Take five

January passed in a blur of protests, marches, outrage, petitions and emails. Time to regroup for five bars’ rest, before returning to the fray. Here are five things I’m going to do in February to keep me fresh.

  1. Plant some vegetable seeds. Nothing says “hope” like tomato seedlings growing on the windowsill.P1040212.JPG
  2. Go book-shopping, in an independent book shop. I’m working my way through the excellent long-list for the Wellcome Book Prize, always stuffed with thought-provoking literature.G Heywood Hill window
  3. Explore the vibrant art of the belle of Bloomsbury. Dulwich Picture Gallery hosts the first major retrospective of Vanessa Bell, a pioneer in life and in art. Starts 8 February.
  4. Bake some cake. I’ve had the builders in, re-making the kitchen, since the middle of December, and I’m craving the warm, delicious smell of a cake baking in the oven. Which one? I think I’ll see which page falls open first in my well-used copy of Pam Corbin’s River Cottage Handbook: Cakes.img_02135: Walk by the sea. For a clear head, wide horizon and lungful of breathable air, I’m heading out of polluted old London and down to the Kent coast.
    Dunes

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Why I’m marching (so many reasons)

p1040312It’s been a while since I marched. Back in student days, a demo on a weekend was a regular occurrence – I’ve marched against war, nukes, poll tax; for reproductive rights, to reclaim the streets, to support human rights defenders. On Saturday I’m joining the Women’s March on London. The need for this march has been questioned by some. So, here’s why I’m marching:

  • Because every woman I know has walked in fear, worried about footsteps behind her on an unlit street
  • Because  two women a week are murdered by a partner or former partner
  • Because I was first “flashed” at when I was a schoolgirl, and I don’t know a single woman who hasn’t experienced this intimidating form of assault
  • Because men still get off rape charges after their victim’s sexual history is raked over in court
  • Because the world’s most powerful country has just elected a self-proclaimed sexual assaulter of women as president
  • Because some men think it’s OK to threaten women with rape and murder for saying things they disagree with
  • Because an inspirational MP was murdered, and one of our biggest-circulation newspapers didn’t think that important enough to put on the front page
  • Because I am sick and tired of feeling afraid, and keeping quiet, and hoping nothing bad happens to me
  • Because of all the women in the world with less power and privilege than me, who can’t speak out or take to the streets.

There are more reasons than that, more than I can count. Equal pay. Access to reproductive healthcare. A refusal to accept the politics of hatred and division. And before anyone starts with ‘not all men’ – I know. Of course I know. The one I’m married to is marching with me, for a start.

But the man who takes the highest office in America today thinks women are pieces of meat, and I’m angry as hell about that. The question isn’t why women are marching – it’s why we ever stopped.

 

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No more cakes and ale: Emma Rice to leave Shakespeare’s Globe

Dream“Dost thou think, because thou art virtuous, there shall be no more cakes and ale?”

Shakespeare’s barb, aimed at the puritan Malvolio in Twelfth Night, seems an apposite response to the stuffed shirts at Shakespeare’s Globe. They have got rid of Emma Rice, the theatre’s first female director, for the crime of using lighting and sound effects, rather than sticking to their po-faced agenda of ‘authenticity’.

I’ve loved The Globe from its opening back in the nineties, when the equally exciting and innovative Mark Rylance launched the theatre. The fear was always that it would be a museum of Shakespeare, somewhere that tourists and bored school kids were taken while ‘doing’ our national poet. Rylance’s passion made it a thrilling venue, where you were never sure what you would see next. His experiments with authentic lighting, costumes and minimal staging felt new and radical at the time.

Dominic Dromgoole was a ‘safe pair of hands’ successor, although some of the Globe To Globe productions – inviting theatre troupes from around the world to perform the plays in their own language – were exciting, if perhaps less commercially successful. But it had been a while since I’d had such a vibrant theatrical experience as Emma Rice’s first production at The Globe, A Midsummer Night’s Dream (reviewed here).

I felt like I did the first time I fell in love with theatre. I laughed aloud, clapped till my hands hurt, hung on every word, cheered at the end. I was with a friend who had never seen Shakespeare before. She’d expected a difficult, maybe boring night out. We had a riot. This, I told her exuberantly, was why I love Shakespeare. He can take all the 21st century can throw at him, its carnival and excess and multiculturalism, and emerge all the better for it.

Well, he can. The audiences, which loved the play and packed the theatre, can too. Sadly, the Shakespeare’s Globe board can’t. It released a mealy-mouthed statement which acknowledged Rice’s enormous success – then added: “Following much deliberation and discussion, the Globe Board has concluded that from April 2018, the theatre programming should be structured around ‘shared light’ productions without designed sound and light rigging, which characterised a large body of The Globe’s work prior to Emma’s appointment.”

Confusingly, they continue: “As Emma has already so brilliantly and inventively demonstrated, the Globe remains committed to delighting audiences and engaging them in both Shakespeare’s work and the playhouse for which he wrote.” Delighting and engaging us by sacking the brilliant, inventive director who delighted and engaged us? Pull the other one.

The crazy thing about this is that Shakespeare was an innovator, an inventor of language who forged new types of drama, played in new types of theatre. Does anyone seriously think the man who wrote The Tempest would have chucked out the lighting rig, if he’d had access to one? He even wrote a speech (in Hamlet) criticising old-fashioned acting methods. If Shakespeare walked among us now, I bet you he’d be working with Emma Rice, not with the Globe’s board.

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Is everything copy? Women in Journalism discuss.

photo-1455904254851-58c6069237f7.jpegThere’s one comfort that keeps writers going when everything is going to hell and there’s no handcart in sight. ‘I’ll write about this one day,’ we mutter, surveying the wreckage of our lives.

But should we? Is everything really copy, or are there limits that we can and should set to protect ourselves or other people? Women In Journalism staged a debate on Tuesday in the St Bride’s Institute off Fleet Street, featuring four doyennes of personal journalism: Louise Chunn, Bryony Gordon, Kathryn Flett and Rebecca Armstrong. These women have regaled the world with tales of infidelity, marriage breakdown, mental health problems, serious illness and funny things kids say – whether from their own experience or as editors, encouraging others to ‘spill their guts’.

Louise Chunn, who as Guardian women’s page editor published the story of Jilly Cooper’s husband’s lover’s account of their affair (as well as an article I wrote on smear tests that I still get emails about), says that she’s changed her views over the years, not least because ‘everything lives forever online’. ‘I have had times when it’s really blown up in my face,’ she says. ‘Telling stories really does help other people, but sometimes people doing the writing are not as careful with themselves as they might be,’ she said.

Kathryn Flett talked of how a travel piece, to Bruges on Valentine’s Day, became her first ‘confessional’ piece when her husband announced he was leaving her, the day before they went. The resulting piece, which she wrote in one  draft and entitled “By Waterloo Station I sat down and wept,” made her name. She went on to write a blow-by-blow account of the end of the marriage, and says she felt no need to protect her husband: ‘You married a writer: deal with it’. Spouses of writers, beware.

Bryony Gordon, the daughter of a journalist who wrote about her kids, now ‘gets her own back’ on her mum Jayne in a two-part column they write for the Telegraph. She shared memories of posing for a photoshoot at her mother’s request as a teenager, only for it to appear under the strapline: “Is this the worst teenager in Britain?” Now a mother herself, she says she’s conscious that ‘I don’t want it to hurt anyone else.’ She defends personal journalism (she hates the ‘confessional’ tag), saying it takes bravery and strength to share your life honestly. ‘Men do it, and it’s art.’

The last panellist, Rebecca Armstrong, began writing about her life with her husband Nick after a terrible accident left him in a coma. She said she talked to his parents and his ex-wife before deciding to start writing about him, as she couldn’t ask Nick himself – although she spoke to him all the time. He’s now out of the coma and, she says, is thrilled that she writes a column, and sometimes contributes a few words to it. However, she said, she does hold back on some details, to protect his dignity.

The evening was thought-provoking, raising questions of where to draw the line to protect oneself, while sharing experiences that might just help someone else. It’s tempting to put it all out there – but do you want any future children or employers to read all about it?

Image: Tran Mau Tri Tam, via Unsplash.

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Hero tips from inspiring publishers

zero-to-heroWhat do you get when you take 11 publishing pioneers and put them in a room full of people who want to know how they did it? The Literary Platform‘s event From Zero To Hero was packed full of hard-won insights, tales of bravery and belief, and innovative ideas.

Held in the hip Rich Mix cultural centre in Shoreditch, the day featured three panel sessions with Q&As afterwards. The first focused on print start-ups, with Miranda West of Do Books, Martin Usborne of Hoxton Mini Press, Kirsty Allison of zine Cold Lips and Valerie Brandes of Jacaranda Books. They represent four completely different businesses, united by masses of passion from their start-up founders.These were my take-home tips:

  • Write (and publish) with one person in mind (MW)
  • It’s about building a community, via social media, events, festivals…(MW)
  • If you’re not sure who your audience is, know yourself – what you enjoy, what you want to read or buy – and have faith that others will love it too (MU)
  • Offer something unique to an under-served audience (VB, KA)
  • Get the production values right for your audience/price point – a punk DIY look is spot on for zines , but high production values establish you as a publisher to be reckoned with.(VB, KA)
  • It’s not cheap and finance is hard to come by. You may need to self-fund or crowd-source funding. Print costs for 3000 copies can be £4000 – and then you have 3000 copies to sell or store. (MU, MW)
  • Cover and title are what sells, so don’t skimp on those.(MU)
  • If you believe in your idea, go for it! (MU)

Finding the right model is crucial, and the “commission book, print 3000 copies, sell book” model is no longer the only game in town. Michael Bhaskar of Canelo talked us through how to “do digital publishing properly,” with lots of love for the mid-list authors so apparently unpopular with the traditional publishers. Anna Jean Hughes of The Pigeonhole talked about moving from publishing new content to providing a service to existing publishers, via their “fitbit for your book” app; and David Cadji-Newby of Lost My Name explained the appeal of the print-on-demand personalised book (stressing that you have to ‘do personalisation properly’).

The final post-lunch session was a dizzying whirl through the world beyond words, with sessions from Anna Gerber and Britt Iversen of Visual Editions, whose work stretches from books in boxes to radio stories; Dorothea Martin from oolipo giving us tantalising glimpses of their yet-to-be-published smartphone projects, and Crystal Mahey-Morgan of Own It! stretching the boundaries of what a story can be – a teeshirt message, animated film, song, a book packaged with all of the above. After all that, it was a relief to hear her tell us: “Don’t let the tech get in the way of the story”.

Stories are the one thing guaranteed to take us all from zeros to heroes, after all.

Image: Charlotte Aston, @cjmaston.

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