Squidbox @ Palace Theatre, Paignton: Poems and an Essay about the Project working with Brixham Fishermen

You can listen to the 45 minute performance / reading right here: poems and an essay 12/5/22
  1. Homecoming (p63)

You know, things were jogging along just fine and the future looked incredibly exciting. I’d spent most of 2019 on the road, not only with the Hammer and Tongue  tour to Hackney, Bristol, Brighton, Cambridge, Oxford and Southampton, but I’d taken my show Spout to Barnstaple, Reading, Guildford, Edinburgh and Petersfield, and I’d also performed headline sets in Newcastle, Milton Keynes, London, Swindon, Bristol, Exeter and even the Eden Project, where I’d actually performed in the main dome itself surrounded by thick jungle vegetation, before spending the night in a shipping container which had been transformed into a hotel room. Added to this the corporate work I’d been doing for a certain building society, and my December I was absolutely burned out. I decided to take three months off from performing.

          And you’ll never guess what happened next. 

          I’d been looking forward to 2020. I had gigs booked in faraway places and I was planning a new show, Yay!: The Search for Happiness, which would be something of a departure and I was excited about the whole process of putting it together. If 2019 had been amazing, I was sure that 2020 would be even better, the momentum having built up, but the international pandemic stopped everything in its tracks and all of a sudden, the whole world narrowed down to just my small flat in an out of season seaside town.

          I wasn’t alone in this, of course. I mean, obviously I was alone in my small flat, but I wasn’t the only performer for whom the future had suddenly turned to mush. Up and down the country, and throughout the world, singers, artists, performers of all types suddenly found themselves without a livelihood and a very bleak future. In a way I felt lucky that I only had myself to look after, and no mortgage, but on the other hand, things would be tough.

          I tried to make the best of it. I launched into online gigs. I made videos. I wrote, and wrote, and wrote. I started rehearsing and learning the new show. But the one thing that didn’t happen was that I was making any money.

          So, things weren’t entirely ideal. But then something wonderful did happen. Torbay Council were looking for artists to pay to do create local works in order to help them recover from the financial hardship of the pandemic situation, and add colour to the local artistic landscape. I applied, with the vague idea of writing about a subject of which I knew very little, yet was a big part of the local culture. I went through several ideas, from hotel workers to those involved in the holiday industry, until it struck me that, in spite of having a wonderful relationship with the town of Brixham, I’d never actually learned much about its fishing industry.

  1. The Trawler Basin (p10)

I sent an email to the Torbay Culture organisation, which was allocating funds, detailing an idea I had to write poetry about the Brixham fishing industry. It would be a strange departure for an LGBT comedy performance poet, but I was looking forward to embarking on a new project, and more than anything else, I was looking forward to earning some money.

          Amazingly, they said yes. They gave me a timetable of when things should be accomplished, and then assigned me a producer, who would put me in touch with various people within the fishing industry. And for the first time in a very long while, I felt like a proper artist.

          All I had to do was get started.

I didn’t know the first thing about the fishing industry. I knew that the fishing port in Brixham was one of the largest in the UK and that it had been there since god know’s when. My producer was a wonderful person called Clare with whom I had a couple of Zoom meetings and she gave me a few pointers of where to start. The harbour master? The fish market? Perhaps I should write to one of the trawler companies and see if I could interview one of their skippers. I was also interested in the ecological side of the business and how it affects the local ecosystem. But most of all I was glad to be involved in a project which took me way out of my comfort zone and my usual oeuvre of poems about badgers and dentists.

          By the marvels of social media I managed to get in contact with the skipper of a trawler. Indeed, he was the only person who worked on the trawler. Officially, it was the smallest trawler in the Brixham fleet, yet Tristan managed to go out every single day and get his catch and then sell it straight from his boat on the harbour side. As a result he had made quite a good living over the last couple of years and slowly built up a reputation for the quality of his fish.

          We exchanged a couple of messages and he invited me to come down to the harbour and interview him aboard his boat, the Adela.

          This was my official first foray into the world of reportage and I must admit I did not exactly cut a very athletic figure as I clambered from the quay on to his vessel. I’m sure there have been less graceful entrances into the trawling business, but the damn boat kept going up and down on a swell and I kind of managed it by kneeling on the edge of the vessel and kind of falling sideways. 

          Tristan gave me a quick tour of his boat and then invited me into the cabin where we had a chat about what he did.

          ‘I started out on the bigger trawlers’, he explained. ‘Several of us going out for days at a time.’

          ‘Did you get seasick?’

          I’d once caught a catamaran from Cairns to the Great Barrier Reef and I’d spent the whole journey honking up.

          ‘Yes’, he replied. ‘Really badly, for the first six months, every single day I was so ill you wouldn’t believe it. But you know what? I hid it from the rest of the crew. I tried to be all tough and manly about it, but I would find a space where they couldn’t see me and up it would all come’.

          The cabin of the boat was decorated with photographs of his family and he explained that the boat was named after his daughter. I then turned the chat to what it was that he caught in his nets.

          ‘Anything with eyes and an arsehole’, he replied.

          We both had a good laugh about that and he said I was welcome to use it in one of my poems.

          ‘Seriously, though, the impact of climate change is affecting the types of fish that I can catch. Ordinarily, you’d be assured of catching certain species at certain times of the year. But now, it’s all over the place. Fish which rely on warmer waters are spending more and more time further north. And this affects what I can sell on the quay when I return. Most of my customers are restaurants and hotels and what they put in their menus depends on what I can catch while I’m out’.

          I asked him where he fishes.

          ‘That’s a secret’, he replied. ‘I can’t tell you, because I want to keep these places to myself. But let’s just say, some mornings the entire Brixham fleet leaves together, and they all go one way, and I go the other. I have my methods’.

          We had a great time chatting and I think I was more tense than he was about it. Indeed, he seemed very media savvy, which was a relief, and the one thing I was worried about was that I would write all these notes and then not be able to understand my own handwriting.

          Once we’d done, I clambered off the craft with all the grace of a hippopotamus, then went to the bus stop and wrote up my notes as quickly as I could before I forgot anything.

          But I was on a high, because this was my first ever bit of serious community engagement. Perhaps, I thought, people might start to see me as a proper poet after all!

  1. Solo Skipper (p18)
  2. Storm (p21)

One of the things I looked into, with the help of Clare, my producer, was the history of Brixham. 

          Clare arranged for me to spend a day at Brixham Museum, poking through their archives and chatting to the curator. I was assigned a desk in the stores and the curator brought me files, folders and newspaper cuttings about the fishing industry, and we chatted about the Fishawkers.

          The Fishawkers were a band of fishermen’s wives who ran the town while their husbands were out at sea in the 1880s. They would congregate on the quayside and bid on the fish that the fishing boats brought back. As this was conducted in the form of a traditional auction, the winning bidders were usually the ones who had the loudest voices and the Fishawkers had perfected the technique. They weren’t at all averse to using a bit of physical intimidation to make sure that they bought the best fish, which they would then ‘hawk’ from door to door in barrels. The museum provided me with plenty of newspaper accounts of Fishawkers brawling in the alleyways and streets of Brixham, and one in particular who was hauled up before the local judge for a breach of the peace and was then fined extra for her cheekiness in court. The judge had asked her if she had anything to say, and she’d replied, ‘I’ve got a bit of extra money here, guv, if you’d like to put it towards my next misdemeanour’, or words to that effect.

          The thing about the Fishawkers was that they were officially breaking the law. They weren’t allowed to bid on fish and then sell them around the town. As a group, they appealed this law and won and as a result struck something of a minor triumph in the advance of women’s rights at a time when women weren’t even allowed to vote.

          I also read about the role that the Brixham trawlers played in the First World War, when the fleet was attacked by a German U-boat, the captain of whom demanded he board each vessel and rob their kitchens of food and cooking utensils. I guess such things were hard to come by when working as a submariner. But the most stirring story was that of the work the town did to accommodate refugees from the Second World War. Belgians from the fishing towns on the North Sea ferried across the Channel to Brixham, having forged friendships during peaceful times with visiting Brixham fishermen. And as a the Nazis moved in, they piled all of their belongings, family members, furniture and hopes and dreams aboard their fishing boats and made the journey.  In such a way, welcomed by the local townspeople, Brixham became known as ‘Little Ostend’, and the Belgians became a part of the town’s culture and community, getting jobs in shops and on farms, marrying locals and helping with the war effort. When the war ended, quite a few stayed behind. The rest left in a fleet of buses in order to make the return journey, the whole town coming out to wave them off.

          And now here I was, at a time of Lockdown and pandemic restrictions, reading about their exploits in the confines of the museum store room, feeling the swirl of history around me and the odd idea that really, no matter what we all go through, we are just the continuation of something much bigger. Which was a pretty profound thought for a comedy performance poet.

  1. Fishawkers (p45)
  2. Little Ostend (p47)

Clare suggested I look at the environmental aspect of the fishing industry. Bizarrely, a couple of months earlier I’d done a couple of online education courses, once it became obvious that lockdown was happening and that I’d be indoors for pretty much the foreseeable future. The two courses I did were both about as distinct from each other as I could manage. The first was a study of the Icelandic Sagas, delivered by the University of Reykjavik, and sure, it gave me one or two ideas for poems and short stories, but I took the course more out of interest. The second was delivered by the University of Queensland in Australia, and it was all about the coastal ecosystem, with special emphasis on coral reefs, mangroves and seagrasses.

          So you can imagine my delight when I discovered that an area of Brixham just off the coast was home to a very important patch of seagrass. This was now something I could speak about with a small degree of prior knowledge, of how   seagrass is a vital piece of the marine ecosystem in that it acts as a nursery for younger fish and the next generation of fish stocks. Not only that, but seahorses were a feature of the seagrass environment, and I’d always felt a strange kinship with seahorses. I have no idea why. Perhaps it’s the flippers.

  1. Seagrasses (p50)

During the time I was working on the Brixham project, I was also planning my new Edinburgh fringe show for this year. And as you can tell from the following extract, the project certainly had an influence!

  1. Poet In Residence

The crew soon grew tired of my constant questions . . 

  1. Shakka Lakka Boom

At night, the captain regailed us with tall tales from a life spent on the ocean.

  1. Captain and the Sea Monster

 Wouldn’t you know, the weather was awful. I’d never seen such rain. I wore my usual ‘performance’ costume, but due to the intense and very persistent deluge, I wore a large raincoat over the top of them, and then a plastic mac over that, too. I was more worried about the camera and the microphone that I was wearing, but John and Clare kept themselves very dry while I stood on the quay with the rain rolling down my neck, performing to the camera. Worse still, the persistent rain flattened my traditional gelled, spiked hairstyle flat to my face, and the gel began to drip into my eyes. The book became a sodden mulch in my hands. In fact, it all reminded me of flyering in Edinburgh.

          And thus, the Squidbox project finished with something of a damp squib. But it had brought me closer to the town, and for the first time I felt truly a part of the local community. The poems made their way out into the world and I was asked to perform some of them at Brixham’s Museum during their inaugural poetry festival in the spring. And sadly, when a Brixham trawler sank off the coast of Sussex that winter, the poem We are Brixham featured on the Devon News website. Indeed, the whole tragedy affected me not only that I’d spent the summer with the trawler crews, and we’d chatted about the potential for danger, but also because one of those who died had been a friend of a friend and I’d hoped to interview him at some point, though never got around to it.

          Looking back now, the project seems a very interesting diversion. Once Squidbox was done, I was able to concentrate on the next solo show, and I incorporated a couple of the poems into the narrative, the storyline of which poked gentle fun at the whole process. By the time I’d finished the project, I understood that I certainly had the creative abilities to engage myself in something different, and this made me kind of fearless when it came to choosing a new project. But most of all, it demonstrated that no matter where we are and who we are, we are tied to the history, community and environment in which we are placed, and this kind of made me feel a little better about the world itself.

  1. We are Brixham (p62)

You can watch a video of some of these poems, recording in the pouring rain in Brixham, right here:

You can buy the book Squidbox here: https://robertgarnham.bigcartel.com/product/squidbox

A message from the chairman of the scone society

Dear fellow scone enthusiasts.
It pains me to write this letter, but circumstance has forced my hand. For many years, the Brixham Town Scone Society website has been a valuable tool for members to connect, ask advice, share cooking tips, and buy and sell both equipment and ingredients. There have been no complaints and many of us have both enjoyed, and taken advantage of, this wealth of scone-cooking know-how just a click of the mouse away.
However, lately it has come to the attention of this committee that the Classified section of the website has been coming under some abuse from certain members whose interests lay beyond mixing methods and how to create a really cracking milk glaze.
The problem first came to light when it was pointed out to me that a lot of our newer subscribers to the website, who filled in the online form, listed the classified section as their main motivation for doing so, yet almost all of them answered the question ‘How many hours a week do you spend cooking scones?’ with the response, ‘None’, and in a lot of cases, ‘I do not like scones’. This was somewhat perplexing and an investigation was launched in case there were some confusion in the title of our website, (Scones A-Plenty.com), or indeed if there were some new boy band or comic perhaps titled ‘Scone Man’, that was leading to this sudden influx in new members.
However, after a terrible mix-up (no pun intended) the other day in which one of our senior committee members, Maureen Hepplethwaite, found herself not at a scone cookery demonstration as she had been expecting, but at a swinger’s sex party, it was decided that action was needed.
The first thing we noticed was the number of young men offering a variety of different shaped spatulas for sale in the classifieds. While these are great implements in the mixing process, it is probably more common in the scone community to use wooden spoons, so I think it’s fair to say that this raised a few eyebrows among the committee. Most of these spatulas were advertised as being new, ‘or in new condition’, while some were being offered in a slightly battered state.
At this stage, alarm-bells didn’t actually start ringing. The admin behind running a pro-scone website means that some matters don’t actually get attended to until there’s some kind of emergency. The Great Flour Shortage of 2005 was one such calamity, and equally fraught was the resignation of our chairman in 2009 when he announced that frankly, he preferred muffins.
We then noticed the alarming number of society members offering scones of varying states of completion, some of which were ‘ready to pick up now’, others were, ‘come and collect’, while many were ‘lacking one final ingredient’. ‘Already in the mixing bowl’, apparently, (and according to Reginald, who does not proclaim to be an expert on such matters), means that the ‘seller’ is willing to conduct the process in their own home. ‘On the baking tray’, apparently means that they are willing to travel. And it’s anyone’s guess what ‘ready to be consumed with fresh fresh salad’, means. Suspicions were raised further when Phil Burton (member since 1988), advertised that he had a home-made ready mix featuring fresh sultana pieces and fruity chunks only to receive an email which read, ‘You’re a dirty boy, oh my, you’re a dirty boy!’, followed by someone’s phone number.
Dear society members, this will just not do. To get to the root of the problem, we have employed a code-breaker whose previous area of expertise was the Egyptian hieroglyphs and also the mating call of the common sparrow. And it was no surprise to learn that the codes adopted by many of the users of our classified pages were also a base form of mating call in themselves . Once she had explained what many of the codes and terminologies

were, I, as your brave Chairman, decided to pose online as one of these lovelorn scone-bakers with an advertisement composed specifically to entrap the guilty.
Spatula for sale (or rent). Slightly rusty yet ergonomically designed to offer maximum stirring. Mixture in bowl yet also functions on the tray. Fellow mixer must have GSOH. No salad please. Jam and cream to spread as desired. Satisfaction guaranteed. Stirs in an anti-clockwise or circular motion.
Alas, the only reply to my classified ad was from another society member who offered me a ‘lasagne’. ‘I don’t get it’, I said to the code-breaker.
‘Nor do I’, she replied.
And just to be safe, I haven’t eaten a lasagne since.
Dear society member, it is time to put an end to this, and the decision was recently
taken at a committee level to put an end to the classified section of our website. We understand that this may very well reduce the number of people who have joined our society, (over twenty thousand new members in the last six weeks, a figure which still manages to perplex us), but we believe that this is the safest method to rid our wholesome community of undesirable attention.
Like many of you, I started out as a young man with a head full of ideas and dreams intent on devoting my life to the construction and consumption of the humble scone. Starstruck by such scone-bakers as Ethel P. Anderson and Audrey ‘Iron Knuckles’ McGinty, I saw the society as a means to connect with like minded souls whose purpose and heart were in a similar vein to my own. It has been nothing short of tragic to see our fine institution highjacked by those whose thoughts remain as base as their own animalistic instincts. I see this as an opportunity to root out these wrongdoers and make our society safe again!
The moment I’ve finished writing this email, I shall be visiting the committee where no doubt we shall be indulging in the wholesome pursuit of the perfect scone. And yes, fellow committee members, thanks for asking, I shall definitely be bringing my own spatula.
Yours
The chairman.