Monday, 10 August 2020

David Holzer's Letter from Magaluf

On Saturday night's Leap in the Dark, our beloved yoga master Guru Dave sent a Letter from Magaluf, the part of Mallorca popular with British tourists since the 1960s. Hs has kindly agreed to share to here.




A Letter from Magaluf by David Holzer





The sign for Arfur’s Chippy includes a snarling, sneering bulldog rampant against a Union Jack and the slogan ‘British owned’. It’s closed. 

Lineker’s. Finnegan’s Bar. Eastenders. The Prince William. The Prince Harry. The Dream Pub. All the bars on the Punta Ballena, the street Louie the Lip calls Hamburger Hill, are closed.

It’s 11 in the morning, a time when the sunburned lads would be revving up for another day’s boozing and, as a friend of mine who was meant to be working as a DJ in one of the bars on Hamburger Hill told me, it’s ‘well eerie’.

I wouldn’t have been surprised to see a flock of sheep come clattering down the hill. 

A week or so ago, the Punta Ballena was shut by order of the Mallorcan government after, as the Daily Mail put it, ‘yobs jumped on cars’. 

Brits on the piss. The nightmare, it seemed, had returned. 

My DJ friend, who was working on Hamburger Hill that night, said the police did nothing to prevent the beered-up rampage. 

While this sounds like the standard British denial -  ‘All we did was serve them pints of whisky, guv. We’ve got to make a living too. Pay the Duke.’ - I can believe that the Mallorcan police might well stand aside and let the Brits seal their own fate.

Because of its beach and infrastructure, Magaluf is mouthwatering real estate and the hotel chains that run the island, and probably the police, want to drive the Brits out of Magaluf and go upmarket, family friendly and all-inclusive so they can hoover up all the available money. 

I walk down to the beach through Momentum Plaza, a shopping mall and food court so bone-white the glare hurts my eyes even through sunglasses. Balearic house music drifts across the deserted square like dead leaves.

Momentum Plaza’s design feature is a glass-bottomed swimming pool that forms a bridge between two white buildings six storeys above the square. At first it looks great – sunlight shining through azure – but then I see the fat, brown legs swinging in the water above me. And I see the children splashing around. And I imagine the accidents that could happen.

I pass one of those pedicure places where Garra Rufa fish eat the dead skin off your feet. It’s empty. The fish must be starving.

With its graceful curve and white sands, the beach at Magaluf is one of the most beautiful you’ll see anywhere. 

For Claude the Fraud, a Frenchman who started La Baraka Beach Bar here in 1971 when the only Brit on the piss was Georgie Best who used to hide out at La Baraka and get hammered, it was the best beach in the Mediterranean.

Claude came to Magaluf from Saint-Tropez, where he’d also had a bar. He was a Tunisian middleweight champion boxer who’d knocked about with the Paris jet-set in the 1950s. One of his pals was Dominican diplomat and playboy Porfirio Rubirosa who managed to marry Doris Duke and Barbara Hutton, two of the richest women in the world.

Rubirosa was legendarily well-endowed. In certain circles, the giant black pepper grinders that waiters wave over pizza were called Rubirosas.

As you might expect from the name, Claude was splendidly dodgy. A friend of Louie the Lip’s said there should have been a chandelier on top of the till at La Baraka Claude played it so well.

Claude certainly associated with villains and a couple of impressive crimes were allegedly planned at La Baraka.
One of these was the kidnapping of a French business tycoon called Baron Édouard-Jean Empain for a ransom of 17 million Swiss Francs by a not exactly professional gang that included a pimp named Joe The Marseilles. When the police discovered that the gang, who all claimed not to know each other, had spent a week on Mallorca planning the kidnap, the game was up.

Another equally spectacular crime allegedly planned at La Baraka in the early 80s was the heist of a van loaded with used francs, marks and pounds worth 780 million pesetas being sent back from bureau de changes all over the island to Mallorca airport. 

The Mallorcan police thought Claude had something to do with this. One morning, he opened the shutters to his apartment above the beach to find 40 police sharpshooters lying on the glaring white sand, rifles pointed at him.

Claude denied all knowledge of the currency heist and was never convicted.

In contrast to the eclat of the villains Claude associated with, British crime in Magaluf has always been grubby. 

Gangs deal drugs. A man named John Hirst masterminded a Ponzi Scheme that targeted elderly expats. One scam defrauded hotels by claiming mass food poisoning. Now the hotels are getting their revenge on Magaluf.

A woman I know, an agent for a multilevel marketing business, knew Howard Marks and his wife, who were arrested in Mallorca. She claimed to have no knowledge of the business Mr Nice was involved in. ‘They were lovely people,’ she said. ‘We had no idea.’ 

The same woman would fix me with blue eyes that managed to be pebble hard and heartbroken at the same time and say, ‘I’m living the dream, David.’

Marks is the only British villain with a connection to Magaluf I can think of who can be said to have any degree of class.

Mr Nice also had a Deià connection. But that’s another story. 

La Baraka is, I think, now a beach bar called S’Esponja Beach Club at the top end of Magaluf bay. It’s a pretty, low stone building painted white with the obligatory turquoise paintwork and house music wafting down the beach.

From then on, it’s white, turquoise and empty house music all the way, one beach club after the other. And it’s horrible.

It almost makes me nostalgic for the Brits on the piss. But I don’t believe they’re ever coming back. 

The Mallorcans, who’ve always dealt with invaders by giving them what they want, retreating deeper into the island, waiting for them to go and taking over what they’ve left behind, are winning again. 


Sunday, 9 August 2020

On Malady Nelson

I first read the poet Amy McCauley's 24/7 Brexitland in manuscript, before it was published as a broadside by Manchester's No Matter Press.

I'd been aware of her work since seeing her at the London Poetry Book Fair in 2018 when she performed, in its entirety, her debut OEDIPA (Guillemot Books). I chose it as my book of the year for Review 31, writing:

Oedipa by Amy McCauley is a book-length poem presented as a stage play set in a mental asylum in an English seaside town, with an all-female cast. It's a feminist take on Sophocles' Oedipus – ferociously good, brilliantly original. 

Citing Nietzsche, Wittgenstein and Freud alongside a vast range of other cultural references, the poem expresses (in McCauley's words) 'the buggering muchness of the world that will not fit inside my head'. I saw her read Oedipa in London earlier this year, doing all the voices in an absolutely blazing performance – courageous, honest and visceral. Oedipa is very intelligent, confidently experimental but not at all daunting. Much of the incantatory verse is hauntingly clear and simple, such as this chorus, voiced by the Fates towards the end of Act III:

Toc toc

Have you ever seen a blind girl swim?
She looks like she's drowning
She looks like a thing with nowhere to go

Toc toc

Have you ever seen a blind girl drown
She looks like she's swimming
She looks like she's having the time of her life

This is poetry with range, depth, drive and ambition. 

On February 29th this year, a few weeks before the lockdown, I organised the very first Leap in the Dark, a Dada literary cabaret held in a dilapidated former Conservative Club in Paddington. I had by this time exchanged many emails with Amy and invited her to contribute something, or anything. She agreed and the first of her two performances turned out to be 24/7 Brexitland, which had now been published.

Dressed as a clown, Amy harangued the audience with a bullhorn as they read parts of her poem aloud from a Powerpoint display. Some walked out, others heckled, most recognised her performance for what it was - fearless, uncompromising, original and wonderfully strange. Later that evening she performed a work in progress called Propositions with actors Aea Varfis-van Warmelo and Alexis Coward. A powerful monologue for three voices, or one voice shared between three performers, it was prompted by Wittgenstein's Tractatus and by turns cerebral, combative, hard-edged and intimate. It will be published in September by Monitor Books, another Manchester indie.

But to come back to 24/7 Brexitland. Amy has over the past few weeks contributed to A Leap in the Dark (now a twice-weekly online gathering) pre-recorded  extracts from this long diagnostic poem which explores the state of things in Britain in the months following the  decision to leave the European Union. (The title refers to the structure of 24 x 7-line stanzas.)

Her first two readings were in persona as Malady Nelson, Amy's alter-ego - the disturbing clown make-up again, ash-white with a slash of red lipstick, smeared kohl-rimmed eyes and a blue nylon wig, askew, surrounded by Union Jack bunting as a ramshackle Britannia - and they were relatively straightforward.

On Friday night, aided by half a bottle of tequila, a pack of cigarettes and nerves of steel Amy as Malady turned up the dial and did something startlingly new. She fizzed and crooned and snarled and bantered; she howled and whispered and swigged Tequila and slurred and became glacially precise - an utterly vivid, protean, loveable and difficult presence. The invited audience reacted unanimously to her blazing six minute performance, starting with our composer-in-residence Helen Ottaway:

From Helen Ottaway to Everyone: (8:42 pm)

Oooooooooh he he he yeah yeah long notes and everything else. Utterly brilliant Amy


From Emma Devlin to Everyone: (8:43 pm)

AAAAAGH loved it


From Aea Varfis-van Warmelo to Everyone: (8:43 pm)

Malady was on TOP FORM tonight!


From Michael Hughes to Everyone: (8:43 pm)

Brava! Sensational!


From Jonathan Gibbs to Everyone: (8:43 pm)

BRAVA!


From Michael Hughes to Everyone: (8:43 pm)

When I grow up I want to be Malady


From Alan Crilly to Everyone: (8:43 pm)

Ah, that was superb!


From Paulette Jonguitud to Everyone: (8:43 pm)

Wow. Wow. Wow. Loved it.


From Alan Fielden to Everyone: (8:43 pm)

lush


From Ronan hession to Everyone: (8:43 pm)

Fandabbydozey


From Ping Henningham to Everyone: (8:43 pm)

FANTASTIC Amy! sizzle sizzle


I'd add my voice to theirs - Amy discovered and uncovered something about herself and the world in this extraordinary performance. We were there. Watch it here and marvel.

Friday, 7 August 2020

Leap in the Dark 38

A Leap in the Dark 38   8pm  Saturday 8th August 2020

       Two Kevins and a funferal


The ‘funferal’ comes from Finnegans Wake, and the two Kevins are both Kevin Boniface, who marks the tenth anniversary of his fine blog www.themostdifficultthingever.com with two readings, one of new material written especially for this Leap, another of selected highlights from the past decade. We’ll have letters from Magaluf and Auckland thanks respectively to David Holzer and Oscar Mardell, and the welcome return (after last week’s triumph) of the mighty Wendy Erskine, who will subject David Hayden’s short story ‘Egress’ to a close reading, with the author on hand to respond.


There's no charge for taking part in A Leap in the Dark, but please make a donation, no matter how large, to The Trussell Trust.


The Programme


1 The Pale Usher welcomes you

2 Kevin Boniface’s tenth anniversary post 

3 Letter from Magaluf by David Holzer

4 Wendy Erskine’s close reading of David Hayden’s short story ‘Egress’


Interval 


5 David Hayden responds to Wendy’s close reading

6 Kevin Boniface - a second reading

7 Letter from Auckland by Oscar Mardell

8 The Pale Usher signs off



The Company


Kevin Boniface is an artist, writer and postman based in Huddersfield, West Yorkshire. Over the years his work has taken the form of zines, exhibitions, artists’ books, short films and live performances. He is the author of Round About Town, published by Uniformbooks. kevinboniface.co.uk Ten years ago, on 3rd August 2010, he started a blog www.themostdifficultthingever.com and his appearance on this week’s Leap marks the anniversary.

Kevin Davey is the author of Playing Possum and the forthcoming Radio Joan, both published by Aaargh! Press. His non-fiction work includes the essay collection English Imaginaries (1999).

Wendy Erskine works full-time as a secondary school teacher in Belfast. Her debut short story collection, Sweet Home, was published in 2018 by Stinging Fly and in 2019 by Picador. Her work has been published in The Stinging Fly, Stinging Fly Stories and Female Lines: New Writing by Women from Northern Ireland. She also features in Being Various: New Irish Short Stories (Faber and Faber), Winter Papers and on BBC Radio 4 Buy Sweet Home here: https://www.panmacmillan.com/authors/wendy-erskine/sweet-home/9781529017069

David Hayden was born in Ireland and lives in England. His writing has appeared in The Stinging Fly, Granta online, Zoetrope All-Story, The Dublin Review, AGNI and PN Review, in the Faber New Irish Writing anthology Being Various, edited by Lucy Caldwell, and on BBC and RTÉ radio. His first book was Darker With the Lights On.

David Holzer is a dedicated yogi, author, blogger and journalist. He founded YogaWriters and has taught workshops in yoga for writers in Mallorca, where he lives. Hundreds of people have taken his Yoga for Writers course on the DailyOm platform (www.yogawriters.org). His writing appears regularly in Om yoga and lifestyle magazine. David will be explaining why yoga is so beneficial for writers and taking us through a simple yoga sequence that can be done by anyone of any age in the comfort of a favourite chair.

Oscar Mardell is a teacher and writer - originally from South Wales, but currently living in Auckland, New Zealand. He is a frequent contributor to 3:AM Magazine, and poet of the month at The Inquisitive Eater. He is the author of Rex Tremendae - a ghost story set in the rubble of the Blitz, and Housing Haunted Housing - a collection of poems about Brutalist architecture, published June 2020 by the Manchester indie press deathsofworkerswhilstbuildingskscrapers

Aea Varfis-van Warmelo is a trilingual actor and writer. 

The Pale Usher is David Collard, who organises these gatherings.

The pale Usher—threadbare in coat, heart, body, and brain; I see him now. He was ever dusting his old lexicons and grammars, with a queer handkerchief, mockingly embellished with all the gay flags of all the known nations of the world. He loved to dust his old grammars; it somehow mildly reminded him of his mortality.
  Moby-Dick by Herman Melville



The next Leap in the Dark on Friday 14th August will become, for one night only, a Lark in the Deep, a plunge into all things aquatic which will feature, alongside our Friday regulars, the writers Emma Devlin, Melissa McCarthy and Isabel Waidner.


Stay well!


The Pale Usher

Thursday, 6 August 2020

A Leap in the Dark 37

A Leap in the Dark 37   8pm  Friday 7th August 2020

  Acts of writing,
       Rites of acting


The home stretch for Spring Journal by Jonathan Gibbs, read by Michael Hughes; Neil Griffiths on the new indie press Weatherglass Books; the next section of Amy McCauley’s 24/7 Brexitland performed by Malady Nelson; the actor Michael Colgan in conversation with The Pale Usher; the poet/theatre maker/artist Alan Fielden and the Settee Salon looks at the rituals of theatre.


There's no charge for taking part in A Leap in the Dark, but please make a donation, no matter how large, to The Trussell Trust.


The Programme


1 The Pale Usher welcomes you

2 Spring Journal canto XXI by Jonathan Gibbs, read by Michael Hughes

3 Neil Griffiths introduces Weatherglass Books

4 Amy McCauley (as Malady Nelson) performs 24/7 Brexitland (part 3)

5 Michael Hughes & Michael Colgan in conversation with The Pale Usher



Interval 



6 Alan Fielden: poet / theatre maker / artist

7 The Settee Salon: Michael, Michael and Alan on theatre ritual 

8 The Pale Usher signs off



The Company


Michael Colgan is an actor based in London. He recently appeared in the BAFTA award-winning television drama Chernobyl

Alan Fielden is a poet, theatre maker, artist, and lecturer at the University of Worcester and Central School of Speech and Drama.

As a performance maker he tends to work collaboratively from text, developing material through prolonged improvisation and experimentation, approaching performance through musical and poetic dynamics like resonance, dissonance, composition, repetition, and tone, rather than more traditional dramatic elements like character and plot. Some of his preoccupations are tenderness, hysteria, and narrative form. He is a founding member of JAMS, ROOM, and National Art Service (RIP).

Jonathan Gibbs is a writer and critic. His first novel, Randall, was published in 2014 by Galley Beggar Press and his second, The Large Door, by Boiler House Press in 2019. He has written on books for various publications including the TLS, Brixton Review of Books and The Guardian. He curates the online short story project A Personal Anthology, in which writers, critics and others are invited to 'dream-edit' an anthology of their favourite short fiction. Spring Journal is a response to the current coronavirus pandemic taking its cue very directly from Louis MacNeice's Autumn Journal.

Neil Griffiths is an author, publisher and founder of the Republic of Consciousness Prize for Small Presses.

Michael Hughes is the author of two novels: Countenance Divine (2016) and Country (2018) both published by John Murray, the latter winning the 2018 Hellenic Prize. 

Amy McCauley is a poet and freelance writer. She is the author of OEDIPA (Guillemot Press, 2018) and 24/7 Brexitland (No Matter Press, 2020). Amy’s first full-length collection of poetry will be published by Henningham Family Press in 2021.

The Pale Usher is David Collard, who organises these gatherings.

The pale Usher—threadbare in coat, heart, body, and brain; I see him now. He was ever dusting his old lexicons and grammars, with a queer handkerchief, mockingly embellished with all the gay flags of all the known nations of the world. He loved to dust his old grammars; it somehow mildly reminded him of his mortality.
  Moby-Dick by Herman Melville


The next Leap in the Dark tomorrow (Saturday August 8th) will feature:


- Two readings by Kevin Boniface

- Wendy Erskine undertakes a close reading of “Egress’, a short story by 
  David Hayden (and all invitees will receive a copy in advance)

- David Hayden responds to Wendy’s close reading of ‘Egress’

- A Letter from Auckland by Oscar Mardell

- A Letter from Magaluf by David Holzer



Stay well!


The Pale Usher

Tuesday, 4 August 2020

The Big Sleep, dactyls and amphibrachs


The American novelist Elizabeth McCracken once tweeted:

My new affectation is going to be pronouncing MacBook as though it were a  Scottish surname,  as an iamb & not a spondee.

This immediately reminded of a favourite scene in Howard Hawk's movie The Big Sleep (1946), a film made up entirely of favourite scenes. It was the director's first movie and was based on Raymond Chandler's second novel, published in 1939. The screenplay was by William Faulkner, mostly. The scene I'm thinking of climaxes, improbably, in two different pronunciations of the word 'ceramics' - as a dactyl (wrongly stressing the first syllable) and as an amphibrach (correctly stressing the second).

The private detective Philip Marlowe (played by Humphrey Bogart) is investigating a crooked bookseller called Arthur. Gwynne Geiger. Fans of the film and lovers of Chandler's novel will know why. We see Marlowe in the Hollywood Public Library, consulting a book about collecting rare first editions. Marlowe in a library is (to use Raymond Chandler's odd simile from Farewell, My Lovely) "about as inconspicuous as a tarantula on a slice of angel food". His researches complete he hands the thick volume over to a female librarian who says "You know, you don't look like a man who would be interested in first editions." To which Marlowe replies, as he sidles away:

"I collect blondes and bottles, too."

His unambiguous masculinity thus established we cut to the street, outside A. G. Geiger's bookstore. In Chandler's novel Marlowe says:"I put my voice high and let a bird twitter in it." In the film Bogie flips up the brim of his hat, puts on some sunglasses and adopts a prissy, high-pitched lisp. You can watch the ten-second scene here.

The exchange between Marlowe and the hard-boiled faux-bookseller Agnes Lowzell (played by Sonia Darrin) is worth setting out in full - an almost a verbatim lift from the dialogue in Chandler's novel. All that's lost is Marlowe's sardonic description of her ('She approached me with enough sex appeal to stampede a business men's lunch').

AGNES: Can I be of any assistance?

MARLOWE: Uh, yes. Would you happen to have a Ben Hur, 1860?

AGNES: Of what?

MARLOWE: Would you happen to have a Ben Hur, 1860?

AGNES: Oh. A first edition?

MARLOWE: (tutting impatiently) No, no, no, no, no. Third, third, the one with the erratum on 
page one-sixteen.

AGNES: I'm afraid not.

MARLOWE: How about a Chevalier Audubon 1840, the full set of course?

AGNES: Not at the moment.

MARLOWE (peering over his sunglasses):  You do sell books, hmm?

AGNES (gesturing) : What do those look like, grapefruit?

[They bicker briefly and Marlowe asks to see Geiger, the proprietor.]

AGNES: I said Mr. Geiger is not in.

MARLOWE: I heard you. You shouldn't yell at me. Now I'm already late for  my lecture on Argentine cera-mics. I guess I won't wait.

AGNES: The word is cer-a-mics. And they ain't Argentine. They're Egyptian.

MARLOWE: You did sell a book once, didn't you?


Dialogue © Warner Brothers / The Estate of Raymond Chandler

As thunder rumbles on the soundtrack he leaves the shop and crosses the road to the Acme Bookstore, there to encounter Dorothy Malone, one of the few women in Hollywood who could give Lauren Bacall a run for her money. Marlowe quizzes her about the same two books and, without even troubling to look them up, she confirms her expertise by saying that no bookseller would have them for sale, leaving us to infer that such editions don't exist.

She's right on both counts. There never was a Ben-Hur 1860 with an erratum on page 116. Ben-Hur: A Tale of the Christ by Lew Wallace was first published twenty years later, in 1880. There was no erratum on page 116 of the third edition (and why even the most obsessive bibliophile should be so keen on that hypothetical edition is part of the fun). 

A Chevalier Audubon 1840 is  another dead-end, as a cursory glance at the Wikipedia entry will confirm. There is no such thing as a Chevaller Audubon 1840.

The set-up in The Big Sleep is wonderful: the idea, first of all, that Bogie's Marlowe goes to the Hollywood public library not to research first editions but to pick up the language used by collectors, then to use it in a kind of double-bluff.

It could be that, having established to his and our satisfaction that Geiger's operation is not wholly legitimate, he brazenly signals his strategic deception by deliberately mispronouncing 'ceramics' (with that stress on the first syllable); allowing her to correct him and crushingly clarify the precise type of ceramics featured in the lecture for which he claims to be late.

Back to MacCraken's iambs and spondees. As a child I recall being entranced by the word 'Entrance' which appeared etched on the glass door of a department store in our seaside town. I've ever since been particularly aware of such shifts in stress patterns, in such commonplace words as the verb and noun forms of 'record'. And I remember being startled on hearing Glenda Jackson's emphasis on the second syllable of 'oregano' in the film A Touch of Class (1973). She won that year's Academy Award for best actress. 

Some stress patterns change over time and it may be a generational marker. I was taken aback recently by a distinguished TLS staffer, one to whose literary and linguistic standards I always happily defer, who insisted that 'biopic' should be stressed on the second syllable, to rhyme with 'myopic'. Words fail me. So here's a dazzlingly metatextual trailer for the movie, in which Bogie (hard ti tell whether he's in or out of character borrows a copy of Chandler's novel from the Hollywood Public Library. Admire the way he looks at the librarian who hands him the book before looking at the volume. Who was the actress, I wonder . . .

Sunday, 2 August 2020

July index

Here are links to all of July's blogs. Fill your boots.

July 1st  June index - links to all of last month's blogs

July 2nd On the train - a recycled blog about railways and poetry

July 3rd A Leap in the Dark 27- Liquorish allsorts

July 4th  A Leap in the Dark 28 - Nuit Americaine

July 5th Buck Moon - and a poem by Alice Oswald

July 6th "U S" by W. H. Auden - a forgotten film commentary from 1968

July 7th On Jack Cox and Dodge Rose - an astonishing literary debut

July 8th Sex and drugs and Finnegans Wake - on Foerster Syndrome

July 9th On 'playful interventions' in art - a bilious rant

July 10th A Leap in the Dark 29 - Erskine, Sontag, Mistral,

July 11th A Leap in the Dark 30 - Open Mic Nite

July 12th NO BLOG - reasons

July 13th On the first Leap - from 3:AM Magazine, marking 30 Leaps in the Dark

July 14th On Jürgen Habermas and A Child's Guide to Languages - effective communication

July 15th On Georges Perec - my take on Je me souviens

July 16th Beckett, Bergson and slapstick - on comedy

July 17th A Leap in the Dark 31 - new writing by Sam Mills and Eley Williams

July 18th A Leap in the Dark 32 - conceptual ceramics, empathy and and Uwe Johansson

July 19th On Roger Hilton's 'Oi Yoi Yoi' - a favourite painting

July 20th Mr Electrico - Ray Bradbury remembers

July 21st Revelation Apocalypse - a prose poem by Amy McCauley

July 22nd On Ernie Lotinga and T. S. Eliot - some thoughts on the forgotten entertainer

July 23rd On Hamlet - on Hamlet, and Hamlet

July 24th A Leap in the Dark 33 - Wasting time in numbers and rhyme

July 25th A Leap in the Dark 34 - pottery, poetry and glossolalia

July 26th Letter from Deia - by David Holzer

July 27th Mr Electrico - Ray Bradbury remembers

July 28th Bingo! - wasting time in numbers and rhyme

July 29th Taking potshots at shit-hot hotshot novelists - a response to James Marriot of The Times

July 30th A Leap in the Dark 35 - Auden's Runner, a film by Don Owen

July 31st The Blackbird by Clare Allen - a new novel from Henningham Family Press

Saturday, 1 August 2020

A Leap in the Dark 36

A Leap in the Dark 36   8pm  Saturday 1st August 2020

       Close reading

Close reading is the careful, sustained interpretation of a brief passage of a text. A close reading emphasizes the single and the particular over the general, effected by close attention to individual words, the syntax, the order in which the sentences unfold ideas, as well as formal structures. The technique of close reading emerged in 1920s Britain in the work of I. A. Richards, his student William Empson, and the poet T.S. Eliot, all of whom sought to replace an "impressionistic" view of literature then dominant with what Richards called a "practical criticism" focused on language and form.

A century later, where are we? 

Join authors Brian Dillon, Wendy Erskine and Linda Mannheim for a close reading masterclass, with Stephanie Ellyne, Aea Varfis-van Warmelo and The Pale Usher

There's no charge for taking part in A Leap in the Dark, but please make a donation, no matter how large, to The Trussell Trust.


The Programme


1 The Pale Usher welcomes you

2 Some brief thoughts on close reading 

3 Ford Madox Ford on D. H. Lawrence and ‘Odour of Chrysanthemums’

4 Suppose a Sentence: a conversation with Brian Dillon, with readings by 
  Stephanie Ellyne

A series of essays prompted by a single sentence - from Shakespeare to Gertrude Stein, John Ruskin to Joan Didion - the book explores style, voice, and language, along with the subjectivity of reading.Both an exercise in practical criticism and a set of experiments or challenges, Suppose a Sentence (published by Fitzcarraldo Editions) is a polemical and personal reflection on the art of the sentence in literature. 


Interval 


5 Linda Mannheim’s short story ’MISSING GIRL, 5, GONE FIFTEEN MONTHS’ - a 
  close reading with Wendy Erskine 

 (Linda’s short story will be circulated to all Leapers before the show)

6 Linda Mannheim responds to Wendy’s close reading

7 The Settee Salon: Wendy, Linda and Brian in conversation

8 The Pale Usher signs off



The Company


Brian Dillon was born in Dublin in 1969. His books include Essayism, The Great Explosion (shortlisted for the Ondaatje Prize), Objects in This Mirror, I Am Sitting in a Room, Sanctuary, Tormented Hope: Nine Hypochondriac Lives (shortlisted for the Wellcome Book Prize) and In the Dark Room, which won the Irish Book Award for non-fiction. His writing has appeared in the Guardian, New York Times, London Review of Books, Times Literary Supplement, Bookforum, frieze and Artforum. He is UK editor of Cabinet magazine, and teaches Creative Writing at Queen Mary, University of London. His latest book, Suppose a Sentence, is published by Fitzcarraldo Editions.

Stephanie Ellyne is an American actress based in London. She recorded the audio book of Lucy Ellmann’s Ducks, Newburyport, released by Whole Story in 2020. Other voice work includes playing Amy Jennings in on-going British/American audio drama Dark Shadows with Big Finish, nominated for the BBC Audio Drama Awards; The Confessions of Dorian Gray (Big Finish; Open Book (BBC Radio 4; and The Man Behind The Prophet (BBC World Service).  She has recorded stories for the annual Costa Short Story Award and is a frequent narrator for RNIB Talking Books. Her most recent audio book is Artifact by Arlene Heyman, released this month by Bloomsbury/ID Audio.

Wendy Erskine works full-time as a secondary school teacher in Belfast. Her debut short story collection, Sweet Home, was published in 2018 by Stinging Fly and in 2019 by Picador. Her work has been published in The Stinging Fly, Stinging Fly Stories and Female Lines: New Writing by Women from Northern Ireland. She also features in Being Various: New Irish Short Stories (Faber and Faber), Winter Papers and on BBC Radio 4 Buy Sweet Home here: https://www.panmacmillan.com/authors/wendy-erskine/sweet-home/9781529017069

Linda Mannheim is the author of three books of fiction: Risk, Above Sugar Hill, and This Way to Departures. Her short stories have appeared in magazines in the US, UK, South Africa, and Canada. Her broadcast work has appeared on BBC Witness and KCRW Berlin. She is also the co-host of Why Why Why: The Books Podcast. https://www.lindamannheim.com

Aea Varfis-van Warmelo is a trilingual actor and writer.

The Pale Usher is David Collard, who organises these gatherings.

The pale Usher—threadbare in coat, heart, body, and brain; I see him now. He was ever dusting his old lexicons and grammars, with a queer handkerchief, mockingly embellished with all the gay flags of all the known nations of the world. He loved to dust his old grammars; it somehow mildly reminded him of his mortality.
  Moby-Dick by Herman Melville





The next Leap in the Dark on Friday 7th August will feature:


- Spring Journal canto XXI by Jonathan Gibbs, read by Michael Hughes 

- Yoga with the shameless shaman ‘Guru Dave’ 

- Alan Fielden poet, theatre maker, artist

- Another extract from 24/7 Brexitland performed by Amy McCauley


Stay well!


The Pale Usher