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EDITORIAL Thursday, 25 January 2018
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F EATURES 3 ‘Address to a Haggis’: Rosie Dowsing explores neeps, tatties, and the cultural significance of Burn’s Night V I S UAL ARTS 4&5 Soundtrack to an Exhibition: the way in which music affects our perception of art F I LM & TV 6 A new age of accountability? Challenging the leading figures in Hollywood feminism F O OD & DRINK 7 ‘Croissushi’, anyone? Upcoming food trends in 2018
CREATIVE WRITING
8&9 Women who Write: why feminism needs poetry In conversation with peformance poet, Megan Beech MUSIC 10 Album Review: The OOZ by King Krule TRAVEL 11 Why walking is King: the best mode of transport? F ASHION 12 & 13 EVOLUTION // REVOLUTION: Anna Gibbs talks to DUCFS’ Creative and Fashion teams STAGE 14 Durham’s top five performances of 2017 BOOKS 15 A reflection on the stories that shaped our year I N TERVIEW 16 Tanvi Pahwa interviews Matthew Richardson about Durham, genre, and the literary success of his first novel
Cover Photo: Alasdair Harriss, Hannah Debson and Bryony Duff Styling and Fashion direction: Flora Stafford and Jemima Bunbury
www.palatinate.org.uk
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wo things happened last weekend: I went to see a play and I started applying for internships. And there seems to me a strange connection between the two. The here and now vs the far and beyond. The collective vs the individual. The fictional vs the (deep breath) real. The Events, directed by the highly talented Alice Chambers and Helena Snider, explores the aftermath of a mass shooting. It is, the programme writes, an “unflinching look into understanding such horror, and if a community can repair themselves from the unthinkable.” The focus on “community” and “understanding” was perfectly rendered onstage by Athena Tzallas and Kishore ThiagarajanWalker. And the skill of these two actors – the poignancy and vitality of their performance – reminded me just what Durham has to offer. I get dozens of emails and notifications every day advertising student-led initiatives. We have only been back for one week and yet theatre companies have already staged numerous plays and a musical showcase; there has been a poetry open mic night, a jazz jam, fashion show auditions, creative writing workshops … And the term is set to continue thus: in this edition of Indigo, Fashion talks to DUCFS’ team ahead of the big night. Bryony Duff, Creative Vice President writes that the show’s aesthetic should produce within the audience “reflection upon and reaction to the constantly changing times that we live in”. In the same vein, Creative Writing and Visual Arts explore the process of “pushing boundaries” and the intimate relationship between art and society - features include those on feminism and poetry and the fluidity of perception. While Travel looks forward to the summer, evoking and celebrating the simplicity of walking; Food and Drink consider the upcoming food trends of 2018. Conversely, Books and Stage reflect upon the year gone by, picking out stories and shows that defined 2017. And this moment of transition – time present embodying “time past and time future” (T.S.Eliot) – is appropriately marked by our concluding interview. Matthew Richardson, Durham alumnus, former Palatinate Editorin-Chief, and published author, emphasises the “process” leading up to success. “Trust your own voice,” he says. And listen to all those voices around you. Three years, I realise, isn’t actually a very long time. TB
INDIGO EDITORS Tamsin Bracher Adele Cooke (deputy) FEATURES EDITORS Rosie Dowsing Katie Anderson (deputy)
CREATIVE WRITING EDITORS Chloe Uwitonze Scaling Kleopatra Olympiou (deputy) STAGE EDITORS Helena Snider Helen Chatterton (deputy) VISUAL ARTS EDITOR Madeleine Cater Anna Thomas (deputy) BOOKS EDITOR Tanvi Pahwa (deputy) FASHION EDITORS Anna Gibbs Emma Denison (deputy) FOOD & DRINK EDITORS Emma Taylor Sapphire Demirsöz (deputy) TRAVEL EDITOR Harriet Willis FILM & TV EDITORS Imogen Kaufman MUSIC EDITORS Tom Watling Ashleigh Goodall (deputy)
Have a question, comment, or an idea for a story you’d like to write? Email indigo@palatinate.org.uk to get in touch.
FEATURES Thursday, 25 January 2018
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‘Address to a Haggis’ Features explores neeps, tatties, and the cultural significance of Burns Night By Rosie Dowsing Features Editor features@palatinate.org.uk
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what a glorious sight/ Warm-reekin, rich!’ wrote Robert Burns, in his ‘Address to a Haggis’, the poem traditionally read every year to commence Burns Night dinners across Scotland, Durham and the whole country.
Burns is regarded as the national poet of Scotland, a cultural icon Thanks to Burns, who is regarded as the national poet and cultural icon of Scotland, true Scots and Durham students alike will indulge in steaming haggis, neeps and tatties (mashed turnips and potatoes), followed by a cheery Ceilidh dance. Collingwood, St Mary’s and Grey College are keeping with tradition and holding their Burns Night formals on the poet’s birthday, on 25th January. Josephine Butler celebrated on the 22nd, Cuths on the 24th and Hatfield will hold theirs on the 26th, to name just a few. So Durham can expect nearly a whole week of black tie festivities. “To cherish the name of Robert Burns; to foster a love of his writings, and generally to encourage an interest in the Scottish language and literature.” This was the objective of the first Burns Club, established in 1801, with their inaugural Burns Night celebration happening a year afterwards to officially commemorate his life and works. After two centuries, the occasion has become more celebrated around Scotland than their national day of St Andrews.
“The whole occasion brings a little piece of home to Durham” Today, this joyous affair does indeed “cherish” the name of the poet, and honours the directness, wit and patriotism employed by Burns in his great work, with the simple addressing of the haggis before the merry tucking into of a hearty meal. The traditional post-dinner Ceilidh involves dancing and drinking something that students especially enjoy. The Gaelic word of Ceilidh means gathering or party, and the typical
dances to Scottish folklore songs are nothing short of jolly. The Gay Gordons, being over 130 years old and named after the army regiment of the Gordon Highlands, is usually danced first, followed by the Dashing White Sergeant, a sociable and fun dance in which revellers can move from partner to partner. Such uplifting music and gaiety, stemming from the works of one individual poet, is a celebration of art, literature, and for the Scots, their rich cultural heritage. “I personally feel honoured to have been asked to address the haggis at Grey’s Burns Night Formal,” says Andrew, a fourth year, “the whole occasion brings a little piece of home to Durham”. It is impossible not to know who Rabbie Burns is if you grew up in Scotland like Andrew, who had Burns poetry recitals in many of his classes.
Scottishness permeates Burns’ writings, with quintessential dialect and Scottish folksong The great variety of Burns’ works alone makes him an intriguing poet to study. This talented poet and lyricist of the 18th century pioneered the infamous movement of Romanticism, but also wrote with satirical flair, humour and sincerity. His Scottishness permeates his writings, particularly when using quintessential dialect or adapting elements of traditional Scottish folksong. Among his most famous works is the poem ‘Halloween’, which itself is a word with Scottish origin, and the spooky lyrics are celebrated each year in October. In Edinburgh, The Writers Museum is a must-see for all those who love the Burns legacy, where his life is exhibited alongside the other most notable Scottish writers, Walter Scott and Robert Louis Stevenson. His influence however, reached much further abroad than the UK. In 1956, The Soviet Union created a special commemorative stamp of Burns’ portrait to mark the 160th anniversary of his death. There are statues and memorials of the poet in Canada, Australia, New Zealand and in over ten US states. Durham will not be the only city that sees a week dominated by Burns Night, haggis eating and Ceilidh festivities. Many people around the world will Photograph by StockCube
be honouring the life of this one influential poet. The evening of fun will be a spectacle of all-things Scottish, proving that culture is most certainly something to celebrate.
Have a read of Burns’ haggisglorifying poem... Fair fa’ your honest, sonsie face, Great chieftain o the puddin’-race! Aboon them a’ ye tak your place, Painch, tripe, or thairm: Weel are ye worthy o’ a grace As lang’s my arm. The groaning trencher there ye fill, Your hurdies like a distant hill, Your pin wad help to mend a mill In time o need, While thro your pores the dews distil Like amber bead. His knife see rustic Labour dight, An cut you up wi ready slight, Trenching your gushing entrails bright, Like onie ditch; And then, O what a glorious sight, Warm-reekin, rich! Then, horn for horn, they stretch an strive: Deil tak the hindmost, on they drive, Till a’ their weel-swall’d kytes belyve Are bent like drums; The auld Guidman, maist like to rive, ‘Bethankit’ hums. Is there that owre his French ragout, Or olio that wad staw a sow, Or fricassee wad mak her spew Wi perfect scunner, Looks down wi sneering, scornfu view On sic a dinner? Poor devil! see him owre his trash, As feckless as a wither’d rash, His spindle shank a guid whip-lash, His nieve a nit; Thro bloody flood or field to dash, O how unfit! But mark the Rustic, haggis-fed, The trembling earth resounds his tread, Clap in his walie nieve a blade, He’ll make it whissle; An legs an arms, an heads will sned, Like taps o thrissle. Ye Pow’rs, wha mak mankind your care, And dish them out their bill o fare, Auld Scotland wants nae skinking ware That jaups in luggies: But, if ye wish her gratefu prayer, Gie her a Haggis Robert Burns (1787)
VISUAL ARTS Thursday, 25 January 2018
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Soundtrack to an Exhibition: A new way of experiencing Art in 2018
By Harry Ewbank visual.arts@palatinate.org.uk
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ou rock up to the grand turbine hall of the Tate Modern Art Gallery in London. You ascend the stairs and arrive at the entrance of an exhibit where a smartly dressed employee stands. Perhaps you invest in an audio guide before sauntering into the first room.
It is clear something has gone wrong in this experience of a trip to an art gallery You approach the first piece - a large abstract painting. You gaze at its features for 30 seconds before you begin to notice the ache in your feet and so shift your weight onto the other leg. “What am I supposed to be thinking?” you say to yourself. You fumble around with the audio guide until you finally get it going. A patronising voice dishes out details about the subtlety with which the paint has been applied and mentions influences from artists you’ve heard of but don’t really know. You look around at all the people who seem deeply engaged by the works. An hour or so later, you leave the exhibition slightly confused. “At least I did something cultured” you think, yet you haven’t been inspired to return any time soon and you’re not really sure how you’ve benefited from the gallery visit. It’s clear something has gone wrong in this experience of a trip to an art gallery. It’s easy to blame yourself and feel like it’s simply your own lack of understanding that is hindering the experience. It’s even easier to say, “Well it’s clearly just pretentious nonsense”. However, it is the responsibility of the exhibitors and curators to make the art accessible and rarely the viewer’s fault if they don’t ‘get it’. So how could a curator improve the experience for the viewer? (Says an arrogant uni student with no experience of curating an art exhibition.)
It is the responsibility of the exhibitors and curators to make the art accessible Reading Alain de Botton’s book Art as Therapy
got me thinking. He argues that art should be held accountable for its purpose and that it has rich therapeutic value. By this he means that art is useful in the way it can enhance life (i.e. help us deal with melancholy or heighten moments of happiness). Looking at the way that art is presented in galleries, on sterile white walls next to captions giving the title, date and materials it’s made of, there is very little aiding the viewer’s quest to decipher why it might be worth their time staring at the work. Consequently, people aren’t nearly as comfortable around art as they are around music, films and other forms of culture.
I believe we can revitalise the experience of going to an art gallery I believe we can revitalise the experience of going to an art gallery by utilizing other mediums. By doing this, the ideas behind the works and understanding how we should expect to feel around art could be easier. Instead of taking an audio guide into a gallery, why not listen to some music? Music has often been used to enhance other forms of culture. For instance, soundtracks can enhance a scene within a film and guide us to feeling the right emotions. The idea of combining music with art is far from a new idea. Unfortunately, we can’t rely on a
composer to soundtrack every exhibition we go to. It would be far easier to create a playlist that features songs that share the intentions of the artworks we are looking at.
‘It would have to take a seriously keen guy to go around a gallery and construct a playlist’ Now I know what you’re thinking: ‘It’ll have to take some seriously keen guy with no life to go around a gallery and construct a playlist that is suitable’. Well you’re in luck because that’s exactly what I’ve done for one of the Tate Modern’s permanent (and free!) exhibits called “In The Studio”. I’ve selected a song for one of the pieces in each of the 13 rooms. I believe each song shares the values that could be interpreted from the artwork. One of my particular favourites is the music I selected for Anish Kapoor’s Ishi’s Light which hopefully shows what I’m talking about...
People aren’t nearly as confortable around art as they are around music, films and other forms of culture Image by Konrad Lembcke via Flickr and Creative Commons
VISUAL ARTS Thursday, 25 January 2018
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When Spotify meets Anish Kapoor ... In
the final room of the exhibition stands a large sculpture by Kapoor that looks a bit like a large eggshell. The inside surface is a deep red colour that has been polished so that it’s extremely reflective. The artist intended for the viewer to walk into the eggshell so they could experience the surface surrounding them. Alas, the Tate doesn’t want the viewer getting too intimate and so prohibits anyone from getting too close. The reflective inside material is meant to obscure physical location so the viewer must look beyond the surface and into the space where the reflections sit. Kapoor wants the viewer to feel like they are staring into an infinite void. The sculpture facilitates your fall into the reflective vacancy that completely envelops you. The intention is to make you feel small and insignificant beside the immersive sculpture Kapoor presents before you.
irritations of our day to day lives seem far less significant in comparison to the vast Durham countryside or the infinite void of Kapoor’s artwork. Where previously we might have been caught up in the details of an immediate situation, Kapoor encourages us to handle daily problems more maturely. In viewing this work we can become less wrapped up in our own concerns and consequently more open and kind to others.
The reaction you feel upon viewing the work might be the same as when you take the trek up to the top of observatory hill and turn to see the whole of Durham. The philosopher Edmund Burke would have considered both Kapoor’s sculpture and the view of Durham from observatory hill as incredibly important.
The title of the Bon Iver song ‘Holocene’ refers to a geological era that has lasted for 11,700 years and encompasses all of human history. It is also the name of a bar in Portland, Oregon where Justin Vernon, the writer, had a pretty loose night on Halloween one year. In both its use of instrumentation and lyrics, the song plays with the idea of the sublime. The song itself strives to immerse the listener within the sound. All the instruments, including the vocals, are layered so that they contribute to an atmosphere, which surrounds you like Kapoor’s void. Lyrically, Vernon plays with the idea of insignificance and the beauty of finding perspective. This song could not more perfectly address the ideas that Kapoor’s art evokes and I think the two pieces go together incredibly well. Of this song, Vernon says:
This is because both can be considered to be sublime. The experience of the sublime is powerful because it provides us with perspective. The small
“Our lives feel like these epochs, but really we are dust in the wind. But I think there’s a significance in that insignificance that I was trying to look at in that song.”
Full Playlist: Room 1: Agnes Martin - Faraway Love Beyonce - I Miss You Room 2: Georges Braque - Clarinet and Bottle of Rum on Mantelpiece Radiohead - Bloom Room 3: Gyorgy Kepes - Feathery Light Jon Hopkins - Immunity Room 4: Andy Warhol’s Studio I’m Waiting For The Man - The Velvet Underground Room 5: Yves Tanguy - Azure Day Michael Giacchino - Bundle of Joy Room 6: Lee Krasner - Gothic Landscape Neutral Milk Hotel - The King Of Carrot Flowers Part 1 Room 7: Park Seo Bo - Ectriture 15-78 Philip Glass - Mad Rush Room 8: Bridget Riley - To A Summer’s Day 2 Animal Collective - In The Flowers Room 9: Claude Monet - Water Lilies Coldplay - Don’t Panic Room 10: Mark Rothko - Black on Maroon John Williams - Theme From Schindler’s List (Reprise) Room 11: Gerhard Richter - Cage 1 Brian Eno - An Ending (Ascent) Room 12: Jesus Rafael Soto - Cardinal Kanye West - New Slaves Room 13: Anish Kapoor - Ishi’s Light Bon Iver - Holocene
Image by Fred Romero via Flickr and Creative Commons
Head over to Harry’s Spotify for a listen to A Trip to the Tate Modern
FILM & TV 6
Thursday, 25 Janurary 2018
Hollywood Hypocrisy In a new age of accountability, Film & TV challenges leading figures in Hollywood feminism By George Broughton film@palatinate.org.uk
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he Golden Globes last week may well be remembered as a landmark moment in the changing roles of women in film. Between Oprah’s fantastic speech, the number of female actors wearing #TIMESUP pins and black clothes, and the attendance of so many extraordinary activists, the night was another step in the right direction for representation and opposing sexual harassment in Hollywood. Unfortunately, the event has also highlighted a pretty major problem facing feminism in Hollywood: the backwards and problematic views of some of the leading feminists in film.
female actors, but her contributions to feminism of late have (quite rightly) come under fire. In interview, Streep said that she was “very sorry” that Polanski had been arrested, and Harvey Weinstein victim Rose McGowan has accused Streep of “happily working” with him for years, adding: “your silence is the problem”.
Certain discussions are not taking place in the right way
This is a pretty drastic misappraisal of the actual allegations made against Franco. One of which, made by Violet Paley, includes trying to force her to perform oral sex on him, as well as having a sexual encounter with a seventeen-yearold girl. Franco’s comment, given on The Late Show with Stephen Colbert, was this: “I haven’t, uh, responded. Um, I think, um, well the tweets I read were not accurate. Uh. But one of the things I’ve learned is that this is a conversation that obviously needs to be had.” He continued that he does not intend to speak with his accusers. “I guess I’m just letting it be,” he said.
Case in point: Natalie Portman’s comment that the best director nominees were “all male” was, for many, one of the highlights of the evening. And quite rightly – the number of female directors in Hollywood is shockingly low, and the Globes didn’t exactly help the situation by snubbing Dee Rees’ critically acclaimed historical drama Mudbound. The remark rather loses its bite once you realise the person who made it publically defended a self-confessed child molester. In 2009, Portman signed one of two petitions which demanded that Roman Polanski, who pled guilty when charged with drugging, raping and sodomising a thirteen-year-old girl in 1977, be released from custody in Zurich. Even now, Polanski hasn’t served a single day in prison despite numerous other allegations.
My point is that there are certain discussions surrounding feminism in Hollywood which should be taking place, and aren’t. Or, at least, they’re not taking place in the right way. There were a few articles – and many more tweets – on the night of the Globes discussing the issue of whether we should assume that celebrities like Portman and Streep are genuine.
It becomes a question of the legitimacy of the Hollywood feminist enterprise
By which I mean people who want to see change in the film industry aren’t being properly represented if the champions of that change are demonstrably hypocritical. Meryl Streep has perhaps done more than anyone for proving the abilities of
Even #METOO’s hero Ashley Judd has found herself in a quagmire after she commented on allegations made against James Franco. Franco also attended the Globes wearing a #TIMESUP pin, but has since been accused of inappropriate behaviour by five women. In an interview with HARDtalk’s Stephen Sackur, Judd called Franco’s response to the accusations against him “terrific”, adding “we’ve all behaved unconsciously, and done things that were insensitive, inappropriate, without necessarily understanding that they were”.
If Hollywood is going to move on, we need to be confident the people helming the movement believe in the change they are trying to bring about
The Golden Globes highlighted the backwards and problematic views of some leading feminists in film
Unlike fellow signatories like Emma Thompson and Asia Argente, Portman has never apologised for signing the petition or had her name removed. Nine years on, she is still widely regarded as one of Hollywood’s leading feminists despite the petition. It’s more than a question of whether that makes her a hypocrite; as Portman draws more and more attention as an activist, it becomes a question of the legitimacy of the Hollywood feminist enterprise.
by the media.
And yet, we continue to give Streep our attention. Her attendance at the Globes was one of the most widely reported, at the expense of other women. Salma Hayek may have a smaller name than either Portman or Streep, but she has star power and an enormous amount of talent. And, significantly, she has never defended a sex offender. Nonetheless, her speech at the Globes has been all but ignored
These conversations almost never broach the question of how we can translate our concerns into actual change. Put simply, celebrities’ voices are legitimised by how much attention they receive. As members of the public we need to be discerning about who we give our attention to. If Hollywood is going to move on, we need to have confidence that the people helming movements like these believe in the change that they are trying to bring about. And if the hypocrites and apologists are going to be beaten, we need to be honest about who they are, no matter which side they claim to be on.
Celebrities’ voices are legitimised by how much attention they receive Image by !Luisa¡ via Creative Commons and Flickr
FOOD AND DRINK 7
Thursday, 25 January 2018
‘Croissushi’, anyone? Food and Drink takes a look at the upcoming food trends this year ... By Harriet Willis food@palatinate.org.uk
between a croissant and sushi. Originatingin Los Angeles, the flaky French pastry will encase smoked salmon, nori, ginger and wasabi and can be dipped into soy sauce.
TALES OF MOCKTAILS Earlier this year, The Guardian published an article commenting that the non-alcoholic drinks market needs to grow. Mocktails are often fizzy drinks topped with a sprig of mint, or fruit juices with a dash of grenadine at best. We need something more exciting and more convincing. Seedlip have already brought out the world’s first non-alcoholic spirits, mimicking the punchy flavour of alcohol.
DESSERT TACOS Who said that tacos had to be savoury? The beloved Mexican staple will soon be converted into a popular pudding, with restaurants starting to add this trend to their menus. This taco-transformation means that you’ll likely be eating berries and ice cream wrapped in a taco, drizzled with chocolate sauce.
MOO-VE OVER MEAT Now that more people are adjusting to a ‘flexitarian’ diet, the demand for more realistic meat substitutes is growing. The introduction of ‘The Impossible Burger’ (a burger made purely from plants that allegedly tastes, looks and acts like meat) has finally allowed us to admit that Quorn really does taste nothing like meat. Consumers will also be looking to get their protein from more environmentally-conscious sources, such as plant proteins.
TURN TOWARDS TUMERIC
consumer trends report states that 72% of the British population want to buy products that have been made from recycled plastic. Times are changing - we’re starting to cut down and care.
FLORAL FLAVOURS Florals are no longer purely a fashion trend - we now eat them too. It has been predicted that 2018 will make your taste buds crave floral flavours, including lavender, elderflower and rose. In fact, Italian cuisine has already adopted this trend, with dishes such as deepfried battered false acacia and elderflower.
WATCHING YOUR FOOD FOOTPRINT
WEST AFRICAN CUISINE The BBC have claimed that 2018’s biggest food trend is most likely to come from West Africa. This cuisine is currently unexplored by the Western world and will hopefully provide some new flavours for the upcoming year. The dishes originate from countries including Mali and Nigeria, and are fairly carbohydratebased, with dishes such as Jollof rice and acheke.
From packaging free products to recycling machines that reward customers
THE ‘CROISSUSHI’
who recycle materials such as paper, 2018 will be all about ethical choices. An Italian brand, Negozio Leggero, has over ten stores which sell products without packaging. Mintel’s predicted
You will likely have heard of the ‘cronut’ or the ‘cruffin’. 2018 will not stray from food hybrids and will give rise to a collaboration
Turmeric. The spice that we should always have stocked in our pantries. Providing numerous health benefits and a slightly bitter flavour, turmeric is set to be a big name in 2018. In September, Starbucks launched a tumeric latte, which consists of steamed coconut or almond milk mixed with turmeric, poured over a shot of coffee. The drink can be traced back to Indian roots.
TIMUT PEPPER Forget your old friends salt and pepper, and make way for Timut pepper, a condiment originating from Nepal. BBC Good Food describes it as ‘surprisingly grapefruit-y’, indicating that this pepper could add fruity tones to our food.
INDIAN STREET FOOD Authentic Indian cuisine is rarely restricted to curry. Instead, popular dishes include street foods, such as pani puri (a hollow crisp filled with a flavoursome chutney) and dosa. Already served in multicultural hubs, such as Melton Road in Leicester, hopefully 2018 will see the introduction of Indian street food into a wider range of places. Image by Emma Taylor
CREATIVE WRITING 8
Thursday, 25 January 2018
Women who write: why Feminism needs Poetry
By Chloe Scaling Creative Writing Editor creative.writing@palatinate.org.uk
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would argue that, in a society where most of the poetry we are introduced to in school is written by men who have long since died, the act of simply being a female poet is a feminist. Perhaps we read some Carol Ann Duffy and/or Christina Rosetti, but how many more female poets can you remember from GCSE English? As a feminist, whether it’s for my Theology degree, non-fiction for general interest, fiction or poetry, I try to read more work by women.
The act of simply being a female poet is a feminist act A few years ago, I stumbled across a series on BBC iPlayer called Women Who Spit: five pieces of spoken word performed by young women. It was a revelation to my Sixth-Form self. Women writing and performing poetry about issues around gender and class. Women who were angry. Women who
weren’t just speaking their poems, they were shouting them.
Women who were angry. Women who weren’t just speaking their poems, they were shouting them For me, poetry is already an emotive art form, which can be used to express anything on the scale of emotions from joy and elation, through to despair, anger and disappointment. Though it may be steeped in metaphor, it can be used to get a direct message across to audiences or readers. For feminists, these two aspects of poetry can make it incredibly useful for sharing ideas. I’ve read poetry which has made me angry about issues about I hadn’t thought about before and poems which have brought me close to tears. Whilst the Women Who Spit series didn’t make me cry, it captured a variety of emotions and brought a range of issues to the fore. Jemima Foxtrot spoke and sang about the pres-
sure for women to look a certain way, despite strong feminist convictions. She used her platform to encourage other young women to try to concentrate on having fun rather than fixating on everything society says is wrong with their bodies. It is a message we should all be reminded of, regardless of gender. Foxtrot’s use of song throughout the poem harks back to the start of the piece, where she talks about listening to female singers and not knowing what they looked like. The mix may seem odd on paper, but the unconventional style makes Mirror all the more memorable.
Poetry is an emotive art form, it can express anything from joy to elation, despair, anger and disappointment Vanessa Kisuule’s ‘Take Up Space’ told women to do just that: to take up space without asking permission. It’s an empowering piece which highlights that we all have a right to be who we are and exist in the world. Kisuule tells us we can be louder and more confident. She encourages women to exist unapologetically. ‘Take Up Space’ is not the rant you might expect when you hear the words ‘feminist’ and ‘poetry’ together. Rather, it is positive message for individuals to take on. The third piece I want to highlight from the series is Megan Beech’s ‘Broader Broadcasting Corporation’. This must be the poem I listened to the most and the feminist issue which has been most pertinent to me since its release. It calls out the media, in particular the BBC (note the intentional title) to include more women. Beech’s poem taught me that this was an issue I was allowed to be concerned about, one we should be talking about because it just won’t go away.
Find a blank page and fill it with your rage, your hope, your dreams and your fears Whatever your gender, race or class, please be encouraged that you can write poetry and you can write about issues you care about. Find a blank page and fill it with your rage, your hope, your dreams and your fears. Find your voice and take up space. Illustration by Holly Murphy
CREATIVE WRITING Thursday, 25 January 2018
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“Poetry springs most naturally from mind” Performance poet Megan Beech talks poetry and feminism with Creative Writing majority of my adolescent and adult life and it’s something I feel really passionately about normalising and discussing in open and honest ways. I think I have always cared about social issues and feminism is a cause I have invested a lot of time and words into. Yet, it sometimes feels at odds with the self-loathing and doubt that can be part of my illness. I really wanted to explore the tension between these things. Do you have a favourite poem in the collection? I think ultimately the audience is the best judge but I am proud of the poem, ‘Kintsugi’, inspired by the Japanese art of fixing broken pottery by keeping the cracks showing and gleaming with golden laquer. When I read about Kintsugi it reminded me of the Leonard Cohen lyric: ‘There is a crack in everything, that’s how the light gets in’. I wrote the poem just after he died, he was a big inspiration to me and the way in which he balances the pathos and beauty of life really struck me. It’s a lovely metaphor for the process of recovery and I tried to convince the reader (AND MYSELF) that our hurts and scars define what has been but perhaps not what will be in the future. Hope springs eternal! Do you think poetry is a useful form to articulate feminism compared to e.g. essays and non-fiction books? Why?
By Chloe Scaling Creative Writing Editor creative.writing@palatinate.org.uk Do you have a process or routine for writing poetry? How do you manage creative writing alongside being a student? I find that I don’t really have a straight-forward process for writing. I like to let things percolate, or perhaps I’m just a tad lacking in discipline when it comes to carving out time to sit and write down poetry. Often poems just come to me spontaneously, or I get enthused by an idea and it just comes in short, sharp bursts. The academic style of writing and the topic of my PhD thesis, nineteenth-century manuscripts of public readings given by Dickens, are so far removed from my practice as a poet that the two don’t really interfere with one another too much. Both are vacations from the other. Who are your inspirations as a poet and a feminist and why?
I’m always trying to evolve my poetry (and my feminism) by reading from different perspectives, incorporating greater diversity than the traditional canon of literature permits. I think Claudia Rankine, particularly in her searing work, Citizen, is an absolute genius and I love her words. I’m an intersectional feminist and I have gained so much from writers like Audre Lorde, bell hooks, and Kimberlé Crenshaw. I love poets like Vanessa Kisuule, Hollie McNish, Anthony Anaxagorou and Sabrina Mahfouz. I’ve been lucky enough to share stages with all of them in my time as a poet. Recently, I read an amazing volume of British Muslim Women’s writing in all different genres edited by Sabrina called The Things I Would Tell You: British Muslim Women Write and that was mind-expanding. Why did you choose to write about feminism and mental health in You Sad Feminist? I am pretty much of the ‘write about what you know’ school of thought. I have lived with depression and other mental illness diagnoses for the
For me, poetry is the style of writing which springs most naturally from mind. I have quite an associative brain and the way in which one rhyme rushes forth from another when I’m writing is where the energy and excitement of my work comes from for me. I think what is great about articulating social issues through the medium of verse, particularly performance poetry, is that you are able to distil the essence of a very complex argument or issue into just a couple of minutes. It has an immediacy that some other mediums don’t have. Do you have advice or words of wisdom for students and activists who struggle with their mental health? It is hard. I sit with you in the dark, overwhelmed and often helpless. But I defer again to Leonard: ‘There is a crack in everything, that’s how the light gets in’. Stick around, continue, and wait for that sun to rise. Photograph by Quetzal Maucci
MUSIC Thursday, 25 January 2018
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King Krule: The OOZ Music reviews the South London artist’s second album By Alex Leggatt music@palatinate.org.uk
crescendos to overcome itself, serving as continual reminder of the subdued, raw emotion suppressed by Krule
A
rchy Marshall’s latest release is both a bold and expansive artistic statement, yet strangely elusive.
By maintaining an intangible and elusive presence, his music is imbued with a sense of mysteriousness
Recording under the pseudonym King Krule, Marshall deftly blends genres of free jazz, brutal punk riffs and smooth hip-hop beats to form a cohesive album. Explored within the seventeen tracks are meditations upon unrequited love, isolation and bathing in one’s melancholy.
Archy Marshall’s latest release is both bold and expansive. yet strangely elusive Identity is a key theme in Marshall’s work. The only thing that remains constant throughout his albums is his growling London accent, whilst his recording names change constantly. He has released music under a plethora of pseudonyms, including Zoo Kid, DJ JD Sports, Edgar the Beatmaker and his original name; Archy Marshall. Having previously received critical acclaim for his 2013 release 6 Feet Beneath the Moon, performing on both Conan and David Letterman, Marshall has now seemingly retreated to the comfort of anonymity. Through maintaining an intangible and elusive presence, his music is imbued with this same mysteriousness. Ironically, Marshall also achieves anonymity in releasing under his real name in ‘A New Place 2 Drown’, which featured subtle low-fi beats and luscious, imaginative instrumentation. Arguably the most iconic part of Marshall’s appeal is his harsh, evocative howl, which was distinctly missing in this album, disappearing into the deeply layered textures of instrumentation. In The OOZ, Marshall finds a way to incorporate his biting vocals with his skilful beat making capabilities. The guitar strums are still present, yet the raw emotion of his first album seems to be somewhat muted and subdued, travelling just beneath the surface. Even so, Marshall’s rage does appear on a few of the tracks on the album: the racing bassline and the frantic screams of ‘Vidual’ evoke the cries in Krule’s 2013 hit track ‘A Lizard State’ and in ‘Half Man Half Shark’, Marshall arouses a haunting image of decay and destruction that replaces the remembrance of a time once cherished. The lack of ‘trust’ holding the ‘frame of rust’ that connects Marshall and his muse together signify the loss of connection and conviction in their relationship. Ultimately, it is his ‘corrosive touch’ which destroys the relationship. As is common in the album, Marshall’s violent emotions are never allowed to overpower the song. Halfway through the track it breaks, suddenly, into a heavenly bridge, with piano chords delicately sweeping the vocals away; a symbol of his acceptance in ‘forever be[ing] alone’.
Marshall deftly blends genres of free jazz, brutal punk riffs and smooth hiphop beats ‘Bermondsey Bosom (Left)’ and ‘Bermondsey Bosom (Right)’ provide vignettes that shed light on Marshall’s exposure to a cold, urban and heartless youth, growing up in south London. The spoken word
account of both his career thus far and his isolation in a ‘city of parasites’ evokes almost T.S.Eliot-esque despair at modern society, paralleling The Waste Land’s ‘Unreal city’ with his own desired ‘paradise’. According to a Noisey article, these two tracks were originally going to be a seven-minute “soundtrack to a walk Marshall would take, winding along next to a railway track” to Peckham, making these two tracks particularly pertinent to Marshall’s own youth. However, here is an instance where Krule’s desire for self-indulgence and mystery merely confuses the listener; one of the two spoken word pieces is performed by a Spanish woman, which feels jarringly out of place. The sense of a sprawling, urban existence is surmised in ‘Logos’, a quintessentially Krule track, with the rambling free style jazz saxophone effortless blending with dreamy synths and a minimalist bassline.
Krule embraces this state of gloom and exploits it for aesthetic purposes Opening the album is ‘Biscuit Town’, a track that gradually layers Krule’s vocals with subdued yet jazzy keyboard synths, and thus setting the tone for the remainder of the album. ‘Biscuit Town’ refers to a nickname for the town, Bermondsey, where Marshall grew up. Thus, the track is a personal, deep reflection on his introspective, and oftentimes helpless mindset. “I seem to sink lower” he croons contemplatively, while those around him are merely “shallow waters”, “orbit[ing] with some stupider hoes”. Krule seems completely comfortable in this state of gloom, embracing it wholeheartedly and even exploiting it for aesthetic purposes, providing the source for criticism of his self-indulgent tendencies throughout the album. Continuing the exploration of London suburbia, Krule takes us on a dystopian train journey through his own mind in ‘The Locomotive’; “I’m alone, I’m alone…In deep isolation”. Sonically, this track mimics the rhythms of a train with a slow, repetitive bassline and a distorted train whistle providing the backdrop to Krule’s softly spoken words. Ebbing and flowing like the locomotive’s journey, the track contains itself artfully, never allowing the continuous claustrophobic
This emotion reaches its zenith in ‘Dum Surfer’, Marshall’s most evocative and haunting track to date. Devilish ghouls murmur in amongst Krule’s lurid laugh as the track opens to a siren-like wail and this Gothic theme is continued through the music video, depicting Marshall and his band as hollow-eyed zombies. Krule continues to explore failed relationships and isolation, alluding to the train that would ‘fucking crash’ if he and his muse were together. Emotions of loss and desertion evoke Krule’s iconic growl, which is on full display here. The instrumentation compliments these nightmarish vocals, with the infusion of jazzy, blaring brass instruments with punk-inspired guitar chords being complimented by a bassline that makes the hair on the back of one’s neck prickle. This promising introduction isn’t to say that there aren’t some low points on the album: some tracks such as ‘Lonely Blue’ and ‘Czech One’ drag on too long, verging on self-indulgence. ‘A Slide In (New Drugs)’ drones eerily on, with discordant layers grating the ears. One can understand the aesthetic approach Marshall has adopted here by giving a voice to the pain of isolation, but at times this seems to take away from the project as a cohesive whole. Despite this, these few songs are largely overshadowed by the rest of the album, particularly the final three songs, which provide a fitting conclusion. The Ooz opens with Krule calling out “is anybody out there?”, while an unnamed girl replies “the locomotive has arrived”, suggesting the possibility of a connection that has eluded them the whole album. The chorus’ delicate, melodic guitar riffs signify this further, with Krule allowing himself to question “can we meet here?”. And yet, as with ‘The Locomotive’, the small window of hope is superseded by damning, melancholic verses, with descending guitar arpeggios signifying a descent into loneliness and a loss of previous hope. In the most heartfelt part of the album, Krule resignedly accepts his loss, wailing “within your heartbeats, you say goodbye”, a pain so tragic that even “Lucifer cries” and the final two songs show Krule at his finest, with ‘Midnight 01 (Deep Sea Diver)’ breaking into an expansive jazz interlude, and ‘La Lune’ concluding the album with his understated soft vocals.
A unique and emotive contemplation of the inner turmoil of urban existence, loneliness and loss This album may not be for every listener; even, or maybe especially, those fond of 6 Feet Beneath the Moon. However, give the album the patience it requires and it transforms into a unique and emotive contemplation on the inner turmoil of urban existence, loneliness and loss. Photograph by spawnbleed via Flickr
TRAVEL 11
Thursday, 25 January 2018
Why walking is King Travel brings back walking as the best mode of transport By Alex Speakman travel@palatiante.org.uk
M
idway through the academic year is the time of year that those fond, warm summer memories are shut down by summative assessments and the cold Durham winter. Five months ago, the world was pure opportunity. So much time; absolute liberty to pursue anything you like. Now that’s all gone, crushed by the pedestrian necessity of doing your degree. How boring.
Here’s the answer: walk Fortunately, there’s one glimmer of hope in the distance. As readers of the travel section, there is probably only one thing you’re anticipating even more — what to do next summer? To save you the trouble, here’s the answer: walk. Walking is the cheapest, oldest and simplest way of getting about and without a doubt the best way of seeing any environment. It doesn’t matter where you go, you will never get the same connection to the world around you through any other means. If you disagree then there are two people who will change your mind if you give them the chance: Laurie Lee and Patrick Leigh Fermor.
Walking is the cheapest, oldest and simplest way of getting about Independent of each other, Lee and Fermor both traversed parts of Europe on foot in the 1930s. Lee spent his time in pre-war Spain, while Fermor undertook a huge trek from Holland to Constantinople.The two books that the pair produced, As I Walked Out One Midsummer Morning and A Time of Gifts are monuments of the travel writing genre. More to the point, they are both testaments to the joy of walking and its supremacy over any other form of travel. Lee’s description of his first days of travel is hard to beat: “I walked steadily, effortlessly, hour after hour in a kind of swinging, weightless realm. I was at that age which feels neither strain nor friction, when the body burns magic fuels, so that it seems to glide in warm air, about a foot off the ground, smoothly obeying its intuitions. Even exhaustion, when it came, had a voluptuous quality, and sleep was caressive and deep, like oil.” Well. Golly. Sold. Should I even go on? How can anyone build on prose like that? What is captured in that paragraph is the peace and contentment that walking brings. Therapeutic exercise complemented by beautiful views and an ever-changing landscape. Yes it is slow, but that’s the point — it’s about indulging the senses and savouring the environment around you. In comparison Lee condemns the car that “races at gutter height, seeing less than a dog in a ditch”. Fermor agrees and puts it simply that “all horsepower corrupts”.
Perhaps the greatest reward of walking is the true sense of intellectual freedom and self-determination
Fermor’s joy derives from a different aspect of walking, but one that is no less important.What makes his book A Time of Gifts such an interesting read is the overwhelmingly rich cultural experience he undergoes. Everyday Fermor sees a new village, new people, new history. Walking along the Rhine he sees not only Europe on the brink of war, but an older Europe — one populated by Romans, Franks and Barbarians. In a few paces on foot it is possible to discover more than in several miles by any other means. All the while both Fermor and Lee let their minds run free through politics, poetry, and all manner of ideas, ruminating on their lives and the world around them. Perhaps the greatest reward of walking is the true sense of intellectual freedom and self-determination; innumerable hours in which to think about anything you like. So, when you plan your next summer think simple; forgo expensive flights, tedious car journeys and exhausting bike routes. Instead, pack your bag, step out your front door, and walk. Images by Naomi Young
FASHION 12
Thursday, 25 January 2018
Evolution // Revolution Fashion Editor Anna Gibbs talks to the Creative and Fashion teams of DUCFS about Instagram talent spotting, the link between Fashion and Politics, and potential pyrotechnics ... By Anna Gibbs fashion@palatinate.org.uk
W
e’ve seen the unnervingly symmetrical DUCFS models all over our Facebook feeds, but what about the most crucial aspects of the show- the designers behind the clothes they’ll be wearing, and the various creative ways in which these are being, and will be commuicated to us next month? Palatinate Fashion cheekily picked the brains of the people responsible for the so far remarkably consistent and high-powered aesthetic of this year’s show to learn more about the designers, influences and numbers behind the highly anticipated affair. What is the creative vision for DUCFS 2018? Hannah Debson, Creative Director: This years creative vision is focused on processes of change, and how modernity has been shaped. Starting with the organic, gentle evolution of society, our journey travels through to the sharp ruptures of technological and political revolution that shape our present. What was the original external visual inspiration behind the theme e.g. from culture, celebrities, trendsetters, brand and Fashion week collections? Bryony Duff (Creative Vice President): 2017 saw huge global economic, political, social and environmental changes come about. Events like the Manchester arena bombing have shown that the threat of terrorism has continues to grow both close to home and worldwide. Similar forms of violence have taken the globe by surprise, most notably with the Cleveland, Fort Lauderdale and of course the Las Vegas shootings, the latter during which sixty people were shot and three hundred injured.
Every year DUCFS gets bigger and better, and 2018 is certainly following this trend. Trump along with other parallel populist movements in the West have only further brought into question whether our world is falling into a state of moral decay. This has been a huge source of inspiration for the final section of the show in which the clothes become more urban and far less natural in their form or shape. We saw this significant political and social transformation as a huge source of inspiration for the kind of aesthetic we wanted for the final part of the show and campaign. We hope that every aspect, including the music, lighting, mediawall, choreography, and of course the exhibited clothing, produces within you some form of reflection upon and reaction to the constantly changing times that we live in. Whether these are fears concerning the moral or environmental future of our world or hopes of a solution to this decay, we saw the show and campaign as an opportunity to demonstrate the way that fashion, and more broadly creativity, can be used as both an enlightening progressive voice which forces us to question our destiny, as well as a revolutionary voice urging us to act. In fact, Karl Largerfield’s 2014 show was itself a performance of protest, in which the industry’s highest paid models held signs with feminist slogans such as ‘history is her story’, ‘make fashion not war’ and ‘be different’. The incredible launching of a spaceship in the middle of the Fall 2017 Chanel show is an example of how fashion can offer such solutions. With necklines that resembled those of space-suits and cap-toe glitter boots, perhaps Chanel was offering too a wardrobe solution to the idea that we may in the future have to abandon this overly exploited earth. Furthermore, the Chanel show pushed boundaries in a way that no one could have expected. This is something that inspired us from the very beginning of the campaign planning process, with the ‘Avant-Guard’ and having been the focus of mine, Iona, Alasdair’s original exec applications.
In fact, pushing boundaries has most likely been the main idea in common across our creative social media campaign. For example, the Cruzado shoot featured structured dystopian or matrix-esque patterns in vivid blues and black. Using mirrors to distort the body, giving more complex shapes and angles, as well as making the distinction between reality and its reflection more difficult.
Fashion can force us to question our destiny, as well as a revolutionary voice urging us to act Who are the key stylists behind your photo shoots and who are your graphic designers? It’s actually ourselves and our creative team! Alasdair and Hannah Debson are both photographers which has made a huge difference for the 2018 show campaign, meaning that we’ve been able to have far more photoshoots without having to spend money that would otherwise be going towards ‘Mind.’
FASHION Thursday, 25 January 2018
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Flora Stafford and Jemima Bunbury have been in charge of the styling of the shoots, but with much input from the whole creative team, and all hair and makeup so far has been done by us or the models themselves. Flora really knows what she is doing with a makeup brush which is handy.. Graphic design has been a mixture of Al, Bry and Iona, and the show brochure is being designed by someone called Toni Johnston, who we found via insta after she used some of last year’s show images for her graphic design degree. Can you tell Palatinate Fashion a bit more about the designers behind the collections of this year’s show? How did you discover the designers and source designs? What were you looking for in the chosen designers? Flora Stafford (Fashion Director): This year we have a record breaking 23 designers/brands on board, ranging from fashion graduates to huge names, with all of them showcasing incredibly unique and varied designs. Amongst these I do have a few favourites though! The Australian brand Dyspnea (@ dyspnea_) has been my favourite brand for three years now so having them on board is incredibly surreal for me, and I also adore Dora Larsen (@doralarsenlingerie), one of our lingerie brands. We discovered most of our brands through Instagram, Arts Thread and Not Just A Label, and then direct messaged or emailed to discuss the opportunity. We wanted to be able to showcase the work of graduates not only because their designs are often the most visually striking on the catwalk, but because some of them encapsulate our creative vision incredibly accurately.
All aspects of the show should produce within you some form of reflection upon and reaction to the constantly changing times that we live in For example, Alice Jane Potter, who featured in our preliminary photoshoot, embodies the ‘Fluidity’ section of our show unbelievably well and even helped to develop our vision. However we wanted there to be an accessible dimension to the show, so we have also chosen brands that we think our audience will actually be interested in purchasing from: Native Youth, Tommy Hilfiger and ASOS just to name a few. How will DUCFS diversify itself from previous years?
Iona Cameron (President): Every year DUCFS gets bigger and better, and 2018 is certainly following this trend. Our big focus this year was to focus on DUCFS as a brand, and focus on the run up to the show as much as the show itself. For example, we’ve re-vamped our instagram; shot more photoshoots and videoshoots than the entire history of DUCFS put together; launched a new club night and put a far greater focus on marketing and PR. In terms of the night itself, we have been far bolder with our brands than last year, some of which are international fashion houses. We are also focusing on making the show itself more of a spectacle; with the video wall, brand new drinks reception, pyrotechnics, musicians and live performances during the walks (I don’t want to give too much away!) How many people are behind the creative and fashion divisions of the exec? Bryony Duff (Creative Vice President): There are 19 of us working on DUCFS this year - the biggest exec in 35 years! In terms of the core Creative team, there’s three of us: Alasdair Harris, and Hannah Debson and myself, and then Flora Stafford and Jemima Bunbury make up the Fashion team. Iona also oversees both these teams with the help of Luciana. However, there’s also a lot of overlap and collaboration with different divisions in the exec. For example, you could say that the events or PR & Marketing teams have a lot of creative input too. Shoutout to Rachael Currie and Tara Mckenna (Events team), Jacqueline Baker (Head of PR & Marketing) and Hannah Fisayo (Instagram guru)! And finally, what is the inspiration behind the DUCFS 2018 instagram account? Hannah Fisayo, Social Media Director: This year we really wanted the Instagram to match the creativity and aesthetic that is usually only seen and appreciated on the nights of the show itself. In keeping with our theme, the instagram aimed to explore the more revolutionary side of things. From our use of old receipt scans to backgrounds layered with texts on the link between politics and fashion- each post was created to add to the narrative of the journey you’ll see during the show itself. We took inspiration from an array of places, from old film photographers to streetwear brands, and it really helped having so many high quality photoshoots to get content from. You can find the full interview online at palatinate.org.uk Photoghraphy and Creative direction: Alasdair Harriss, Hannah Debson and Bryony Duff Styling and Fashion direction: Flora Stafford and Jemima Bunbury
STAGE 14
Thursday, 25 January 2018
Durham’s Top Five: 2017
Stage discuss their favourite DST shows and performances of the past year By Helena Snider and Helen Chatterton Stage Editors stage@palatinate.org.uk
2. The Wasp (March 16)
4. 5 Lesbians Eating a Quiche (October 27)
The Wasp was perhaps a less-hyped affair, but my personal favourite piece of 2017 theatre. The striking performances of Damson Young and Alexandra Hannant made the show. The ingenuity of staging the play in Cafédral, with the set emulating both a quaint little café and Heather’s prim and proper living room, was highly successful. In her review for Palatinate, Sofya Grebenkina wrote that: “This is not a play for the faint-hearted. And having erroneously expected to be inundated with insect-related facts, I instead pleasantly chanced upon a powerful work of theatre.” It took a while to process the events of the play, but it’s one that has stuck in my mind ever since.
Whilst the premise of the production was a little abstract, (an annual quiche breakfast interrupted by the nuclear apocalypse), it was one that excelled thanks to its award winning script, enthusiastic and talented cast, and exceptional direction. Reviewer Adele Cooke had high praise for the production, describing “this show is the epitome of everything Durham student theatre should strive for: polished, professional and entertaining.”
1. The Not So Divine Comedy (February 9)
5. Spamalot (January 25)
Following its success at the 2017 Durham Drama Festival, this production underwent a name change to become Angels in Erotica. It performed as such at the Edinburgh Fringe Festival to sold out audiences, before returning for one night only as part of the returners’ showcase. The play’s slogan inevitably describes it perfectly: “God is gay and the new messiah is a woman”. With an abundance of satirical comedy, this play was perfect for a student audience, and a credit to the University’s own Freddie Drewer.
DULOG’s shows at the Gala theatre was perhaps the most ambitious of any of their productions. It was one of Durham’s most anticipated show of 2017, and audiences were hardly let down. With high-energy dance and songs, both the cast and the crew were praised. In his review, Adam Hope commented on the show’s ability to illicit laughs, commending Sam Rietbergen and Luke Blacklock in particular. Let’s just hope this year’s Gala show reaches the same dizzy heights.
Images credit to: Castle Theatre Company, Feather Theatre Company, 1TC, DULOG and Hild Bede Theatre
3. The Bloody Chamber (February 22) Described as “as flawless a theatrical effort as one will ever see as part of DST”, The Bloody Chamber shocked and entertained audiences in equal measure. Bryony Lavery’s adaptation of Angela Carter’s The Bloody Chamber invited the audience into a haunting tale of violence and sexuality. Combining the perfect cast, crew and location, First Theatre Company created a production that formed a highly memorable part of the DST calendar.
BOOKS 15
Thursday, 25 January 2018
Books reflects on 2017 – the stories that shaped our year The Nether World, George Gissing By Kleopatra Olympiou
I
read The NetherWorld by George Gissing last August because I mistakenly thought it was on my reading list – a mistake I don’t regret. It is an incredible book published in 1889, concerning itself with the London slum-dwellers of the Victorian times. It’s also incredibly bleak, pessimistic and entirely devoid of hope, which may sound less than appealing, but remains remarkably insightful. Gissing avoids didacticism and generalisations, offering few moral judgements; he simply holds up a light to a picture of astonishing suffering. Think Dickens, minus the sentimentality. The Nether World is a must-read for a number of reasons. Firstly, it’s an interesting defiance of conventions while it remains within the framework of realism. Secondly, in spite of its bleakness, it’s notable for its unwavering belief in the existence of goodness among people, which Gissing finds the world’s only, albeit sadly limited, redeeming quality.
testament to how good Kay’s writing is, I finished the book that evening. In a whirlwind of excitement, I then met Kay whilst he was signing hundreds of advance copies to send to bookstores throughout the UK, and I now have first-hand knowledge that he is even more dead-pan and witty in real life than in his book, which is a hard act to follow!
A truly memorable read full of witty anecdotes This Is Going To Hurt is a truly memorable read, both for its salient message against the long working hours of medical professionals, and for its witty, funny anecdotes. For example, Kay
wrote phrases such as ‘today I tipped into full-blown Stockholm Syndrome and decided to go in work on a Saturday off’, and ‘home delivery is for pizzas’. If you have an interest in non-fiction, comedy writing, memoir novels, or the current state of the NHS, you should read this book. According to a recent YouGov survey, “the majority of the public (65%) believe the Government is badly managing the current pressures on the NHS”. After reading Kay’s ‘Open Letter to the Secretary of State for Health’, addressing the recently-promoted Jeremy Hunt, it is hard to argue for any reasons against the outcome of this survey. If the healthcare situation becomes worse before it gets better, at least we will be well-informed after reading this book. H is for Hawk, Helen Macdonald By James McGurk When Helen Macdonald’s father passed away, she tried to escape her profound grief by entering the world of a goshawk she began training.
It’s notable for its unwavering belief in the existence of goodness among people
A beautifully pained account of loss reshaping the world
Thirdly, it’s an intriguing picture of London in the past and an interesting take on urbanization, as London is depicted as a place of endless suffering for the poor, in a world of poverty where the aristocracy is entirely absent. If you thought Victorian literature was all like the stereotype of Jane Austen’s work, featuring polite parlours and romantic scandals, this is a novel to entirely shake up this belief.
Macdonald vividly evokes the landscapes where she hunts with Mabel the hawk: downs, farmland and patches of wilderness in the fringes of towns where passers-by slowly habituate to the huge hunting bird amongst them. We see everything through both pairs of eyes – Macdonald’s broad, grief-stained vision and Mabel’s primeval, narrow stare. Throughout the beautifully painful account of loss reshaping the world, and uplifting visions of the goshawk flourishing, another story emerges.
Think Dickens, minus the sentimentality
A fascinating insight that resonates powerfully with Macdonald’s personal history
Gissing’s novel is not one to offer you hope, but it’s a book to make you think hard about the world and how it has become what it is today.
Macdonald comes to understand the tragedies and passions latent in T.H White’s writing as she explores his parallel tale fleeing hardships through training a goshawk. It’s a fascinating insight that resonates powerfully with Macdonald’s personal history.
This Is Going To Hurt, Adam Kay By Frances Rowbottom Adam Kay’s This Is Going To Hurt; Secret Diaries of a Junior Doctor is the book which changed my 2017. Kay balances his account of rising through the hospital ranks to the level of Senior Registrar with the noholds-barred truth about being a medical professional. Published by Picador in September, whilst I was interning at Pan Macmillan, I was lucky enough to receive a proof copy before it hit the shelves. As a
Illustrations by Katie Butler
I loved the originality of Helen Macdonald’s prose. She’s never afraid to expose the depth of her emotions and I empathised with her craving to bring a part of the wild into her life. H is for Hawk is brilliant, moving and fully deserving of its Costa and Samuel Johnson prizes.
THE indigo INTERVIEW Thursday, 25 January 2018
16
From Palatinate to Penguin indigo talks to Matthew Richardson about Durham, genre, and the literary success of his first novel ... By Tanvi Pahwa Deputy Books Editor books@palatinate.org.uk
F
ar from being the reclusive stereotype of the crime writer, Matthew Richardson is wry and self-assured. The Durham graduate and former Editor-in-Chief of Palatinate sits down with Tanvi Pahwa to discuss writer’s block, his debut novel My Name is Nobody, and what literary success means to him.
represented by is the same one that represented George Orwell! Nineteen Eighty-Four and Animal Farm would have to be two of my favorite books because they reflect how, in today’s world, that comfortable sense of linear progression has been disrupted because political systems are volatile. Orwell is an incredibly lucid writer and I really feel those two books reflected 2017 for me. Tell me a bit about the inspiration for your book, where you drew out character details from, and if any of it is from real life.
the same over the course of the novel was those two characters… I used to wander home from the day job at Westminster and try and think about what I’d like to write. I started with those two characters… I’m fascinated by those sort of mythic archetypes there and using those underlying structures and making them fresh. Your book is set to be adapted for television. Does it feel as though you’re giving up a piece of yourself, will seeing someone else’s interpretation be difficult for you? I think I’ll probably struggle a bit, because you’re giving up something born out of you in a way, and, yes, getting a TV show made is even more difficult than getting a book published because there’s no guarantee it’ll even reach the screen. I think I will struggle with that, I know there are a lot of authors who don’t watch the adaptation of their work because they can’t bear to see the interpretation, but I think curiosity will compel me to watch it.
How was your experience at Durham? Brilliant. I hugely enjoyed my time at Durham… they were some of the best three years of my entire life. I enjoyed the course, it offered a range of all the different time periods of literature, so that was great. I loved the smallness of it, you know, how contained it is, it was nice and I really enjoyed doing Palatinate, so that was my main source of enjoyment. It was good, I really enjoyed it.
Would you consider writing in different genres, or is there something that particularly draws you to the spy thriller?
Since you intend for this series to be a trilogy, do you feel any of pressure for your next book to live up to the success of the first?
I’d definitely consider it, certainly if you branch out to do TV writing, it’s much more open to writing between genres. If the idea came to me and was really strong, then I would. I think what’s so great about the crime genre is that it’s so adaptable. If you get to grips with it, it gives you a ready-made structure - shape can be difficult to form. The crime thriller gives you so much, it’s so varied, anything from Hamlet to Agatha Christie, all the way back to Oedipus Rex.
Certainly. Hopefully what you do is keep writing and perfecting the construction, as well as improving and getting better. It’s important to know what specific things you do well, to understand how to differentiate and isolate what it is you do really well and then perfect it. I often thought that writing fiction would be different to writing academic pieces, but actually they’re quite similar because you have to become an expert on a particular type of story and idea. Someone like Alfred Hitchcock is a good example in that he’s made the Hitchcock thriller his own and just perfected it. That’s the holy grail for me, that’s what you’re trying to do.
Having graduated from Durham, is there any advice you’d like to give students who are interested in pursuing a career in writing?
Who are some of your literary inspirations? I did my dissertation at Durham on Evelyn Waugh so I really enjoy his work. He has a great novel, Scoop, which is a satire piece on the journalistic world … I have a huge respect for Dickens and Shakespeare. Graham Green, John le Carré … I especially like the authors that manage to bridge the gap between entertainment and high art. I prefer Dickens to Henry James. Is there a book that you felt has shaped your 2017? I would have to say something by George Orwell. Nineteen Eighty-Four was another key piece for me because it showed me how you could write about a political subject in a way that lasted. One of the key problems you have with political fiction is that it dates quite quickly, yet he managed to write fiction that was eternal. Actually the Literary Agency I’m
What I wanted to do with the book was investigate those institutional tropes that you get, such as characters in spy novels coming from difficult backgrounds… John le Carré had a hard childhood, Bond was an orphan. I wanted to focus on that institutional life and how it molds people, by investigating those tropes of the spy novel and updating them for a different time period. I wanted to pit the two main characters in the novel, Solomon Vine and Gabriel Wilde against each other, as they’re from polar ends of the social spectrum; but, what they’re united by is that fierce, restless intelligence. I would say it’s all partly drawn from real life, partly from tradition that I’m working in, and partly from imagination. One thing that stayed
I’d say practice. Certainly, the different paths I’ve followed, speech-writing, journalism, writing books, all require different skills. Speech-writing requires speed: in Westminster, there’s no such thing as writer’s block. You need to be able to write fluently. But with novels, you’re trying to find your own voice. Mainly it is just getting completely at home with producing material, which comes from writing a lot, and then you’ll find out what you do well. Don’t be put off if you find it difficult because everyone does. One thing you have to do is get used to criticism and feedback, you won’t ever quite welcome it, but it’s just part of the process. If you can’t cope with notes, I don’t think the profession is suited for you because it’s just too agonising. Trust your own voice and your own instincts and be prepared to see your writing out in the world.
Photograph by John Cairns