EIBF Live Poetry Lab

I had such fun at the Edinburgh International Book Festival today, writing in a tent on George Square for three hours as part of the Live Poetry Lab. A number of nice folks dropped in to share their festival memories with me, and we had intriguing conversations about the history and politics of the festivals in Edinburgh, and about culture and writing generally.

Colin Herd and Jane McKie produced incredible texts on Monday and Tuesday, and Peter Mackay and Ryan Van Winkle are still to come. It felt quite exposed, writing in this way… the work is very much a sketch rather than a finished product, and not what one would normally share with the wider public. It was a remarkably fruitful and productive creative constraint, however, and certainly has produced a mass of work that I will mine and edit into more polished poems. I hope the exercise serves as inspiration for other writers who might be stuck or feeling as if they don’t have much time to write. Give yourself a set amount of time: 10 minutes, 30 minutes, 3 hours… and see where the pen/pencil/keyboard takes you!

Many thanks to dear Ioannis Kalkounos, EIBF Programme Manager (and excellent poet himself!), for organising this project, to EIBF for hosting it and to everyone who has contributed memories. You can continue to read the work from the Lab here and tweet your own festival memories to #LivePoetryLab.

Also thanks to Rachael Boast… I so enjoyed reading with her at EIBF last Tuesday, and to Marjorie Lotfi Gill and Claire Urquhart and all the folks working on the brilliant Open Book project for the chance to read to the remarkable women’s group from the Maryhill Integration Network and to have my poems translated and read out in Arabic by Saffanna who took my breath away. It’s been a fantastic Book Festival thus far, and so much more to come!

Also if you’re in town on Saturday night and love poetry, come along to this: Second Space Poetry.

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August in Edinburgh

It’s August in Edinburgh! There’s so much that is marvellous on offer, how can one choose? I’m already mourning my missing of the PJ Harvey gig, which I hear was life changing. Still to come: a few readings which it would be brilliant to see you at…

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I have the pleasure of reading at the Edinburgh International Book Festival with Rachael Boast on Tuesday 15 August at 3.30pm. Book your tickets here.

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The week starting Monday 21 August I’m part of the EIBF Live Poetry Lab residencies. My day is Wednesday 23 August but there are great poets on tap all week. Come along to watch us writing live and/or to contribute to our texts, tweet in contributions and festival memories to #LivePoetryLab and watch our collaborative writing come into being live online. More details and information about how you can contribute here and here.

I will also be reading on a stupendous bill at Second Space Poetry at the Safari Lounge starting at 8pm sharp on Saturday 26 August. More details here.

I’m planning to attend the Atlantic Drift launch party, which looks great and will feature readings by Andrea Brady, Sean Bonney & Sophie Collins.

I’ll be checking out the exhibitions at Talbot Rice Gallery and the Edinburgh Art Festival.

We’ve got tickets for Verdi’s Macbeth, plenty of events at the Edinburgh International Book Festival including Michael Longley and Rachel McCrum & Miriam Nash, Daphne Loads in the Cabaret of Dangerous Ideas talking about recipes and gender quality, Theatre Re and hopefully much more — recommendations are most welcome. Have a beautiful August, and for those of you in Edinburgh… happy Festivals!

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Drown Not Wee Blossom

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Happy Thursday! Here in Edinburgh we’re swimming through the streets thanks to this day of rain, but I’m appreciating it because someone was just telling me that in Ibiza there are no rivers anymore because there is no rainfall… is that true? Anyway, it makes me feel lucky to be in a place where there is still some rain pouring down, for the sake of the blossoms at least.

Also I feel lucky because there are very nice events to share with you, as well as a brand new Scottish Poetry Library podcast featuring After Economy. Have a listen here. Dear Colin accidentally says ‘Shearsmith’ rather than ‘Shearsman’… but he means Shearsman! Here is a link to the Edinburgh International Book Festival event I’m doing with Rachel Boast: River of Words and here is a link to the Live Poetry Lab live writing event, both of which I mention in the podcast. Please join us!

If you’re free tomorrow night, come to the gorgeous Golden Hare Books in my old hood, Stockbridge (Can Stockbridge be called a hood?  It seems incongruous. See: New Town Flaneur). I’m delighted to be kicking off their first ever Hear Hare Here: Poetry at Golden Hare Books event with Claire Askew and Theresa Muñoz, MCed by booksellers and poetry lovers Alice Tarbuck and Annie Rutherford.

I’m not sure if I will be there as my darling sis and nephew are visiting from America and I don’t know how much poetry I can make them sit through in one visit, but this sounds amazing so go along if you can: Chrissy Williams, Wayne Miller, Anthony Autumn and Ruthie Kennedy.

This looks beautiful too! Emilia Weber at Sad Press

And finally, for now, wet your whistle, fill your belly and tickle your imagination at: Four Simmer, A Night of Poetry and Flavour at Edinburgh Food Studio.

“This unique collaboration series between food & poetry will use flavour, scent, and colour in response to some of Scotland’s most distinct voices. A delicious evening which will touch all of your senses.

Hosted by Salitre award winning poet Ryan Van Winkle, ‘Simmer’ pairs four poets with dishes carefully selected & prepared to illuminate and echo their work. Readings will be from Emily Ballou, JL Williams, Ron Butlin, and Tom Pow.”

Tickets are going fast, so book here if this makes you hungry!

Stay dry or get wet, and have a beautiful weekend.

 

YOU ARE THE FIRE

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I’m running a poetry workshop on Monday for some amazing students on the MasterCard Foundation Scholars Program at the University of Edinburgh. We’ll be responding to the work of Upile Chisala, following on from a recent visit she made to read for the students. I’m feeling very inspired by Upile’s fire!

Also coming up:

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I’m super excited to be reading at this new night with a stellar lineup. I’ll be performing a debut collaboration with the poet Iain Morrison, in which we’ll be exploring singing glasses, opening and poetry as musical score. Come along tomorrow (Friday 14 April) at 7pm to St Margaret’s House – more details here.

And tides

Then on 27 April feetat 6pm I will be reading with Catherine Street at Talbot Rice Gallery. We’ll be sharing the new piece we’ve created in response to the current exhibition, Between poles and tides.  This new work is called ‘And tides’ and you can book your seat here.

Keep burning and keep singing from your heart!

AFTER ECONOMY Launch

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AFTER ECONOMY

a new collection exploring the fine line between abundance and apocalypse

Out now! Get your copy here, and book here for the After Economy Edinburgh launch at Talbot Rice Gallery. More details below. It would be lovely to see you there.

After Economy | JL Williams

Book Launch

Talbot Rice Gallery

3 May 2017 6pm-7.30pm

Book tickets here.

Please join us for the launch of a new collection of poetry, After Economy, by JL Williams.

Williams has a piece in the current exhibition Between poles and tides, and you are invited to explore the show during your visit.

This event will feature a short reading by Williams, who will be accompanied by the award-winning composer and cellist, Atzi.

After Economy is an exploration of the fine line between abundance and apocalypse, an attempt to respond formally and thematically to the complexities faced by human beings living amidst political unrest and technology-driven cultural change, and an inquiry into our relationship with time.

‘For some reason, slightly unfathomable, I am reminded of a forest we visited on Japan’s northern island of Hokkaido where the annual winter ice festival is held. The forest is sprayed for days by the local fire department, but not before flowers and colored lights have been hung within the branches, so when the whole forest turns to crystalline ice, the lights burn from within, the whole crystal forest glows, and when you walk there, flowers look out from the ice, arrested in full bloom. It is all so unexpected, and so extravagantly beautiful — something essential in such crystallization, and with fire in its core. Well, this vision returned to me reading your manuscript.’  Eleanor Wilner

A Libretto Comes to Life

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I’ve always been interested in collaborative art forms. Some of my very early and most joyful memories are of being taken by my wonderful mother, grandmother and uncle to see plays, musicals and ballet. The magic of words, music and movement coming together to stupendous effect at these performances has continued to inspire me throughout my life.

Up until a couple of years ago, my musical collaborations had been on a relatively small scale and involved me working with one or two musicians and usually performing the words myself (for instance, the music and poetry project OPUL that I share with my partner, James Iremonger). However in 2014 I was accepted onto the Jerwood Opera Writing Programme, and it was through that amazing experience that I met a group of extraordinary composers including Samantha Fernando and Lliam Paterson. At one of the residential weeks in Aldeburgh, Lliam asked if I might be interested in writing a libretto for a new opera company. It was such an exciting offer! The company was brand new, based in London and interested in making new opera in new ways, with young artists in unusual spaces. I jumped at the chance.

He explained that the idea for the first project was to create a new operatic version of Snow White. I loved this idea and remember an enchanting walk Lliam and I took through the fields of rushes at Snape Maltings, discussing the many narrative and temporal possibilities for setting the drama. One of the ideas that was always very core to the project was to draw on early myths and tales that pre-date the somewhat cleaned up version of Snow White that many of us know from the Disney film. The Opera Story, as the new company was to be called, would keep story at the forefront of their operas and this was great news for a writer.  In some opera projects – as we had explained to us during the Jerwood Opera Writing Course – the libretto is the starting point but also seen to be of less importance than the musical components which come next.

Writing the libretto was a completely gorgeous experience. Since my first collection of poetry, Condition of Fire, which was a response to Ovid’s Metamorphoses, I have enjoyed working from and reimagining pre-existing texts and stories. When engaging with such rich material, the challenge is to find your own way to tell a very well-known story, and opera adds in its own challenges in that often when set to music some words can be lost. This may be for many reasons – when we sing words the timing of the sounds change, the pitch and volume modulate and all this is set against a musical backdrop that may support or compete with the singers. On the other hand, thankfully, there are so many ways the music, set, direction and acting can enhance the communication of the story, and in this case the fact that Snow White was such a well-known tale to begin with was ultimately very freeing.

Often poets are recruited to write libretti, as they are ideally able to use language in a way that is concise and rhythmic, even musical. This can make the job of the composer easier as you can imagine how difficult it could be to set a novel or even a typical play to music. A poem, if working well, can communicate much without having to use too many words, and the spaces in poetic writing offer room for music and drama. My libretto isn’t a poem or a play, but some mixture of the two specially designed for the operatic form.

Unfortunately Lliam ended up not being able to compose for this opera, though for good reasons as he had too much other work on his plate, and instead the folks at The Opera Story came up with the brilliant idea of inviting not one but three talented young composers to create the music, one for each act. I first met these fabulous composers, Lucie Treacher, Lewis Murphy and Tom Floyd, at a full day workshop at the home of Artistic Director, Hamish Mackay, nearly a year ago. Executive Director Manuel Fajardo joined us, and together we discussed the intricacies of each scene and character. It was such a special experience to have all these creative brains working together to envisage how the story would evolve. With the help of the three composers, the brilliant director James Hurley who brought so much research and insightful observation to the process, and the kind support and input of Hamish and Manuel along the way, we got to a point where the libretto was ready to pass on to the composers and my role was, essentially, complete.

As months have passed since I submitted the final draft of the libretto, I can hardly contain or express my excitement at the prospect of finally getting to see the finished opera at the Bussey Building in less than a week’s time. To have an idea begin as a poetic spark in one’s heart and mind, and to be so close to seeing it blazing in full voice, music, light, costume, set and drama on stage, is almost more than I can comprehend. It takes me back to the joy of those early childhood memories, when stories shimmered to life on stage in a way that was truly magical.

I want to express my gratitude to all the many, many people involved whose hard work has brought Snow to life, and I hope you will be able to join us at one of the performances in London this week: http://theoperastory.com.

Festival of Creative Learning

This post went out last week on our blog at the Festival of Creative Learning and I thought I would share it here as well. Hope you enjoy and to see you at a Festival event if you can make it along.

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It’s just over two months since I started as Projects and Engagement Coordinator for the Institute for Academic Development at the University of Edinburgh. It has been a fascinating and joyful time, and I’m especially excited as the Festival that I am looking after is taking place next week.

It’s called the Festival of Creative Learningand this is the first year of the Festival proper, though it has evolved from something called ‘Innovative Learning Week’ which ran for 5 years (learn more about ILW here).

After an intensive period of development led by the previous Festival organiser, the brilliant Johanna Holtan, the Festival of Creative Learning emerged, and it’s a privilege to be able to continue all the good work that has gone into making the Festival what it is and to think about how it can continue to grow in future.

The Festival aims to provide space for staff and students at the University of Edinburgh to play, to experiment, to innovate, to collaborate and, dare I say it, to fail. How precious, how rare it is to discover this sort of space – where the emphasis isn’t on how many seats we fill, how many tickets we sell, how many answers we get right, but rather on truly exploring and pushing boundaries, communicating in radically new ways and leaping into the dark to find out what’s there.

Our goals are to help staff and students create innovative, experimental and collaborative ways of learning in a safe space, to give people the training and support they need to design and run events, and to celebrate the work of all our event organisers and the discoveries we make together along the way. By its very nature and commitment to openness and diversity, the programme covers an enormous range of disciplines and activities, and we encourage everyone to peruse our events calendar to get a sense of the depth and breadth of the events on offer.

Rather than running each of the events ourselves (our fabulous but small team includes my colleagues Lucy Ridley and Silje Graffer), we seek proposals from staff and students, distribute funding, provide a platform and communications umbrella for the events and aim to empower our staff and students to get the most out of what we provide. We hope that the Festival is a learning experience not just in terms of the research being conducted but also in events design and management, imparting vital skills to organisers that they can make use of in future employment, study and enterprise.

Much work is being done to explore the future of learning and teaching, and learning that involves doing and which empowers students rather than treating them like inanimate vessels to be filled is on the forefront of what appears to be not only the most effective but also the most enjoyable means to growth. We want to celebrate the idea that we learn better when we are enjoying ourselves, when we are treated with care and respect, and when we are encouraged to use our imaginations and to play.

The Festival will continue to develop, and we’ve already gathered a long list of ideas about ways to make the Festival even more useful, expansive, innovative and attractive (and do get in touch with your own suggestions), but first our team is going to visit as many of the events as we can in person to see the extraordinary experiments that our organisers have brought to life. We hope you will take the leap as well and join us for at least one of our events next week, and consider developing an idea for a Festival Pop-up event throughout the year or for an event for the Festival of Creative Learning 2018. In the meantime, keep an eye out for our hashtag #FCL17 on social media, where we’ll be telling stories and posting photographs all next week.

You can read more about the aims and values of the Festival here, and you can book tickets for our events here. Many of the events are aimed primarily at staff and students at the University, however the following events are open to external attendees and can be booked via Eventbrite:Introduction to Massage in Schools Programme, Manifest Destiny: A Multidisciplinary Forum on Mars Colonisation, Design for Wellbeing, Biffa tour: How does recycling work?, Learning Language Through Theatre, Making History: a Feminist Craft Project, ‘Camelot, tis a silly place’: Popular Culture and Scottish Heritage Castle Trip, Tech Art Collaboration Workshop and “The Birds and the Bees” Board game.

Here’s to learning without boundaries, in ways that celebrate the creativity inherent in each of us. 

 

Jennifer Williams

Projects & Engagement Coordinator

Institute for Academic Development

Between poles and tides at Talbot Rice Gallery

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For some time now, I have had the pleasure of being one of the TRG3 residents at Talbot Rice Gallery with my dear friend, the artist Catherine Street.  We have had an amazing time responding to recent exhibitions, including Alice Neel: The Subject and Me and the British Art Show 8.

I was delighted to have the opportunity, following on from our residency, to contribute a text piece to the gallery’s new show: Between poles and tides.  It is an extraordinary mix of media and ideas, curated by Stuart Fallon and Neil Lebeter, with the theme of temporality twining the pieces together.  Artists include Daisy Lafarge, Ilana Halperin, Ian Hamilton Finlay and fabulous others.

My contribution is an ‘audio guide’ that you can listen to on headphones as you wander about the gallery, though it might not be the sort of audio guide you’ve come across before.

Please join us for the preview and get along to see the show.  If you have a listen on the headphones, I’d love to hear your thoughts on the experience.

Preview: Friday 10 February 2017: details here.

From the Talbot Rice website:

New Acquisitions from the University of Edinburgh Art Collection

David Batchelor, Ian Hamilton Finlay, Ilana Halperin, Jessica Harrison, Fabienne Hess, Daniel Hughes, Daisy Lafarge, Jonathan Owen, Katie Paterson, Isobel Turley, Luc Tuymans, JL Williams

#talbotrice | #betweenpoles

Including three tattooed Doulton figurines, a set of clocks that tell the time of every planet in the solar system, a sculpture created over ten months in a French cave and a large gazing leopard projected over the main Gallery space, Between poles and tides is a dramatic display of work recently acquired by the University of Edinburgh. It features work by established artists, recent graduates and works connected to the Talbot Rice Gallery programme.

Actively building its contemporary art collection since 2012, the University of Edinburgh has been strategically acquiring works that reflect and feed the breadth and depth of its teaching, learning and academic community. Ensuring public access to this collection, Between poles and tides demonstrates the quality and diversity of these new acquisitions. Formally and conceptually dynamic, the exhibition includes sculpture, painting, printmaking, video and poetry; whilst exploring ecology, cosmology, politics and geology. Reflecting a cross-section of contemporary artistic practice, it includes works concerned with appropriation, materiality and the act of collecting itself.

Flint & Pitch plus 12-Hour Action Group

Hello there!

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So much has been happening, and is happening… here are details and invitations for you:

I finished up at the Scottish Poetry Library in November and will be starting at my new job as Projects and Engagement Coordinator for the Institute for Academic Development at the University of Edinburgh next week – exciting!  Here is a super nice SPL Post that dear Colin Waters, SPL Communications Manager, wrote for my leaving.  Here too, on that subject, is a pre-election piece for the SRB he wrote mentioning my fateful meeting with Hillary Clinton so long ago that might remind you of those more innocent pre-Trump days.

Tomorrow I’m reading poetry at The Flint & Pitch Revue #2 along with a whole host of dizzyingly talented folks, so please do come along if you can make it.  It’s at the Bongo Club at 7pm and you can book your tickets here.

Then on Saturday I’ll be at Cooper Gallery in Dundee for the Of Other Spaces: Where Does Gesture Become Event? International Symposium 12-Hour Action Group, starting at 11am and, you guessed it, ending at 11pm.  I’ve been curating a collaborative writing project with 11 other Edinburgh-based writers in response to material in this incredible show, and it’s been such a stimulating, inspiring and redemptive experience to be making this collective work, especially over these past trying weeks.  We’ll be performing some of the texts, which will also appear shortly on the Cooper Gallery website.  You can come to this Symposium as well,  it’s free but you need to RSVP here.

There’s more to tell, but I think I will stop here for now and promise more soon.  Hope to see you at one or both of these events, or somewhere else very soon!

 

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http://www.dundee.ac.uk/djcad/exhibitions/events/actiongroupsymposium/