Categories
Creative Writing

How to Skim a Stone

By Tom Edgar

Gertrude: Hamlet, thou hast thy father much offended.

Hamlet: Mother, you have my father much offended.

He stands on the Thames foreshore, down beneath the Tate Modern, looking out across the river blankly. He wears a black overcoat, cut rigidly around his shoulders, and the coattails flutter up in the wind, the black satin capturing the light, alchemising his back into a temporary silver. Slowly, he bends over, scanning the beach floor, furrowing between the dusted jade of beer bottles and river-stained needles, until he finally picks up a stone. He holds it in his right hand, moving his thumb along its edge, studying it like a blind man’s vocabulary. It is soft; he is losing himself on this shore. In the stone’s cold press, some more complete past flows into his empty present. He leans, awkwardly, as if about to squat: his overcoat stretches tight against his shoulders. He draws his right arm back, the gesture pregnant with defeatism. He is going to skim a stone on the Thames. He pauses and looks out across the river — the brown swell, unmoved and unlit by a grey sky — before making a sudden jolt. He releases his arm, making the gesture of skimming, but he does not let go of the stone. Instead, he keeps it clenched in his hand, so that by the time he has followed through, it is not dashing across towards the North Bank, but is pressed up against his chest. He steps back and drops the stone. He turns to see if anyone has been watching him, before scuttling off, the briskness of his walk straightening his legs. 

It was an early afternoon in mid-August and the sky was acid-washed with an unrefined brightness that wavered between blue and grey. Today, for Adam, it looked blue — an impossible, wonderful blue. He was eight years-old and he was in his favourite place in the world: the beach, a five minute walk along the sandy footpath from Sea Cottage, where he had stayed every Summer since time immemorial. And at breakfast that morning, Toby had promised to show him how to skim a stone. 

It was a small, pebbled beach: a cove nestled between two craggy headlands. Looking out, there was a pale view of Scotland — its sullen verdure assuming an airy lightness across the thin strait of Atlantic water, its deep blue wind-tossed with the white, spitting arabesques of the waves. Looking out, Adam could see the hourly steamer headed, face-on, towards the island: a bizarre, upturned triangle, ever-expanding, with people leaning on the guard-rails and watching the island expand before them just as it had done the day before. He had stood by the rails on his tiptoes, watching the island dilate, pointing his finger and squinting his eyes, saying “Look, Mum, there’s the house,” or else, “The Beach! It’s the Beach.” It didn’t matter that his estimations were incorrect — that the pointed-to house was the wrong shape or the wrong colour, or that the indicated beach was of the whitest sand — because to Adam, Sea Cottage and the Beach were the whole island, and so, in his heart, he was right. 

A small campfire had been set up where the beach ended and met the wild grass. It was surrounded by camp chairs. Mackerel cooked on the fire in silver parcels of foil, its edges folding upwards in the heat, while fresh-picked mussels bubbled away in white wine and garlic. The adults were mostly sitting around the fire: the Bateses, the Sutherlands, and Adam’s parents, the Cromptons. Only Toby Symes was absent, despite being the nominal chef. 

David Crompton was, by now, half-asleep, a metal cup of white wine rested supine against his chest, whilst a facedown paperback straddled his thigh. His wife, Christie, was sitting next to him. Through dark sunglasses, she looked out towards the sea and Scotland, down the barrel of her aquiline nose, until she spotted her son, Adam, with Toby. They were standing by the water’s edge. Toby was leaning over, skimming a stone. She sipped on her beaker of wine, holding the rim against her face to hide a smile. She stood up and walked over to the pink, quilted beach-bag, from which she extracted a packet of cigarettes. She returned to her seat, lit a cigarette, and continued watching. 

“Bend over,” Toby said, instructing Adam. “Find the smoothest pebble you can possibly find. It must be perfect, like this.” Having chosen one, Toby exhibited it in Adam’s eye-line, holding it between thumb and middle-finger. “Not too big, you see. Otherwise it’ll go plop and sink right down to where the fishes swim and the crabs scuttle and the dainty oysters recline with their innards of pearl. And then,” he leaned over to his right, planting his left foot forwards, and drew back the pebble-bearing arm, “you throw it like this. Watch.” The stone dashed loose of Toby’s grip and skated across the sea, all the way, Adam thought, to the mainland. “Now, Adam, you try.”

Adam smiled. Easy, he thought. He looked down at the beach: half-scanning for a stone, half-imagining that same stone hurtling over the waves, all the way to Scotland and beyond. Dreaming, he became that stone, kissing the water’s surface with all his body, flying safely over the deep, the cold salt wind turning his face numb and red and warm. He crouched, allowing his brittle white hands to brush over the pebbles. He found one. It was smooth and dark grey with white and amber rings. He stroked it, imagining its soft and weightless flight. Adam’s father had only ever shown him dead rocks — fossils, the embalmed mummies of unknowable prehistory — but here, now, were the living rocks, which soar weightlessly at the imperative of a human hand. “Now, remember,” Toby said. “Left foot forwards, lean to your right. And then, let it fly away.”

“Yes,” Adam replied. “I will, I will.” But his excitement muddled his concentration, and as he leaned into his position and began to throw, he wobbled, his foot faltering forwards, and he overthrew it. It was as if the pebble was so dear to him that his hand had refused to release it. It careered off to the left and, at first contact with the cruel and dark sea, it sank — down, down, to where the fishes swim and … The Mainland seemed so far away, an evasive, unreachable world. 

“Don’t worry, Adam.” Toby placed his large, veiny hand on Adam’s back. It felt warm. “You know, I couldn’t do it until I was about thirteen.”

Adam laughed. “Huh! Really? That’s so funny.” 

“Yes. Well, keep trying. It’ll work eventually.” Toby turned to look at the campfire. “Right, I best be off. Your father’s fallen asleep on duty.” He walked a few strides before breaking into an easy jog: a sudden gust of wind blew and changed the direction of the campfire smoke, enveloping Toby for a moment. Adam was smiling: the sort of smile which knows the world is simple and that there is nothing more to it than whether or not a stone sinks or swims, or whether you sit on your mother’s left or right knee. And although his stone had sunk, Toby’s had sunk once too, so it was really only a matter of time. He saw his mother looking over towards him and smiled even more. But as she lifted her sunglasses, resting them on her hairline, Adam noticed Toby, now halfway across the beach, moving with slow, athletic grace, his bare torso warmed by the sun. 

Adam turned back to the sea. He picked up another pebble, Toby’s earlier words echoing in his head, and he tried to throw it. Again, it careered off to the left and sank on its first contact with the sea. The other children, nine of them altogether, had been playing aimlessly about the beach and, seeing Adam’s latest failure, began to laugh. “Look at Adam! It’s not that hard.” But Adam was smiling, that big and certain smile, because Toby had said he’d be able to do it eventually and Toby knew so much more than all the children. 

Mussels gaped in the pot. The air was drunk from the hot wine simmering. Toby rattled the large pot a few times before removing it from the fire, placing it on a small trestle table, next to the mackerel on its foil platter, the edges of which lifted at the wind’s slightest intimations. They had caught the fish that morning. There hadn’t been space for Adam, the youngest of all the children, to go fishing. Instead, he had been assigned the task of harvesting mussels, severing them from their bed of rock and rubbing away the moss and grit and hair with his fingernails and tepid water. But it had been lovely, since he had been with his mother. Hector, the Sutherlands’ youngest, had joined them. He was one year older than Adam and he was cruel — the crude relish on his face as he tore mussel from rock, the way his tongue pressed his upper lip when he smiled. But Adam had his mother, and that was enough. He would skip and sprint about, an inefficient harvester, before circling back to his mother to hold her hand. “Mummy, Mummy — you have to see this. There’s a crab.” To each of his enthusiastic discoveries, she responded with a stiff, aristocratic smile, the knowing parsedness of which suggested a quiet condescension. “Oh, how wonderful,” she would say, with a detached but loving irony, before giving him a gentle pat on the back. “You are clever, Adam. Go on. Let’s see.” Then she would draw a cigarette from her pocket and follow him, smoking, with one hand in her coat pocket.

“Are you all ready for some food?” Toby announced, in part to the adults, but with the gentle inflection of his tone directed towards the adoring troop of children. 

“Yes.”

“I’m starving.”

“Mmm. Smells so good.”

David awoke to the gleeful chorus. Startled into life, his sudden jolt unsettled the beaker of wine which had been resting on his tummy, and the liquid splashed onto his blue linen shirt. “Bugger,” he said, before fumbling into a stentorian laugh. He peeled the paperback off his lap, turned the corner of the page, and stood up. Christie looked at him, half in disgust, and rolled her eyes. She stood up and moved towards the spread of food. “Toby, it looks wonderful. You do spoil us. Thank you.” 

Behind the beach, there was a patch of shorter grass on which the children had set up a cricket pitch. The two oldest children — Adam’s brothers, Henry and John — were, respectively, batsman and bowler. Everyone else hung about the makeshift wicket like satellites, doting on the every move of the older two, eager to impress them whilst masking their frustration at their own lack of inclusion. John would bowl, not very effectively, and Henry would hit the ball down to the beach, and then the fielder closest would bruise their bare feet by running over the pebbles and the dry, tumorous kelp, whose bubbles snapped on their feet. Or else, if the ball was hit in the other direction, into the bracken, they would get on their knees and crawl through the damp, tick-laden crop in vain pursuit of a surely lost wind ball. All the while, Henry and John screamed: “Hurry up.”

Adam had been placed at Fine Leg. He was the youngest, and so, inevitably, had the least right to be included in the match. Rarely would a ball be hit towards him. But he was happy with this — dawdling away, his eyes wandered about as his mind flew off about the landscape, up the heather-blushed slopes and the wind-curled sea. Even still, he could only think of one thing: skimming stones. He was sure he’d be able to do it now, if only he could practise. But he couldn’t: on a group holiday, he must play with the group, even if the group didn’t much care about playing with him. He felt like an outsider here. His brothers, so kind and considerate at home, adopted a cruel, teasing attitude towards him in front of their extrafamilial disciples. And so all the other children behaved like that to him. Especially Hector — Hector, who just last summer, had been his best friend. 

He looked towards the beach. Toby and his mother were standing near the water’s edge, close together. They were talking, her face turned up towards his greater height. The tide was coming in quickly. If only he could be over there, with Toby and with his mother, skimming stones, and they’d both be so proud of him. But he was standing here, the short wild grass itching his feet, awaiting the ball which would never come, only so that he could fumble it and misthrow it and get shouted at by his brothers. His mother was smoking: wisps of cigarette smoke, blue against the sea and view of Scotland. She tossed it to the floor and then they both started to walk back. 

“ADAM!” Shouts. He paused, confused. What? He thought. He looked about, briefly, puzzled, until he saw a dot of orange expanding faster and faster and coming straight towards him. He couldn’t quite register what was happening. By the time he was raising his hands to his face, it was too late. The ball hit his nose; its worn-out seam imprinting itself on his skin and he fell to the floor. 

“Adam,” John shouted, irritated at the dropped catch. “You spaz”. He could hear Hector and a few others laughing. 

He stood up and limply threw the ball towards the wicket-keeper. It bounced a few times, landing a few metres wide of its destination. His nose felt even more painful when he thought about his brothers’ mistreatment of him. He ran off. 

“Mummy, mummy.” He shouted as he ran towards her. 

“Oh, Adam. What is it?” Her and Toby had almost returned to the campfire.

“My face. Henry hit it.”

“Henry hit you?”

“Yes. He hit me with a cricket ball.” 

“Oh darling. That must be so painful. Come here.” She pulled him tightly against her, tucking his head into her arms. But the sympathy increased his pain and so he cried more. 

“Now, let me look at your face.” Adam turned his face upwards so that she could see it. Placing her hands on his small face, with her thumbs she wiped away each tear as it sprouted. “Well, I think we should take you back up to the cottage.”

“Okay Mummy, okay.” 

After she had pressed an ice-pack to his face and nourished him with Hot Chocolate, Adam had moved through to the TV room, where eventually he was joined by the other children. John and Henry decided to put on an episode of South Park, with the volume turned down so the adults wouldn’t hear. Adam kept looking out the window towards the sea: a sort of liquid silver, now, in the cloud-broken light, its faint, metallic ripples calling him down. He thought about tomorrow: that was when he’d finally do it. But why couldn’t he do it now? He could slip away, unnoticed, and practice. The adults were resting, and the children were watching TV. He could say he’d been reading in some quiet, undisturbed corner of the house. His mother, perhaps, would come looking for him. If she discovered he’d gone to the beach on his own, she’d be furious. But she’d come around: besides, what was her anger compared to the proud exhilaration of a skimming stone? He would go to the beach. 

It was quiet down there, other than the rumble of the wind buffeting against the headland, and the waves lapping: small, sympathetic ones, noisy only due to the impatient speed with which the sea dispatched them. Since most of the beach was visible from Sea Cottage, he walked to the far end where he’d be invisible. He had an hour, he reckoned, until supper. 

He turned over Toby’s words. The smoothest pebble; Perfect, like this; You throw it like this! He shut his eyes, remembering Toby’s graceful movements: the subtle rightwards lean, the left foot striding forwards, the arm stretched backwards, pregnant with energy. Eyes closed, he mimicked these actions, over-and-over, without holding or throwing one. He opened his eyes and picked up a stone. He threw it, and did so again-and-again, for about twenty minutes or so until the smooth mosaic of the beach conjured a smooth, lopsided, if ovular pebble: a concrete grey, with one vague amber ring and two white spots on the upside of its thinner end. It felt strange in his hand, inosculating with his palm: like two continents pieced together after millennia of drift, two lovers whose curves and inclines met each other’s with a casted precision. He leaned into the throw, releasing it, and then, it skimmed. The pebble leaped up in a spray of white, then curved to the left and bounced a few more times before plunging into the sea on its fourth bounce. He had done it. How was he going to not tell anyone about it? He’d have to wait until tomorrow and then he could show them all. He tried once again for good measure: again, it skimmed. 

He set off back to the house along the path. He imagined the pebble now: yes, it hadn’t quite gone all the way to the mainland, but had gone quite far. Five bounces: and where would it be now? Fish gliding over it, enthroned amongst the scallops and the oysters: a diamond encrusted on the ocean floor. 

He heard a twig snap. Quick breaths; low murmurs. It grew louder, now, as he acclimatised to reality. His heartbeat dropped a little. It was coming from about ten metres away, just off the path. He followed it, creeping slowly through a small pathway of trampled bracken, almost ferric and rusted on its ends, feeling wet and itchy on his uncovered calves. There was a clearing. He looked up at the tree: its late August canopy of etiolating leaves jostled in the wind. There was a stream next to it; the stream moaned and murmured as it rushed quickly over the rocks in white bursts. It grew louder. There were two figures, trembling on the floor, flickering in the dusk: one white and the other darker. Adam’s mother tilted her head to her side, noticing him, and raised one finger to her lips to quieten him. Toby, eyes closed, maintained his course, skating away across the high seas to Scotland. 

The next day Adam went to the beach, but his throw was limp, and the stone sunk, and the other children laughed at him. 

Categories
Perspective

The Curse Of The Resolution: True Change Lies In The Past

By Ollie de Winton

The first of January arrives, the gym car park is rammed, social media platforms are brimming with aspirations and goals for the year to come. Not forgetting the Duolingo owl, that hounds you to keep up your best effort of a five-day streak, but as we approach the end of the month, are we still upkeeping our resolutions?

There is no doubt that January constitutes a month of change and resolution for so many. Especially being named after the Roman God Janus – a two faced god who looks forward to new opportunities and beginnings, but who also encourages reflection. Romans would embrace this moment of resolution with script readings and familial celebrations. Around 4000 years ago, the Babylonians also welcomed the possibility of change, but instead, in March, when they planted their crops for the year. Along with the planting of crops, they too accompanied the idea of change with a 12-day celebration (Akitu), packed with religious readings, prayers and hopes for the forthcoming year. The same cannot be said for today’s customs: apart from certain communities, many of us go into the new year hungover from the previous night’s antics, and bursting with immense pressure to stick to our, sometimes, unrealistic goals we hold ourselves to.

These goals can worsen the angst often felt at this time of year, especially with over 12 million people in the UK and Northern Europe struggling with ‘Seasonal affective disorder’, or SAD. Upon comparing today’s most popular resolutions to those circa 1950, this angst is unsurprising. Instead of today’s most popular resolutions of losing weight, being more organised, quitting smoking; in the 1940’s-50’s, society was more concerned about improving their disposition, living a better life or being understanding. These are more positive resolutions which are similar in nature to the aims of Janus, welcoming the possibility of positive change in the new year – rather than recent interpretations, promoting the pressure to change. Psychologists have explained that the “‘ideal resolution” is a goal, which is time bound and more importantly, realistic. These ancient resolutions are exactly this – a broader goal, within which one can compartmentalise elements of change/resolution. They are wider, reducing angst and pressure in quests such as quitting smoking, or falling in love.

It’s ironic that the real change we need is locked within the past; hence it is crucial for one to travel back in time, to change their own resolutions and relieve part of the mountain of pressure we place on ourselves at this time of year. This is particularly true in a university environment, with the summative season fully underway. Hopefully, looking to the past will help our future selves, and remind us of the core of resolution.

Categories
Travel

A Bed for a Weary Traveller

By Henry Worsley

Hostels are different places for different people; the start points for an adventure, inbetweens, sometimes, for the more unfortunate wanderers, dead-ends. They attract a motley ensemble of young and old, fresh-faced and weary, vagabonds, romantics, hobos, digital nomads, wannabe Indiana-Joneses and conspiracy theorists. You might think of one of those dingy Dutch paintings from the early seventeenth century – a pub scene in muddy chiaroscuro, those boggle-eyed men hunched around a solitary candle, drinking flat beer and gambling. That, I suppose, is the older version of the modern hostel: the inn, the pensione miserabile – the cheapest place in town to stop-off, eat, and catch a couple of winks.

You get to know people in this environment fast, without any buttoned-down formality. Once I stayed in a hostel in the far north of Sweden, the last stop on the train line heading for Narvik and the Arctic Ocean. It was mid-August, yet barely ten degrees celsius, and the few people at the hostel mostly sat inside, looking out the small windows at the lifeless tundra or the passing freight trains (‘one in a thousand carriages is gold-plated, you know’). Here in the far north of the world people seemed a little more shy, forced into introversion by their surroundings – but as soon as you stepped into the sauna, a low, red and white clapboard shed in the garden, that front was quickly dropped. I met one quiet, spindly German guy in the dormitory, the sort who tries not to look you in the eyes too often; a few minutes later in the sauna, I met him again, but this time reclined, bollocks out, sipping beer and staring straight at me: ‘close ze döör behind you, ’ he said, then lay back, sighing, a sweaty Scandi version of Dejeuner sur l’herbe

There’s the stereotypical backpacker, too – plenty of them in any hostel between John O’ Groats and Cape Town, you know the drill: oversized sweatshirt, bleached hair, needs a shave, loves showing you how many stamps he’s got in his passport (yeah, yeah, you know I quit the nine-to-five ten years ago, and since then, just been roller skating across the whole of Asia, man.’) I remember one dude – and ‘dude’ was the only word to describe him – who pulled out his guitar on the veranda of a hostel, tuned her up, took a deep breath, and started to sing a heartfelt rendition of Ed Sheeran’s Shape Of You. He started to tear up by the chorus, all the Dutch backpackers staring on, tears in their eyes too – ‘fuck, man, that was beautiful.’ 

But then the backpackers have their polar opposites: the suitcasers, the non-nomads, the down, out and gloomy loners. These are often men, most likely in their mid-to-late-forties, scraggly, tired-looking, skinny and strange. There was one in my dorm in Turin, during mid-winter, when the wind blows harshly from the Alps, windows are frosted, cobblestone streets frozen over. He was a nice enough guy, but would spend all his time hunched in the corner, chain-smoking, blaring music into the early hours. The wallpaper smelled like my grandfather’s living room, pensive and tobacco-stained. Soon after I’d introduced myself, he started to tell me his life story, why he was now here for a few months, now there. He spoke perfect Italian, French, Spanish, English and Romanian (his native language). ‘I was a rich man, but my wife left me, and took all my money with her’. Ah. That old chestnut

Sometimes, though, you meet the real enigmas, those characters from a hostel that you never forget. Picture this: a hot, still evening in the mountains straddling the border between Albania and Greece; ten or so travellers are sitting around a long oak table, trees heavy with violet figs overhead. A man of medium build, fifty or sixty years-old, emerges from the gathering dusk. He sits down with the group; he is handsome, or at least he used to be; he has deep-set eyes and the same furrowed brow Clint Eastwood always shot at the audience in Spaghetti Westerns. Out of the corner of his mouth he chews and smokes on something.

‘Howdie’.

He literally says howdie, like a fucking cowboy. He is a cowboy, it turns out – from Wyoming. Grew up somewhere near the foot of the Rockies, has a ranch out there: ‘Well, listen here, out there is about as much the middle of nowhere as nowhere can get.’

Conversation dies down as we all sit, a little gobsmacked, and listen to his soft Midwest narration, telling us about his life, his adventures for the next however many minutes.

‘Mmm, yes, well I was once going down the Kaawngo Reever (Congo River) in a kayak – why the hell I decided to do that stupid shit God only knows – and I was getting reeeaal scared, ‘cos all these folks was standing on the shore shouting “we go eat you, white boy! We go eat you right up!”

Somehow this meandered into another tale about Nicaragua.

‘Well, thing you gotta know about goin’ round Neekaragwa is that just about everyone is trying to kill you, so you gotta have a big fat Colt ‘45 sticking out your pants – you know, one of those big motherfuckers!’

He went on, and on, and on, right until we all started heading bedwards. For all we knew, he might have made it all up – frankly, who cares if he made it all up? He was a great storyteller, and that’s one of the most wonderful things you can hope to find on a hot Summer’s night on the road.

‘Goodnight y’all,’ he said, vanishing into the darkness.

When I woke up the next morning he had disappeared. No one from the night before had seen him leave. Someone else at the table had taken a puff of whatever he was smoking: ‘mate, I slept a good sixteen hours – saw mushrooms and shapes and shit. Whoa.’

I never saw him again.

Categories
Reviews

Review: Poor Things

By Edward Bayliss

When asked why he is so committed to his profession as a surgeon and scientific experimentalist, Dr. Godwin Baxter, or ‘God’, replies coolly: ‘My amusement.’ Physically disfigured and clinically disposed, Godwin Baxter (Willem Dafoe) bears all the hallmarks of a madly possessive psychopath as we see him rear his newest design, Bella Baxter (Emma Stone). Godwin’s literal brainchild (Bella’s brain is replaced with that of her unborn baby) is a young woman beginning to understand afresh the ways of the world. You’d be forgiven for thinking Godwin was a wicked and perverted man. It is however established early in the film that Bella was dead when Godwin performed his restoring surgery on her, and that Godwin is characterised more as a father figure than a Humbert Humbert of Lolita. He asks his creation, ‘Would you rather the world did not have Bella?’   

Bella learns quickly; at first we see her stumbling across the black and white marbled floors with the awkwardness of a toddler, then, there comes her self-realisation and yearning for ‘experience’ and ‘adventure’. The main object of comedy in the film exists in the contention between Bella’s naïve outlook and her exposure to ‘the real world’ as she elopes with the seedy Duncan Wedderburn (Mark Ruffalo). For her, sex is ‘furious jumping’, food she dislikes is allowed to be spat out at high society dinners, and it is acceptable for her to ask Wedderburn in public if he would like to ‘tongue play’ her. Her physical comedy is also deftly crafted – she hasn’t yet mastered her own body, let alone her mind. It is hard to overstate the hilarity with which Bella’s character is met, accelerated also by Wedderburn’s growing frustration with her and his constant reprimands (‘You cunty cuntface dipshit’). 

The two embark on a kind of odyssey, travelling to Lisbon, Alexandria, sailing across the Mediterranean, and eventually arriving in Paris. Lanthimos’ fantastic use of soundstages with painted glowing backdrops adds a surrealist slant to these settings in the film. These are especially striking as they are pitted against the black and white Victorian gothic look of London, with its strangely postmodern architecture and steampunk-inspired outfit. We move from the trivial treatment of gore and exacting empiricism in Godwin’s laboratory littered with nightmarishly Boschian animal hybrids, to the artistic and cultural wonders of the continent; the wide eyed Bella is arrested by such beauty. In tandem with Bella’s growing emotional awareness and intelligence, the camera becomes more excitable and adventurous. Its fisheye lens begins even more to distort and liven the frame, with increased use of wide angle tilt-shift shots (almost Luhrmann-inspired) that place small figures against fantastical set designs. Cinematographer Robbie Ryan clearly has had his fun, not at all at the expense of the film. 

Bella encounters emotions unlike any she has felt before as she exclaims energetically, ‘my soul has been buckled’. Her mind becomes alive to ideas of politics and philosophy. Where once we might have considered her the ward, child, or sexual object of Wedderburn, she now intellectually outperforms him, and even prostitutes herself in Paris as an act of paradoxical sexual self-determination. At one moment in the brothel, Bella carries out vicious intercourse with a customer, at which point the camera shrewdly cuts to her reading a book entitled ‘Ethics’. She involves herself with socialist doctrine and vies for workers’ rights along with another prostitute colleague. Despite her means or methods, she is as the brothel manager asserts, ‘a woman plotting her course to freedom.’

Poor Things is, at its most basic form, a study. Occasionally, the camera will retreat into a circular frame and watch from a faraway wall, as though we are peering cautiously through an unadjusted microscope. This is a study that calls into question the critical notion of selfhood. Who is Bella Baxter? Is she the warped play-thing of Godwin? her unborn baby whose brain she possesses? or simply, her own evolving and learning creation? Moreso, Lanthimos makes it difficult for the viewer to discern who the real monsters, or ‘deformed’, are in his film. We meet so many characters who are debased, ugly, and despicable, but essentially human, that it leaves us wondering what exactly a ‘monster’ is. 

My friend and I left Tyneside cinema with much to discuss – a train delay of over an hour gave us ample time to do so. I agreed with him when he said that it feels, upon watching Poor Things, like you have just read an entire book. That is how much this film offers.   

Categories
Culture

Revitalising Opera in the Modern Age: DOE’s HMS Pinafore

by Maggie Baring

In 1939, red-headed 28-year-old Viola Hogg embarked on a yearlong tour of Australia and New Zealand with the Australian Gilbert and Sullivan Opera Company, where she played the principal roles for many of their famous operettas, including Josephine in HMS Pinafore, and Mabel in The Pirates of Penzance. It was during her tour of Australia that she met her husband, Frank Tait, who was one of the Tait brothers who contributed significantly to the prosperity of C.J. Williamson’s, an Australian theatrical management company. Viola’s involvement in opera, in particular the operas of Gilbert and Sullivan, led to her membership of the order of Australia, the writing of two books, and a lifelong commitment to the arts in general; helping to establish the Performing Arts Museum in Melbourne and serving for a short time as artistic director of the Williamson Company. 

This inspirational woman, who died in 2002 — the year before I was born – is my great-grandmother, and has been a personal inspiration to me in my artistic endeavours. When Durham Opera Society, therefore, began opening positions for Assistant Director for their upcoming operetta, HMS Pinafore, I jumped at the chance to continue her legacy in some form, and to contribute to the revitalisation of opera for audiences who have, since the mid 1940s, increasingly lost interest. 

Audiences often see opera as an elite form of performance, with inaccessible lyrics (often in a different language), expensive tickets and formal dress requirements. One of DOE’s (Durham Opera Ensemble) aims with our production this term, which will be staged in early March (29th February-2nd March), is to debunk these elitist tropes; encouraging informal attire and offering tickets at affordable prices. Gilbert and Sullivan operas are the perfect performances to stage in order to raise the appeal of opera for modern audiences and the younger generation. Pinafore is written in English, containing moments of comedy and satire, whilst the songs themselves are memorable and highly energetic. Recognisable songs and lyrical phrases such as ‘He Is An English Man’ and ‘Sisters, Cousins and Aunts’ will remain stuck in audiences’ heads after the production, if they weren’t already ingrained there from the sheer fame of these iconic scores. The potential for slapstick and pantomime in Gilbert and Sullivan are also endless and deeply exciting for a director. 

DOE’s attempt to appeal to families with young children is a part of the company’s vision of inspiring a love for opera in young hearts that has perhaps been lost in the modern era. DOE has allocated a specific performance (the Saturday Matinee) and are also encouraging informal attire when attending the production. It is unfortunate that often, when one asks their friends if they have seen an opera, the reply is often that they have never been due to expense, a lack of interest or an inference that it only appeals to an older generation. The rare occasion one has been, it is often because one of their grandparents forced them.

But Opera does not have to be such an intense, formal and confusing experience. When I first watched a Gilbert and Sullivan production, I was struck by its similarity to musical theatre (the same caricatured cast, vibrant and recognisable songs, simple storyline), and its sense of fun and informality. Furthermore, if one looks for more than just entertainment in their viewing-choices, Gilbert and Sullivan, and HMS Pinafore in particular, also includes some topical debates and political satire about the role of class in society. 

Tickets for the production are already on sale on the DOE website, and I thoroughly recommend a visit. Only a few weeks into intense rehearsals, and the show is shaping up nicely, with a dedicated cast and passionate creative team. The performances will be held at the Assembly Rooms Theatre in week 18.

Categories
Poetry Uncategorized

Kelpie

By Jake Roberts

 

An old statuette demands supremacy

From the safety of the mantelpiece.

Yours, up for good this time, you smile,

This time we promised. Flecks of paint,

 

Faint from here, returned to taunt

The drab shallows of newer portraits

With their clammy, photographic sheen.

Not she, all gloss and grin, crafted,

 

Polished, matchless bride

To interior pining. You dance

Your way around the sun, hours snap by,

Night washes in, I elope backwards.

 

Morning comes early. I race its breaking

But find a glib dawn at the window,

Your skin pooling like wax, hot pain

Like the tearing of ligaments, a smile

 

Still – not that which I had seen before.

The crackle of denial from a smirk

Scratches my nostrils like spilt perfume

Or varnish; my breath is repossessed.

 

I am lifted by a mocking thunder,

A palimpsest of grief smeared

On every bone; pinched, dragged

Before a howling jury, I miss the verdict.

 

They send me whence you came,

The backs of my legs bruising

As they smack against attic stairs.

Alone, my fingers claw a final word.

Categories
Travel

Journeying Huangshan: Healing and Humility

By Tom Russell

We stepped on the train at Shanghai. Bumping up against people, we shouldered our way to our seats. The journey had begun. Sid and I were heading to the Anhui district. Some may call it an adventure, others therapy. A trip born out of suffering and hurt. I’ve always viewed nature as a healer, a transformer. Every time I come out a little less broken. Something the two of us were hoping for.

The train was moving, properly moving. Engineers from Star Wars invented this train. A spaceship streaking across the land. Outside the window the landscape remained the same. Buildings, buildings, buildings, buildings. The dominance of mankind was everywhere. The never-ending expansion of urbanity and with it the destruction of nature.

We hopped out of the train at Huangshan and got into a taxi to the national park. Driving out of town everything around me felt wrong. The buildings, the lack of people, the plants, this sense of incongruity. This town didn’t feel real, as if it just fell from the sky and landed here and that was that. There was no synchronicity with the mountains around. The park entrance felt like being in a ski resort, people milling about buying poles and souvenirs. This wasn’t the serene nature park we had pictured. 

We began the climb up to Yellow Mountain. We were buzzing, we were about to climb up one of the most famous mountains in the world. A mountain that’s inspired philosophers, artists and now hopefully us. Steps. Thousands and thousands of steps. Up and up. Nothing but steps. The only thing worse than steps are steps rammed with people. Heaps and heaps of people. People who had taken the gondola up and then decided to brave the steps down. We witnessed some serious displays of pain from people. People crawling down backwards on their hands and feet. People collapsed on the side. And then there were the two of us marching up them. Sid was the mandarin speaker out of the two of us, but he’s white while I’m half Asian. The greatest source of entertainment was watching people’s reactions to him speaking. Sid became a celebrity on that walk up. Photos of him were to become their source of dinner conversation when they were back down.  

Over a thousand meters in elevation gain all done on steps. This was what it felt like to be Sisyphus, I guess. Both of us dripping in sweat we made it to the top. We were now in the mist and fog. You could see nothing. The occasional tree poking out of the mist. We were walking in a mystery land. We were staying in this lodge which was up near the top of the mountain. We ditched our bags and headed back out into the fog. We climbed up to a small peak and sat there together. The wind harshly striking our faces, we couldn’t see a thing. The sun had just set and sitting there the fog swallowed us into its darkness. Still, we stayed. I’d let out a scream every now and then. This scream was this act of defiance, to scream into the void, knowing it would live but seconds before being extinguished. That brief flicker of life. We sat there just feeling. Feeling everything it means to be alive. Sid was sitting there screaming as well. Boy that made me smile seeing him sitting there. Here he was. He was on this mountain, he still had the passion, he still had the fire.

Slowly navigating our way in the dark, we made it back to our home for the night. A quick noodle soup and then we drifted into sleep. 

I woke up with nightmares of those steps and my calves reminded me that they weren’t just nightmares. Fire. A burning fire from my calves. The sun hadn’t yet risen, and we could feel the cold from inside. Chasing sunrise was just too good a thought to lay there in bed. So, we were off again. We strolled along the paths, trying to find our way to Lotus Peak to watch the sunrise. Our dreams crushed when we found the trail blocked with winter closure signs, and cameras recording us. China isn’t the place I plan on breaking any laws on camera. Back we go. The sun was slowly rising now and with it there was the occasional break in the fog. These brief glimpses into what surrounded us. Tiny pockets showcasing the world. Thousands of sharp peaks jutting out from the mist. Trees covering their tops. And bang, that was it. Back in the fog. Little fleeting moments of beauty that you can’t hold onto. Letting them pass is the only way to not get lost living in visions of the past.

We made our way to the northern side of the park in an effort to escape the rain and mist. People didn’t seem to come to this side of the national park, so we finally got the bliss that comes from solitude. We finally escaped the mist, and the world was revealed around us. This beautiful world. It felt like a fantasy land. Places like this only exist in myth or legend. This was what the trip was about. To get away and to enjoy a beautiful place. We lay in this one spot for a few hours. Gazing about. Speaking when we wanted to speak. In the mountains there’s this honesty that exists. An honesty with yourself and also with others. Falsehood doesn’t exist. We shared this openness. It’s so easy to feel pain and to lose yourself in that pain. But you cling to all the tiny things, all the minute mundane things that get you psyched. You feed the fire with anything you can, and you break the consumption.

It came time to find camp for the night. Usually this isn’t too hard an ordeal but here in China it was different. We walked around trying to find an area where we could dart off trail. Every time we bumped into a park policeman, and they didn’t mess about. There would even be cameras hidden in rocks. Eventually we broke off into some bushes. Fifteen minutes of bushwhacking and we found this ledge on the cliff side. Just big enough for a tent. The outcrop was surrounded by bushes on two sides, offering protection from the wind. It was perfect. We dropped down into our little nook and settled in. With the tent pitched we had nothing to do but enjoy the sun setting across from us. Sid even found a beer hidden in his pack. With the sun gone the temperature dropped. It wasn’t long till we retreated into our tent and got into our sleeping bags. It dropped to -5 degrees. We were greeted with a rainstorm during the night and with it the never ceasing shaking of the tent. A sleepless night.

Sid survived his first wild camp. It was still raining, and we were back to being in the mist. Our nook was starting to flood with water, so we were forced to break camp early. Cold, wet, and tired we were still excited. A new day out here was too good to be moping about. It was nice to share this with a friend from home for the first time. I could see the same passion in Sid that makes you want to be in places like this. 

We walked through snowy woods, with only the noise of our feet crunching on the frozen ground, along streams and up passes, running and jumping our way down on the other side.  

Today was our last day up here, we were heading back down. We crossed back over onto the other side and then we were going to descend on that side of the mountain. It was as if the mountain was giving us a goodbye present. The mist was just below us and everything opened to us. Never have I seen anything like it. Stopping every few minutes to take in the view made descending slow going but we eventually made it. Back down to earth from our celestial peaks. 

We didn’t walk away from this trip with everything fixed but we did walk about knowing that we had lived.

Categories
Creative Writing

Haar

 

Haar: a cold sea fog, (colloquial Scottish). 

Because no one can see what happens, happens among the Haar.  

You find yourself along the coastline of Fife on the eastern edge of Scotland. The sea is rough and  churching that night, thrashing, and swirling, dragging its claws along the rocks of the shoreline. Out  here the sea is protector, is enemy and is sovereign. You do not question it; you cannot fight it. Any ship or person caught in the pull of its current, among the landscape of its waves, at its mercy, will testify you never, ever, win against the sea… 

– 

The Haar rolled in the following morning. It built over the water, a brewing storm. Then like a  spectral reflection of the sea it came crashing onto the shore, beckoned by the waves to climb across  the dunes and up into the village. A place the sea could not reach. Splitting into tentacles it funnelled down the corridors of the village peering in windows and leaning against doors. It jumped across the  rooftops and lingered down alleys. It settled across the entire village filtering the sunlight to a pallid  glow as weak as a dying candle. And not just the light, sound was forced to labour slower through its  layers. The Haar had dressed the village by the time the sun had fully risen (not that it could be seen  now), it was an elaborate white shroud, a sprawling wedding dress. As people left their houses come  morning they struggled through it, cars inching uncertainly, people searching for landmarks or signs  that they had taken for granted before – suddenly at a loss as to how to get to the grocers, or to the butchers, or to their dear friend Katherine Mackie’s.  

Across the sea and on the beach, it settles the thickest. It was there Oliver found himself not sure  which direction to go. He also was not sure if he stood still, he would ever find him. Direction had  become meaningless, if he was walking in circles he had no way to know. He stumbled into the sea  and turned back to search for higher ground. The sand was shifting underfoot. Nothing felt solid.  Where even was up (was there?) when faced with no sky. There was always haars here, especially in  the summer here but rarely one so thick. 

“Ollie,” the voice was intimately close. Then he was beside him. “Ollie!” Archie appeared through a  doorway in the fog, he pulled Oliver into him crushing him against the fabric of his coat. “Let me  breathe”, Oliver protested squirming until Archie lessened his embrace slightly. Their eyes met, then  their lips. They kissed gently and Archie drew Oliver to him. Amidst the chill of the fog, they caught  a flicker of warmth between them, like nursing a flame.  

Sand in their hair, slipping down their shirts, crackling in their mouths. Archie shook it out of his hair  as they lay together panting. “Stop”, Oliver protested laughing as more sand fell on him. He poked  Archie in the ribs sending him rolling away with squeals of laughter. “Right” Archie said, his smile split every corner of his face as he jumped on top of Oliver who squirmed and wheezed with laughter  as Archie pinned him to the beach. The haar swirled around, creating a world with them alone in it.  

Everything else had fallen away into the whiteness.  


Because no one can see what happens, happens among the haar.  

Oliver rested his head on Archies chest. He listened to his breathing rising and falling in time to the  waves crashing nearby. “Are you cold”? Archie asked. He did not need an answer. He could feel  Oliver shivering. Archie fumbled to pull of his coat off and draped it over them both. “Better”?  “Better”, Oliver said burrowing in. Archie stroked his hair; Oliver was heavy on his chest, but he did  not mind. 

They lay like that for some time. Two explorers resting during a long expedition through a foreign  landscape. Oliver traced a hand up Archie’s neck and along his jawline. “I wish it did not have to be  like this. Only meeting like this.” Archie sighed he got up on his elbows causing Oliver to slip down  to his stomach. “I know, but not for much longer. Once we finish school we can leave here. We can  go far away.” 


Oliver said “we can be together there? Properly I mean?”. 


Archie smiled and kissed him on the cheek, throwing an arm around Oliver to pull him up to his face. 


 “Yes,” Archie said “here people don’t understand, but there is a whole world out there that is not  here.”


“What will it be like?” 


Archie, stroking Oliver’s hair, began: “We can go to Edinburgh, or Glasgow, Manchester or London even. A really big city. You will study English because you love it; I will do Geography or  Philosophy or something. We will get separate places to begin with because we might have different  friends. But we can go over to each other’s and see each other every morning. We will stay the night  together of course. I can take you to the film house, the theatre, we can go for walks and coffees  together. We can hold hands Ollie, and I can kiss you and we will not have to worry. And we can  dance Ollie, I have heard that people dance into the early morning in these places.” Oliver closed his  eyes as Archie’s words moved like brush strokes painting a picture before his eyes. A watercolour of  what was to come.  


“But for now, we can only meet like this Ollie. In the haar. For no one can see us then. It’s our secret.  A secret that will be swept out with the haar, out onto the waves to the horizon, and over the edge of  the world. Only the sea knows Ollie, and it sends the haar to let us have this.”  Oliver met Archie’s eyes; they were so close their breaths mingled. He could feel Archie shift beneath  him. His hands push under his shirt.  

He wished they could always be like this. Together. Oliver tilted his head back, Archie leant forward.  

“I love you”.  

– 

Who knows what happens when the haar floods in? When society’s eyes are blinded by fog?  

What unhindered people do show? 

The love that can be allowed to grow. 

When no one is watching. 

Because no one can see what happens,  

happens among the Haar.

Categories
Poetry Uncategorized

Mama

By Sara Zubaidi 

These familiar syllables that did frame

The feeling of perversion in my throat

For naught the bilabial nasal sound

That echoes a child’s sleepy melody,

A fleeting sprite in invention’s reverie

Felt in the birthing cries of her labour

Nor because it vibrates as the soft hum

In chambers close, untold tales softly thrum

Like notes lost in the void’s quiet breath

To hymns where willing spirits intertwine

Instead, repeated syllables throb keenly

Posing as the vivid evocation

Of how my mother preaches about her

Mama, as if she is speaking of God

Categories
Reviews

Bigger and Closer (not smaller and further away): Hockney (and Critics) in Review 

By Lizzie Walsh

‘An overwhelming blast of passionless kitsch’ reads the Guardian’s reckoning of David Hockney’s 2023 ‘Bigger & Closer (not smaller and further away)’, from an unfavourable review published last February. For the inaugural show at the Lightroom exhibition space at Kings Cross, Hockney was a big catch and exhibited for an extended period after great success from the initial running period, rounding up to eleven months at the venue. It goes on to say, rather damningly, that ‘unfortunately the kitsch is not just a twinkle but an overwhelming crescendo’; that the hour long ‘immersive’ exhibition joins all other immersive shows in the ‘passionless dustbin of forgetting.’ 

While this may have been the case for that certain reviewer, I remember the show from last March as a delightful dive into the artist’s process, as a welcome crescendo that placed the traditional gallery purveyor as witness to the process on the artist’s dimension (not the dustbin). Particularly striking about the show, which stays with me, was the play upon (or rather upheaval of) human visual perspective. The exhibition was split into six sections or chapters of looping on repeat, illustrating the joyful relation the artist has with the natural world and technology. His desire to share his art with the world- the way he sees things- was palpable in his voice recordings from different points in his life that run over Nico Muhly’s contemporary score. While it was critiqued by some as occupying a strange space in the immersive world, with most shows of that nature being when the artist is dead, such as the recent retrospectives for Gustav Klimt and Van Gogh, the magic of this event was the artist’s sheer attentiveness to time, space, and photographic placing- he seems to draw with a camera. After all, if we can have retrospective immersions, why not prospective? Hockney reveals what is probable and possible for people who make pictures. 

His lesson on perspective sets us up for a very precise placing of his pictures and reflection upon his own life’s works, his meticulous need to create and expand. Taking us on a brief tour of the camera obscura and the advent of photography, he observes how ‘we see psychologically but cameras see geometrically.’ By layering his pictures in a cubist style, as for example in Chair, Jardin du Luxembourg (1985), we might become, in a sense, closer to the realities of space, despite it being a digital show. Indeed, Hockney elaborates that ‘by putting more in, you get more reality, I think.’ The experience is ebulliently experimental, even including some of the artist’s works for operas from the 1980s – a welcome midway juncture from his landscapes, pool paintings and iPad creations. This is the man whose Portrait of an Artist (Pool with Two Figures) sold for 90.3 million in 2018, becoming one of the most expensive paintings sold at auction by a living artist. 

However, critics went on to say, as in Time out, who described their experience as: ‘looking for the art in it is like looking for the music in a bacon sandwich’. A sizzling and crisp critique that lacks in the imagination department, a stifling remark that suggests complete disaffection from either sandwich or show. Here the clue is in the title ‘Bigger and Closer (not smaller and further away)’ it is a collection of pieces that form a moving loop of art that is primarily about the practice of looking and the interpretation of getting closer to that sensory game rather than looking at art in the traditional sense of the gallery goer. Instead, the observer is within Hockney’s shifting artscapes, as his hands turn the concertina pages of East Yorkshire scenes, vast tracts of trees and drawn-out fields. Pathways light the floor, meandering onto the walls of the Lightroom as the music rises in vivacity. 

The virtual installation such as The Wagner Drive (San Gabriel Mountains 2012), is itself a beautiful story of climbing, vertiginous views. In the recording over this piece, which projects onto the ‘cavernous sort of gigantic warehouse type room,’ (Rich Roll) just off Coal Drops Yard in London, Hockney speaks to his audience recounting listening to Wagner again and again on the road that winds through the San Gabriel Mountains. Conducting his ekphrasis, the stereo music and the pixels to be choreographed with the car just reaching the top of the mountains. And yet, my mum recalls feeling travel sick during this particular segment of the show. All perspectives are subjective. 

“I don’t care what critics say about me,” Hockney says in one interview. “I think it’s really good.”

Hockney at the exhibition – credit: The Guardian