, Fall Out, about a couple whose relationship disintegrates when they find themselves on opposing sides of the Brexit debate.

Anna Johnson, the editor of the anthology was present as were Mark Brayley, Cecilia Hall, Ken Smith and Stephen Timms MP who all contributed to the anthology.

Many, many thanks to the Contemporary Small Press for hosting the event, especially Leigh, Georgina and Sally.

Patricia Borlenghi.

Images by Georgina Colby and Sally-Shakti Willow.

Click here to order the My Europe Anthology from Patrician Press.

Autonomous Voices

An interview with poet/activist, Kathy D’Arcy, editor of Autonomy, a women-led anthology on taking back the body, published by New Binary Press (March 20th). The collection includes writing by Nuala Ni Dhomhnaill and Sinead Gleeson, amongst many others, and makes a literary contribution to raising awareness in the campaign to Repeal the 8th Amendment. Profits from the sale of the book go towards funding those involved in reproductive healthcare for women, including safe, legal abortion.

Editor Kathy D’Arcy originally trained as a medical doctor. She is completing a Creative Writing PhD at University College Cork, where she teaches with the Women’s Studies and Creative Writing Departments.

Fiona O’Connor is a writer and Visiting Lecturer at University of Westminster. Her one act play, she had a ticket in mind, has its London launch at Etcetera Theatre, Camden, April 5th – 7th. Excerpts from the play are included in Autonomy.

 

 

Fiona O’Connor: Kathy, can you speak about the origins of this project?

Kathy D’Arcy: I wanted to do something unusual and creative to raise funds for the campaign. And because I love reading creative writing, and because I think stories have a lot more power to engage people than academic work, or even sometimes facts, or the kind of angry tones that can happen in a debate like this, I wanted to gather a collection of writings exploring what it means to have bodily autonomy. I wanted to show how this is a complex concept, and so through all these stories and all of these experiences we can reach an understanding of the importance of this idea.

FO’C: How did you go about gathering these narratives?

KD’A: This had to be a collaborative project. I believe very strongly in activist collaboration. And particularly because this is a people-powered campaign – this fight is people powered, people on the ground, their experiences, their stories. It’s all about collaboration. So all I did really was put the word out – I just kept tweeting about it – making a call for stories, wanting anyone who wanted to, to get in touch – they didn’t have to be established writers or experts or anything like that. The book now is exactly what I wanted: it’s a very diverse collection of perspectives with many different genres, from memoir to poetry, to academic writing, to green plays, dramatic scripts, and people from all different levels and kinds of experience. Some are established writers and some are just beginning to write, some are bloggers, some people have never written creatively before and some people are well-established academics. So it’s a huge range. The launch too is a collaborative effort, taken over by contributors, and going really well throughout the country.

FO’C: It strikes me that this is literature moving forward in a new way. Do you feel the advance of the indie publishing industry, powered by technological developments, contributed to this people-powered initiative?

KD’A: I think we are very lucky to have so many new dynamic small presses. And I’m particularly lucky that we have New Binary Press here in Cork – only a few years old and run by James O’Sullivan, a lecturer in Digital Humanities at University College, Cork. James feels very strongly about opening out the range of publications available. He publishes very interesting, challenging books. And books like mine that I would never have been able to pitch to any kind of mainstream or commercial publisher, where the focus is going to be on profit. The importance of small literary presses like this can’t be overestimated in getting a more diverse voice out there. When we only have lots of large, commercially driven presses the voice gets very homogenous and monolithic. And so many perspectives and stories get left behind, which is so bad for literature, and culture. So it was fantastic that New Binary Press said yes, and is behind this project, willing to publish this book and to be part of the campaign.

FO’C: The Autonomy project seems to have been accomplished at a fast pace – from idea to the book in hand – just a few months. Is that something also more available to the small press industry? That they can get in behind an initiative like this and then produce something, which is so packed, almost instantaneously, as this seems to have been, to create an intervention in a political campaign?

KD’A: Well, I know from friends who work in some of the larger presses that things tend to be planned for years in advance. There is much less scope for spontaneity. New Binary Press moves from project to project, across disciplines and sectionalities. I think we have in Ireland a history of vibrant small presses that will explore issues larger presses wouldn’t touch. Controversial issues around power and class – and gender and equality. I think there’s often something subversive about smaller presses. And that’s so important.

FO’C: Then there’s also the role of this publication, not only in feeding into the debate, the discourse on feminism, women’s bodily autonomy, but also actually being part of the effort to raise funds, as well as awareness, something novel perhaps in relation to small, literary presses?

KD’A : Well, I think it’s something I’m seeing happen more and more – I’m thinking of work like Terry O’Brien’s anthology, Look at the Stars, a collection of work by contemporary writers about homelessness. That collection raised over £20,000 for the Simon Community charity working with rough sleepers in Ireland. For me it’s a no brainer – specifically on these kinds of issues, which people feel passionate about – they want to read stories and be involved in thinking these things through. And if they can do that, and contribute to the cause at the same time, and contribute to keeping small presses alive, which is after all, contributing to a richer literature for us all, I feel it’s one of the most useful things you can do with regard to publishing, because of the social value of publishing. So yes, contemporary literature can be a vital force for change.

The London launch of Autonomy takes place April 7th at Etcetera Theatre, Camden following performance of she had a ticket in mind.

Click here to pre-order Autonomy from New Binary Press.

Fine Writing

On Monday 11th December 2017, short fiction writer Diane Williams visited the University of Westminster to give a reading and to talk about her writing processes in conversation with novelist Toby Litt.  The evening was introduced by Leigh Wilson from the University of Westminster’s Institute of Modern and Contemporary Culture.  Diane Williams then read from selected collections of her fiction, including Fine, Fine, Fine, Fine, Fine, published in the UK in 2016 by CB editions.

Diane Williams reading from Fine, Fine, Fine, Fine, Fine
Diane Williams reading from Fine, Fine, Fine, Fine, Fine, with Toby Litt. University of Westminster, 11 December 2017

In the ensuing conversation, Williams spoke candidly about her writing and her writing processes, in response to Litt’s insightful comments and questions.  Williams’ short stories are minuscule fragments of strangely unsettling and wittily observed realism, always with an uncanny and unnerving twist that leaves them open and on the verge of beginning anew just at the point at which they ought to offer the closure of an ending.  Her short form fictions range from a few sentences to two or three pages, and their brevity is part of their crystalline form, giving them the precision and density of poetry.   On this ultra-short-form, Williams remarks that, ‘I work to my skills … Six pages feels like a saga to me,’ insisting that her writing is about ‘writing what you can, writing “my way” rather than anybody else’s way… not trying to fit a particular literary genre’.  This ensures, she says, that your writing is your own, its distinctive rather than imitative.

‘Writing to fracture what I knew, to open up new perspectives.’

Part of what makes Williams’ short fictions so fragmentary and unsettling, however, might be her sense that she is ‘writing to fracture what I knew, to open up new perspectives.’  For Williams ‘[my] stories issue from a sense of pain or fright or bewilderment, of not feeling like I belonged in my own house’.  It is that sense of the uncanny that carries over into the bewildering realism of her works.  Toby Litt commented on how that is implemented formally in Williams’ writing, saying: ‘Diane Williams’ sentences are bendy: they don’t go where you expect them to’.  At the level of the sentence, Williams admits that, ‘So much of my writing is reorganising the connections between sentences. … To keep a lively pace, I don’t want to get bored’.  The emphasis here is on re-writing, the vital importance of redrafting, restructuring and reshaping the words down to the finest detail of the connections between sentences to maintain pace, interest and innovation.  To continually shift expectations and ‘fracture what [we] knew’.

As a final thought, Williams added: ‘My theory is that one ought to be able to say anything about anything’ in literature. ‘I have to pretend to be bold’.  Diane Williams demonstrates this theory again and again in her fiction, embodying a pulsing, fleshy eroticism of both form and content in her intense rhythms and choice of subjects.  In addition to Fine, Fine, Fine, Fine, Fine, Williams read from her 1992 collection Some Sexual Success Stories, which she has been editing for her forthcoming collected works.  If you’re not already familiar with Williams’ writing, now is a great time to get to know her through her books.

Thanks to Diane Williams, Toby Litt, Charles Boyle, and everyone who came to this illuminating event at the University of Westminster.

Diane Williams has been publishing her wholly distinctive short fiction in the US for the past quarter of a century. She is the author of eight books, including a collection of her selected stories, and is the founder and editor of the literary annual NOON. Her most recent book, Fine, Fine, Fine, Fine, Fine was published by CB editions in 2016 and is the first UK publication of her new book of stories.

Toby Litt is the author of five books of short stories and ten novels. His new novel, Notes for a Young Gentleman, will be published by Seagull Press in December. Toby’s most recent book is Mutants: Selected Essays, also published by Seagull. Toby teaches creative writing at Birkbeck College. He blogs about writing at www.tobylitt.com.

Diane Williams Reading and In Conversation with Toby Litt

Diane Williams, author of Fine, Fine, Fine, Fine, Fine from CB editions will be reading and in conversation with Toby Litt at the University of Westminster on Monday 11th December, 6.30-8.30pm.

Tickets are FREE but registration is essential.  Click here for more details: https://www.eventbrite.com/e/diane-williams-reading-and-in-conversation-with-toby-litt-tickets-39826440957

Diane Williams Flier 2

 

Women, Writing and Freedom

“A word after a word after a word is power.” – Margaret Atwood

This poignant and all too necessary event was hosted by Linen Press and the Contemporary Small Press on Thursday 19th October at the University of Westminster’s Regent Street Campus. Celebrating women’s writing and the achievements of the press and its writers, the event also delved into the complex struggles and injustices facing women and their writing in the current publishing climate.

Lynn Michell, the founder and director of Linen Press, welcomed us all and began the evening by sharing some of the home truths and hard facts about women writers in the publishing industry. She asked: “How do we get books into the big stores without paying them to sell the books?” Shedding light on the difficulties of gaining recognition in mainstream bookstores, when the fees for production are inordinately high, meaning that authors rarely see a profit from their labour of love. Male writers often take home book prizes and gain greater recognition for their work than both women and minority writers; therefore, publishers often do not want to take the ‘risks’ attached to publishing female writers and will not consider their work. Michell mapped out the lay of the publishing land for women, and the reality of how disparate the landscape is between female and male authors truly hit home – there is still so much work to be done in order to enable women to thrive in the publishing industry.

The keynote speaker, Maureen Freely, a writer, translator and senior lecturer at the University of Warwick, spoke of the often-neglected area of publishing translated works in the UK, particularly those written by women, as the works of male writers are more frequently translated. Freely is currently the president of English PEN, an organisation that campaigns for at-risk writers around the world whose rights to freedom of expression have been censored. English PEN’s inspirational work fights to remove inequalities in the literary world, facilitates the translation of foreign works into English and promotes such work in the UK, introducing UK readers to impeccable foreign works. Commercial censorship was highlighted as a huge and ongoing issue that shapes what writers say and, in turn, what readers are able to read. Freely gave the example of when a writer known for writing chick-lit was unable to publish work with themes around depression or anything “too dark”. Freedom of expression and writing are indivisible, which led Freely to help at-risk writers around the world, with a focus on women in Turkey who are currently either being imprisoned for their writing or are unable to work due to the risks of hiring them as writers. Their freedom to express themselves has been greatly impinged, costing them their writing, passion and voices as feminist activists, journalists and writers, and equally their own personal freedom to remain a part of their society. Freely has regularly contributed to the Observer, the Guardian and the Independent, and is hugely invested in writing on feminism and Turkish culture, where her written work complements her activist work by helping to assist these women writers in the process of gaining asylum in the UK and joining a community of writers, so that they can continue to speak out against the inequality and injustices they are facing.

Freely also shared with us the exciting news of the inaugural Warwick Prize for Women in Translation, which will be awarded on 15th November 2017, and aims to provide an opportunity for greater recognition of the invaluable work produced by women. The prize was set up for works of fiction, poetry or non-fiction by women, which have been translated into English by a female or male translator, published by a UK or Irish publisher, and translated and published between April 1st, 2016 and March 31st, 2017.

Women Writing Freedom
Hema Macherla, Avril Joy, Lynn Michell, Maureen Freely.  Photograph courtesy of Linen Press

Avril Joy, an awarding-winning short story writer and novelist, took us back to her years of teaching and management at a women’s prison, where she learnt the power of imagination, both for these women and for herself, when the writer-in-residence inspired her and prompted her own journey as a writer. Joy initially outlined the context of working at the prison – men would rarely visit the women and, therefore, letter writing and forms of writing in general quickly became a necessary and sought-after skill. More importantly, Joy found that these women were desperate to learn and hungry to thrive in ways that they had not had the opportunity nor freedom to before. It was strange to think that prison would in many ways provide a previously unknown freedom for these women, but within Joy’s cupboard-sized classroom, she was met with a desire to gain more from life, and writing became a way to explore this. Joy remarked that she often heard the women say that “they can lock me up, but they can’t lock up my mind” – a pertinent statement that may resonate with many women who may feel oppressed, their voices unheard and their freedom censored by a society that still retains double standards. Joy gave these women the permission to write their own stories, to voice their own lives and find power in imagination, a power they had so often been unable to access. Whilst many may have been victims in their lives, through the ability to voice themselves creatively, they started to recognise themselves as survivors, changing their relationships to themselves. Ultimately, Joy urged us, like those women in prison, to use whatever voice we have to tell our stories, and to survive.

Hema Macherla, an Indian writer whose works have been translated into English, poignantly articulated her own journey with writing, as well as the injustices faced by women in India when they do not conform to the male-instigated and deep-rooted traditions of Indian culture. It is shocking to realise how much is still needed in order to gain equality and justice for women in India, when men are still ‘justified’ in beating their wives, and the coercion into and practice of Sati (a funeral custom in which a wife immolates herself after the death of her husband) was only banned in its entirety in 1988 by the Sati Prevention Act. Women are struggling to have their voices heard and their freedom granted, since these brutal experiences often go undocumented or unspoken, as they are simply part of the way things are in India, and so Macherla bravely writes of these women within her novels. In her writing, she creatively expresses the cruel and shocking reality of a culture that still subordinates women and justifies the brutal actions against them through a hierarchical system of valuing men, their position and their rules, above the rights of women.

Michell closed this insightful and thought-provoking event by congratulating and thanking her writers and interns who make the work at Linen Press such a pleasure and inspiration. The audience then had the wonderful opportunity to view the trailer for her newly published novel, The Red Beach Hut, which is available online to purchase. It is a beautiful and sensitive portrayal of two lost souls who find themselves pacing along a beach together in a moment of their lives in which they both need a friend, someone who will be out-of-sync with them. To finish the event, we celebrated ten years of Linen Press over glasses of wine and had the opportunity to continue the thoughtful, powerful and much needed discussions with the event’s speakers.

Review by Isabelle Coy-Dibley

Isabelle Coy-Dibley is a PhD student at the University of Westminster, where her research predominantly considers inscriptions of the female body within women’s experimental writing.

Women Writing Freedom Books
Women, Writing and Freedom.  Photograph courtesy of Linen Press

Diisonance Launch

On Friday 8 September, a curious group of people met at The Gallery Café in Bethnall Greenfor the launch of Diisonance – a book of protest texts, art and collaborative experimental poetry. A solitary microphone stood among café tables in front of a curtain of lights. Paul Hawkins welcomed us, an intimate rabble, before swiftly tearing pages from his latest work Place Waste Dissent: ‘I’m not precious about my work,’ he said.
Place Waste Dissent – published by Influx Press in 2015 – utilises zine culture using ‘scuzzy xeroxed black and white images, cut and stark, pasted typewriter text, drawings and signs.’ The book commemorates a love and loss of Claremont Road, where government plans to construct the M11 Link road tagged every property for demolition and destroyed a flourishing community. Protestors formed a cooperative resistance, exercising their rights and causing dissonance between the community and the status quo. Place Waste Dissent ‘takes the aesthetics of poetry as seriously as the occupation and protests that inspired its writing’ by balancing narratives of occupying protestors
and original residents (notably Dolly Watson who had lived on Claremont Road since 1901) giving voice to those who otherwise were not given the opportunity to be heard.
In its turn, Hawkins explained, Diisonance responds directly to the social issues in Place Waste Dissent. Diisonance, he says, “is a culmination of how it’s affected us, our lives and the psychology we’ve been left with, as a detritus from the whole thing.” Voices come together to fight against social crises, such as housing that persists perilously today: with inevitable tragedies like Grenfell Tower, for example, and the looming demolition of Robin Hood Gardens.

Hawkins handed out the loose pages of his book, explaining that we were about to do something that has never happened before, and can never happen again. The room, rising to its feet, read aloud from the discarded pages of his book – glossy black and white fragments of experimental poetry, collage and text. The room filled with the sound of dissonant voices. It didn’t matter who spoke, sung, shouted or whispered: the text rose from the page into an electric air. Words dissolved in the noise of our many voices, our many fragments. Hawkins moved through the crowded space, the crowded noise, recording the moment that couldn’t happen again.

diisonance
To launch the book, a collaboration of writers read their work – Paul Hawkins, Tony White, Sarer Scotthorne, Gary Budden, Roy McFarlane – with an exhibition by visual artist Steve Ryan. Tony White read from his novel, Charlieunclenorfolktango, written twenty years ago and published by Codex, a defunct small press, in 1999. “This is probably not suitable for children,” White said, before galloping into a dialectic rant on the fifty ways a “mad fuckin’ killer” could break into your house and murder you: “so that’s why there’s got to be coppers” so you can “sleep easy.” Spitefully humorous,
the work accounts for ways the police protect and serve but enforce a system of inequality and injustice. Blue lights flickered across the walls of the café as a police car passed along Old Ford Road.
Hawkins gave a brief reading of his poetry. We learned of the police brutality that occurred during the events at Claremont Road, paying homage to lives and communities deemed worthless when the government approved demolitions for construction of the M11 Link Road, built to link the North Circular Road to the A14, northwest of Cambridge.
Sarer Scotthorne – poet, writer, staunch and radical feminist – read a collection of corresponding letters sent to Miggy Angel. She wrote to Miggy about the dissonance of sound and the human body. Letters, a nostalgic medium, collaborate separate minds that meet on the page. Scotthorne discusses divisions of the human body, reciting her letters as poetry: something private becomes public. The work picks and plucks at the idea of sound and dissonance between things through melodious poetic imagery: ‘the music, the world, all here at once.’ Scotthorne expresses her body oppressed, a body othered; the marginal being that harnesses her muteness to be heard: ‘can you read my silence?’ She incorporates binary code, “0 0 0 1 1 0 0 0 0 1,” shifting the atmosphere to a strange robotic default. Sound is intrinsically linked to the ‘mouth-sound,’ the ‘beetle-voice’ of female silencing. The female voice is other, alien and isolated but also continuously speaks up from the hushed prisms of the body – Scotthorne presents her silence, the silence of her sex, as a dissonance of self, a fracture of internal harmonies, that begins to use realms of silence in order to speak from the ‘silent maternal body.’ Try to imagine language in reverse: if we can speak in silence, phallogocentrism loses its dominance.
Gary Budden read from his new story collection The Wrecking Days which explores themes of nature and narcotics, writing from the margins of society ‘where reality thinned a little.’ His piece suggested that the artificial and the natural are not opposing at all, instead they are transcendent. Budden writes about youthful and reckless days spent on the London marshes. In such places of in-between, on the fringes of London, Budden writes about notions of being and belonging: the idea that ‘memory is a marsh’ as the world diffuses in mist and nostalgia. The marshes act as a psychogeographical jettison between two places, between city and country, between artifice and nature. Such spaces, as Budden presents in his collection, allowed them to explore their minds, without ‘shutting parts of yourself down.’ It was ‘a way of seeing the world for what it really is,’ to find their own version of what it means to be free: to be and belong on their own terms. But Budden acknowledged, through his tales of the wrecking days, that being able to see the world as it is can also pull you apart.
Roy McFarlane, a poet and playwright, rounded up the evening with two resonant readings from his recent works. The first reading, ‘Tebbit Test,’ reflected on the comment made by British Conservative politician Norman Tebbit, who suggested that immigrants who continued to support their native countries, rather than England, at the sport of cricket, are not significantly integrated into the United Kingdom. Such racial inequity led McFarlane to write about racism and politics in relation to sport. McFarlane reminds us of the cutting dissonance of racial injustice that is active everywhere. His second reading tempered with volumes of sound. The world to McFarlane, as it is now, feels ‘turned
up’ to the point of ‘cut, break, fracture, dissonance.’ As an alternative, McFarlane proposes, the volume of the times should be tuned down – ‘a discordant sound’ falling into a weightless void of silence. He conjured the image of water dripping into ‘a bottomless well of silence.’ McFarlane responds to our discordant times with a call for
silence; a call to listen for the ‘echo of love’ that falls, not like a drip but like a stone, into the water. These moments are lost in the cacophony of noise and noisy images. Yet, McFarlane suggests, these quiet moments have healing properties. They are ripples of time capable of changing social dimensions, from something static to something more fluid.

Overall, the Diisonance book launch explored spaces between binary constructs. Tony White mimicked the discourse between ‘us and them’ that resonated with Paul Hawkins aching reminiscence of creative communities in London, such as Claremont Road; sites where state ideology betrays human rights. Sarer Scotthorne dislocated ‘male and female’ and spoke about how silence is related to structures of gender. She picked at the social structures of male speech and female silence by tuning into feminine silence – and performing it. Gary Budden dislocated the ‘here and there’ of places of being and belonging, where the London marshes act as a safe space for experimentations
of selfhood. Finally, Roy McFarlane expressed the racial disconnect between ‘black and white’ as dissonance, as well as the implication of sound: a ‘lack of harmony between things.’

The Diisonance book launch was an evening of protest and resistance against oppressive forces that attempt to control our lives, that are an especially prominent part of life in the city. The writers acknowledge the present state of things – political, social, economic – expressed through their experiences in the past. Throughout their lives, they have seen things at their best, their worst and everything in between. Diisonance is a project among many that attempts to galvanise the hearts and minds of the people and restore the magnetic flow of life in London.

Click here to order Diisonance from Hesterglock Press.

Review by Kirsty Watling

Kirsty Watling is a writer, bookseller and recent Literature graduate specialising in twentieth century literature, visual culture and critical theory.