The Anatomy of a Week-Long Moment

Just back from a fractured week in Powys and Herefordshire, where Alex and his young cousin playfully broke up the otherwise Proper Grown Up stuff of the Hay Festival, and my breathing in of the lush green hills of Presteigne, in old Radnorshire - home of the very well-groomed (albeit naive) Pristine Christine, the best green teen of Presteigne.

Hay-wise, with my mother in mind (she be a fan), on the first Saturday evening I'd elected to go and listen to Paul O'Grady in conversation with Sandi Toksvig. Sure enough, as he waxed lyrical on the second volume - The Devil Rides Out - of his memoir, his wit, warmth and self-effacement beguiled the thousand-plus audience in the pavilion. On the back of previous Hay experiences (below par interviewers and chairs), Toksvig pitched perfectly.

The following day, I committed only to Javier Cercas' session, intelligently and generously chaired by Jon Gower. I knew little of Cercas, but from listening to his appearance on World Book Club a few months ago, I expected sufficient hooks of interest. The particular quality of his that drew me in, was his appetite for forensically unpacking social and cultural 'moments', or actions - the title of his session, The Anatomy of a Moment, saying as much. The historic thread that ran through much of Cercas' discussion concerned the transition in governance of Spain. At the heart of this was the failed coup d'etat of Colonel Tejero, of 23 February, 1981 - during Spain's shift to a liberal democratic state. And, phew.

Monday began with an air of gaiety - which many of the audience (of about 300) may not have expected from 'The Lost City of Stoke-on-Trent' - primarily, a sales pitch for Matthew Rice' book of the same name - an aesthetically pleasing document of the city's industrial cultural heritage, and traces thereof. With his wife, the potter Emma Bridgewater, opening the discussion with an account of her recalling her first experience of Stoke-on-Trent - a wave of mixed emotions and the thought, 'I didn't know that places like this existed', I had a feeling that I was about to be taste-challenged. From 'those who should know better' (the plummy, the well-bred), I struggle to tolerate that kind of socio-environmental ignorance. Gladly though, bottom line interests aside, both speakers turned it around, and chair Tristram Hunt batted well for the city, too. It was especially pleasing to gauge that the vast majority of the audience were not Stokies on sabbatical (or holiday, or parole), but more broadly interested vultures of socio-industrial culture - the end-of-session questions from the floor were, as my sister would say, top-notch. From that, I moved on to listen to Catherine O'Flynn ('The News Where You Are') and Mark Watson ('Eleven') speak of their most recent novels, both of which centre around characters who are on big personal quests, that see them ask gentle philosophical questions. Again, this was well-chaired, by Stephanie Merritt - no cloyingness, just walking the main protagonists through a well-balanced discussion of their works - as separate entities, albeit with big thematic cross-overs.

Otherwhere, culturally-speaking, there's a feature on Lady Gaga, written by Stephen Fry, and published under the FT banner. It's over a week old now, it's fannish but good, and it's here. And I'm really liking In Treatment - the talking therapy drama, from HBO, with Gabriel Byrne and a strong supporting cast - not least of whom, Hope Davis' Mia is spookily well written and acted.

Otherwise, otherwise.
.

A Post on the Subject of a Weekend of Lurid Cultural Learnings

Privy to flirting
The Tube - arm-pits and elbows
Dinner by the Thames

What? No parakeets
Tate Modern and swing-dancing
Exposed and hair pinned

A fine shirt, fit for
Gay flings, breakfast, and intros
- a stellar stranger.

passions

We've been back in blighty for a week, having spent a few days at the festival in Hay-on-Wye. The week of down-time left space for several longish local walks - woodland, meadows, canal - all with Alex several counties away (he returned well, he returned happy, he returned yesterday). The following notes are late reflections on what I - we - sat in on (and missed), whilst in Hay.

Henning Mankell (Saturday 29 May, morning): cancelled. Explained here (Mankell was aboard one of the flotilla boats that sought to break the blockade of Gaza).

Hugh Fearnley-Whittingstall and Ruth Rogers, in conversation with Jim Naughtie (Saturday 29 May, early afternoon): The River Cottage and River Cafe chefs and food writers spoke in memory of Rose Gray (co-founder of the River Cafe). Whilst Rogers extolled the virtues of Italy and its sun-drenched produce, Hugh F-W's bent was differently located. Throughout, there was a quiet distinction in that the ethics and politics of food were much more to the fore in F-W's general message. Key word: sustainability. Jim Naughtie left enough space for the foodies to speak for themselves, and was a beacon of how best to facilitate engaging and occasionally challenging discussion.

Small Space (by Jane Nash and Dan Milne) (Saturday 29 May, early evening): We met by the town's clock tower. And were then guided towards this piece of theatre - a one hour two-hander, performed in the kitchen-diner of a nearby cottage, to a sell-out audience of 20. Themes of intimacy and honesty were charted through the fragmented story of a couple's meeting, marriage, and learning to live with one another. It's rare that theatre gets to be so intimate that you really are looking into the whites of the actors' eyes, and they your's, but more importantly - it's rare that theatre is so tightly written and sharply executed. A great production, that made me want to return to New York, stand up from my uncomfortably high stool and applaud loudly, then quickly push on with my own writing pursuits.

Richard Layard, Geoff Mulgan and Anthony Seldon discussing the Movement for Happiness (Sunday 30 May, early evening): We attended this for a mix of professional and personal interest reasons - as if those things could so easily be separated. It was reference to what this movement's aims might yield - in terms of an approach to education - that drew us in. In short, the movement - as it is being referred to - seeks to provoke people into thinking and acting their way into living in both more personally fulfilling, and socially conscientious ways. Discussion of this raised enormous questions regarding the political, economic and psychological affiliates to what initially sound like radical changes to how we live - or rather why we live how we live. Many questions were discussed, rather than answered - and herein lies the central challenge to the happiness movers (and to many other fantastically worthwhile and creative intellectual endeavours). Translating big thinking into coherent, digestible, points for practicable action is not always so straight forward - although Seldon did articulate a 5-point list that I didn't make a note of. We'll be watching and listening and making some contribution to the furtherance of ideas that were presented, as we work on through 2010 and beyond.

One more point on the above session: Rosie Boycott, entirely open in her manner and (stand-in) chairing of this discussion, made interjections which seemed to naively lay bare the kinds of personal dissonance and social discord that will occur when a critical mass of individuals pursue lifestyles that are largely, if not entirely, self-serving. In suggesting that our domestic economy and broad social behaviour would become 'just a little boring' were they to more closely resemble those of, say, Denmark, the example of the individual chasing down 'some hot-shit media job' and all of the prizes that go with that (read personal wealth, reward, and an enhanced sense of self... self self), Boycott provoked a murmur of disapproval and a more glaring sense of cultural disunity within the room. Anthony Seldon seemed to observe that it was exactly such a profoundly self-oriented caricature (as was perhaps chairing the discussion) that was anathema to what the Movement for Happiness sought to inspire. Whilst not righting off personal ambition, the suggestion was that this might be most socially progressive were it wedded to (what I read as) an Adlerian sense of gemeinschaftsgefuhl - simply put, a sense of community, or social interest. That said, perhaps the entirely self-oriented individual will read their own progress as absolutely a matter of broad social interest. And so it goes.

Audrey Niffenegger in conversation with Lisa Allardice (Monday 31 May, morning): The author of The Time Traveller's Wife, and Her Fearful Symmetry, proved to be an elegant, engaging, and wry discussant of her motivations, passions and working practices. This was most in evidence as the hour-long session was opened up to questions from the floor. For the 25 minutes up to this point, I was reminded of how good an interviewer Jim Naughtie had been on Saturday afternoon. Whilst Allardice' editorship of the Guardian Review is no doubt high office, it probably demands a different set of qualities than does the task of being a stimulating literary interrogator. At times, Niffenegger appeared justifiably bored by the fawningly fannish initial questioning.

And that, was that.

witness

Emma and I take our seats in the theatre, for illusionist and mentalist Derren Brown's 'Enigma' show. All about us, there is an adrenal air of anticipation. Behind us, a young couple take their seats. With thoughts towards the seeds of likely tricks, the young man speculates to his irony-free companion.

Man: Back there, in the foyer - I bet there were loads o' subliminal messages an' that.

Woman: I didn't see any.

I smile to myself.

The show turns out to be excellent - as much for Brown's mastery of the stage, as for the mental mechanics of the acts that we witness. We were sworn to secrecy, so I'll say no more than that.

five star

Early 2010 featured far too much death and distraction for me to commit to being anything more than a punter at the second Stoke-on-Trent Pecha Kucha event. Pecha Kucha: Japanese for chit-chat. Here, taking the form of a presentation, over 20 slides/images, each given 20 seconds - total presentation time: 6 minutes and 40 seconds.

The Fat Cat Cafe Bar, on the edge (the best bit) of Hanley, was a very good venue - its subterranea being sufficiently lounge-like and ill-lit, to foster a warm, relaxed atmosphere.

With Anna Francis' cool hosting, presentations began with local photographer, Mark Brereton, on responses to the Haitian earthquake. With this, there were related historical references to architecture and global network-based fund-raising efforts. A gentle opener.

Taking on the baton, was Nottingham-based Andy Clark, whose disarming moustache-fronted opening paved the way for a wry discussion around men's health. The timing, content and all-round intelligence of this presentation justified the rapturous response that the speaker received. Personal trials with prostate cancer were the background to what was effectively a health education message that the crowd actually wanted to listen to. Of course, self being self, I had to later daydream about the vast monies that are spent on getting such messages out, but with nothing like the appeal or flair that this self-effacing speaker achieved. Andy's happening to have the family in tow for the evening, was a warm detail that wasn't lost to me. I spotted his wife say, 'Proud of you', following his post-presentation kiss. Lip-reading, eh, whatever next.

From this, Gemma Thomas shifted us towards 'Collaboration'. Ultimately, a workish presentation, that was a little light on the trials of working in collaboration, or in partnership. Here, I have to acknowledge that whilst the desire and optimism attached to the 'Wouldn't things be better if we could all work together' sentiment, is attractive, I've known far too many collaborations and partnerships - in-depth - to know that the detail of such working arrangements, can create a lot of additional work in and of itself. A point that was oblique, here.

In discussing folk memories of the city (Stoke-on-Trent), Darren Washington (another local photographer), drew upon his own archive of images, along with spoken word recordings made around the Potteries. The pacing of this presentation, and its meandering content, was sufficient for many of the crowd to appreciate the humour in lo-fi everyday reflecting.

During a break in proceedings, throughout which local electronic musicians bITjAM provided the background music - agreeably non-disturbing, I talked with a fellow north-east exile about his recent move south, and about the university course that he's now leading.

Perhaps the most surprisingly entertaining talk came next. Anwyl Cooper-Willis, visiting from Bristol, provided a most elegant account of the grand architecture attached to the electricity sub-stations of Stoke-on-Trent. To many, this might herald a 'Y' wha'?!' response, but this was really about paying attention to and seeing the merits of those details of our everyday backdrops that we don't always see. I would fail to do justice to Anwyl and the sub-stations, were I to try to say more.

The one technical glitch of the evening occurred next. One speaker's presentation images were lost to the stomach of a laptop and so he had to stand down. I hope he returns, next time there's a Pecha Kucha event. Hearing reference to this SpeakerWhoWouldHaveBeen being from my part of the city, I was quietly excited - hoping that he was about to add a dimension to this most local of locales, that would have undermined some of my dearest prejudices. He looked like a decent sort.

From that hiccough, to Nantes, and Celine Siani-Djiakoua's reflection on the semiotics of her former home ('Where are you from?') city. In the imagery, advertising hoardings and text about the streets of Nantes, Celine discussed the traces of the city's historically pivotal role in sustaining the slave trade. Altogether, the narrative was fragmented, but such a patchwork quilt of talk was strong enough in its detail to hold interest.

And finally, they'd been spotted about the building earlier, Denim and Leather were to play 'Live!'. Stepping up to the microphone, the duo's manager, Hugo Nowhere, presented a 6-minute 40-second introduction. Recounting his boys' past tours, their achievements, and the underlying philosophy of these most fashionably unfashionable ne'er-do-wells, 'Rock is a three letter word', we all knew which S-word he was talking about. But lo, but behold. Due to their rockish excess, Denim and Leather failed to make it to the stage. Images suggested that their non-specified binges had led to unpleasantness in the toilets. The crowd were disappointed, if taken aback at such antics - on a Thursday. One suspects that they'll rock on, to make a difference at other performance events. Nowhere struck me as a man not to be trusted, though. Debauched.

By 11pm, I was back at the ranch, and settling self down for some really odd dreamsleep. I blame Hugo Nowhere.

two dramas

Walking into the Riverside Studios, Hammersmith, last Friday, I was reminded of the Green Room, Manchester - large glass frontage, confident contemporary air to the space, and just a hint of middle-browness.

I was there with The Professor, to see a Love and Madness production of Sam Shepard's Fool for Love.

Reviews had been mixed, and the particular hook for drawing me in was the knowledge that this was Carl Barat's first professional acting gig. Walking into the theatre space, we enter at stage level, with the cast already in position - Barat (as Eddie) sits, head bowed. On a nearby bed, Sadie Frost (as May) is curled up. Gerard McDermott (as the Old Man) is half-way up a staircase, amongst the one-tier bank of seats. A small amount of additional seating is at stage level. The capacity looks to be around 300. As the play begins, I count 23 of us and immediately make the mental note to not spend the next hour or so (it's a short play) doing arithmetic and getting distracted by the economics of such a production.

(Photo: Luke Varley)

Soon, we are immersed in the messy, alcohol-fuelled relationship of Eddie and May. There is an undertow of violent potential - with drawled cat calls and deep southern swagger the order of the pair's clashing over Eddie's time away. The motel room environment is claustrophic.

(Photo: Luke Varley)

About twenty minutes into the play, I think to myself, 'It's not entirely obvious where this is going'. By now, we've had the addition of the Old Man's third-party perspective, narrating against the main protagonists' conflict. The Old Man is drunk, and has a different kind of energy to the younger actors. The professor will later comment, that 'He held the whole thing together'. Looking at the text of the play, it would be easy to take the same view. Thus far, each of the three characters have presented the further challenge for the actors of 'doing drunk', or 'doing drinking', but they're getting by.

(Photo: Luke Varley)

Whether by design, or fluke, McDermott's Old Man makes good use of the light in the space - stepping into and out of the shadows, and at one time, resting amongst the audience.

(Photo: Luke Varley)

As the play moves on to further disrupt the Eddie-May dialogue, with Neil Sheppeck's Martin - a humble man with a romantic interest in May - entering the fray, we build to revelations surrounding the identity of the Old Man, and the conequences of this for the doomed duo. Martin, meanwhile, is a character that hardly develops - aside from deciding that he wants to get out of there.

(Photo: Luke Varley)

In all, the production was competent - unremarkable, but certainly not bad. My guessing is that some of those mixed reviews would have warded off a good degree of shot-in-the-dark footfall, and so our two dozen get to do theatre intime. Through the course of the production, I wondered at the processes that may - or may not - have been undertaken, by way of casting. I wondered about the extent to which voice coaches would have worked with the cast. And I wondered how the cast would have felt, before, during and after the play's run. The experience of playing to a packed house would surely have generated nervous energy, but might smaller audiences risk the demeanour of going through the motions. I don't know - and the answer to the question wasn't obvious from any of the performances. The one technical criticism, that I would put forward, would be regarding the use of the whole body - and movement - through the play. The Old Man gave it 120% swagger, the awkward Martin was very much a stiff character, but - especially with alcohol in the air - I found it hard to imagine that Eddie and May would have been quite as static - quite as hands-off (despite the second photograph, above), were we in the real world. But perhaps this is a detail that we can forgive, given the revelations regarding the Old Man. See how I don't spoil.

If anything, Fool for Love was drama - writ large.

And so onto Saturday, and Bette Bourne and Mark Ravenhill, presenting A Life in Three Acts at the Soho Theatre.

(Photo: uncredited)

As this image attests, the staging of A Life in Three Acts was quite a different affair to Fool for Love. I'd seen Bette Bourne about a decade ago, playing Quentin Crisp, in Tim Fountain's Resident Alien. From that show, I'd deduced a warmth and charm to Bourne, that instilled confidence.

The Soho Theatre - on a Saturday afternoon - was packed. Maybe 200 folk, covering a broad white-only demographic, sat down for the one and a half hour show.

Ravenhill bounces onto the stage and speaks to us, explaining that a year ago, he began to interview Bette, and that with the assistance of a transcriber, a picture researcher and a long self-editing process, he and Bette had reduced those interviews down into a stageable, digestible form. And that, as the title of the piece suggests, the life of Bette Bourne - and with that, a rich seam of social, sexual, identity and performance history - was the central subject matter. And so we welcome Bette Bourne to the stage. Aged 70, he had a quiet charisma, if not an entirely lithe physique. Refreshingly, there was an honesty to the production - the process through which it came about, and the matter of the performers have the 'script' in front of them, was there for all to hear and see. The professor later commented, 'Within 30 seconds of his being on stage, I was with him'. It also happened to be the case that within 30 seconds of his being on stage he was recalling - and self-parodyingly performing - boyhood amateur dramatics, undertaken with his mother, as his father was at war.

Of white working class stock, Bourne was one that got away - or was, perhaps, rescued by himself and by the good fortune and direction of one or two of his tutors. In a life that spanned intimate and sexual relationships with men and at least one woman, a life that saw Bourne at the fore in the Gay Rights movement, and that saw his Bloolips performance troupe play through Europe and New York, Bourne had much to unfold. Beyond the drag and the suggestion of often larger-than-life self-characterisation, there emerged a thoughtful, quieter, more comfortable-in-his-own-skin individual. Particularly insightful moments came about as he discussed his decision to leave a commune, as the drug scene therein became too much, too negative, for him. And furthermore, in discussing the early 1980s, AIDS, and those who fell to it, he portrayed an individual who was fully aware of the tragedies that he had lived through. In discussing a relationship with a woman, which came to an end as he had to explain 'I'm not straight, I'm not bi, I'm a gay man', he acknowledged that he had at times been complicit in more local tragedies. 'I hurt her', he said quietly.

But heavy and profound as much of this was, there was - is - an air to Bourne, that reminds us that life goes on, and that we should make the best effort to get the most out of life. Ravenhill's discreet interventions - moving the narrative along - was a wise production decision - a constant visual reminder of the relational quality of biography. After all, what is a biography without a reader, a listener, or anyone who cares.

If anything, A Life in Three Acts was drama - writ deep.

H

Short film on the panart hang (musical instrument), and one of its players (a thoroughly nice chap who I met a couple of months ago).

[Upon first embedding the film, it wrecked the formatting of the blog, hence linky link link.]

Q

I had a really good day last Friday, I mean really good - exhausting, exhilerating, massively affirming, and the kind of day that will stay with me for quite a while. It was also all about work - although it was really about the responsiveness of the people who I was working with, to my work.

Apart from getting a few dozen grown-ups to go on a longish walk in icy woodland conditions (they suffered, but they enjoyed), and to later gad about various eateries and drinkeries (they enjoyed), I got them to take on a seriousish photographic task (they enjoyed), but more interesting to me, I had them tackle a couple of playful but tricky questions - one from the archives, plus a new one (for me). Those questions were:-

Q1. [From the archives] Think of an occasion when you took a risk. What was that risk?

Q2. [New] You may be aware of the TV programme, Come Dine With Me. (If not, someone will explain.) You are to host a most amazing supper, at Le Chateau Imaginaire. Your guests are to be three famous/ish people - all from different walks of life (i.e. no trios of any particular professional or source of notoriety), plus one non-famous person, who is neither an existing friend or relative. So, who are your guests?

The final part to question two (the non-famous person) had the potential to unseat a few of our riders, but no, they played and they played fair.

And after that, I had them return to Q1. But this time, I asked:

Q3. [New] Think of an occasion when you avoided taking a risk. What was that risk?

This was a question that relied on my players to already be working well together, as it would require some teasing out - its meanings and possibilities. But you know what, they were fantastic. I gave them a good time, and they delivered.

So good, so very good.

If you've any thoughts on any of the above questions, feel free to share (I am interested) - whether you're a familiar to the comments box, a one-off wanderer, or someone somewhere in-between.

Sighs

Yesterday was a good day. A monkey on our back was cut right down in size, and though this was explained to The Boy (for he has felt it, as we all have), and although he gave his Mum a hug, I doubt whether he yet understands the collective weight that was unburdened. And nor should he, he is only eight years old after all.

But I was so pleased with him, and for him. I gifted him the Simon's Cat book - important, as I felt it was, to mark the day somehow. He was pleased and gave implausibly emphatic thanks.

Earlier in the day, his mother had spoken the words:

'No, you don't need to give me a moment, I'm going to cry through this anyway', as good news was detailed.

At bed time, The Boy and I flicked through about half of the Simon's Cat book, recognising many of the wry illustrations.

And after reading a couple of chapters of The Fire Thief, we chatted for a while. We talked about how when you're a child, it's hard to imagine who you might meet later in your life - which new friends you'd make between the ages of eight, and say... thirty four and exactly one half. This chat led to his explaining that Daddy would like to get married, and that he uses match dot com - for meeting new people and for setting up dates. Feigning naivety, I asked questions, listened, and suggested examples of what my profile might look like on match dot com.

The Boy: It'll find people for you who like the same stuff as you. So you put in things like... your favourite colour -

Shane: Green.

The Boy: Mm. And... what you like -

Shane: Chicken in gravy.

The Boy: (hesitantly) If you like.

Shane: Mm. But what if all of the other people who like chicken in gravy live in... Africa?

The Boy: You have to put in where you live as well.

Shane: Oh. Is it best to meet people who like the same stuff as you?

The Boy: Yeah.

Shane: Is that so that you can go to a restaurant that you both like?

The Boy: (sighs, rolls his eyes) Something like that. You can put the light out now.

Shane: Alright. See you in the morning.

The Boy: 'night.

He slept soundly. I didn't... the residual thought of what might have been.

The next week or two should see some relaxing of the mind, and the shoulders.

Amen.

Caring

Whilst reading Rebus, earlier, I was reminded of the times when, as kids, we would makes ramps for our bikes. A plank of wood from the garden and one brick - easy, two bricks - getting serious, three bricks - one for the crowds. The crowds would generally have been my brother - 'No, just one brick - you're too small for three'. I was caring like that. And the more impressive stunt-rider for it.

Mm.

And also earlier, in a rare moment of thinking 'Lordy, I'm being a good professional right now', the chap who I was speaking to caught me quite off-guard. He'd said that he had to go back into hospital... back into hospital. And so having forgotten the detail of his previous hospital trip, I murmured a cool murmur and asked if it would be a long stay. I asked out of caring for the man, nothing to do with 'This has the potential to be damned inconvenient'. And before I know where I'm at, he's all 'big ones', 'internal', 'haemerrhoids' - but I didn't ask, man, I didn't ask! The arse.

As these blog posts have become much more rare, I think it's important that when I post, I should post with gravitas, with thoughtful purpose.

Mm.

I think the word julienne is gorgeous. Words like julienne make me want to cook. Properly - no cheating with gadgets that do the art for you, I mean proper hand-crafting of the food - careful and caring. Julienne.

Harbour

Seahouses, Northumberland.

Unassuming and lo-fi, a place for the occasional Sunday afternoon out, when I was a kid - (whispers) when Dad was capable.

A couple of decades later, I could see more to Seahouses than I had done as a child. It stood as an invite to slow down, unwind, recharge - not a place of noise or garish colour, full of slateish greys and deep seaweed greens. It was, perhaps, a bit rude of us to go intruding on those who might call the town home.

But then again, if one's freedom can be bought (temporarily) for the small yet alluring sum of a bag of bacon bits, then perhaps the onus should be on a little more fishy self-restraint. Still, no harm done.

From our digging and sand-piling, The Boy and I turned a tad artful. A few days earlier, we'd stopped off in Durham for breakfast, and to watch Harry Potter and the Half-Blood Prince (not quite as dark and doomy as I'd imagined, pleasing for Jim Broadbent's Professor Horace Slughorn and Evanna Lynch's Luna Lovegood, overall quite restrained - a breathing space before the final chapter, the filmically two-parted final chapter). I suspect there were echoes of The Dark Lord, clouding our direction, as we got down to our sand-etching.

The Boy's work (above), and my own (below).

Try as he might, The Boy's sea-beckoning did rather fall a bit flat.

But lo and behold, when that tide turns, it does race in across those sandy Northumberland plains. And thus we did bear witness to the inglorious destruction of our work. It was gradual, it was wet, it was what we'd wait for. Which reminds me of something, well, elsewhere, that I read recently. Each unto his and her own in this wee family of t' 'net. Back in the land of wholesome goodness, and my, see the creation come a-tumbling down:

It turned out to be a more relaxing week than I'd imagined it would be. Emma was with us for much of it, which helped. My family dropped by to join us for some puffin-spotting - not overlooking the razorbills, guillemots, shags, arctic terns, seals and more, about the Farne Islands. It was good.

The Boy and I caught (and were rather pathetically scared by) a pipefish - well how was I to know that the damned thing would wriggle out of the bucket?! The Boy was impressed (and amused) at my delicate flick of said specimen, back into the harbour. And so it goes.

That was all a week ago. The Boy has been with the paternal clan, in Abersoch, this week - he gets about. I miss him. But his Dad timed their trip well, very well indeed... Emma grinds on, with what she must.

So, this week, I have been sustained by Wallander, Taking the Flak, Psychoville, and by the silly silly game that is XpertEleven. Couldn't quite bring myself to write (like, proper big really selfish stuff) or get out much.

As I write this, trickle-down grind reaches me, and so to it must I turn. Must I. I must.

Hope you're catching some summer... relaxation, that your bearing is positive, and that you (the visible, and the quiet ones) are well - simple but effective, seems reasonable enough.
.

Lashed

The British Artists' Football Tournament:

Saturday, 23rd May, 2009.

We played well - won 4, drew 0, lost 2, during first phase of the tournament. Both defeats were to the eventual finalists, 0-1 and 0-1. The wins were 3-1, 2-1, 6-3 and 3-2. I scored twice (one back heel, one outrageous first-time lash - following good team play down the left and a quick squared cross). Largely, though, I played a defensive, sweeperish role. In the semi-final, we drew 0-0 against Eastside Projects (Birmingham), then lost on penalties (*whispers* though I scored mine - hard and low). And so we were knocked out. We call that an honourable exit - for self and team (AirSpace). It was pleasing to hear newfound and amusing support from the sidelines. As with all teams and most players, our attitude was good, '...appreciate the effort that others have put in to making the day happen, now get on with it and play fair'. The tournament was won by another Birmingham team, 'Jibbering' - a collective of street artists and DJs - they played well, and used their squad intelligently. As we drove back up the M6, the mood was good - we'd done ourselves justice.

Number of teams who participated: 7
Number of teams who failed to show: 3
Number of instances of dissent / bad attitude: 2
Number of my legs experiencing thigh strain (Sunday - Tuesday): 2
Best kit design of the tournament: AC Tortured Birmingham (white polos, with AC-style logo)
Best team name of the tournament: Real Worcester
Number of natural left-footers in our team: 2
Number of miles to venue: 42.7
Mark out of 10 for satisfaction with the day: 10
Minutes delayed in getting to venue (Bank Holiday traffic): 20
Number of people who've seemed interested in my in-person reportage: 3
Number who haven't...: 3

There was a photographer on site for the whole tournament, though I have yet to get access to their handiwork. Thus, you'll have to imagine it... no no no, more attractive than that, surely.

Embodied by self, Saturday was a good day for north east football(ers in exile).

Sunday wasn't.

[ - Photographs may follow - ]

Kith

I'm becoming reacquainted with a friend from the past - one of those ones that you should never lose touch with, and that you did kind of seems bizarre. To me - not on Facebook, blogging under a pseud' - this is a big deal.

Related, there has been emailing. I've received the gift offer of a pastel drawing of my sister that was done in 1993, when she was a small 8 year old - it's her 24th birthday today (the gift offer came from the old friend, An Artist).

It seems that a meeting - in Manchester - will follow. Men will hug.

Wakefield

For those of you who I know in actual real-life human being form, this is not for you. If you have not received a real Christmas greetings card, then it's because I disagree with your views on football.


To the rest of you - Uncle Willy, Aunt Nilly and all - rejoice! I created this delightful sketch for you. See. I care. Really. I do.

I hope I don't offend anyone this Christmas.

I hope my car doesn't breakdown. I've got to drive 170 miles from 3pm on Christmas Day. In 2006, part of the M1 was blocked, so I had to drive through Wakefield. Have you ever been to Wakefield? On a Christmas Day? It was weird. I hear that they pronounce 'The Westgate Run' as 'Westgate Run'.

Baubles is an unusual word. Doesn't sound 'pretty'.

Until and through 2009, relax and be good to yourselves.

And don't forget, the best blogs are those with the seamless narratives.

Pah!

Wall

So there I am...


...laptop, Christmas tree, digital central heating controller yet to be afixed to the wall (small white box, left of image) - the epitome of Creative Professional at Large. Following a cursing Friday, I was coarsing through Monday - like nobody's business, or rather - like my business. As I'm calling and emailing The Great and The Good - in order to bring about a most handsome project, I bash out yet another email, to confirm The Vision. Cutting to the chase, I set about mentioning that, 'In a nutshell, the meeting is about...'. Reviewing my fine Visioning, I am aghast to note a typo - a typo that speaks of choppy waters, of contingencies, of... a darkening Vision? It reads:

'In a nuthell, the meeting is about...'

Nuthell?! Most unseemly. My continuing problems with the 'S' key on the laptop, yields a vision of allergic reactions, of working with loonies, of squirrels unwell.
.

Westward

At the top of Broad Street, Hanley.


Heading for the city centre, and the purchase of a fountain pen, I turned to my left.

Shane: Wow! Look at that sunset*.

Alex: Cool! If I had my sketchpad and good pens, I'd sit on (pointing) that bench and draw it.

Shane: I bet it would be good too, your drawing.

Alex: Mm.

(* Mine is not the most sophisticated of cameraphones)
.

Wonkish

For those who dropped by - fleetingly or otherwise - during my November of haiku, I thank you. I liked the regularity of form of those posts, though some were hugely, grimly, contrived. I won't post every day this month, though I am going to stick to a standard form. One image from everyday life, plus a few related words - that'll be the standard for December. And so:


'Shoes, Jewellery, Handbags, Accessories'... it's What Women Want (WWW), apparently. As I shuttled through Burslem, a couple of months ago, the OMGness of this shop's name and pitch left me so stunned that I would later resort to using the abbreviation 'OMG', publically. Mm. Exactly. I must have been in a hurry - hence the wonky shot. Wonky... what a wonderful word wonky is. As is wonkish (the broad meaning of which I didn't know until a moment ago). Of the minimal shopping for Christmas gifts that I'll be doing this year, I regret that none of the women who I'll be buying for will be entreated to the little luxuries that WWW offer.


I'd be doomed!

#30: Temerity

Inconspicuous
A quiet wordy work-out:
Back to prose-posting
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#29: Turner

Macuga derives
Wilkes and Islam waffle-pops
Leckey plain and true
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#28: Tryers

Grey urban desert
Fracturing pub football calls
Parkland oasis
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