Thursday, 7 April 2011

Fictions of Every Kind: Missing



I'm glad to say that planning for Fictions Of Every Kind: Missing is now all complete, and the full line-up can be revealed (whoop whoop!) You can expect yet another evening of engaging performances,exciting words and ideas, and getting drunk and pretending that it counts as "being cultured". It's on May 24th at The Library pub, on Woodhouse Lane, and runs from 7.30 - 10.30pm.

The theme is "Missing". Whether you're missing somebody, or don't know where one of your favourite socks is; whether you've missed the boat, the bus, or the point - Fictioners are invited to engage with this month's theme in whichever way they see fit. As usual, the theme is by now means strictly enforced, and divergers will not be strewn out.

Our guest speakers this month are:

Gareth Durasow an award-winning poet with a strong West Yorkshire sensibility, Gareth "collaborates with the audience to create a truly unique spoken word experience that alternates between the disarmingly endearing, the riotously funny and the blisteringly intense".

Phil Kirby Temple Works' writer-in-residence collaborates with artists and writers to create something rather new and exciting, exploring the fringes of fiction and art. Currently working on works of Imaginative Life Writing / fourth genre, Phil is likely to be full of surprises.

This month, music will come from the rather marvellous 7 Hertz. Long-standing troupers on the DIY scene, 7 HERTZ create fascinating textures and interweaving lines of melody through improvisation on violin, violin, and double bass.

The open mic will start between 7.30 and 8.00; please sign up from 7.30 onwards. Entry is £3.

Currently Reading

King Crow Michael Stewart
They Knew Mr Knight Dorothy Whipple

Friday, 1 April 2011

Precarious working...

Over the past couple of weeks a friend of mine, Grace Harrison, and her friend Rachel Cloughton, have been running an art project in a reclaimed arts space called Alternative Strategies. For two weeks there have been lively debates, discussions, screenings, and workshops around the subject of self-organised learning:

The project intends to expose the many alternative educational platforms active in the city, bringing together groups and individuals with art as its departure point.

Many local arts groups and organisations have been involved in the discussions and workshops, and the subject of how we can educate ourselves seems now more pertinent than ever in a month when many universities have announced that they will charge the maximum capped fee of £9,000 a year for their courses.

I went along one night this week for the discussion on 'precarious working'. Precarious working is usually defined as the kind of work that is by nature insecure (it comes without a permanent contract or rights), poorly paid, comes without benefits, gifts its labourers no rights, and cannot financially support a household. Examples of precarious working can include work under zero-hours contracts, fixed-term contracts, and enforced self-employment. I was interested in this because I define myself as a precarious worker: although I'm in employment, I don't have a permanent employment contract, and haven't had one for a few years.

Precarious working can benefit the worker, as it gives her greater autonomy. But it's more likely to benefit the employer, as it means their workers have few or no employment rights - for example, right to redundancy payouts or maternity or sickness benefits, and little protection from stress or harassment at work. The effect of precarious working upon the worker is to give her no security, no 'safety net' - many precarious workers will force themselves to go into work when they're really not fit to work, because they won't get sick pay and can't afford to take the day off - and to make her feel isolated and alone. It's cheaper and easier for employers to offer this kind of work; it means less responsibility for them, and - if you want to be a cynic - it often means they can treat their employees poorly, and minimise the risk of being sued under employment law.

It was an enlightening discussion, and the people who participated were a diverse bunch. Less did we discuss the benefits of 'precarious working' (I think we were all agreed that precarious working is generally pretty lame), than its existence being a symptom of a larger problem.

There's a lot wrong with public sector cuts, and if I wanted to I could type about it all day; but I'll leave that for now, and come back to it another time.... needless to say, though, that one of the effects of the cuts has been to force millions out of work. Mass unemployment has a depressing impact on the labour market in any system. The effect of it is that those who want to work will gladly do it beneath their level of skill, experience and qualification, for less money than their skills demand, and sometimes for free. One of Tuesday's attendees summed it up well by saying: "What does an unemployed academic do? He just goes away and works harder somewhere else."

The drive to work isn't confined to academia, though. Lots of us will go on working regardless of the expectation to be paid for it. Writers, for example - yes, you lot, writers, I've seen your 39p royalty cheques - artists, musicians, and newly-graduated students who need experience. If we're not 'working', we're 'preparing for work' by training, studying, or doing an internship - and yet the points at which people are reimbursed for their efforts become rarer and rarer.

So what can we do? One of the conclusions of the discussion was that the concept of a union for precarious workers could be problematic. Many of the large unions that exist have histories in manufacturing, or in certain industries and sectors. If precarious workers are in a union at all - and many only join when they feel their job is in danger - it is in one aligned to their sector. It might be that there's little awareness amongst precarious workers that they have more in common with other precarious workers than more securely employed workers in their own sector; and there isn't an existing union specifically for precarious workers. Yet all were agreed that one of the effects of precarious working is to make the employee feel alone. We wondered whether precarious workers would feel able to band together in their places of work, to collectivise their resources and gain strength in unity. A lot of those attending were left with a lot of food for thought about how precarious workers could do this in their workplaces.

Someone told a heartening story about mill-workers during the industrial revolution. The term 'cottage industry' comes not from a person owning their own business and working for himself, but from people who were forced to work at home for the local millowner. Such workers had to pay to borrow looms from the factory owner, and often weren't paid for their work until it suited the factory owner. Angry homeworkers banded together with other angry homeworkers to hire many looms, and held them to ransom until the masters paid. Or, if they had hammers, they smashed them up.

I should state, by the way, that I do not agree that smashing machines with hammers is a good solution to the problem of precarious working. We are no longer in the 1800s, and I like machines, especially laptops. It is merely an illuminating tale about the possibility of strength through collectivisation.

Again, I should thank Grace for all the work she did at Alternative Strategies, and to Art In Unusual Spaces in Leeds. They have supported a lot of really interesting exhibitions in Leeds recently.


Currently reading

The Shadow of a Smile Kachi A. Ozumba
They Knew Mr Knight Dorothy Whipple

Wednesday, 23 March 2011

Fictions of Every Kind: Cuts


Michael Stewart reads from his novel, King Crow, at Fictions of Every Kind; Cuts

People in the DIY community, people who put on shows, often speak of the 'nervous hour'. It's the time of night between you setting everything up for your night, and people showing up to pay in on the door. It's an awful time of night, and my 'nervous hour' normally lasts from about 3pm in the afternoon til about 9 at night....

Enough about that, though. Let's have a post-mortem of last night's Fictions of Every Kind.

It was a marvellous night. Bloody marvellous. Michael Stewart read from his new novel King Crow, and he was followed by Noah Brown, who read a specially-written piece, perhaps best described as a gory revenge fantasy against the bankers. Each set was different and unique, and they made great guest speakers. We were very lucky to have them.


Noah Brown reads his specially-written piece about the 'big society'.

At the end of the night, we were treated to some absolutely marvellous and very danceable klezmer from the superb Maquipacuna. Here's a picture of them klezmer-ing it up.


Tuesday, 22 March 2011

"That's not my sweater!" "IT'S BROWN!!"

Over the last few weeks, brain and body having largely been occupied in trying to fit 28 hours' worth of 'stuff' into 24 hours' worth of day, there hasn't been much time for left over for reading or writing. If only I could waste less time sleeping, perhaps I could get a bit more done.

Since watching television is one of the things you can do whilst doing other things e.g. knitting, sorting and setting type, taunting the cat, I have recently been re-watching Seinfeld. For me, watching really well-written television is a good substitute for being able to actually read. Also, I am fed up of freeview, because it's only ever repeats of Come Dine With Me and I have now seen them all. All of them.

No post on Seinfeld could possibly be complete without tribute to the very marvellous Julia Louis-Dreyfus, who plays Elaine. This clip, in the episode The Busboy, had me laughing so hard my insides nearly fell out. I hope you enjoy it too.

I can't embed it because of stupid youtube, so follow the link here to watch it.

Currently re-watching

30 Rock seasons 1 & 2 while I wait for season 4 to arrive in the mail
Seinfeld seasons 1-9
Mad Men season 1
House season 1
Arrested Development season 2

Friday, 18 March 2011

It's not the winning that etc

Apparently it's competition season, or something. There are currently three big, reputable competitions that I know of open; get to work, because it's anybody's game. And when I say, 'anybody's game', what I mean is, 'anybody who's a really good writer'. Don't go scribbling teenage angst poetry on the back of a fag packet and send it in, because it won't win. Don't blame me, I'm only trying to save you a bit of hassle.

The Bridport Prize, which describes itself as "the richest OPEN prize", is being judged by AL Kennedy and has categories in short stories, flash fiction, and poetry. It closes on 30th June at midnight so get to work. No, June is not "ages away". It's a strong competition, so you might like to spend day and night obsessively writing and rewriting your work between now and then.

The Manchester Fiction Prize is also now open, under the direction of poet laureate Carol Ann Duffy. This is an extremely serious and literary competition so you will want to be serious and literary too. Again, the rewriting. It closes on Friday 11th August. So that gives you an extra five weeks over and above the Bridport Prize to spend day and night obsessively writing and rewriting your work.

Lightship Publishing is running a first chapter competition. The prize is bloody brilliant (a year's mentoring from Tibor Fischer, Simon Trewin of United Agents, and Alessandro Gallenzi of Alma Books). Lightship's patrons include Hilary Mantel and Sir Andrew Motion, oh my days, so get to work. The closing date is June 30th, please insert your own joke about writing and rewriting because I've used all mine up.

Currently reading

They Knew Mr Knight Dorothy Whipple
A Mercy Toni Morrison
Man In The Dark Paul Auster

Saturday, 5 March 2011

Fictions of Every Kind: Cuts



There's not much to look forward to at the moment, is there? Times are hard and getting harder; every day seems to bring more bad news. Thousands of public sector workers are to lose their jobs, public services like libraries and leisure services are being mercilessly culled in an ideologically-driven scythe-happy free-for-all, and charities, voluntary sector organisations and arts organisations are losing their funding right, left, and centre. The coalition government has acted swiftly in cutting benefits and services to those who need them the most, and in devolving government responsibility from running schools onto the schools' shoulders themselves. The things they're doing are unfair and are going to take years to put right, and if ever you were going to pick a time to emigrate... it could be now.

March's Fiction of Every Kinds has the theme 'Cuts'. Writers and readers can choose to respond to the theme however they like; perhaps you prefer to think about physical cuts, or emotional cuts; perhaps you prefer to think about the act of cutting, whether that relates to hair, or bodies, or trees. Or perhaps you prefer not to stick to the theme at all (many don't.) You will not be thrown out if you don't.

At this month's FOEK we are very privileged to have readings from invited speakers Noah Brown, previously MC of Yes Boss!, and Bradford-based author and screenwriter Michael Stewart. Stewart is a multi-award winning author whose novel, King Crow, has recently come out on Bluemoose Books. He is senior lecturer of creative writing at Huddersfield University, and is director of the Huddersfield Literature Festival. We are very pleased to have him appearing.

Fictions of Every Kind: Cuts is on Tuesday March 22nd at The Library Pub on Woodhouse Lane, Leeds. It costs £3 to get in, and as ever, letterpressed "Words of Encouragement" cards (see illustration, above) are available as gifts for writers who brave the open mic. The night starts with the open mic at 19.30. See you there!

Tuesday, 1 March 2011

Letterpress errors [ " Letterprerrors " ]



Regular readers of my blog might know that I've been learning to Letterpress over the past few months. Letterpress printing is an old technique which involves setting lines of metal type, putting them in a printing press, and then imprinting and inking the whole shebang onto paper. It produces beautiful results quite unlike any other - the metal type often leaves a slight imprint into the paper, so that you can 'feel' the text with your hands. It's a lengthy and laborious process that used to form the mainstay of printing, but with the advent of computers, has fallen into disuse. These days it is mainly used by enthusiasts and diehards, and wordy nerds like me.

Currently I'm in the process of setting and printing a short story I wrote last year entitled 'A Stranger Came'. Letterpress seemed to be the ideal way to present this story - I'm doing a short run of about 90, which I will then bind myself once all the pages are printed. I expect the books to be finished some time in early May.

It's been an interesting few months, and I've learned loads. Here, in this blog post, I'm going to post a few of the mistakes I've made while printing, so that you can avoid making the same mistakes yourself - if you're going to try and operate a printing press, that is.

This is what happens when your lovely, expensive paper falls off the press and into the rollers.



And this is what happens when skin from the ink gets onto your typeset.



This is what happens when you don't line the paper up properly....



...and this is what it looks like when you do it right.



Currently reading

A Mercy Toni Morrison
The Hell of it All Charlie Brooker
Travels in the Scriptorium Paul Auster