Showing posts with label December 2019. Show all posts
Showing posts with label December 2019. Show all posts

Thursday, 2 January 2020

marginendeavour progress with Eyesore

When we began collaging Eyesore at the beginning of July, we could only hazard a guess at how long it would take for us to cover the entire billboard with the hundreds of different margins that we had cut off newspapers. It seems a little unbelievable that this momentous occasion (for marginendeavour, at least) were to happen on New Years Eve 2019, during our final marginendeavour session of the decade!
















When we next meet up we will turn the board around and begin wrapping the margins round the rim of the billboard and onto the back. We want to differentiate between the front and the back of the artwork, and so do not intend to collage over the entire back surface.

Monday, 30 December 2019

So Many Books, So Little Time - BBC Radio 4

Since my Mum is a retired Librarian and my Dad is a self-declared book hoarder, it is hardly surprising that I am also fond of books. One of the things I was most excited about when moving into my current flat, was the possibility of being able to have a bookcase on which all my books could be united and housed. I took great pleasure from gathering all my books together, measuring them and designing my very own bookcase in which they would fit (with a little room for expansion, of course!) 














I am drawn to the book as a physical object, hence my decision not to have a kindle or other electronic book device. I have many books that are more than their contents, there is a story behind getting the book - such as if it was bought for me and has a note inside. There's something about owning a book, being able to look back at it, refer to it when you have forgotten something, or being reminded of the time of your life when you first read the book.

Yet I hold my hands up high and admit that there are many books on my bookcase that I have yet to read. But I intend to read them.

I enjoyed listening to Mark Hodkinson discuss his relationship with books and the act of collecting books in this Radio 4 programme, 'So Many Books, So Little Time'.

Mark Hodkinson ponders the nature of our personal book collections, why and how we gather books, what it says about us, and how we ever expect to find time to read them all.

Author Mark had just moved house. By far the most difficult task was carrying, storing and alphabetising his collection of 3,500 books. It made him stop to think. If it took, say, four days of solid reading to finish a book, he’d need 38.3 years to go through his collection. He would have to make his way through 315 million words. And that’s if he didn’t take time off to sleep, eat and have the occasional night out.

Clearly, it was a challenge too far.

So Many Books, So Little Time is an autobiographical, impressionistic audio odyssey. Mark considers that he might be afflicted by bibliomania and visits consumer psychologist Lisa Edgar to see whether owning thousands of books is normal. He calls at his local bookshop and meets its owner, George Kelsall, who has ten times as many books as Mark and has bought a large house solely to accommodate them.

He visits fellow writers, such as Austin Collings who tells Mark he is in grave danger of becoming merely an aggregate of all his books and will eventually lose his own writing voice. Trevor Hoyle tells Mark that he views books as time capsules and, pulling copies down from the shelves, he can tell Mark when he bought them, what was happening in his life at the time. Joanne Harris, the million-selling author of Chocolat, tells Mark she has filled her house full of books because she can’t bring it upon herself to throw any away.

Practical concerns are not forgotten – Mark visits a carpenter, Ashley Deakin, who previously made a bookcase a week but now does one or two a year. ‘‘People don’t want to put books on their walls any more. They just want these bloody huge televisions,’’ he says. Ashley then remembers that he built a shelving unit just a few weeks ago.

"But it was for shoes,’’ he says.

A 7digital production for BBC Radio 4

Sunday, 15 December 2019

Recent drawing - Number series - 0

Following my series of drawings of the alphabet, I have decided to do a series of number drawings from 0-9.



Tuesday, 10 December 2019

Seven Failure Principles from Elizabeth Day's How to Fail Live with Reni Eddo-Lodge

https://www.elizabethdayonline.co.uk/













 Seven Failure Principles from Elizabeth Day's How to Fail Live with Reni Eddo-Lodge

1. Failure is a fact but you are not defined by it 
"Just because you fail does not make you a failure"

2. You are not your anxious brain
The brain tells us something is a danger when it isn't 
We are not defined by our thoughts

3. Almost everyone feels they have failed in their 20s

4. Break ups are not a tragedy - your ex-partner has taught you something

5. Failure is data acquisition

6. There is no such thing as a future you

7. When we choose to share our vulnerabilities is when we feel most satisfaction


A couple more nuggets of wisdom that Day shared include

When times get too tough and you feel like giving up, cling on because the biggest failure may be not finding out what will happen

Anxiety doesn't want you to enjoy life

Some notes from How to be a public author with Cash Carraway, Paul Ewen and Carmen Marcus

Say the unsaid and taboo

Share the things that you are scared of

When procrastinating, "just write the shit version" - Dennis Kelly

A useful exercise is to distill the work to a single line

Fine the core of the book before offering it up for feedback so you can retain the core

Read your work out loud and sense the reaction

All writers need to be readers

Treat your story like it is a house - where are the public /private places?

Stick to your own voice

Don't wait for inspiration to hit

Writing is reading, walking, researching etc - try something new with your writing 


Cash Carraway: Skint Estate - Cash Carraway in conversation with Tina Gharavi


Type 'Cash Carraway: Skint Estate' into google and this is what Goodreads will show

Cash Carraway is a single mum living in temporary accommodation. She’s been moved around the system since she left home at sixteen. She’s also been called a stain on society. And she’s caught in a poverty trap.

Skint Estate is the hard-hitting debut memoir about impoverishment, loneliness and violence – set against a grim landscape of sink estates, police cells, refuges and peepshows.

https://www.goodreads.com/en/book/show/41955385


It is clear from the moment that Cash Carraway opens her mouth that sitting in front of me is a woman with an enormous amount of determination and passion for sharing what it is to live in a working class community, and highlighting the challenges that face such communities on a daily basis. I'm reminded of what Bernardine Evaristo spoke about last night, and believe that Carraway has chosen to manage her anger and frustration at the situation by channelling it into her creativity. 

Carraway speaks with a knowing rather than self-pitying voice.

"In general, the working class are not allowed to create art, they are only allowed to capitalise on their bleak situation."

Her transgressive writing is not therapy. 

Therapeutic writing is not creative writing.

Her book, Skint Estate, does not solve a problem.

She doesn't want to write stories of victims.

She does want to write stories of power.

The power of her spoken word is evidenced when she reads aloud a passage from Skint Estate. Talk about giving me goosebumps. This is an example of when the sound of the human voice can elevate words off the page and into another realm. 

She ends with a plea to the audience:

"Go and buy the book and please read the pages out loud and preferably to someone who didn't want to listen."

Bernardine Evaristo and David Olusoga in conversation

The synopsis of Bernardine Evaristo's Booker Prize winning novel reads

Girl, Woman, Other follows the lives and struggles of twelve very different people. Aged 19 to 93, they span a variety of ages, cultural backgrounds, sexualities, classes and occupations as they tell the stories of themselves, their families, friends and lovers, across the country and through the years. 


Perhaps unsurprisingly given it's recent Booker Prize Award, the majority of the conversation is spent discussing this particular publication. I found it fascinating to hear about the structure of the book and how she has constructed it so that each chapter focuses on one character, and links form between the chapters. 

Discussion regarding the politics around the Booker Prize, the judging panel and the source of funding for the Prize highlighted the sheer importance and level of achievement reached by Evaristo at becoming the first black woman to win the award.

Evaristo explained how she felt like she needed to represent a group of people whose stories had not been told. When asked to discuss her thoughts on writing a non-binary character when she does not identify as non-binary, she recognises that she was very careful in doing so, and conducts and uses her research so as to try to limit any misrepresentation or offence caused. She acknowledges that she never tries to pretend to be non-binary, and as the novel is a work of fiction, feels as though she has the right to be creative and include things that are not necessarily true. In a recent newspaper article she was quoted as saying 

"This whole idea of cultural appropriation, which is where you are not supposed to write beyond your own culture and so on, is ridiculous. Because that would mean that I could never write white characters or white writers can never write black characters."


Following another question about how she manages her anger, Evaristo clearly stated that she did not think it was at all healthy or beneficial to carry anger around with her and therefore any anger she does feel is turned into energy. She then tries to channel this energy into something positive that can make a difference and force change. She recognises that there are things that one has to leave to others to deal with. She knows that her talent is for writing and her passion is to change the way that black women are represented.

I found it refreshing to hear her talk about her life as an author. She has no set routine, and emphasised the importance of fitting in her writing in and amongst her usual daily activities. She cycles, watches daytime TV, socialises with friends, but her main focus remains her writing.