Jean Alesi and me.

Jean Alesi

In 1989 my mother bought me a second hand black and white television for my bedroom. I was fifteen years old and until that time, had not had my own tv. In those days, of course, there were only four channels so the likelihood of there being anything on to watch was very small. My sister had had her own colour tv for a couple of years, which wasn’t fair because she was younger, and not only that, but hers had a remote control. Remote controls were new technology. Our old big tv downstairs had a remote control and if you lost it, you could change channels by rattling a bunch of keys. How nonchalantly, my sister would sit on her bed and be able to change channels without even having to move or grab a bunch of keys. And now I, too, had my own television set.
It was a cranky old thing, (the second hand tv, not my sister), short, squat and smelling ever so faintly of burning dust and electricity. And if it was switched on for too long it would get very hot and it would turn itself off at inopportune moments, a strange little button at the back popping out with a fierce click. Once it had cooled down one was able to press the button and turn it on again. If it was still hot, the button would just stay out and you’d have to sit and wait for ages, which was no good if you were watching something really important, like Columbo. And during a heat wave you’d have to wait for hours. The damn thing would just not cool down.
In the defence of my tv, though, there occasionally wasn’t anything on at all. The announcer would come on and say, well, we’ve got no programs for the rest of the afternoon, so here’s the test card. Oooooooooooooo!
One day – and it must have been a Sunday – I caught the start and opening laps of the San Marino formula one Grand Prix. It was pretty hard to decipher what was happening, what with the fact that all the cars were shown in black and white, and there was always a lot of static interference every time my sister used her hair dryer. The television set had a dial, and you had to dial in to the television channel the same way that you had to with a radio finding a station. And very shortly after the start of the race there was a very bad accident involving Gerhard Berger.
Motor racing was a part of my life from an early age, but I’d never taken much interest in it before. My childhood bedroom wallpaper was of John Watson’s Marlboro sponsored McLaren. It’s great to think that it was such an unenlightened age that cigarette sponsorship was allowed into the bedrooms of small boys. I didn’t know much about John Watson, or motor racing for that matter, or McLaren, or smoking, butmy dad was proficient in all of these, and I picked up bits along the way, enough to know that the McLarens were still sponsored by Marlboro, and that the leading drivers of the day were Senna, Prost, Mansell, Piquet, and my own favourite, Gerhard Berger. And the only reason I liked Gerhard Berger was because his second name was Berger. I liked burgers. I had no interest in taking up smoking, but eating burgers was definitely helped because of the wonders of Gerhard.
The race on my little black and white television was stopped because of Berger’s accident, and as I waited for it to restart, the inevitable occurred and my television turned itself off. I put my hand on the back of it and, sure enough, it was giving off a pretty intense heat. The strain of being turned on for almost forty five minutes was obviously too much. I knew that I wouldn’t be able to use it for a couple of hours, by which time the race would probably be finished.
So I went downstairs to the living room, and as luck would have it my parents were out gardening or something else interesting that parents do on a sunny spring morning, and I was able to watch the rest of the race on the big television in the living room. Now this television was colour, and having sat through forty five minutes of black and white, the contrast – no pun intended – was amazing. The colours were vibrant, the green grass around the track, the multicoloured cars and drivers and the McLarens looking just like they did on my bedroom wallpaper, their Marlboro branding vibrant and luxurious. I’d never seen a spectacle like this, the excitement and the intensity of motor racing revealed in all its technicolor brilliance, the primary colours, the advertising hoardings, the flags and banners in the crowd, the vibrant orange of the flames licking around Berger’s crashed Ferrari. It was probably at this moment that I fell in love with formula one Grand Prix racing.
Now it must be said that I was a weird teenager. At fifteen years old I’d already sussed that I was gay. It was obvious to myself, though not particularly so to other people. I wasn’t entirely camp and I wore the sorts of clothing that all my friends wore, so I’m sure that nobody knew, that it would remain this devastating big secret which I would carry with me to the grave. I told myself that I was very good at hiding it. I also thought that I was one of the handful of gay people in the entire world, that it was basically just me and Julian Clary. There didn’t seem to be any other gay role models. It was also the nineteen eighties. Homophobia was very popular in mainstream society and most people seemed to be very fond of it, particularly in Surrey where I lived on a council estate within earshot of the main runways at Heathrow Airport.
So I was kind of glad that I’d got in to formula one motor racing, because this was the sort of thing that the average straight man really liked, all those machines and engines and drivers and strategies and ladies in bikinis carrying large lollipops with the names of the drivers, and adverts for cigarettes and beer and after shave and spanners and motor oil, and brash egos and the roar of the engines. It was a straight person’s paradise. And the more I got in to the sport, the more I saw that this gave me an escape route should I be talking to my friends and the hypothetical question comes up, ‘Are you gay?’, to which I might reply, ‘No, and did you see the race at the weekend?’
The summer progressed. Senna, Prost, Mansell, Piquet, Berger. These titans, these gods of the sport who towered above not only formula one, but life itself. How excitedly Id tune in to catch their exploits, with their distinct personalities and their almost superhuman powers to pick me up and fly me away from gaydom into that sparkling iridescent rainbow glitter world of perpetual absolute straightness! And then, one day, along came Jean Alesi.
Imagine if you had to invent the perfect racing driver. Imagine if you were writing a novel and you realised that you needed a stereotypical barely believable cartoon character of a racing driver. What characteristics would you give them, if you were a little lazy when it came to inventing such characters? A firm jaw, dazzling blue eyes, a small stature, handsome youthfulness, sultry eyes with a faraway stare. And what kind of nationality would you give your invented racing driver? French? Italian? Well, why not a mixture of both? And what kind of name would you give your hypothetical stereotypical racing driver? Something distinctly European, yet a name which sounds fast even in its spelling and economy of letters. Jean Alesi. Four syllables, not very many letters. Oh my god, he was everything I wanted him to be!
Jean Alesi burst on the scene halfway through 1989. And all of a sudden these old towering idols of motor racing didn’t seem quite so special. Jean was in a much slower car, yet he was driving much better than them and spent most of his first race in second place before finishing fourth. He didn’t seem to care very much that there were people out there who needed these titans of motor racing to just keep going and going. Jean Alesi was like a fresh thought introduced into a tired way of looking at the world. Jean Alesi was the embodiment of excitement. Jean Alesi was the equivalent of saying, hey, you know what? There are other ways of living your life. Jean Alesi was also very good looking.
Oh my god, I liked him a lot.
And soon the exploits of Jean Alesi became the only reason that I watched formula one. Well, that and the need to appear to be the same as all the other blokes, what with formula one being so blokey. Because within this blokey structure, Jean Alesi demonstrated that there was room for something new and exciting. He held his steering wheel right at the top. He leaned his head over at crazy, exaggerated angles around the corners, it was like he was pretending to be a racing driver. It was almost, dare one say it, camp. He had no technical skill whatsoever. My nickname for him was Crazy Alesi. One of his former team mates used to call him Jean Asleazy. He seemed to run on pure enthusiasm.
I wanted to come out. I was desperate for the world to know who I was. But the world was a different place back then and the framework of support that most LGBT people in the Uk mostly have now was missing back in 1989. There were hardly any gay people on television, unless it were the basis of a joke or a cheap stereotype, and section 28 was prevalent in schools preventing teachers having serious conversations about homosexuality. The AIDS crisis was at the forefront of everyone’s mind whenever the subject of gay men was discussed. Homophobia was everywhere, in throwaway comments and the laughter of school fiends, jokes told openly, and in government policies. Being gay was a personal source of shame, a hideous joke played by nature and something which I thought I might even grow out of, or at least train myself to disregard. I just hadn’t met the right woman yet, a woman with short hair, blue eyes, no female bits and only male bits, possibly French Italian, probably called Jean. I wanted the world to change.
And Jean Alesi wanted to win a Grand Prix.
Over the next six years, Alesi found himself in another race. I was getting older, a teenager now, late teens, the early twenties beckoning, and I gave myself the target of coming out to the world as gay in a glorious burst of music and love, before Jean Alesi won his first Grand Prix. As luck would have it, Alesi soon signed to Ferrari, a team which at the time was in one of is periodic performance troughs, so the idea that Alesi might actually win a race was now almost impossible. This gave me some breathing space. I felt like a swimmer about to plunge into icy water, steeling himself, just standing there, year after year, unable to make that final move. And knowing that if I did, I’d get more than a cold shoulder. Every other week I’d sit and watch as Alesi found a new and exciting way not to win a race, and this seemed emblematic of my own struggle. Moments of promise and potential victory falling apart, and assured win undone by some minor trifle. For six long years Jean and I struggled together to get what we wanted, to make our name on history before it was too late.
And then, in 1995, when I was 21 years old, the bastard did it.
It was the Canadian Grand Prix. It was one of those races in which all the other drivers fell by the wayside. And this left Alesi out in front, victory assured. I remember those final laps, I was almost crying with delight, and yet while I felt pleased that he was actually about to do it, I also felt a sense of loathing that he should get what he always wanted, and I would be left there, alone. And as he crossed the finish line in an emotional moment of tears and celebration, I thought, well, my life hasn’t changed in the slightest.
If it’s any consolation, that would also be his last win in formula one. I did think about waiting until his second win to come out, and I’m glad that I didn’t, because there would be no second win. In fact it would be another four years until I came out to friends and family, by which time I already had had a partner. But that’s another story.
Every now and then Jean Alesi turns up on television. He’s much older now but he’s still good looking and my mother fancies him. To me he was the epitome of what a racing driver should be, but he’s always stood for more than that. He was my personal talisman, my guardian angel, he was there showing the way without him even realising that he was doing it. He showed me that you could change the order of things just by the force of sheer enthusiasm and, of course, a lot of hard work. My own coming out felt less like a fantastic victory and more like a plane crash. And perhaps Alesi had already had his coming out moment, the time he had told his parents that yes, he was a racing driver.
There are kids out there now looking for the same escape. The world is ever so slightly easier for them now. And that’s such a good thing, people seem far more open minded and people can be who they want to be. They don’t need racing drivers to show them the way. Or perhaps, they do. Perhaps we are all racing drivers now. We are all Jean Alesi.

Poem

When I was a teenager
There were only two things I desperately wanted.
To come out,
And for formula one driver Jean Alesi to win a Grand Prix.
Both of them took a long time
And relied less on skill and more
On the bad fortune of others.
The circumstances had to be just right,
And once this landmark had been reached,
The floodgates would open
And there’d be no stopping us,
Me and Jean Alesi.
There were lots of accidents in the way,
Near misses and heart stopping moments,
And in 1995, in the city of Montreal,
Jean Alesi finally took the chequered flag first,
To floods of tears and immense relief.
And yet.
Just as he crossed the finish line,
I, who was still to achieve my end,
Felt a sudden anger towards him.

Perpendicular: My new podcast

For the last few weeks I’ve been working on a podcast and it’s now ready to be unleashed on the world. Each episode is a purpose written piece featuring all kinds of whimsy. I’m hoping to release one a week but to get things going, here are two episodes.

I hope you enjoy them!

https://soundcloud.com/robertdgarnham/perpendicular-1/s-MqMu2

https://soundcloud.com/robertdgarnham/perpendicular-episode-two-elvis-impersonator-newton-abbot-station/s-MBqnS

A Night in Burnsville, West Virginia

Poem

The car is big, brash and American,
As American as a baseball game,
And just like a baseball game,
It seems to go on forever.
The size of a frigate, this thing,
Burns enough fuel to power a small city.
You be navigator, my uncle says,
Which is easy as there’s only one road
Here in the mountains of West Virginia,
Even I can’t muck this up.
I catch my reflection in the rear view mirror.
You’re a long way from Basingstoke, sonny jim.

We’re on a road trip through America.
The scenery and grandeur are simply stunning
But I haven’t had a sausage roll in ages.
A teenage lad,
Overcompensating his obvious campiness
By wearing an Arsenal football shirt,
(I have no idea who Arsenal are,
I just like the fact they’ve got
Arse in their name),
And my uncle looks like Leslie Neilsen.
No wonder that diner back there
Went very quiet the moment we walked in.

And jeez, I’ve become so terribly English.
The Americans really seem to like it,
A waitress made me read from the TV Guide
And she couldn’t stop laughing.
And no, I’ve never met Benny Hill.
Why is everyone here obsessed with Benny Hill?

A muggy, huggy, humid day.
The moment I step from the car,
Everything goes Moist.
The constant heat has led to some serious chafing.
As the sun sets the highway announces
A small town called Burnsville,
We stop for the night,
Leslie Neilsen swings the frigate off the freeway
And we book into a small motel.

The adjacent highway sighs
As if it’s all too much.
The hillsides loom,
The Neon buzzes.
Passing trucks growl and
The world smells of diesel,
Melting tarmac and decomposing weasel.
It’s gritty,
But not in a Harold Pinter sort of way,
But in the way that grit is gritty.
There’s something sticky and
Unsettling in the heat of the night,
A bit Like finding half of a frog
In a packet of Quavers.
Restless dreams in wooden homes,
This covered fold, this
Hidden valley, and I,
Jolted up from hours of driving
And awash with hormones and teenage desires,
Suddenly turned on by absolutely everything,
Which I can only quell by singing
The refrain of a tv advert for Bran Flakes.
‘They’re tasty, tasty,
Very very tasty!
They’re very tasty!’

My room is hot.
I’ve seen these places
In so many films.
A bed, a bathroom, a bible.
I open the window and the moths fly in,
Thousands of the fluttering bastards,
Moths on the Tv screen, moths
Circling the lights, moths on the window frame,
And even the bastard moths are turning me on.
I try to bat them with the bible
But the bible turns me on.
I try to shoo them out the door
But the door handle turns me on,
And the door frame,
And the door turns me on,
And I turn off the light and then
Turn it on
But even turning it on turns me on,
And I realise that I have to get away,
Oh yes,
I have to get away.
I place my hands on my head and through
Gritted teeth I sing,
‘They’re tasty, tasty,
Very very tasty!
They’re very tasty!’

It’s warmer outside, and dark, so dark.
I walk down to a dried up stream
Behind the motel,
Turn and look at the wooded valley slopes,
It’s all so quiet and ethereal but bloody hell,
After a while it starts to turn me on.
I tell myself there must be monsters here,
Gun toting wild men,
World hating survivalists,
Angry war veterans, how masculine,
How beautifully masculine,
Sensuous and masculine,
How it turns me on!
I try to look for some natural splendour,
But all I can see is a Coca Cola machine,
Humming and electric and brash
And vibrating ever so softly, like a lover,
Which turns me on.
So I walk, I walk up to the main road,
The highway, long grass crickets chirruping,
Like the springs of a bed, (impersonate),
oh god!, back to the motel,
The motel where so many slumbering naked people
Have tossed and turned,
Oh dearie me,
How dreadfully even this motel turns me on,
And just as I’m thinking I should really
Get a grip,
I see the open door to the motel laundry room.

Bright lit fluorescent glaring in the sultry night,
And two shining hot shirtless lads operating
The machines, nonchalant, slyly sexual, the
Glistening sweat causing their lithe bodies to writhe
And contort with an ethereal glow,
They’re tasty, they’re tasty,
Oh my, they’re very, very tasty,
They’re very tasty indeed.
And all of a sudden the motel is just a motel,
The moths, the crickets, the Coca Cola machine,
The doorway and the light switch,
They are what they are,
And I am what I am,
And the lads, oh mumma!
We all know what they are.
I go back to my room,
Boy oh boy,
Do I go back to my room!

Whooo!

The next morning we load
Our luggage into the frigate
And Leslie Neilsen asks me
What I’d like for breakfast.
For some reason I have
Sudden hankering for Bran Flakes.

I’m Not Ken Bruce

I don’t want riches or acclaim,
I don’t want to deliver a Ted Talk.
I don’t want to be a big shot movie star.
I want to be Ken Bruce.

I want to be mellow,
A jovial fellow,
How comforting his voice, it’s
Smooth vowels
Oozing through the sublimity of my
Subconscious,
The ennui to which I’d been lately
Plagued, suddenly loose,
And all because of Ken Bruce.

I look in the mirror.
I’m blatantly not yet Ken Bruce
Though to be honest I don’t
Really know what he looks like,
He sounds like he should have a beard.
And when the phone rings I want to answer,
Hello, this is Ken Bruce.
Popmaster!
Seriously though,
It’s Robert.

My ex broke up with me
Said it was because I was nothing like
You know who
Give me the juice,
It’s the ultimate truth
He phoned up and said,
Are you Ken Bruce yet?
I said, no.
Not yet.

I want to strut like Ken Bruce,
Hold my head high like Ken Bruce
Feel that the only thing greater than me
Is the sky Ken Bruce,
Hold an informative chit chat with Jamiroquai,
Ken Bruce
I want the wit of Ken Bruce,
The passion of Ken Bruce
I want to be on nodding terms with
Paul Weller
Just like Ken Bruce
I want to stand in the middle of the
Supermarket and shout
Look at the dates on these biscuits,
They’re ONE YEAR OUT!

But I’m not Ken Bruce.
And I never will be.
And I’ll never own the mid morning
And I’ll never own a bus
And I’ll never hand over to Jeremy Vine
At midday
And I’ll never play
An incredibly long Meat Loaf song
When it’s time to go to the loo,
Because really, it’s the truth,
I’ll never be Ken Bruce.

Eccentricity, and Ivor Cutler

I’d been performing for a few years as a spoken word artist, oblivious to those who had come before. And I must admit, wilfully obvious. The only big names I knew, with the exception of Pam Ayres, were those who I’d seen at gigs where I was also performing. The reason that I was oblivious was because I didn’t want to be influenced by anyone else. I knew that once I saw poets I liked, I would start to emulate them, look at what they were doing and try it for myself, like seeing someone in a fashionable hat and thinking hmmm, I wonder if that would suit me? And sure enough, this happened. I would see poets and spoken word artists reduce a room to fits of laughter, or stunned, awed silence, and I would then look at what they’d done and try to analyse it. I became a spoken word nerd. A spoken nerd,

But this knowledge was only good for those who were active at the present time. And one day, after a gig, someone asked me if I’d heard of Ivor Cutler. They said that they’d seen parallels between my own oeuvre and that of Mr Cutler. No, I hadn’t heard of him, but that night, unable to sleep due to the pumping adrenaline of having just performed at an open mic in Brixham, I went on YouTube and iTunes and knocked myself out on anything I could find of his work. Needless to say, it immediately appealed, but much more, and in a very strange sort of way, Ivor reminded me of my grandad. Not only was there a physical resemblance, but the humour, which almost sways into surrealism yet always stays grounded in truth and the human experience. I was immediately hooked.

This all happened close to ten years ago, now. My other poetry hero at the time, and major influence, was Frank O’Hara. But now it seemed I had two poets whose works I could memorise much easier than my own, two outlooks on life which I could also adopt, two poets who I can ask, as I sit down to write or stand up to perform, what would they do?

Ivor Cutler’s eccentricity seems to be something lacking these days. I go to plenty of spoken word events where the performer wants to be cool, to be liked, to get a message across, to make people laugh while still retaining the veneer of ironic and knowing cool, yet nobody seems to be genuinely eccentric. Or if they are eccentric, then this is not something which then carries over into their everyday life. Sure, I might aim for eccentricity myself, but I don’t wear the pink feather boa while going about my daily chores, and the eccentricity stops the moment I’m in a supermarket queue or on a bus. But with Mr Cutler, his whole life seemed a performance, wearing his distinctive hats while cycling, or handing out stickers with mottos on them. His genuine mission seemed to be to spread joy all the time, while basking in his own personality of glum duty. The best YouTube videos, incidentally, are those in which his mask slips and he gets an attack of the giggles during a poem.

Ivor was influenced by many factors. His Scottish upbringing, while exaggerated for comic effect, and his Jewish roots assured him the status of an outsider. The communal songs of his childhood and his appreciation of folk music formed a love of music and singing. His job as a teacher gave him the ability to talk to people, and children, at their level without pontificating. Ad as a result all of these influences combined to create a very distinctive act.

The world is a scary place. Life is meaningless. There are people who spend their time adding to the stresses and inconveniences of others. And there are people, just a few here and there, who aim to add a little colour along the way. Artists and singers, poets and writers, comedians, all of which Ivor was certainly was. Yet there was a certain underlying tenderness and love of life to many of his works which certainly stands as an example to those who are struggling to make sense of the modern world. Mr Cutler certainly remains, and increases, as a personal inspiration, and I would recommend his work to anyone.

An Interview with Robert Garnham

(I was recently interviewed by a university student to help with her dissertation and I thought I’d share the text of her interview, minus the questions.)

It’s quite long, so feel free to read if at your own pace!

Interview:

I’d always written when I was younger. I wrote comedy short stories and silly little bits which made me laugh, and I continued writing these into my adult years. I then went through a phase where I wanted to be a deeply serious literary author. By the time I got to my thirties, it was obvious that this wasn’t going to happen!

I did literature at both A Level and at university and the courses covered poetry but most of it noted me rigid. It’s probably better to read such things for pleasure rather than to write an essay. The only poet who appealed to me was Frank O’Hara, who I didn’t even see as a poet, as his work seemed to talk to me.

When I finished my postgraduate degree, I decided that I needed to see more culture. The only problem with this is that I live in Torbay, so really there wasn’t much around. I looked in the local paper and it said that there was a night of performance poetry at the Blue Walnut Café. I went along, and Byron Vincent was the headliner. The whole night inspired me to have a go myself. I asked the host and he gave me a slot for the next week. Which meant that I had to go home and write something.

I wrote a couple of comedy poems and the next month, the audience laughed at all the right places, and that’s when I thought, wow, this is what I want to do!

As a kid my only knowledge of poetry was Pam Ayres, who my mother loved and whose books were in our house, and John Hegley, who I had seen on television. I also liked the poetry of Robert Service, as I was obsessed with anything to do with the Yukon.

My father was in to music and comedy and by some kind of osmosis, I got in to them too at an early age. The wordplay associated with comedy and stand-up informed my writing, and when I started writing poetry, it was to music that I turned, to pop groups especially and their succinct use of language. Neal Tennant, David Byrne, Bob Dylan, Morrissey, Kirsty Maccoll, Kate Bush, Jerry Seinfeld, Alan Bennett, Bob Newhart, these were the people who introduced me to poetry.

My knowledge of the poetry scene has always been somewhat sketchy. Naturally at college and university we studied a good array of poets, but the canon was always a bizarre array of straight, white old men.

However, as a performer on the national spoken word scene, I find it to be dominated overwhelmingly by much younger poets. Spoken word is a relatively new art form with its basis in YouTube and Slam or battle rap culture. I go to poetry events around the Uk and find myself, at forty five, to be the oldest person in the room.

However I have also been to events where I am the youngest person in the room, particularly those aimed more at page poets. I am often booked at such events as some light relief!

I get up early and I try to do an hour of writing between seven and eight. This is just playing around with words and ideas. I have used the same cartridge pen for everything creative I’ve written since 1995, mostly because I write out everything Long hand. At nine o clock I might do some reading or research, which is just a flimsy pretext to watch comedy or listen to music. At ten o clock I will have a very specific writing session for a couple of hours, working on whatever my project is at the moment. At lunch time I might go to the gym and when I’m walking there, on the machine, or in the sauna or the pool, I’m trying to memorise poetry or my show. The afternoon is for more performance related playing around. This can be the most rewarding time. My hero is the performance artist Laurie Anderson and she suggests being loose, going in to a session with an idea of being creative and playing around with props, ideas, words, performance aspects. From four till six I will work on admin, emails, submissions, online forms, all that kind of stuff.

If I have a gig in the evening I get very nervous and I have to lie on the floor for a bit or shut myself off from the world. If I have to travel to the gig, I’ll listen to music, in particular, Pet Shop Boys, or Sparks. Something that matches the effect I want to have on the audience.

If I haven’t got a gig, then there will be another writing session in the evening, which lasts until around nine PM.

Even after all these years, I love writing. The feel of the pen in my hand, and having bits of paper scattered everywhere with snatches of poem on them, which I then have to somehow glue together, and the really good feeling when you make that connection. My biggest motivating factor I to write something which hopefully I will find funny.

The weather also plays a factor. There’s nothing better than a rainy, gloomy day, and sitting at my desk with the rain streaming down, a window open, and being in the middle of a really creative period. Time seems to stand still and the words flow smoothly.

It’s very rare that I have a day off from writing, rehearsing, performing or admin. I think my work ethic is mainly to know that I’ve done a good job, or as much as I could. I do have lazy days, though!

I would read absolutely anything when I was younger, from Jack London to Dickens, Douglas Adams, biographies of comedians or astronauts, non fiction books about Canadian history or motor racing. I am influenced today mostly by the comedy books, from cartoons such as Garfield, which gave me a wonderful sense of suburban ridiculousness from an early age, to Woody Allen, Les Dawson, Ivor Cutler and the aforementioned Pam Ayres. I didn’t care who wrote the book, so long as it was funny, and this has translated to my work today, the urge to use the wonderful tools language and it’s effects to make people have fun.

I love to read contemporary novels, particularly Haruki Murakami, Ali Smith, David Mitchell and Paul Auster. Recently I read Dan Rhodes’ book, Gold, and I thought it was so funny that I was rationing the number of pages I read a day so as to prolong the process! The writers I like are those that take you away from the present moment but always ground their fantasy in the normal, recognisable world. The Spanish writer, Juan Goytisolo, who passed away last year, wrote the most mind boggling humorous yet political novels which played with language and the form of the novel itself.

I read a lot of contemporary spoken word artists, such as John Hegley, naturally, but also Monkey Poet, Byron Vincent, Vanessa Kisuule, Dominic Berry. It just so happens that too of my best friends are also amazing contemporary poets, Samantha Boarer and Melanie Branton, and both have amazing books published in the last year.

Writing is a form of artistic expression. I believe that most people wish to express themselves in creative terms. My sister paints pictures and plays the flute, and my mother is a flower arranger who dabbles in ikebana. My dad used to paint, too, and my grandad was an inventor who would toil away in his workshop like some kind of comedy mad professor.

I can’t sing, dance or play an instrument, though I have tried all three. Writing and performing are the two things which bring me joy and, in a funny sort of way, help me to make some kind of sense of the world and the human condition.

The moment you pick up a pen and write something, then you’re a writer. There’s no ceremony or procedure. If you want to be a writer, then write.

My advice would be to keep writing and rehearsing, watch other poets, play around, be comfortable with your material, have fun as you’re rehearsing, try to be different, and most of all, write and perform to please yourself first and foremost. Don’t worry about what other people are doing, or what success it might seem they’re having, or what you think the audience might like. Just play your own game. And have fun. If you’re having fun while you’re performing, then the audience will have fun, too. And play around, and be loose.

I spent the majority of last year working on my first purpose written solo show, In the Glare of the Neon Yak, an hour long poem which I performed all over the Uk. I’m currently making a film of this with a film maker friend of mine, who is making his own interpretation of my work. At the same time, i am working with a jazz band to make a new stage version of the show, which is currently being written and will be rehearsed and finally performed probably towards the end of 2019.

My father passed away a couple of months ago, and I have written an hour long poem about his time working in the Australian outback, which I hope to perform just once, accompanied by a friend who is a violinist, it should be a good evening.

My new solo show for the festival and fringe circuit next year will be called Spout, and if is a set of poems and comedy material about the subject of tea.

On top of all this, as if I’m not busy enough, I’ve been working on two collections, one of serious pagey poetry, the other of upbeat comedy poems.

A poetry performance risk assessment

Poetry performance risk assessment

Hello, many thanks for allowing me to hold a poetry event on your premesis. Please find below my risk assessment. Just to put your mind at rest, yes, I do have insurance, and this covers every aspect of a poetry performance. I have been performing for ten years and I have never once had to make a claim, though the lady who I hit around the head with the microphone lead that time two years ago did come close. Once we found her glasses, she was somewhat placated, and she says now that the ringing in her ears has subsided.

The way I see it, there really cannot be much that could possibly go wrong. The room will be set up with chairs facing a microphone and it is here that the different poets will stand. We are going to fix the mic lead to the floor with hazard warning tape, because nobody wants a repeat of what happened to that poor waitress at the gig in Barnstaple. There’s still a nasty stain on the wall of the venue where the soup landed. It’s just a shame that the poet on stage at the time was delivering a eulogy for his recently deceased uncle. The moment of silence in between deep, meaningful stanzas, during which the waitress let out a stream of foul obscenities and four letter words, has now become a part of spoken word folklore.

So, as per your instructions, I have pondered on any eventuality which might occur and the risks associated with such.

1- Coma. The blissful or serene nature of our performers may induce audience members into a sleep like state which, under certain circumstances, could mask the onset of a coma. Should an audience member slip into a coma, this might not be realised until a more raucous poet hits the stage. For this reason, long sticks will be employed to prod audience members who show no signs of movement after five minutes.

2- Fainting. One of the risks attendant to poetry nights, particularly those revolving around slam poetry culture, is of excessive gasping from the audience, particularly when faced with such spellbinding poetry and wordplay as to deprive the room of oxygen. Because of this, we will leave the windows open.

3- Fainting (performer). Due to the high energy nature of some slam performers, there is always a risk of fainting due to an inability to slow down and actually breathe. The host will be on stand by at all times with an oxygen cylinder should a performer faint.

4- Injury sustained during a fall. Some of our performers are pretty funny. There is always a risk that audience members will laugh so hard that they fall off their chairs. Due to this, seat belts will be used and audience members will be requested to wear them at all times.

5. A fight. Poetry audience are generally not known for their rowdy behaviour but there is always the possibility that a troublemaker might intervene. Someone, for example, for whom Rhyme scene and syllable counts are more important than the performance of a poem. Who can forget the riot that broke out during Pam Ayres’ last tour? Security guards will be hired at all times to monitor such rowdiness, and poets will be told to make sure that their work conforms to whatever set of strictures they have adopted.

6. Stampede. It is not beyond the realms of possibility that a poetry set or performance is so bad that people will need to extricate themselves from the room as fast as possible. The door to the venue will always be a funnelling point, particularly if the performer is so bad that a hasty removal is the only possible action. The management will therefore insist on trigger warnings not only for content, but also for style and delivery method. Performers who are somewhat flaky in their delivery will be required to announce this in good time. Which brings us to . .

7. Trigger warnings. Lately there has been an overuse of the phrase ‘trigger warnings’ and some poets are issuing trigger warnings for poems about sunflowers and bumble bees, just in case. This has diluted the whole trigger warning system. For this reason, trigger warnings will be issued for every single poem, and if a poem actually warrants a trigger warning, then a hyper trigger warning will be issued. However management understands that just the mention of the phrase ‘trigger warning’ is enough to trigger an audience member, so therefore trigger warnings will also be issued for trigger warnings, with the phrase, ‘just to warn you, I’m about to issue a trigger warning’.

I hope that this risk assessment puts your mind at rest, particularly after the events of last month and the damage sustained to your refrigerator.

An Interview with Jamie Harry Scrutton

Jamie Harry Scrutton is one of my favourite spoken word artists. I first saw him in Manchester at the wonderful Evidently show, where I was co-headlining. Jamie got on stage and performed a poem about Mr Muscle, and it was so utterly unlike anything I’d ever seen. We soon became good friends and I have invited him down to Devon to perform on numerous occasions, where he always wins new friends with audiences with him whimsical musings. Jamie also combines animation with his spoken word, creating a wonderful and very unique mix which has to be experienced.

How did you first get in to spoken word?
I have always had a passion for creative writing but I have never adapted my work in to performance material. I catered my work for publication opposed to physically showcasing them through performance. I have been sending my writing off to various publication outlets since I was twelve years of age. My first submission and first rejection was from The Parragon Publishing House based in London. They responded by letter, reverting me to the book “The Writer and Artists Yearbook” at my local library, where I discovered various other outlets to try and place my work. At the time, I was submitting a Short Story Collection titled “The Complete Short Diary Tales,” which was based on various fictional characters, portraying their life experiences, contained in a diary form. At the age of 15, I fell into Poetry. By the age of 16, I found myself writing rather whimsical verses, which I subsequently began performing at the of 18 and still continue to perform to this day, at the tender age of 29!

When you think of ideas, do you see them initially as poems or animations?
Sometimes, I do write for the purpose of adapting the anecdotes in to Stop Motion Animations but more often, the process is about creating a concept to marry with the character, which would materially be based on observational life.

How long does it take to make an animation?
It depends. I would say between 2-4 weeks. My first Animation which I created titled “MANBUN” took me just over a week to make. The process was consistant 12 hour shifts, delved in to the art of making.

How did you learn the processes to make an animation?
The process came naturally, really. I wanted to create a Short Film which would be different to what I originally would create. I wanted to represent my Fine Art craftmnaship and produce a Film which would visually tell the narrative through a literal fictious character. This is where “MANBUN” rooted from. I filmed a side profile of me narrating the Anecdote and then Sketch by Sketch, I traced over the video to make the Short Film. In the end I must have produced apporximately 900 sketches. I am still learning, adapting and progressing the Art of Animation through to this day. I always birth new processes, in order to be different from my previous Animation.

Who are your influences?
Pam Ayres is definately an influence. I am always inspired by life, pretty much all of the time. Obviously Robert Garnham is a huge inspiration and a very good friend of mine too!

Do you think of the character first, or the story which they tell?
Usually, the story would be the seed and the character would be the plant. I would take a situation from everyday life and then create a character which would then morph the whole narrative of the Anecdote. More often, it could be the other way around.

What does the future have in store for you?
I will be releasing a DVD titled “The Animations of Jamie H Scrutton – Volume One” sometime in January 2019, which contains all 12 Animations of mine. I will be releasing an Animated Music Video I have produced for a brilliant Spoken Word Artist and very good friend of mine named Lence. The Animated Music Video is titled “Heard” and we will be releasing it on the 8th January 2019 at Kino 101, based in London. Another Animation of mine titled “My Husband Has Booked Our Funeral” has been selected to be screened at The Horror On Sea Film Festival on the 13th January 2019, based in Southend On Sea. I am in talks of creating a comedic Music Video for another good friend of mine in the new year. Also, I am planning to take a bit of time out from spring 2019, in order to create new future projects. I am planning to visit Leicester again and refilm three of my student Short Films at the end of 2019 in commemoration of 10 years working in Film. One of the Films will be “Havisham,” where I will be reprising the role of the deluded Miss Havisham. They will be a twist of Animation in all three pieces and the processes I have learned within film over the past decade!

I Know what People Are Thinking When They See Me

I know what people are thinking when they see me. I know what theyre thinking, they’re thinking, now then a man with a smug demeanour. There’s a man who’s not in it for the money.

There’s a man who forsakes the capitalist system and does not perform poetry for personal monetary gain.

Well let me tell you, I got books for sale.

I tried to write a poem about an old photocopier last night. It just wouldn’t scan.

I don’t need contraception. Poetry is my contraception. My poetry has helped me not sleep with more people than you can imagine.

People tend to know instinctively that I am a poet. How so they know this? Is it the jacket? Is it the book of poetry? Or is it that I arrive at gigs alone?

Yet I don’t feel like a poet. My rhyming couplets have all split up. My found poems were hidden for a reason. Nobody has hung around long enough to tell me what my rhyme scheme is.

So, what is poetry? Percy Bysshe Shelley said that poets are the ‘unacknowledged legislators of the world’. I suppose the ‘acknowledged legislators ‘ would be governments and town councils.

To be honest, I don’t think it would work. Have you ever seen a group of poets trying to solve a planning dispute?

I suppose it depends if they work in rhyme or blank verse.

Well, I think we’ll put the school next to the pool. And perhaps also the church hall.

The shopping centre. Hmmm, can’t think of where to put the shopping centre. I know! Let’s call it a mall, and then it can go with the school and the pool and the church hall!

The library. Hmm, has this town got an aviary?

The food waste refuse anaerobic digestion chamber . . . What the hell?

Mind you, judging by the high street in Swindon, it looks like the surrealists have already been at work.

So I’m a poet, and I get all kinds of weird commissions. Sometimes I think that my career is going nowhere. Sometimes I don’t.

I’ve recently been working as a Poet in Residence at a paper clip factory. It really is stationery.

I was supposed to do a workshop for a fear of commitment support group, but nobody put their name down.

The other night I was double booked, I was also meant to be at a gig for a group of amnesiacs. So what I’ll do is I’ll go along next week and remind them how good I was.

I’m actually looking for ways out into other lines of work and I think I’ve come up with a winner. I’ve decided to start up assertiveness training courses.

Because if it doesn’t work, nobody’s going to ask for a refund. They won’t be brave enough.

And if anyone does ask for a refund . . .
I can just say, well. There you go.

But poetry for me is a lot like sex. When it’s good, it’s very, very good and you wish it would never stop.

And when it’s bad, it’s just plain embarrassing. Although I do get roughly the same number of laughs.

The thing I like best about poetry is that it’s not all about profit and personal gain, it’s not a hugely capitalist enterprise, people aren’t in it to make a quick buck. And by the way, I’ve got books for sale.