Archive for the ‘poetry’ Category
This weekend’s wander had the theme of Profumo, a pole to pole stroll from Stephen Ward’s house at which the Profumo Affair kicked off to Peter Rachman’s love nest for Christine Keeler and Mandy Rice-Davies where all the pieces of the puzzle assembled.
The signs weren’t good. I lost my favourite pale blue & grey scarf, given to me years ago by Una, on the tube from Hampstead (where Rachman lived) to Oxford Circus. I got shat on by a pigeon (supposedly lucky but I’ve never bought that). And then I got to Stephen Ward’s house at 17 Wimpole Mews, Marylebone and it had been killed by developers. Has no-one got any respect for history any more?
Above you can see the place on Friday 14th December 1962 after Johnny Edgecombe lost his shit with Christine Keeler and fired at the door in a vain attempt to get in to where Christine and Mandy were cowering. The bottom picture was taken on Friday 14th December 2012, exactly 50 years on, by Euronomad. Whilst it had been modernised by 2012, it’s now been ripped to pieces by barbarian property developers.
Lost scarf, bird shit, desecrated history – the walk wasn’t going so well.
I headed westwards through Marylebone, across Baker Street, towards Montagu Square and Bryanston Square. In the corner of a mews by the latter is the small house where Peter Rachman installed first Christine and later Mandy.
Rachman of course was dead before Edgecombe fired those fatal shots but that didn’t stop the press and establishment making him the second scapegoat of the Profumo Affair, alongside Ward who they would hound to his death soon enough.
Here’s where Rachman lived when life was a little rosier for him. He’d pop down the hill to Bryanston Mews for a shag or a chat.
To raise the tone of the walk I made a small diversion a couple of streets away from Mandy’s shag-pad to one of the London homes of T. S. Eliot. TSE died in January 1965, just after the Scandal. According to Frederick Tomlin (in T. S. Eliot: A Friendship) Eliot was disturbed by the serious corruption in public life indicated by the Profumo Affair. He strongly disapproved of the letter Kenneth Tynan and Angus Wilson had written defending Ward (although that might have been on account of the review Tynan had written of The Elder Statesman).
Eliot must have enjoyed living on Homer Row (not his official postal address but as much his street as Crawford Street, the entrance to his block being on that side). Eliot read Homer at Harvard and borrowed some of his characters throughout his career. Tireseus from The Odyssey, for example, makes an appearance in The Waste Land.
And there on poets’ corner my own mini-odyssey came to a more salubrious but less colourful conclusion. Personally I would have liked to see an intact 17 Wimpole Mews with its very own plaque, indicating respect for modern epics.
I live for coincidences. They briefly give to me the illusion or the hope that there’s a pattern to my life, and if there’s a pattern, then maybe I’m moving toward some kind of destiny where it’s all explained.
It turned out something of a literary day today. It started with a note on this humble blog from an actor interested in Jean Newlove, collaborator of Joan Littlewood and pioneer of movement as a discipline in theatre. The actor in question appeared as a young Alan Turing in ‘The Imitation Game’, growing up into Benedict Cumberbatch (patron of our very own Phoenix Cinema in East Finchley). I interviewed Jean Newlove, mother of the late Kirsty MacColl (who will be coming in to season shortly as the female half of the greatest of all Christmas songs, ‘Fairytale of New York’), for the Littlewood chapter of my not-yet-finished book ‘When Sparks Fly’.
I was keen to read the last couple of chapters of the excellent novel I’ve been reading the last couple of weeks, Amos Oz’s ‘Judas’, so I left a bit early for my first meeting in Old Street and repaired to nearby Bunhill Fields to read in the low yellow winter sunshine. I sat down by John Bunyan’s tomb, inhaling the roll-up smoke of two Eastern European workers on the adjacent bench, and by way of hors-d’oeuvres downloaded a copy of ‘The Pilgrim’s Progress’ to my phone and read the opening. It’s a good complement to ‘Judas’. I then read some of the wizardry of Oz before heading off to my first meeting with a young scriptwriter of the Paul Abbott school. I’m producing a short film for him. On my way over to Silicon Roundabout I remembered there were other literary types in Bunhill Fields and sauntered past them – Daniel Defoe and beside him the great Londoner William Blake, born in Marshall Street, Soho where my very first job (for a film company) was located. I’d spotted on a Twitter post just after the note from the actor that today was Blake’s birthday. I hadn’t paid much attention but once in front of the grave it came back to me and the coincidence of showing up at his death place on the day of his birth delighted me as I have been much taken with coincidences in recent times.
I’ve had two other good ones in the last couple of days. On Saturday night I was on my way to see Michael Keegan-Dolan’s brilliant dance Swan Lake / Loch nEala when I came across One Lost Glove and photographed it as is my wont with a caption playing on a song title as is my wont: Whole Lotta gLove. I was having dinner first with some friends and as I took my seat in Miz En Bouche in St John Street, Islington over their sound system came a version of Led Zep’s ‘Whole Lotta Love’ covered by a relatively sedate female singer.
Today, after I’d finished the Oz book, I resumed Paul Beatty’s ‘The Sellout’, winner of this year’s Man Booker prize. In it I read this sentence: “Frankly, I wouldn’t be surprised by p values in the .75 range.” I got that it was taking the piss out of a certain kind of academia and social science but I had no idea what p values are, never heard of them before. This evening I’m at a lecture by Ogilvy’s Rory Sutherland (who I also interviewed for ‘When Sparks Fly’) on Behavioural Economics. He mentions p values of course.While I’m at it a Blake-related coincidence this time last year which proved very important for me. When BAFTA season is in full flow you get inundated with PR emails from film publicity companies. I normally don’t read them but I did read one entitled A Bigger Splash because that first job of mine in Soho, opposite Blake’s birthplace, was with a film company that made a movie in 1974 entitled ‘A Bigger Splash’, about David Hockney and his circle. So the subject line caught my eye and I scrolled through the email. It was for a new romantic comedy (?) featuring Ralph Fiennes and Tilda Swinton. At the bottom of the email was the address of the publicity company – 35 Marshall Street, the very address of Buzzy Enterprises where I worked. So it was Buzzy’s address and Buzzy’s title united on a single email. What are the chances? Two items with no intrinsic connection. Unlike the hearing the same word for the first time twice on the same day type coincidence there can be no rational explanation for this baby. I ended up sending it to my former boss, director of the original ‘A Bigger Splash’, Jack Hazan, and that triggered a train of events which lead to us working together for the first time in decades, on a documentary based on something he shot three years before ‘A Bigger Splash’.
The first chapter of ‘When Sparks Fly’ is about poet Allen Ginsberg, who was hugely influenced by Blake. The road I crossed to get to Bunhill contains St Luke’s church where I once met Patti Smith, who is also a massive fan of Blake and wrote a song called ‘In My Blakean Year’ (but we talked about two other poets who resided in London, albeit briefly – Rimbaud & Verlaine).
The coincidences, both explicable and inexplicable, are the kind of thing that make life worth living. They suggest pattern, yes, but more importantly they suggest magic.
To be nobody but yourself in a world which is doing its best, night and day, to make you everybody else means to fight the hardest battle which any human being can fight; and never stop fighting.
— e e cummings
Back in 2000 I chaired a task group for the Broadband Stakeholders Group (a body lobbying the Government for better broadband connectivity) looking at the probable impact of broadband on the UK workplace. One of the group’s conclusions was that it would have a positive impact on the environment and transport because it would enable workers to do more locally or at home, thereby reducing the need for the daily commute.
From 2000 to 2013 I spent much of my life on a tube train across the city, mostly for no good purpose. I stopped that on 9th July 2016 when I left Channel 4 after 13 glorious years.
I am now working in a peripatetic style and not only thoroughly enjoying it (and the summer) but actually finding creative inspiration from it. I knew this from the sabbatical I took in 2013-14 to write during which I wrote in all kinds of places from the National Library, Dublin to the kitchen garden of Kenwood – and chronicled it here on Simple Pleasures.
As my working week drew to an end yesterday in a steam room near Gray’s Inn followed by a last hour-long burst of writing in some barristers chambers (very productive and clear-minded) I reflected back on a classic week of working on the move which I feel like capturing here for posterity because the working locations were such an inspiration in themselves; reflect the rich mix I plan to make the defining characteristic of my work life going forward; and brought with them such uplifting experiences.
So this week I have worked…
- in Borough, in the shadow of London Bridge – with Mark Stevenson, writer and futurist, on a project about the sustainable future of energy, feeding on his always refreshing optimism
- at BAFTA, one of my two pied-à-terres in central London, where I had a key meeting with an always-inspiring former colleague about the film script I am currently writing (for an energetic British production company whose early successes are very promising)
- in the garden of the Chelsea Arts Club where I met a film-maker whose father knew the protagonist of my movie and from whom I got a useful sense of the kind of person he was. This particular stop brought the highlight of the week as we were joined in the sun-bathed garden by the poet Brian Patten, a charming, witty and warm man from the evidence of this first encounter. In fact it was in a way my second encounter as I saw him perform live in Cambridge around 1984 with his fellow Liverpool poets Roger McGough and Adrian Henri. He gave wise advice concerning my younger son, who has severe dyslexia, and his literary studies. A young priest in exquisitely made robes entered the garden at one point and sat at the adjoining table. At which juncture Brian leaned over the table and recited a brilliant poem about a falling priest, without the faith or courage to fall freely. Brian had based the poem on an ancient Sufi text. It was a beautiful and unexpected gift of words that made my week.
- in a restaurant in Victoria where an old Channel 4 colleague of mine turned out to be pals with a director who would be perfect for the film
- outside Kipferl, an Austrian cafe at The Angel, one of my favourites, where I caught up with Harry Cymbler, MD of Hot Cherry (where I am a Non-Exec)
- in the Reading Room of Somerset House where I drafted an application for Creative England with my co-producer
- in the newly opened Eneko Basque restaurant, scion of Eneko Atxa’s Michelin-starred place Azurmendi in Larrabetzu (in the Basque country in Northern Spain), where we finished drafting the application either side of a beautiful meal of Iberico pork and fruity wine punch
- in my back garden where I carried on writing the treatment to the tranquil sounds of my newly resurrected water-rock (I can’t possibly use the term ‘water feature’, it’s so Home Front). I copied the water-rock from the courtyard of a hotel in Newry, County Down – it definitely irrigates creativity.
- in Raymond Buildings, Gray’s Inn in a room with a photo of my lower sixth English class, a reminder of a very inspirational year with a very inspirational teacher (in the photo sporting a velvet jacket).
There’s a lot to be said for wandering freely. As I read in The Week earlier this very enjoyable week, Nietzsche was also much in favour of being on the move:
All truly great thoughts are conceived by walking.
I met Patti Smith one time – it was in St Luke’s Church near Old Street roundabout after an intimate gig of hers. We talked briefly about Rimbaud and the time he spent in Camden Town with Verlaine. Rimbaud of course features in a scene of the ten-years-in-the-making poetic hotchpotch of a film that is Steve Sebring’s documentary ‘Patti Smith: Dream of Life’ which I saw on the big screen this afternoon at the Arthouse Cinema in Crouch End thanks to Doc n’ Roll.
I went with my old friend, film-maker and teacher Roddy Gibson. We went to see Patti in 2007 at The Roundhouse where she did a wonderful gig centred on her album ‘Twelve’. I’ve probably seen her play live around ten times, always in London, from the Union Chapel to St Giles-in-the-fields by Denmark Street – and even in one or two places that weren’t churches.
The best moment of the film for me was when she, without warning, pours out from an exotic urn Robert Mapplethorpe’s ashes into her hand, explaining the texture, that it’s not like normal ashes or dust. Their connection is a fascinating one, not least as it overlapped with her intense marriage to Fred Sonic Smith.
Her smile which punctuates the film is another thing that stays with you.
I liked the moment when she meets Jesse Jackson at an anti-war demo, as it struck me that he bears the names of both her children – Jesse is the daughter (on piano), Jackson the son (on guitar).
The presence of Allen Ginsberg in the film really resonated for me. I have been writing about him in recent times – here’s an extract. His poetry, in my experience, has the marvellous effect of inspiring the reader to write poetry. Patti is clearly a descendent of his, and that they were friends is inevitable. Blake, Corso, Baudelaire, Rimbaud, Burroughs are all present in the film as a constellation at the centre of a particular cultural universe – one that really sings to me.
The line that punched out for me was where Patti asserts that we all have a voice and a responsibility to use it. As I watch my 19 year old wrestle with the shape of his identity and life mission it’s a salutary reminder to tread softly as someone lays their dreams at your feet, to be careful not to crush nascent ambitions or visions, to enable them to use their singular voice and realise their dreams of life.
My mission is to communicate, to wake people up – it’s to give them my energy and accept theirs. We’re all in it together, and I respond emotionally as a worker, a mother, an artist, a human being …with a voice. We all have a voice. We have the responsibility to exercise it, to use it.
A while back, on my sabbatical from Channel 4, I did a phone interview with Hettie Jones in New York, wife of LeRoi Jones aka Amiri Baraka, and friend of Allen Ginsberg (both sons of Newark). Baraka passed away a few months later. He played a key role in one of my favourite films, Bulworth. This poem of his I read this week in connection with a documentary I’m working on really resonated…
Wherever you are, calling you, urgent, come in
Black People, come in, wherever you are, urgent, calling you, calling all black people
calling all black people, come in, black people, come on in.
“Poems are bullshit unless they are teeth”
Black is a country
(1962 Amiri Baraka)
- Father, forgive them, for they do not know what they do. (Luke)
- Truly, I say to you, today you will be with me in paradise. (Luke)
- Woman, behold your son. Son, behold your mother. (John)
- My God, my God, why have you forsaken me? (Matthew & Mark)
- I thirst. (John)
- It is finished. / It is accomplished. (John)
- Father, into your hands I commit my spirit. (Luke)
There’s not really consensus across the gospels as to what Jesus’s last words were.
My God, My God, why have you forsaken me? is the only one corroborated by two evangelists.
It sounds better in the old-fashioned translation:
My God, my God, why hast thou forsaken me?
The 7 utterances from the cross above are known as the Seven Sayings.
My God, my God, why hast thou forsaken me?
This particularly resonant one contains 7 different words.
On the seventh hour
On the seventh day
On the seventh month
The seventh doctor said:
“He’s born for good luck
And I know you’ll see
Got seven hundred dollars
And don’t you mess with me”
Hoochie Coochie Man (Willie Dixon)
My God, my God, why hast thou forsaken me?
God, my God, why hast thou forsaken me? My
My God, why hast thou forsaken me? My God
God, why hast thou forsaken me? My God, My
Why hast thou forsaken me, my God, my God?
Hast thou forsaken me, my God? My God, Why?
Thou forsaken me, my God! My God, why hast?
Forsaken me, my God! My God, why hast thou?
Me, my God! My God, why hast thou forsaken?
My God, my God, why hast thou forsaken me?
Jesus’ blood never failed me yet
Never failed me yet
Jesus’ blood never failed me yet
There’s one thing I know
For he loves me so
Jesus’ blood never failed me
Never failed me yet
Never failed me yet
One thing I know
For he loves me so
Jesus’ blood never failed me yet (Gavin Bryars)
I met Gavin Bryars at the Irish Embassy, London in 2014 and talked to him about this song. This recording of his from 1971 (the year of What’s Going On?) features a tramp/rough-sleeper singing. Here’s the story of the piece. It’s a piece of music Jesus would love.
I’ve been noticing coincidences a lot recently, and noting some of them down. Mainly of the type where you hear a word for the first time in decades and it comes up again the same day.
But today I had a cracker. I went to Church Hill near Letterkenny to visit Glebe House and Gallery. As luck (or the tourist season) would have it was closed so I contented myself with hanging out in the gardens by the lake, which I had entirely to myself in strong spring sunshine. I laid on the damp lawn and took out my two books. The first one I opened was ‘Human Chain’ by Seamus Heaney, a book of poetry my Other Half gave me for Christmas 2010. I’ve only ever read a couple of the poems so I brought in with me for this Derry-Donegal trip. I read a bit of it last night so it was parked up randomly in the middle wherever I happened to get to.
As I opened it and started reading today stretched out on the grass like a dying naturalist I wrote a note at the top of the page in pencil as a souvenir of where I was:
16.3.16 Church Hill – Derek Hill’s
Derek Hill was the artist who used to live in Glebe House and bequeathed it.
The poem I had got to last night was entitled ‘The Baler’, about a mechanical hay baler. When I got to line 19 who, of all the people in the world, is mentioned?
Derek Hill. I’m not sure if it’s the same one but it probably is.
But what I also remembered
Was Derek Hill’s saying,
The last time he sat at our table,
He could bear no longer to watch
The sun going down
What are the chances?
I finish the night before at that particular poem
I decide to go to Glebe House this particular day
I write Derek’s name
The name is printed on the very page
Doesn’t that mean there must be a God? 😉
So I’m sitting at breakfast as usual, late Saturday morning, a West Coast Irish sense of urgency (think mañana but less pressing), listening to Robert Elms on Radio London. After a bit of a dull gardening item an Irish poetry enthusiast with a Dublin accent pops up to talk about his guided walk to mark today’s [Saturday 13th] 150th anniversary of the birth of WB Yeats. He says “it’s probably too late for your listeners” – red rag to a British bulldog, I was going to get to Wolburn Buildings for the start of the walk regardless of the sub-90 minute lead-time. Niall McDevitt was the name of the poetical Irish gent punting his walk on the wireless and it was the said poet who wandered up Woburn Walk, location of WB’s bachelor pad, at the appointed hour of one, in red trousers, perfect to lead a walk through a busy Saturday afternoon London, the biz in hi-viz.
As he started the walk-talk an Indian lady appeared at WB’s balcony – an artist who uses his old love-nest as a studio. She gamely waved a large photo of Yeats to the assembled motley crew. Niall explained that WB moved in as a 30-something virgin, determined to pop the ol’ cherry and in need of a bit of space from his artist father and painter brother Jack over in the family home in Chiswick or thereabouts in West London. His married mistress found the place, in a small, quiet passage opposite Euston and within walking distance of the Brain of London which was the British Museum Reading Room, the internet of its day. The affair only lasted a year but WB stayed there for 24 years (1895-1919) until he eventually married. For the Irish Shakespeare that was a long time in prime years to stay in a foreign metropolis. Perhaps we dare think of him as London-Irish in some small way?
The Euston location was convenient for his Monday evening At Homes where the likes of Ezra Pound and Maud Gonne pulled by for cultural and literary chat. It was also convenient for jumping on the train to Liverpool to catch the ferry round to the West Coast of the Emerald Isle.
From Wolburn Walk we headed across Bloomsbury to the bust of Tagore in Gordon Square to review Yeats’s Indian connections. (The Nobel-prize-winning Indian poet Tagore while in London lived in the Vale of Health just below where I was born).
Then along the greenery into UCL (founded by one of my distant forebears) and the building of Faber & Faber where TS Eliot was based. Niall put forward the proposition that Yeats’s Second Coming was the great poem of the 20th Century and not The Wasteland. I let it pass – he’s obviously wrong.
Mein Irisch Kind,
Wo weilest du?
Madame Sosostris, famous clairvoyante,
Had a bad cold
At Museum Street opposite that Brain of London we stopped for an interlude at the Occult Book Shop where the proprietor, a 2nd generation bookseller who has just inducted the 3rd generation, gave us a fascinating talk about Magic and the Golden Dawn, an occult order which Yeats joined in a serious way. On the wall were pictures of various key personages including the Hackney Jew who set up the shop and an oil portrait of Samuel Liddell MacGregor Mathers, one of the primary influences on Yeats life (alongside a Fenian whose name escapes me, Sean O’Something). Irish Nationalism and Magic – his Big Two Things.
From there into Covent Garden where we strangely enough went right past my hairdresser where I had a 3pm appointment – what’s the chances of the line from Woburn Walk happening to pass that spot? Near the Freemasons’ HQ in Great Queen Street we stopped to talk a bit of Blake. In the old Masonic children’s hospital opposite was the place where Blake did his engraving apprenticeship for 7 years. Niall’s core territory is bounded by Shakespeare (who spent a lot of time in London in Southwark) and Blake (who grew up in London in Marshall Street – opposite my first job at Solus Productions at No. 35) and Rimbaud (who spent a little time in London in Camden Town) and Yeats (who spent a lot of time in London in Euston, Primrose Hill and Chiswick).
I peeled off when we got to the other side of Lincoln’s Inn as hair cutting called. They were heading in the direction of temples where Aleister Crowley and the Golden Dawners worshipped. That kind of shit freaks me out a bit any way so probably just as well. Rewind. As we were starting off in Wolburn Buildings Niall mentioned the fact that Yeats was big into the after-life and would appreciate our celebration, indeed might well be with us if his hopes for the after-life proved well founded. At that moment one of the walkers’ mobile rang, he fumbled it and dropped a small case he was carrying, from which spilled a number of harmonicas. As in mouth organs. Or blues harps. So harps, the symbol of Irish poetry, fall out on the streets of London. Nuff said.