Tideland

I have squirrels living in the roof of my building. They freak my cat out, are very bold and appear to have began tapping on the wall behind my bed, inside the old boarded up fireplace. Either that or I’m living next door to a Fritzel. Or, as Joe suggested, the guy upstairs spends a lot of time cutting out deals. This has made me consider two things. Firstly I need to get out of bed. At the moment I am finalising my collection of poetry The Dead Queen of Bohemia, writing an epic long short story, a novel, doing all end of degree essays yadda yadda. I do this from my pit and although it doesn’t look like Emins lovely boudoir it nevertheless is tuning me into shit like squirrels in the walls. Say no more. This reminded me that I hadn’t watched Tideland for a while. I wrote a poem that was inspired by it, I love a lot of the cinematography and the idea of darkness in childhood and the brutality of reality combined with an absolute ability to disappear into imagination and magic. The protagonist, a kid called Jeliza Rose, incidentally shares the names I intend to use if I ever drop girls, possibly twins; apparently its in the family. Eliza (one of my middle names) and Rose (i just like it). So I have to do Tideland tonight. I can live harmoniously with strange tapping squirrels.

Only four weeks to go now and my degree is done. This summer I will finish The Panopticon. I will also read some stuff that I actually want to read or re-read, like Tesla’s Ghost by Darran Anderson or Cigarettes in Bed by Adelle Stripe, John Dorsey’s book, Joe Ridgwell’s Burrito Deluxe and Lost Elation again to name but a few. Incidentally – in writing people are always going on about not being ‘incestuous’ even though all scenes: just are! I am inspired by a lot of people and interested by a lot of writers work: who are not necessarily well-known (neither am I) why is it so bad to write about that or turn people onto great shit still languishing in relative obscurity? In music, which I did for ages, it was all good to find other music you liked that existed in a maelstrom of undergrounds .. an tell all the other musicians you knew about it. Writing is too self conscious about itself. Everyone seems to be trying to be clever or create a really cool persona and be taken seriously by not fawning. Well fawning is yawnworthy right enough but writers are not cool, we’re dull as fuck and are probably best avoided.

I am not a critic. I like what I like and if I don’t like it I’m not wasting words writing about it. I don’t like critics. They lack imagination. I don’t personally feel the need to elevate myself by pulling someone else’s work apart for no reason, (critics quite often seem to be doing this to appear – credible or because they think they are the gods of good taste or maybe just to make themselves seem important to somebody?) I don’t need to appear credible, my credibility is ingrained, I have no persona to create, I am not a performer, I am a writer and poet and for me the words come first, that’s all. Sometimes critics just like a good witch-hunt. For an example of this take a look at the response to the playwright Sarah Kane’s plays. She often wrote some stunning stuff and used lyrics to great effect in her work as well. Maybe a lot of critics represent a social place in society that they feel needs to tell everyone else – they are right, and what is good and not good. That must be the other reason I don’t like them. I have never liked being told what to do and even less so, what to think.

Personas are not there are some people I adore to watch read or on stage, I could  have listened to Burroughs all day, Gertrude Stein although I don’t like all her work I would love to have seen, Henry Rollins live is great, I can watch Nick Cave do bits of his novels or poems quite happily, I adore in writers what I like in older comfortable musicians like the Patti Smith group or Can or when I saw Odetta sing at 80 years old a few years ago, a really natural sense of ease and I’d like to get to that state of ease some day. Interestingly a lot of the best writers seem to be the least socially smooth and a lot of the wankers seem so confident it gives me the creeps. I get told I’m prickly at readings and I don’t want to be I just suffer from acute social anxiety, am not too strong on the comedic crowd pleasers and what seems prickly to a lot of people .. where I come from, was just a necessary and normal way to be. Doesn’t anyone like to be scared by anything anymore? Iggy Pop was great at antagonising and weirding out audiences who came to the early Stooges years. And also – to be fair, readings are full of tossers. Every-time I go to one I cringe at how self indulgent they can often be. Show me something honest and you’ve got me. It doesn’t need to be shiny. Shiny has its place though, I guess it is different things that catch me but that raw bit that is a real writer not being a persona or even if they are; not acting, I guess I just get that the most.

Anyway. Critics. That’s for academics or theorists, I’m not one of those. I’m a writer, so if asked for honest feedback I will give it and most writers hate that. I don’t know why. Every single time I have got better as a writer it has been because someone, usually a better writer, has been able to give me good solid criticism. Words can’t kill you and they rarely pay the rent; grow a leather hide if you want to be open to genuine honesty and improve, it’s necessary!

Anyway. This summer I plan to do a load more of J.G. Ballard, also some scientific ones I’ve been wanting to read for a while, James Kelman’s new novel and perhaps some of his old stuff. I may do Mervyn Peaks trilogy, Wallace Stevens and Celine. I will read The Faraway Tree.

I did a reading last night. I got drunk before I read which helped with the palpitations. I cannot seem to get to the point of loving the sound of my own voice on a stage on my own with staring people. I would like to though. I owe the words it, I spend enough time on them. Perhaps I might read for the squirrels. Maybe they can help me relax into just telling stories or poems, and to lose my acute sense of awareness on how it is to be.

Anyway, here is my film poem from the original Urchin Belle, sayonara Jx.

It Should Be Dark,

So You Can See

There is always a scene

you didn’t see last time.

A horse wearing a dress,

a fold in the curtain

that wasn’t there

an’ a line

you never heard,

delivered as she adusts

a stocking you swear

she didn’t wear

before breakfast.

The grey skies of the first time

blink to orange glass.

That celluloid breathes,

re-coats the dream

in a silent whirr

whilst you sleep.

The barley fields

sway in waves,

an’ his submarine

is a burnt out car,

the bombs he lobs

are apples whose stalks

he pulls out with his teeth.

Bee lady of murk marches

with her square face,

an’ her widow scarf

an’ that one

creamy red engorged

eye un-blinks; your fear perceptible.

The room should

be dark, so you can see.

So you can hear the score,

as shadows leap an pirouette

along the walls

and kiss through all the adverts.

And you too

are in the silent shadow film,

wigged in smoke curls

lifting a cup of tea that points in disbelief

as horns grow out your ears

and your nose falls off.

You are different;

each time you watch.

Same jeans but sore heart

chipped nails, patting the cat

glasses on, after she died

eating popcorn, snow

an’ rain an’ hail outside

an’ that scene you didn’t notice

the last seventeen times

materialises.

And the same scenes,

they too are different.

King Kong Theory

I read King Kong Theory this week. Also The Sea by Iris Murdoch which I had to really hang in with but it seems to be paying off about four chapters in. Also tried Hegel and Heidegger again and put them down again. I have got my final line up of poems for The Dead Queen of Bohemia finally and I will leave them for a week then send to publishers. It’s the last few weeks of my degree now so things are mostly caught up with that. Anyway, King Kong Theory has some interesting stuff in there. Virginie Despentes wrote and directed the film Baise-Moi, a violent rape revenge film that caused a lot of controversy when it was released. King Kong Theory has a lot to say about women, beauty, men, rape, violence, porn, aesthetics, class, I read it in an evening and it has some really interesting ideas about how women and men are kept in roles they don’t often enough question. That night there was  a documentary on about a load of London feminists and although I consider myself equal to men it is not my bag, I am not anti-porn, anti-prostitution or even anti-objectification, I am pro … it is your choice, all of it, and if it is your choice then it is nobodies business but yours. Titles of chapters in the book I particularly liked were Your Arse or Mine, She’s so Depraved You Can’t Rape Her and Porno Witch. All nods to Despentes punk rock sensibilities, I like people who say it how they see it, I’ll need to check out Baise-Moi now.

Personally I tend not to think of what other people do or don’t want in words when I write, it’s futile. My protagonist in the novel I’m currently finishing transgresses boundaries and social norms in a million ways but I think she’s pretty regular, there’s just a lot of things a girls not meant to say, which means there is usually a good chance – they are the exact things worth saying.

Salut, Jx

The first task of the woman writer is to kill the Angel in the House.  Virginia Woolf.

We All Thought We Were Forever Once – Urchin Belle on Kilmog Press

Urchin Belle is out now in New Zealand. It can be purchased from Kilmog Press for $45.00 plus $10.00 for international postage. It is an extremely limited edition and is currently on sale in bookshops and galleries in Auckland.

Urchin Belle has began to have its own life that is nothing to do with me in a way and I like that. I think about how some French philosopher wrote that the breakers of automatons would be people who exist on a periphery that no authority can subjugate. I don’t know about me personally now, but I know the people in Urchin Belle fitted that description to extremes. A few people I love who are in there were some of the best friends I have known and most of us didn’t make it. We all thought we were forever once. I was lucky to know them when I did. For me personally, that is part of what makes this collection the antithesis of commodity. It’s too personal to parade. It is a collection I have at times found difficult to read from, especially later, when drunk, thinking about why it is I am standing doing poems that are a bit absent in the old, crowd pleasing, heart warming, funny funny vein that a lot of poets go for? I guess this book was just never about that, it’s for those who never were, for the dreamers, for the closet poetry readers of this world, it is for all the Urchin Belles of ever, and it is for anyone who ever got the ugly beauty,  stood outside and looked in.

I have always abhorred style over content in words and music and stuff. Thanks to Dean at Kilmog Press and Geraint at Blackheath who first published it in the UK, Urchin Belle has style to match its content. I salute it on its way. I like that it is going places I have never been, long may it continue to do so.

Thanks to anyone who bought the sold out UK print on Blackheath books. To purchase a copy from Kilmog please contact Dean on kilmogpress@hotmail.com

Kilmog Press

Early Beginnings of Musical Schizophrenia

When I was little I lived in a tiny caravan park next to a coal mine for years and the music I listened to was all old stuff, girl groups mostly – The Shirelles, The Shangri-Las, the Ronettes, The Supremes … I thought they were glamour in a box. I’d dance to the records in my room with the lights off and my disco lights on (the disco lights were in the speakers of my record player – found at a car boot sale – one of the coolest things I ever owned).  For a girl who was little in the eighties, the pop equivalents at the time, for me, weren’t much. I also had an old Neil Sedaka record that used to hit the turntables fairly often. And so continued my schizophrenic musical journey, when I was a baby it was apparently all Dylan, Hendrix and heavy bands (presume that means Sabbath, Deep Purple?) I then got into metal, death metal, bits of reggae, punk, of course pop and trippy early chill out stuff like The Orbs Little Fluffy Clouds. All this was before the age of twelve and even pre-teens there was never a time when I would rule out a genre, any genre of music … although classical never caught me, I never did like it much. I’d listen to anything though, give it a chance, trawl little radio stations, sneak into friends big brothers rooms and flip through their collections, New Years parties were a good time to find new obscure shit in the adults back catalogues. Years playing in bands and working in record shops were really what developed my musical education and solidified it with a permanent borderline schizoid diversity. Lush. Life without music. Really not worth thinking about. I’ll continue this at other times no doubt  but for now here is The Orb live.

Matthew Barney vs Vanessa Paradis & The Creymaster Cycles

I love this, if I were to be a chorus girl this a look I’d go for but only on Sundays. This is taken from the Creymaster videos by Matthew Barney, which someone once told me were locked away in a vault and worth millions. I haven’t seen all of them but I have some and I love the leopard woman, the pink tartan bloody bagpipe guy (I think he is meant to symbolize sperm), Judy Dench looking most unlike herself and the girl in the box with the grapes, also the Mayday ribbons round the Chrysler building in New York. I just take it in as tiny snapshot images that kind of exist in their own right. Really it’s all about the reproductive system works and well, deep-seated high felluting intellectualization which normally irritates me in art, but I like Barney, I like his floppy lamb. This explains a bit more, the voice is creepy but isn’t everything overtly intellectualized?  …

that apart, really it’s all just bubble baths you know.

enjoy x