What is Juicy? An interview with Robert Garnham

What’s the theme of your show?: Juicy is a scatalogical mishmash of comedy poetry, spoken word shenanigans, serious and deep explorations of loneliness, LGBT rights, songs and a comedy monologue about lust at an airport departure lounge. I suppose if it has a theme, then that would be finding love. Different characters throughout the show find love, or dream of finding love.

What’s new or unique about the show?: Juicy is a free form entity, different every night, with no definitive order. It’s upbeat and funny one moment, contemplative the next. It looks at some serious issues, too, behind the fun and the hilarity, such as gay rights in places such as Uganda and Russia, loneliness, isolation, longing.
How did the show come into being?: the show just kind of evolved outwards from several different places simultaneously, somehow, in a kind of spoken word osmosis, meeting in the middle. It started with a few ideas, which were improvised, then these ideas led to other ideas.
Describe one of your rehearsals.: The show is in three parts so rehearsals were conducted in fifteen minute sessions in a shed at the back of my parents garage in Brixham, Devon. This is real home grown stuff! There’s a big mirror along one wall where I can watch myself practising. I play around a lot with word order and tone and movement and hey presto, the show started to come into being.
How is the show developing?: One of the important aspects was the adoption of music. I worked with some talented musicians and sound artists, which really helps with the tone and the delivery. And then I was privileged enough to work with Margoh Channing, one of the funniest cabaret drag artists of the New York scene, and she recorded some words for the end. I just knew that the end would have to fit in with her words!
How has the writer been involved?: The writer has been involved since the start. I’m the writer. I’ve been there for every rehearsal.
How have you experimented?: As I say, the music was the key to the show. I’ve performed all over the UK and New York for years, but never used music before. Most of my experimentations were actually with the technology necessary to get the music backing just right. I’ve also never done a long monologue before, so this was kind of scary. I was influenced by another New York friend of mine, the storyteller Dandy Darkly.
Where do your ideas come from?: I wish I knew! They just seem to arrive. Like being hit in the face by a kipper. You can be in a sauna or swimming pool or on a bus about to get off and suddenly, oh yeah! A badger that wants to be in EastEnders!
How do your challenge yourself or yourselves?: I watch other performers and see how they do it. And then I try to be as good as them. I’m really influenced by cabaret artists, even though I’m a spoken word artist. The sense of fun and naughtiness is irresistible. 
What are your future plans for the show ?: Juicy will be going to GlasDenbury Festival near Newton Abbot, the Guildford Fringe, and then the Edinburgh Fringe, where I’ll be at Banshees Lanyrinth.
What are your favourite shows, and why?: Margoh Channing’s Tipsy, for the humour and the pathos. Dandy Darkly’s Myth Mouth. Paul Cree, Ken Do. All these people invent characters and invest them with humour, and take you to new places almost effortlessly. I’ve seen them all at various fringes. Also Melanie Branton’s new Edinburgh Show, she’s such a good writer and performer.
Show dates, times and booking info: 29 June at 5pm, 1st June at 650pm, 2nd June at 330pm, all at the Golden Lion in Barnstaple, tickets available on the Barnstaple TheatreFest website.
Then the Keep pub, 9 July at 730pm, Guildford Free Fringe, tickets available, again, from their website.
And finally at Banshees Labyritnth, every day at 1230pm, 13th to the 19th August, at the Edinburgh Fringe.

My writing life.

I started my writing career in 1981. I was seven. In a style which I have later adopted in my poetry, my first novel didn’t have a title, it just had a giant R on the cover, which stood for Robert. I can’t remember much about if except that the villain was an entity known only as the Blue Moo. The Blue Moo was what I used to call my sister, because she wore a blue coat. Which is kind of cruel, seeing as though she was only five at the time.

I would write at school during playtime, whenever it was raining. It rained a lot, I remember, when I was a kid. I’d always get excited about rainy days because it meant that I could write. I still get excited shout rainy days, even now.
By 1984 I was at middle school and I used to fill notebooks with stories. I was encouraged to do this by my teacher, Mr Shaw, who would then let me read my stories out in class. The first of these was called Bully Bulldog’s Ship, and for reasons which I’m still not sure, all of the characters were dogs. And secret agents. The cover for Billy Bulldog’s Ship shows explosions and a radar screen and has he tag line, ‘Featuring car chases, underwater bases, kings and prime ministers and that sort of thing’. It was rubbish.
By 1986 I was still at middle school, but now I’d progressed to writing about humans. I wrote a whole series of short novels about a skier, called William Board, and his friend Ed Butf, and how they would get into all kinds of adventures during and after skiing tournaments. I have no idea why I picked skiing tournaments, but I did watch an awful lot of Ski Sunday back in the day.
In 1988 my grandparents gave me a typewriter, which I still use now whenever I’m Poet In Residence anywhere. By now William had left the skiing circuit and was a policeman in a small Surrey village called Englemede. I’d type up these stories and inject as much humour as possible, because this would make my English teacher, Mr Smith, laugh as he read them. This was probably a big moment in my adoption of comedy. The stories were still rubbish, but my grammar and spelling had improved.
By the time I got to sixth form I was still plugging away, and remarkably, William Board was still the focus of the stories, his ineptitude as a policeman and his promotion to detective providing much mirth. My magnum opus of this time was Impending Headache, set at a sixth form college in Surrey much like the one I attended. And in between chapters I’d write over the top comedic poetry.
By 1992 I had my first job and, amazingly, William Board was still my main focus. By now his detective work would take him to a supermarket in Surrey, round about the time that I worked at a supermarket in Surrey, in a novel called Bar Code Blues.
In 1994 I got a job in a village shop in the suburb of Englefield Green, and I wrote a new novel with a new main character, the trainee guardian angel Genre Philips. The novel was called Englefield Green Blues, and like Impending Headache, it would be influential on my writing career in that I’d re-use chapters and stories to form the novel I’ve been working on this year.
At this stage, I’d started sending novels off to publishers and agents, and one or two were very supportive but would ultimately say no.
By now I’d dabbled in comedy poetry, filling up notebooks with poems written with a pen I’d been using since sixth form. I’d stay at my grandmothers house in the hot summer, she lived on a hill overlooking the whole of London from the airport to Canary Wharf, and I’d listen to the jazz stations and just write whatever I felt like. This would form the basis of my one man show, Static, in 2016.
In 1995 my Grandfather passed away. I went to see the pathologist and watched as he signed the death certificate with a cartridge pen, and that afternoon I went out and bought one for myself. Amazingly, this is the same pen I use today for anything creative, and it has written every poem, short story, novel and play since 1995.
In 1996 I moved to Devon. By now I’d discovered Kafka, Camus, Beckett, and my writing became dense, impenetrable. I used my own system of punctuation which made even the reading of it impossible, and to further add to the misery, my novels had numbers instead of names. RD05, RD06, RD07, and so on. I’d send these off to publishers and I could never understand why they’d come right back.
I joined a band of local amateur actors and I would write short sketches and funny monologues for them, we’d rehearse and make cassettes, but never got anywhere near the stage. One of my monologues was about a rocket scientist who’d fallen in love with his rocket. Not phallic at all.
I came out in 2000. I didn’t write much at all for a while. I was busy with other things.
By now I had a job, and I’d studied a-levels, undergraduate and postgraduate at night school, so I didn’t have much time for writing. For a laugh, I got a part in a professional play, and while it meant I would never act again, (oh, it was so traumatic!), it led me to write a play called Fuselage. Amazingly, it won a playwriting competition at the Northcott Theatre. I remember getting off the train in Exeter thinking, wow, it’s my writing that has got me here. This all happened in 2008.
In 2009 I discovered performance poetry, accidentally, and kind of got in to that. Around the same time I wrote a short novel called Reception, based on an ill fated trip I took to Tokyo, but by now my main focus was performance poetry and spoken word, shows and comedy one liners. In 2010 I had my first paid gig, at an Apples and Snakes event in London, and amazingly, this was the first time I made any money from my writing since I was 8!
So that brings me up to date, more or less. I now write every day, still with the same pen, and I still use the same typewriter every now and then, though mostly for performance. And I’ve kept a diary, every day writing something about the previous day, which I’ve kept up since 1985 uninterrupted. It’s only taken 37 years to find the one thing I’m halfway decent at!

On memorising.

So lately I’ve been trying to memorise my new Edinburgh show, Juicy. This would be quite an undertaking for me, as I’ve never successfully memorised anything I’ve ever written, and to be jones I probably won’t manage it. I can memorise whole Bob Dylan songs, all fourteen minutes of Desire, but I’m quite hopeless at anything I myself have written.
I did a scratch performance of Juicy at the Bike ashes Theatre in May. It was a daunting experience because I was surrounded by theatrical types, and to be honest I think they were looking at what I was doing more in the context of a theatrical piece than a set of poems. The feedback afterwards unanimously suggested that I should learn the whole thing, because this is what theatre is. Some of the feedback suggested I move around more. Which was quite funny on two counts, firstly because some of the feedback also said how nice it was to see someone who doesn’t move sound all the time, and also because the director I used for my last show told me to stand dead straight for the whole hour. And he was a theatrical director.
So I’ve set to work trying to learn Juicy, and after two months I’ve managed to learn six pages of it. Out of thirty. Now this may not seem like much, but for me, this is a small triumph. I’ve never managed to learn anything before, so six pages of Juicy is the ultimate achievement.
Last week I went to a gig in Totnes and I spoke to a fellow performer who I have lots of respect for. I told her about learning my show and she replied, ‘Why?’
And that got me thinking, why indeed? Ok, so if you’ve learned your lines you can move around more and have a deeper connection with the audience. But on the other hand I’ve always performed with a book, and it is a part of my whole repertoire. I look up from the book, glare at the audience, look at them all in turn. Which should be quite easy at the Edinburgh Fringe. In fact, I know the words, I just can never remember in which order the verses fall.
Make no mistake, it’s good to learn poetry and adds to the performance. And the fact that I’ve memorised six pages of the show means that now I can apply this to the three minute poems, and hopefully grow my performance. But I think I shall just relax on the memorising at the moment and concentrate just on the performance. That’s the main thing. It’s performance poetry, after all! 

Ant – A solemn investigation 

It has been apparent for some time that a solemn investigation were needed into the effects, physical and psychological, of an ant crawling on someone’s hat. Seeing it as upon myself, (the theme, not the ant), I set out, in a somewhat grave manner, and yet bravely, into such an investigation. 
The manner this investigation took soon revealed itself to be poetical in nature, and within a couple of hours I had completed a poem based on the theme of having an ant crawl on someone’s hat. Yet this did not fully satisfy me, and a further poem was written.
At this time, I was bitten by the bug, (again, not the ant), and more poems began to arrive. The theme of an ant on a persons hat soon took over my life and all of my creative output, until such a time arrived that I could think of little else. Indeed, the poems began to resemble a Groundhog Day syndrome, the same repeated themes, the same story with different outcomes, different languages and tones, until within a month I had thirty such poems.
The good people at Mardy Shark publishing soon recognised their worth and a pamphlet was soon produced, titled, simply, Ant.
Ant stands as the zenith of my creativity, a full flow measure of poetic and literary sensibility, all inspired by the horror and the bizarre situation of having an ant crawl on ones hat.
You can download the Kindle version of Ant herehttps://www.amazon.co.uk/Ant-Robert-Garnham-ebook/dp/B071JDZJ7X/ref=sr_1_1?ie=UTF8&qid=1497201234&sr=8-1&keywords=Robert+Garnham+Ant
Or you can send off for the physical version here http://www.lulu.com/shop/robert-garnham/ant/paperback/product-23218401.html

Interesting Facts about Professor Zazzo Thiim

1. At the time of his death, Professor Zazzo Thiim was the oldest that he had ever been.
2. His last words were said to be, ‘Don’t throw it yet, I’m not ready’.
3. Professor Zazzo Thiim occupied the William F. Beaverstock Chair in Literary Studies at the University of Basingstoke. Until someone told him to get up and sit in his own seat.
4. There were riots in Vienna the day he wrote a poem that wasn’t called ‘Frank’. (There’s no connection between these two events, there just happened to be riots that day.)
5. Five words never used in his poetry : cumulative, hopscotch, kiwi fruit, sausage, enamel. (That’s six, but whose counting?)
6. Professor Zazzo Thiim’s hat is preserved in the New York Museum of Modern Art. In the Lost Property Office.
7. Zazzo Thiim translated into Navajo means ‘partaker of fungus’.
8. Professor Zazzo Thiim was never actually given the title of ‘Professor’. It just happened to be his first name.
9. Zazzo Thiim could easily have become MP for Basingstoke North if had he registered as a candidate, campaigned, and received the most votes.
10. Professor Zazzo Thiim never once attended a cricket match.
11. Professor Zazzo Thiim had phobias of cuckoo clocks, dustpans (but not dustpans with brushes), sofas, people called ‘Mark’, the colour magenta, his own left shoulder, and underground tube trains running on over ground lines.
12. Contemporary fans of Professor Zazzo Thiim include John Craven, former Canadian Prime Minister Stephen Harper, Lady Gaga, the two members of Oasis who aren’t those annoying brothers, Dame Judi Dench, Ian Rawlings (who played Philip Martin in ‘Neighbours’), and that bloke who played the android on that thing with the spaceship that used to be on TV, you know, the one with the annoying theme music.

The Arrival (a short story from 2002)

A committee was set up in order to plan for the visit. A chairman was voted for, an elderly gentleman with a walrus moustache. He was then replaced with another elderly gentleman. The secretary resigned because she objected to the name of the committee. The replacement secretary used to be the treasurer, so a treasurer had to be found. The original chairman wanted to be the treasurer but the new chairman objected. Both the chairman and the prospective treasurer then resigned from the committee, so a new chairman had to be found as well as a treasurer. The positions were eventually filled with a man who used to be a car salesman, who said he knew all about planning visits. And the Treasurer was shared among the other members of the committee on a rotation basis. Just like a quiz show on TV, someone commented. The comment was recorded in the minutes.
A name had to be invented. Someone suggested the Visit Committee, but there was another committee called the Visiting Committee and it was thought that this would lead to confusion. Someone else suggested the Committee for the Visit, but this was also voted down because it sounded boring. The person who suggested it was the person who was also the Treasurer on this occasion, and she resigned. A third suggestion was to call the committee something trendy, just like a modern company, a name which would hint at science and progress in the arts. Implosion was the name that was banded around. The secretary commented that it sounded like something from The Apprentice. The person who suggested it was very upset about this and he threatened to resign, but just as he did they came in with the coffees so he stayed on for a bit. This was recorded in the minutes.
They finally decided on the Systemal Function for the Application for the Arrival of the Visitor and His Entourage. Or SFAAVHE, for short. This was recorded in the minutes.
It was then time to decide what the committee would actually plan for the visitor’s arrival. There was no doubt that he was eminent, so it was agreed by all that he should have a red carpet when he stepped out of his car. Then someone said that he shouldn’t be in his own car at all. If he was so eminent, they argued, then, surely, he should be driven? OK, then. A limousine would pick him up from his house. But he lived two hundred miles away. This was a problem. They decided they would compromise. He would drive as far as the halfway point and then the limousine would pick him up. It was generally agreed that this was a good idea and it was recorded in the minutes.
Then someone pointed out that red carpets were hard to find, and they got mucky if it rained. The under-secretary was dispatched to source a long red carpet. She asked what sourced meant and the chairman said that it meant to go and fine one. She asked why he didn’t say that in the first place, and the chairman said that it was business-speak, that’s how they said things in the world of business. The under-secretary objected to the tone that the chairman took and she resigned. A new under-secretary was then voted in and he said that he would look on the internet to find a red carpet. Ten minutes later he said that he could only find a yellow one. That will have to do, the chairman said. And all of this was recorded in the minutes.
The meeting then moved on to who would be there to greet the visitor on his arrival. One of the members suggested the head of the department, but then someone else reminded her that the head of the department was currently being investigated for fraud and it would be best that he were to stay out of the limelight. The chairman said that this was not the way to treat the head of the department and that he should be there. The treasurer then reminded the chairman that he, too, was caught up in the same scandal, so the chairman then resigned and a new one was voted in. She thanked the previous chairman for his hard work, but then she spilled coffee on her lap. She resigned, so that she could go to the bathroom and wash it off. When she got back to the room, the original chairman had been voted back in. And all of this was recorded in the minutes.
The next item for discussion was the food that would be provided for the function once the visitor had arrived. Someone suggested prawn cocktail, but they were reminded that the budget would stretch so far. Someone then suggested prawn cocktail crisps, but they were laughed out of the room. Someone suggested those funny spicy sausage things that go on sticks and you have to move them upwards with your thumb as you eat them, and they are often seen in films set in North Africa, but no-one knew what he was going on about, so someone else suggested scotch eggs. Scotch eggs it was. Then the secretary announced that he was allergic to scotch eggs, and someone said that he wouldn’t even be at the function, he wasn’t important enough. He then resigned. A new secretary was voted in, and this was recorded in the minutes.
Much discussion then centred around the manner in which the eminent guest would be introduced to the members of the department before he entertained them all with his speech. One person suggested a strict clock-wise motion around the room, someone else suggested anti-clockwise. The chairman said that the guest should be left to speak to whoever he wanted, but that the most prominent members of the department should be introduced to him slyly, subtly, so as not to provoke suspicion that the whole thing was stage managed. Someone then suggested name-badges, coloured according to the importance of the person wearing them. It’s what we did in the war, he suggested. Even Hitler wore a name badge. There was a show of hands and it was decided that there would be name badges. The discussion of whether they should be in higher or lower case went on for half an hour. And all of this was recorded in the minutes.
The meeting had almost finished and no-one had resigned for a while. The secretary was asked to read out the minutes, but he objected, so he resigned. The new secretary was then asked to read out the minutes and he did so beautifully, but in Spanish. The next secretary read out the minutes. This included the reading of the last minutes, which included the reading of the minutes before that, which included the reading of the minutes before that. This went on for some three hours. By the time he had stopped reading the minutes, everyone else had gone home. And this was also recorded in the minutes.
The secretary then resigned, but as there was no-one around to record this in the minutes, no-one actually knew about it.

The visit did not go to plan. The eminent guest was not greeted half way by limousine because he caught the bus instead. And when he arrived at the department, (climbing off the number 443), he tripped over the yellow carpet because he though it was a continuation of the pavement. The head of the department met him, but just as he did so he was handcuffed by the police and dragged away for questioning. The eminent guest was then led to the hall where, instead of meeting and greeting, and looking at name badges – (the font of which was so small he couldn’t read them anyway, and he was colour-blind), he crammed a scotch egg into his mouth and promptly choked, before asking why they had not supplied, instead, those spicy sausage things on sticks that you see in films about North Africa. And on the way to the podium to deliver his speech, he almost tripped over the end of his scarf.
‘Ladies and gentlemen’, the chairman of the welcoming committee announced in to the microphone. ‘Let me introduce to you, Professor Zazzo Thiim!’
Nobody clapped, because the committee had forgotten to send out any of the invitations. It had not been recorded in the minutes.

Branching out, a Zazzo Thiim story

Here’s an old one from 2007.
There has been much said and written about the following subject in the academic community, it seems almost superfluous to add my own comment to the wealth of material already published on this topic. And yet the story itself seems somewhat compelling, like all good mysteries, and more so because it is, quite defiantly, true. The fact that a senior practitioner in literary matters has attested to the honesty of all involved adds a touch of authenticity to the whole situation, and who are we to argue with the judgement of a colleague so esteemed as Professor Zazzo Thiim?

     ‘They were branching out, pure and simple’, he told me, one charged evening at the local pub. He leaned back in his chair and seemed, just for a second, incredibly tired, as it the events of the previous week had drained him of energy. ‘I first heard it reported to me by one of my younger students, a naive fellow whose panicked account seemed ill-judged and unworthy of comment. But then other students and colleagues began attesting to the fact. They, too, had heard and seen with their own eyes, that the local skateboarders were quoting from Alfred Lord Tennyson. I knew immediately that I would have to probe deeper’.

     The old man leans forward across the table and interlaces his fingers. ‘I started that very evening. With a flask of cocoa and a pair of opera glasses, I went down to the local skate ramp and watched them from the bushes. I felt like a television botanist watching the mighty gorillas of some dank, faraway jungle. How incredibly amusing their mannerisms, how obvious the social gradations and rank within their clique, that they might defer to the most able of their group, and lend advice to the weakest. I would surely have watched longer had not I felt a sudden hand on my collar and a policeman inquire as to what I was playing at. ‘We have a name for people like you’, he told me. I can tell you it wasn’t a comforting situation, but when I told him the reasons behind my being there, his face relaxed. ‘Ah yes,’ he said. ‘The poetry thing. We’ve been racking our brains over that one, I can tell you. Come down to the station’.

     ‘Why?’ I asked, ‘Am I under arrest’.

     ‘Not at all’, he replied. ‘We’ve just found one of them trying to break into the library. Perhaps you might like to have a quiet word with him’.

     The lad in question was a poor specimen, I can tell you, a pathetic, individual whose half-hearted attempt at perfecting the skater-boy look was almost laughable. On being asked exactly why he was breaking into the library he denied all knowledge that it had been such a building, that he was under the impression more that it was the off licence. When the constable slid a copy of Tennyson’s poetry across the table towards him he made a frantic attempt to grab it from his hands, only for the book to be snatched away from him. ‘Not so fast, sonny’, the constable said, in his laconic, laid-back voice. ‘First we need to talk terms. We can help you get your fix, but first you must help us. We need your skateboard’, he continued. ‘You see, there’s a little mystery here, and we need it cleared up’.

     The Professor lets out a laugh. ‘I cut quite a figure on the skateboard ramp, I can tell you. Sure, I fell off a few times, but I soon won respect from the posse not only for my aerial acrobatics but also for my detailed knowledge of Romantic-era poetry. Indeed, things were going along quite fine. How glad I was to see that the stories were true – a particularly athletic turn at the board would be greeted with the words, ‘At Arthur’s ordinance, tipt with lessening peak!’, or a bad fall decorated with the expression, ‘lay low and slay him not!’ I must say, I quite enjoyed my spell with the lads, and at no time did they twig that I was a seventy-four year old academic professor, except when I passed around a packet of sanatogan in the mistaken belief that it was a bottle of alco-pops. ‘A fine pinnacle!’, I yelled, heading up the ramp at great speed. ‘And made as a spire to heaven!’ Brad was especially vocal and conversant in Tennyson’s later works and at times he would exclaim, ‘Sluggards and fools, why do you stand and stare? You are no king’s men!’, or even the ultimate insult, ‘Let this be thy last trespass, thou uncomely knave!’ As the sun started to set, the dusk spread out her silken fingers and seemed to caress the shapely ramps, and in the encroaching dark came a camaraderie I have not yet ever felt, not even in the throes of really good group discussion on Hemingway. Joining in with their masculine bravado, I put up the hood of my jacket and, feeling somewhat exuberant, shouted, ‘While Jove’s planet rises yonder, were now to rage and torture the desert!’ Oh, how absolutely wonderful I felt!

     The effect, though, was immediate. The skaters stopped in their tracks. One skateboard, bereft of its rider, swung to and fro on the ramps before it, too, fell silent. ‘What was that?’ Brad asked. Flustered, I repeated my quotation. ‘You’, he said, breathing harshly through quivering nostrils, ‘Are an imposter!’

     The rest of the group crowded in on me. I stumbled, and tried to make some kind of retraction to my earlier statement, but the damage was done.

     ‘That was Robert Browning’, Brad pointed out. ‘What are you, some kind of freak? Who quotes from Browning at a skate ramp?’

     ‘Yeah’, someone else piped up. ‘What kind of a sicko are you?’

     I don’t mind telling you that I was scared. I escaped with my life, and for this I am monumentally thankful. 

     Naturally, the trouble vexed me for ages. Back at the department I toiled at my desk and tried to read into the whole episode some kind of reason, some kind of explanation behind the adoption of Tennyson. I looked at his rhythms, I looked at his metre, I looked at his rhyme scheme, but none of them matched with the rhythms I had heard on the skate park ramps. The content of his poems were also barren in their significance. I could see in his metrical skill and his lyrical genius no link to the satisfactory clatter of skateboard on concrete, no link between his romantic inclinations and narrative expression to the wearing of a hoodie. Late one night, though, thoroughly tired and dejected, I found the skateboard that I had borrowed that night, and the more I looked at it the more I could see that there was, however slight, a connection of sorts. Four wheels, I told myself, and one standing platform, just like the four isolated tenets of romanticism, the stylistically gothicism inherent, the reaction against enlightenment, imagination, vision and idealism, mixed with the surface and sureness of Tennyson’s reign as poet laureate – surely, this was what the skaters were alluding to in their adherence to his work? How relieved I was to get to bed that night’.

     The Professor frowns and he lowers his voice. ‘I wrote up my report the next morning and submitted it to the head of my department. That lunchtime I felt free. In the Spring air I could hear the clatter of a distant skateboard and I nodded, knowingly, to myself. The world seemed right, somehow. The world seemed a better place. But that afternoon I received an anonymous letter.

     How horrendous the news that it contained! It came from an ex-skater, whose adherance to the poetry of Tennyson had been questioned by some members of the group. He said that the skaters were not quoting from Tennyson – oh no – they were reading. There was a book stuck in the overhanging tree, he explained. And to prove their dexterity on the skateboard, the skaters in question would attempt to read a line at random as they were suspended in mid-air. If it had been a crisp packet, the anonymous writer concluded, then they would have read out the ingredients. There was no mystery.’

     The Professor drained the last of his wine and made to stand. ‘The department has been embarrassed by this whole episode,’ he said, ‘As you can probably imagine. I would be grateful if you could not mention some of the more lurid details of this story’, and with that, the old man was off.

     I followed a few minutes later. It was a dark night and there were a few stars hung in the sky. As I walked back to my car I was overtaken by a child on a unicycle, and he was quoting Oscar Wilde. But then, it could have been the drink.

What influences me?

Someone asked me not long ago what inspired me as a spoken word artist. Now, when I used to run Poetry Island and I was just starting out as a performance poet, I was hugely inspired by other performance poets, in particular Byron Vincent, Rachel Pantechnicon, Jackie Juno. I felt that my finger was on the pulse of the spoken word world and I would watch YouTube videos all the time, studying performance and techniques and generally trying to learn as much as possible. But I don’t do this now nearly as much as I should.
In fact my influences of the last few years have been almost entirely not spoken word based. Perhaps this is a good thing, because it might mean that I won’t subconsciously at least copy another poets style or content. One of the things I’ve been very careful to do is to create my own identity and not sound like any particular clique or group. The downside of this is that unless I’ve seen a contemporary performance poet for real, I probably don’t know much about them. Someone asked me not long ago what I thought of a particular Harry Baker poem, and they were mildly incredulous when I told them that I didn’t know it. ‘But it’s his most famous poem!’ He seems a nice lad.

I’m My major influences have always been music. Quite how these influence me is a mystery. I like pop music, and I kind of see spoken word as being the pop music of the poetry community. The approach of musicians such as the Pet Shop Boys, Sparks, Lady Gaga, Yello, and the way that they stay fresh and continually reinvent themselves, is more of an inspiration. Pop music is ephemeral and it cheers you up for three minutes, but it doesn’t change your life. And I hope that this is what my poetry does, too. I touch on social themes and issues such as gay rights, but I’m quite aware that my poetry will never change the world. 
I’m also influenced by artists working in different genres, such as art, (abstract expressionism, pop art, Tracey Emin, Gilbert and George), performance art, (Laurie Anderson, naturally, and Marina Abramovich), storytelling, (Dandy Darkly), cabaret, (MargOH Channing, Flotilla de Barge), and page poetry (Frank O’Hara), and sitcoms such as Seinfeld, Curb Your Enthusiasm and Flight of the Comcordes. Oh, and also sport. The determination of certain participants in the British Touring Car Championship demonstrate the verve and drive needed to get to the top. I bet Colin Turkington doesn’t realise how much of an influence he is on a spoken word artist!
Funnily enough, i don’t watch much comedy, nor do I know much about the standup scene. I used to perform regularly at various comedy nights and see some great comedians such as Dave Thompson and Mitch Benn, and I really should seek out more work on YouTube from top comedians, as the basics are almost the same.
So there, that’s what drives me on, and if I’ve learned anything from this post it is that I should really watch more and keep up to date with those who excel in my chosen area of expression!

The Day This Summer I Almost Gave Up On Spoken Word

It’s been a strange year for a lot of reasons. Professionally for me, it’s been a very good year with lots of opportunities and reasons to get excited about the future, some of which I can’t reveal right now. But just a few months ago it looked very different.

I was reminded of this by the retirement of Nico Rosberg, the current formula one world champion. For those uninitiated with motor racing, he won the world championship after a thrilling duel with Lewis Hamilton, reckoned by many to be the best driver in the world today, then promptly announced his retirement. It was a brave and honest move.
This summer I performed at the Edinburgh Fringe. I was only there for a week, but the usual Fringe madness was endemic, the seemingly endless cycle of promoting and leafleting, flyering, talking, then putting on a show in front of three people at the most. I was getting audiences at least, but I was not having the best of times, in a noisy venue which was very supportive and friendly and yet wholly unsuited to my show, which demanded long periods of quiet. Consequently I did not enjoy the experience. However, I did appear at a few other shows, as a guest at Stand Up and Slam, which my poetry helped the Poet team to a resounding success, and at the Boomerang Club, where I headlined on the very last day of the fringe.
By this time I was feeling a little frazzled by the whole experience. I’d also had one or two problems, such as losing my passport, so while I should’ve been flyering and leafleting, I was making phone calls and stressing about the passport, because I had a trip to New York and it was looking like I wouldn’t have a passport in time to get there. I’d also had to move accommodation for the last day of my stay due to another procedural problem. So it was all quite stressful.
On the penultimate night I thought, hmmm, why don’t I give it all up? The possibility of a promotion had come up at work, and this would mean less spoken word, perhaps I ought to go for the promotion and not do any spoken word at all, become a professional and competent retail manager instead. And as the penultimate day wore on I thought more and more that this was the right decision.
So I planned the set for the Boomerang Club in the knowledge that this might be my last ever performance anywhere. And where better to do a last performance, but headlining in Edinburgh? It would be a great story. Something to remember for the rest of my life while ploughing ahead into the beauty of a career in retail.
On the way to the gig from my new lodgings, I walked along listening to music, walked past the Courtyard, and someone recognised me from the Stand Up and Slam event, they acted as if they’d just seen a celebrity. It made me feel good.
The show went well and I finished on my poem ‘Plop’, which I normally start routines with. I did this because it was a little symbol to myself, a little nod. The show went very quickly, and I sat down and thought, well, that’s done then. And now I’m a retail manager.
Getting home to Devon took about twelve hours and when I finally arrived my mind was blank. But then something weird happened the next morning. It was like my brain had been wiped, that the whole future of spoken word seemed a blank canvas on which I could completely start again.
And instead of retiring, I found myself acting as if I was a complete newcomer. I set in motion a system of rehearsing and concentrating on performance skills. I decided to try and learn all of my new material. And I decided to have fun. Why should I stop doing the only thing I’m halfway decent at?
And I decided not to go for the promotion.
It’s a gamble that has paid off. I’ve got a few opportunities and projects which are quite advantageous, financially, and I’m even considering reducing the number of hours I do in my day job to accommodate these. This whole half year has been a complete reinvention. And of course, I had a fantastic gig in New York, once I’d sorted my passport out, winning over a cabaret crowd in Greenwich Village right next door to the Stonewall Inn. 
It’s been a weird year, and I’m so glad that I didn’t Do A Nico!

Make your own Robert Garnham Poem with this Automatic Robert Garnham Whimsy Generator

Make your own Robert Garnham Poem with this Automatic Robert Garnham Whimsy Generator!

Your birth month:

January : An ocelot

February : A badger

March : A haberdasher

April : A lollipop lady

May : A dental hygienist

June : Jeremy Clarkson 

July : Mark

August : My Aunt

September : A duck wearing a Groucho Marx moustache and glasses

October : Another badger

November : The bus driver

December : TV’s Alan Titchmarsh

Your eye colour:

Brown : is playing a trumpet.

Green : is getting a refund on some trousers.

Hazel : is sneezing.

Blue : Is looking for the tv remote

Grey : has a dodgy stomach.

Other : is fumbling for some loose change.

Birth order:

Eldest child : Look out,

Middle child : Get ready,

Youngest child : Eat some cake and

Only child : Hang on a sec.

Hair colour:

Blonde : They’re coming after you next.

Brown : There’s bound to be an argument.

Red : They’ll send you a Facebook request.

Grey : run!

Black : did someone say ‘plop’?

Bald : Fetch a bucket.

Other : Put the kettle on.