Fully Booked!

I spent a chunk of today preparing for the New Voices event in Glasgow on Thursday. It's shaping up to be an interesting event from both sides of the podium, I think.

I see from the Scottish Poetry Library's events pages that it's fully booked! Not that I can remember quite how many people that means--it is a workshop so it won't be an enormous number--but it's kindae exciting/scary/flattering.

The Lithgae Gig

Friday's reading went really well. It was held in the lounge of Bryerton House, aka St John's Christian Centre, in Linlithgow High Street. The lounge set-up lent a cosy, intimate atmosphere to the evening, but it was bittie cramped for some of the 20 or so folk who came!

Guitarist Phil Melstrom kicked us off with three tunes, including those that are probably my favourites from Miles Davis's classic Kind of Blue and Herbie Hancock's Maiden Voyage--"All Blues" and "Dolphin Dance". He's a fine musician, as at home with bluesy and funky, spiky playing as with the smoother, more fluid side of jazz. Phil also played between each of the poetry sets and at the end. In fact, he even improvised an accompaniment to one of Douglas Briton's pieces. Unfortunately, the poem finished just as Phil (and, I suspect, the audience) was getting into it.

Rob A Mackenzie braved the opening spot with a set of new poems, a couple of older poems and pieces from his HappenStance pamphlet, The Clown of Natural Sorrow. I particularly enjoyed the new work he read, including his opening poem, a strong piece bit of surrealism-at-home, in which the Apocalypse comes the Barnton roundabout. Rob is a good reader, and I'm very pleased to see he's on the bill for StAnza 2007. You can read his report of the gig here.

Douglas Briton went second. His is a very different approach to either Rob's or mine, much more performance poetry or light verse in the way that Wendy Cope writes light verse: sometimes witty and amusing, sometimes addressing difficult subjects head on, but always employing a disarmingly straightforward style. I was really impressed with how smoothly Douglas read, as it was the first time he'd performed anything more than individual pieces in public.

I was the last poet on, with a mixture of new work and poems from Tonguefire. It was a good audience to read to. I knew most of the people there to varying degrees, but there were a couple of unfamiliar faces in the gathering. Rumour is that the experiment might be repeated again in future, possibly on the Linlithgow Folk Festival.

"Pure Fire in the Hands"

There was a rare opportunity to hear American poet Sharon Olds read for the Poetry Association of Scotland on Wednseday night at the Scottish Poetry Library, so I took it. In the first half of the evening, she read mostly from her Selected Poems. After the interval, the usual PAS order was reversed, with questions and discussion preceeding Olds reading entirely from unpublished work.

In person, Sharon Olds has a quietly forceful presence, not at odds with but in counterpoint to the rawness and viscerality that characterises her work. The strengths of that work lie in her usually straightforward, almost prosaic language, offset by some striking images and the structural subtleties and repetitions within the open form she uses. The weakness of her style is that it can end up sounding or reading flat and prosaic but, in her best work, she cuts a thrilling figure skating on the line between poetry and prose. And it was a bold move to write in such a plain style with poets such as John Ashberry in the ascendency.

The themes of Sharon Olds's poetry are sex, the body, childbirth and the family, leading her to be classified by some as a confessional poet. She rejects the term, preferring instead to describe herself as "an apparently personal poet", and was eloquent on the tension between loyalty (or silence) and betrayal (or song) that anyone who writes "apparently personal poetry" must necessarily work in. For all the difficult experiences and emotions explored in many of her poems, she came across as having a profound respect for the subjects of such poems.

I must confess I hadn't really read her before Wednesday, although I'd come across some of her work. I bought the Selected and am making my way through it on the train to and from the day job. She's a powerful writer, and I'm glad to have had the opportunity to hear her read.

Wilfred Owen Week

Although it irritates me somewhat that the BBC uses the entertainment section of its news website to trail some of its programmes, pretending that the reports are real news, I was interested to see this report of Radio 3's plans for a Wilfred Owen week following rememberance day. I vividly remember reading some of his war poetry at school--"Dulce Et Decorum Est" most vividly--and hearing Britten's War Requiem, which uses some of Owen's work, in Edinburgh's Usher Hall when I was a first year student at university. Should be worth while tuning in to.

Next Reading on Friday!

My next reading is the Celebrate Linlithgow! one on Friday this week (27 October). There has been a slight change to the programme, as the line-up will now consist of me, Douglas Briton and my fellow HappenStance* poet Rob A Mackenzie, all bookended by jazz from Phil Melstrom.

The event kicks off at 8pm in Bryerton House on Linlithgow High Street. There will be soft drinks and what are generally known as "nibbles". Tickets are free and can be reserved by calling the St John's church office on 01506 517031.

*Does that make us both Chancers?

Apologies for Silence

Apologies for the length of time it has been since I added anything to the blog. I blame the cumulative tiredness I was suffering from before our week near Criccieth on the Lleyn peninusula in North Wales. It's RS Thomas country that is, but my main reading matter for the week was The Bloodaxe Book of Modern Welsh Poetry, a fantastic anthology of translations from 20th century Welsh-language poets. I can recommend it highly.

Vital Sparks: Radio 3

What would life be without it? Radio 3 is the cut and polished diamond of radio in Britain. I love it for the breadth of its music programming. I love it for the fact it presents whole works by default, unlike the bargain basement Classic FM. I love it for the regular new drama, even if I don't always hear it. I love it for the intelligence of its general arts and culture review, Night Waves--head and shoulders above Radio 4's Front Row. I love it for the verve and invention of its new-writing programme The Verb (you must listen to tonight's edition online for Andrei Kurkov's short story). And, as this joyously inventive, hilarous, informative feature from the Between the Ears slot shows, it's been all this and more for 60 years.

Happy birthday, Radio 3!

Essential Reading

island magazine, published by Julie Johnstone's Essence Press is a beautifully produced, hand-bound biannual publication concentrating on poetry concerned with nature. I don't like to use the term "nature poetry" lest it conveys something twee, which island is not. Julie describes it as "new writing inspired by nature and exploring our place within the natural world".

Other distinguishing features of island are the space given to the poems on the page and the work by contributing visual artists. Taken together, the poetry, layout and artwork make for a unique periodical with distinctive, unshowy aesthetic.

I've just had work published in the new issue, sight-lines, which is devoted to monostiches and concentrates on the horizon and shore line. My piece is a sequence of monostiches entitled "Sketchbook of a Trip to the Hebrides". The other poets are Jane Hirshfield, Cralan Kelder, Bob Arnold, Robin Fulton, Matt Martin and Jonathan Greene; the issue's artwork is by Pat Law.

New Voices: Dumfries: Correction

The New Voices event in Dumfries I'm appearing at is not at Lochthorn Library, but the University of Glasgow Crichton Campus, which is to the south of Dumfries. Details are therefore as follows:

New Voices
Andrew Philip
with Helena Nelson of Happenstance Press

How do you set about building your profile as a new poet – getting your work read, published, heard? Poet and publisher Helena Nelson will show you the ropes and help you develop a ‘writer’s CV’.

Andrew Philip’s pamphlet Tonguefire was published by Happenstance last year, and he’s one of our New Voices for 2006. The workshop is followed by a short reading of Andrew’s work and first-hand discussion of how he got started.

Monday 13 November, 1.30pm-4pm, Free
University of Glasgow Crichton Campus, Dumfries
Advance booking essential – contact Andrew Forster on 01387 253383 or email andrew@dgaa.net

The New Season Kicks Off

No, I've not undergone a road-to-Pittodrie conversion to the Church of Two Halves; the season I'm talking about is the Shore Poets autumn programme, which got off to a superb start last night with Jackie Kay, Christine De Luca, Mandy Maxwell and music from the Linties.

Mandy Maxwell is a graduate of the creative writing programme at Glasgow Uni. Her sharp, tight writing is very much grounded and rooted in Glasgow and she's a good performer. I think last night was her first proper gig in Edinburgh, although she read at the Shore Poets open night back in April. I've no doubt more will be heard from her in future.

Christine De Luca needs no introduction to anyone familiar with Shore Poets. With Shetlandic and English at her disposal, she has a dinstinctive, lyrical voice. Christine read beautifully from her latest book, Parallel Worlds, and new work.

The last time I heard Jackie Kay was at the end of my first year at uni--that's 11 (gulp!) years ago. She's a fantastic reader: warm, engaging, entertaining and endearing. For some reason--I suppose it must be lack of acquaintance with her recent work, to my shame--I was surprised at the amount of Scots in the work she read. Surprised, but delighted: it contributes to a rich and broad voice. Her set consisted of poems from Life Mask, new poems and one short story (cheat!). She read a couple of pieces that she described as children's poems; they lacked none of the sophistication and beauty of her adult work.

The Linties, of course, I have heard before and knew they'd be perfect for a Shore Poets evening, although I can take no credit for booking them for last night. They provided us with a mix of bawdy, bonnie and blythe songs in varying degrees of Scots and English, hugely entertaining and beautifully sung with great harmonies. Bands like the Linties show how much vigour and verve there is in traditional music in Scotland without the paraphernalia of popdom. Not that I'm at all averse to the mixing of traditional and other music forms either.

You can read the Linties' comments on the evening here at their blog. You can keep abreast of their gigs here.

I've also blogged a bit about the evening over at The Skraich.

New Voices: Reading in Glasgow and Dumfries

One of the most exciting things to have happened to me on the writing front this year was my being asked to do a couple of events with the Scottish Poetry Library under its New Voices banner. Details of both are below.

New Voices promotes poets who have published one collection so far. Usually, a New Voice will do one reading in Edinburgh and one elsewhere in Scotland. However, as the vast majority of the readings I've done have been in Edinburgh, both of mine will be outside the capital: namely, in Glasgow and Dumfries. I'm particularly excited about performing in Dumfries, as it'll be the furthest west I've gone to read so far. The Glasgow reading will be only my second appearance there.

The events will also be ununsual in that they'll be a combination of a workshop on building a profile from Helena Nelson, who published Tonguefire, and a reading from me. Here are the details, fresh from the Scottish Poetry Library events listings:

New Voices

Andrew Philip

with Helena Nelson of Happenstance Press

How do you set about building your profile as a new poet – getting your work read, published, heard? Poet and publisher Helena Nelson will show you the ropes and help you develop a ‘writer’s CV’.

Andrew Philip’s pamphlet Tonguefire was published by Happenstance last year, and he’s one of our New Voices for 2006. The workshop is followed by a short reading of Andrew’s work and first-hand discussion of how he got started.

Glasgow

Thursday 2 November, 6.30pm, Free

Level 5, Mitchell Library

Advance booking essential – call 0141 287 2999 to reserve a place

Dumfries

Monday 13 November, 1.30pm-4pm, Free

Lochthorn Library, Dumfries

Advance booking essential – contact Andrew Forster on 01387 253383 or email andrew@dgaa.net

This season's other New Voice is Cheryl Follon; previous participants include Jen Hadfield and Tim Turnbull.

Celebrate Linlithgow: Poetry and Jazz

My next reading will be at the Poetry and Jazz event on the Celebrate Linlithgow! arts festival. The reading is at 8pm on Friday 27 October in Bryerton House. Tickets are free and can be reserved by calling 01506 517031. The other main reader is Douglas Briton, who writes in a kind of Wendy Cope-ish vein. There will also be a semi-open set of other local readers.

The full festival programme is available here. There's quite a variety of stuff on, including a couple of other poetry events.

Linlithgow Book Festival

The inaugural Linlithgow Book Festival took place today. I managed to get along to three of the events: the opening talk, the poetry workshop and the closing reading.

In the first event, Lithgae resident John Fowler talked on the subject of his book Mr Hill's Big Picture, namely, David Octavius Hill and his huge painting of the the Disruption of 1843. The Disruption, a significant event in Scottish history, occurred when the evangelical party in the Church of Scotland walked out of the Kirk's annual general assembly and formed the Free Church of Scotland. Hill, a Free Kirk supporter, determined to paint the event. It was suggested to him that he could speed up his work by using photography--then a new process--to capture likenesses of the people involved instead of sketching them. This led to his collaboration with Robert Adamson and to their pioneering photographic work, which includes famous portraits of Newhaven fisherfolk, as well as landscapes, architectural pictures and city views, including photographs of Linlithgow.

I first heard of Hill's Disruption painting and his partnership with Adamson in "Camera Obscura", the long poem that closes Robin Robertson's first collection, A Painted Field. To hear more about them and see slides of the painting was an enlightening and absorbing experience. Fowler, in engaging style, drew us into details of the painting and the stories surrounding those depicted in it. It's not the greatest piece of potraiture, but it is fascinating. And, as the first painting to use photography--and possibly (though this theory is untested and unproven) elements of collage--in its composition, it has an interesting and significant place in art history. The book should be worth reading.

I didn't go to the session on the history of the UDA, but I kind of wished I had, as it was referred to several times in Bashabi Fraser's poetry workshop. She seemed to assume that everybody had been at that event, which was a bit of a fault, but the workshop was relaxed and productive. I got a draft of a decent poem out of it, and other participants produced promising stuff. The session was held in a wonderful Georgian room in Cross House, the halls of St Michael's Parish Church. The carpet and curtains were criminal, but the plasterwork on the ceiling was really quite fine.

Unfortunately, the workshop ran simultaneously to a talk by Allan Massie on history and historical fiction, which I'm told was very good. Apparently, he was discussing the impossibility of getting at the truth about history and the falsification of history by historical fiction. I also missed the ballad singing that followed in the bar, but I got to the final event of the day: a reading by Iain Banks (to be confused with Iain M Banks, who is the same writer wearing a sci-fi hat). He read from his next mainstream literary novel, The Steep Approach to Garbadale, which will be published in March. I'd never heard him read before and am not, I must confess, deeply familiar with his work. He's a very lively reader and speaker, gesticulating with abandon and rollocking about his seat, and talks at such a rate and ramble when answering questions that it's sometimes hard to follow what he's saying. However, it all made for a hugely entertaining event.

The organisers must deem the first Linlithgow Book Festival a success. Despite less than aggressive publicity, the audiences were of a respectible size. And that so close to the Edinburgh International Book Festival. I suspect that, with better advertising in and furth of the burgh, audience figures at subsequent festivals could grow significantly. May Linlithgow Book Festival go from strength to strength!

A to Z

I've just been added to the Poets' A to Z on the Scottish Poetry Library website. There's a short biographical note, a couple of links, a "books I love" feature and a poem--"Man With a Dove on his Head"--from Tonguefire. There's also a link to the SPL's holdings of my work. You can see my page here, but I'll add it to the links on the blog as well.

Scottish National Diction

The British Council Scotland website has some pages with new Scottish poetry. It's a good selection of poets, if a short one: John Burnside, Matthew Fitt, Ann Frater, Rody Gorman, Alan Jamieson and Jackie Kay. There are poems in Scots, English and Gaelic. Matthew Fitt's "Scottish National Diction" is a smashing poem with more than a hint of Eddie Morgan about it. There's a fantastic Gaelic response, "Errata", from Rody Gorman (the site calls it a translation, but it's not at all). Have a peek at Burnside in Shetlandic! Truly fanstastic, this trilingualism business.

(This is a translation of a post from The Skraich.)

The Skraich

I've decided to start a blog in Scots as well as this one. You can find it here.

Linlithgow: Festival Toun

I've just discovered that Linlithgow is about to give birth to a book festival. Over the three years I've lived here, I've often thought the town could easily house a small-scale literary festival. It already has a folk festival, and Celebrate Linlithgow!, a broader arts festival, is to take place for the first time this October. The inaugural book festival is a one-day series of events to take place a fortnight today. You can find the programme here. It's pretty good for such a fledgling event.

Des Canyons aux Étoiles

I must attend more live music. No matter how good a recording, it simply can't compare to hearing the resonances shimmer away into the rafters of the concert hall. And shimmer they did last night in the hands of the pianist Benjamin Kobler, the horn player William Purvis and the NJO Summer Academy, under Reinbert de Leeuw's baton.

Des Canyons ... is an epic work: 12 movements of Messiaen's inimitable colour, birdsong, space and rhythmic invention. Its programme is a double journey: while travelling through the deserts, canyons and birdlife of Utah, the listener also traverses a spiritual desert, via fear and awe, on into the life of the resurrected in the celestial city. I, for one, came away from the performance bathed in what felt like it must be the ecstasy of the saints in glory.

Perhaps nowhere in the work is Messiaen's compositional style more tuned to that ecstasy than in the eighth movement "The resurrected and the song of the star Aldebaran" (the brightest star in Taurus, apprently). Messiaen has the knack of transporting the mind to a position in which it seems to be surveying the whole of creation, which he does in this movement superbly. The strings and woodwinds create a cosmic sense of space into which the piano, percussion and individual winds float glistening strands of birdsong to paint the rapturous souls of the resurrected.

There is a lot of piano solo, not least because there are two birdsong movements for the pianist alone. That's one of the joys of the piece for me, and the piano playing was powerful. However, the only movement for solo horn, "Interstellar call", was the high point of the solo work. William Purvis conveyed its structure and emotion beautifully, and his use of the piano as a sounding board at certain points added electrifying resonances beyond those of the hall's acoustic and beyond those to be heard on the recording in my growing Messiaen collection.

Vital Sparks: Olivier Messiaen

Tomorrow evening, I'm off to an Edinburgh International Festival performance of Olivier Messiaen's enormous orchestral piece Des Canyons aux Étoiles, so it seems appropriate to inaugurate a projected series of occasional blog entries on the writers, musicians and artists who most invigorate me with a few words about Messiaen. Over the past few years, I've grown more and more interested in his music. I've yet to undertake any serious reading about him and his work, but his orchestral and piano writing affects me deeply.

Messiaen was a man of strong Christian faith and profound artistic originality. The combination has, apparently, puzzled other avant-garde French composers, but it is essential to the intellectual and emotional content of his works. He can hold the full richness and complexity of faith in a few notes. It never ceases to amaze me how a single Messiaen chord can express so much: the now and the not-yet of trusting God, the simultaneity of joy and sorrow in the soul's present adoration of Christ and its ache for the perfection of heaven. His suite for two pianos Visions de l'Amen is particularly full of examples of this, as is his orchestral work, Éclairs sur l'Au-delà.

The musical colour of Messiaen's work is breathtaking. He was a synaesthete, seeing sounds as colours, and used this as a basis for his musical composition. Birdsong was another strong element in much of his work. I often wonder how his work looked to him. It would never be possible for me to experience what he experienced, but the palete is wonderful and stimulating nonetheless. I've only ever heard his music on CD or on the radio; tomorrow will be my first experience of it in concert. I can hardly wait.

Verb, Pure Verb

I was fortunate enough to get a ticket to hear Seamus Heaney read at the Book Festival yesterday. Given that the tickets had sold out within hours of being released to us mere mortals, I had surrendered all hope of hearing him until a colleague of mine suggested that there might be returns. So I made for Charlotte Square first thing yesterday and joined the queue before the gates were opened.

Fortunately, there were returns, and I spent a good hour and three quarters in blissful anticipation of hearing Famous Seamus, browsing the bookshop and buying The Bloodaxe Book of Modern Welsh Poetry and Menna Elfyn's Cusan Dyn Dall/Blind Man's Kiss. I had had a ticket to hear her read with Ciaran Carson on Sunday but hadn't been able to make it, so was pleased to see the collection--not usual among bookshop wares in Scotland--was still on the shelves.

Heaney was as precise and as full of glowing phrases in person as in print. He read solely from his recent collection District and Circle. Although there are some fine poems in it, the book suffers a bit from covering much old ground. However, that retreading is a conscious action on Heaney's part. Perhaps it's a function of his age and standing. From the size of the audience and the book's reception, it seems he can happily afford to revisit old themes and approaches.

My main favourites from District and Circle--for instance, "A Shiver", "In Iowa"--weren't among the poems Heaney read. I couldn't help but feel that the best of those he chose to read were the translations/versions of Horace and Rilke, which are some of the best poems in the collection. (In the Q&A session, he said that he doesn't have any German, so I don't know how he did the Rilke unless that was undue modesty on his part.)

Heaney's most interesting comments in the Q&A session were in response to questions on the role of the poet in the responding to world events. Following Robert Pinsky, he said that the poet's responsibility is "to answer what is happening". He formulated the aesthetic problem as being "how to relate your givens to the times" and instanced several different poetic approaches to the problem, among them Brecht's ("hopelessly reading the world" according to his political ideology), Wilfred Owen's and Isaac Rosenberg's.

This, perhaps, is where the reworking of the old ground finds its artistic validation: Heaney's primary givens--his agricultural Derry background; its linguistic, religious and cultural riches--are applied to the age of the "war on terror" rather than to the Ireland of the Troubles. This is Heaney extending the utterly local nature of those givens beyond the Irish social and political context to a global one. I say "primary givens" because it strikes me that the entirety of European literature is a secondary given for Heaney. But, not to be too Eurocentric, one must acknowledge that there is a locality to those givens too, which means that his use of them in the collection is essentially the same.

Anyway, enough of the analysis for now. After the reading, I joined the sizeable queue of devotees processing to the signing tent for the grace of the master's signature ("Seamus has to leave this festival to go to a party, so one book each, please," schoolma'amed Ruth Wishart). There he was, seated behind a desk on a raised platform with the line snaking towards him, the grateful snatching a few words with him, but never so many that the ever-attentive staff would chide them and hurry them on. Nothing I could think to say didn't seem foolish or banal, so I simply handed him my District and Circle with a mumbled thankyou (I didn't think I was that awed!) and looked him in the eye. He returned the gaze and the book with a valedictory "Good man!" I shuffled off, thinking warmly of the title poem of District and Circle and its recognition, as Heaney put it in the reading, of one artist to another.