Category: Culture

  • Forest

    Nightfalls.
    Creatures are on the move,
    Leaping, dancing, diving, digging, loving
    that’s the art of living, that’s the art of dying.
    Machines are slowing down
    Cars, trains, ships, aeroplanes
    I’m coming in now to land, from all those names
    the Pacific, the Wild Atlantic way,
    the Mediterranean, the Indian and Arctic Oceans
    the South China Sea, Caribbean, the Arabian Sea.
    Now I see it – the Irish Sea,
    the sea by my city where I was born
    Cities seems old when we are young,
    And young when we are old
    There’s always something left over from the past
    Which can turn out to be the future
    Reaching the exit doors to those bittersweet parties, it’s often like life
    People don’t really meet until they have to say goodbye.

    I want to wake up to something new
    I want to wake up to something old
    I want to go with you, I want to run with you
    Away from the city, away from the chatter
    And into the green land, into the primal wildness
    To every place we ever dreamed
    And every place we never dreamed

    ***

    To the trees, the trees, the trees, the trees, the trees
    the trees, the trees, the trees, the trees, the trees
    I throw my life to the trees, to the earth, to the breeze
    Come into the forest and relish the trees
    Lie down next to me
    Open up to this evolving polyphony
    Sycamores, Silver Birch, Oak and Yew
    Baobab, Jacaranda, Sequoia
    Hazel, Ash, the Weeping Willow
    Holly, Hawthorn, the Sumaúma queen
    Oh let us breathe
    These are my prayers in layers
    In words that burn all the thumping time

    Why do we walk deeper into the forest?
    Why do we walk deeper into the forest?
    I don’t know what nature is
    I don’t know what nature is
    So I’ll sing, yes I’ll sing it
    The plays, plots and ploys of living
    The plays, plots and ploys of dying
    There are so many days that have not yet broken
    There are so many days that have not yet opened
    I was rushing towards somewhere I always want to be
    I was rushing towards somewhere I always wanted to see
    Let us walk deeper into the forest
    Out here there are big trees
    Out here there are small trees
    Out here there are strange trees
    Out here
    These lands are lush and I was lost
    Big space is here and everything is clear

    ***

    Times of mass extinctions and the great shame
    I’m staying with the trouble
    I’m staying with the trouble
    Madness, machines, riverines
    Erething above ground in this book of breathings
    Sham or shunner in kicking time
    Neither beginning nor ending
    We are in the middle of things
    We are in the middle of things
    I exist only when I sing
    I exist only when I sing
    We are not insane, we are not insane
    We are not insane, we are not insane

    Why do you walk deeper into the forest?
    Why do you walk deeper into the forest?
    To dream, to dream
    This contaminating diversity reeling of cacophony
    “It is not down in any map; true places never are”
    The water of this face has flowed
    Let us go back into the trees
    Let us go back into the water
    Do you hear what I’m seeing?
    Listen to the sound
    Listen to the river
    Listen to the trees
    Listen

    ***

    Adrift
    in these ruins, we are all stories
    in the sticky jungle, there is no time, only dark thrilling space
    something in us is born, something in us remains,
    in the depths of dreams, and up there
    I say: “hello moon … hello sun and stars”
    childhood memories are returning
    did we reach that place?
    oh melancholy me, remnants of the gods, moods, sounds, shadows, oblivion
    a subterranean woman is at work: tunneling, mining, undermining
    I can see her with my theatre eye
    there are rooms filled with chords and sonatas
    there are fields filled with flowers and grasshoppers
    there is a girl who wanted confirmation and a boy who was afraid
    never before has there been such an open sea
    never before did I see so many trees
    the endlessness of the forest swallowed up my consciousness
    take me, eat me, drink me, drown me
    we are all strangers now
    we are all tyrants now
    we are all shamans now
    we are all charlatans now
    it’s all good. the animals are here.

    The Loafing Heroes: https://theloafingheroes.bandcamp.com/

  • No Comment – Francesco Taurisano

    Inferno in the Alpine foothills of Northern Italy near Vercelli and Biella, Piedimont.

    [Best_Wordpress_Gallery id=”40″ gal_title=”NoComment: Inferno in the Alpine foothills of Northern Italy near Vercelli and Biella.”]

    https://cargocollective.com/francescotaurisano/BIO

  • Musician of the Month – Bartholomew Ryan of The Loafing Heroes

    ‘Descend the stairs, bend your legs, melting one by one. / Open your mouth to the snake in the sand, swallowing you one by one.’ So begins the first single from our latest album. It’s one of my treasured moments in the meandering Loafing Heroes journey: in how it came about, how it was constructed, the unfolding of its words and arrangement, and how it sounds on the record.

    “Stairs” sums up much of what I dream about with this music, its vision and where I’m at – then and now. Because, really, however much I say this is the end of a project, or that it is the beginning of a new one; we are really, always, in a way, wrenched into the middle of things, into the middle of life.

    Feeling heartbroken at the end of a relationship, trying to come to terms with the death of a loved one, suddenly hearing by accident a special song from a moment in your life, or catching a smell that brings you somewhere, smothering you with longing, nostalgia, a great sadness or joy – these all throw me into the middle of things, into the middle of life.

    We are suddenly tuning in again – or rather – we may feel that we are spectacularly out of tune with the regular speed of day-to-day, calculative life, and in tune for a moment with another world that is alarmingly alive.

    Months can go by when no new song emerges, as an energy once bubbling over deserts you, and you think, well, that’s the end of that. Or, perhaps you say that I must find a way to begin again, do something new. And then it comes.

    Sometimes all it takes is to hear someone speak, watch a concert, see someone dance, or travel in the countryside away from the chatter of the city. In my case, the intervention came in the form of a visiting friend called Jonathan.

    Along the great river

    After a lifetime thinking about it, I had been travelling along the great river Amazon for almost 3000km, listening to the mesmerizing cacophony, seeing the green, green, green of all the jungle, and following the trail of an extraordinary human called Roger Casement. After making it back to Europe, I went straight on a tour with the band to Ireland for two weeks, and then finally returned to my apartment in Lisbon.

    I just wanted to be alone for a few days after being in such close quarters with people on the road. But Jonathan was staying at my place and he was still there. He was full of beans and delighted to see me, and yet he could quickly see that I was a little moody and withdrawn.

    But that wouldn’t stop him. He knew that I hadn’t written a song in at least six months. So that evening, we forced ourselves to play a game. He offered me three words – ‘hair’, ‘software’ and ‘snake’; a chord to begin; and thirty minutes to come up with something. That’s how the song ‘Stairs’ came about.

    I was thrown into the middle of things – I found myself diving, drowning and then submerged in the interlude, and suddenly I was singing about my hair being on fire and my skin turning to water. It was exhilarating, liberating, revealing. For me, that is what making music is all about. And if you can connect that creation and performance with someone else – then it really is alive.

    Jaime McGill of The Loafing Heroes Image © Sebastian Urzendowsky.

    Beginnings, endings, interludes

    I began The Loafing Heroes back when I was living in Denmark doing a Phd on Kierkegaard, where I met a wandering soul called Jamie from Arizona. We started making music together and recording the first Loafing Heroes songs.

    Four years later, I was living in Berlin pursuing a career as a philosophy lecturer wondering where to go next with the music. The spirit of The Loafing Heroes is that it morphs with the people that have come in and out over the years. This allows diverse flavours and colours to emerge and fade away along the trail.

    We recorded three albums in Berlin: Unterwegs (2009), Chula (2010) and Planets (2011). With Jonathan – yes the same one (from Berlin), another Jaime (this one from Nebraska), and Noni (from Dublin).

    My dear friend and gifted songwriter Michael Hall whom we all affectionately called Big Bear produced the first album (Unterwegs) and was present throughout the album. He died tragically in 2013, yet his ghost continues to haunt and inspire us.

    After four years, we all found ourselves going in different directions. I headed down to Lisbon to begin a research project on the enchanting poet of multiplicity – Fernando Pessoa; Jonathan formed another band called Fenster that have gone on to record some really special experimental pop music; Noni set off to work on solar energy in Rwanda; while Jaime remained for the time being in Berlin, but would remain committed and connected to The Loafing Heroes. She plays the bass clarinet – one of the trademark sounds of the band over the last ten years – and has recorded on all of our six albums.

    The three other albums were recorded while based in Lisbon (Crossing the Threshold [2014], The Baron in the Trees [2016] and Meandertales [2019]). I met Portuguese novelist João Tordo on my first night in the city, and he became a new loafing hero, and played double bass on the two albums before Meandertales.

    I glimpsed Judith with a violin on her back one night at The Lisbon Players Theatre, and soon she was playing with us too. From Germany, Judith actually makes her own violins and violas, and has played on all three of the last albums.

    Judith Retzlik of the Loafing Heroes, Image © Emiliano Perillo.

    Other musicians and friends have weaved in and out, but before Judith left Lisbon to return to Germany she introduced me to Giulia with a plan for her to join. From Italy, Giulia is now at the centre of the band, playing autoharp, piano, percussion, concertina, and singing and writing songs on the last two albums.

    To complete this crooked cosmopolitan tale, four of our albums have been produced and mixed by our very talented, generous comrade and friend from Greece – Tadklimp.

    Giulia Gallina of the Loafing Heroes. Image © Lucia Borro

    Chaosmos

    Many of the songs have evolved from various strange places; on the one hand, from travelling through vast expansive landscapes; and, on the other, hiding away in dark melancholy, verging on paralysis, in the interiors of a room that can sometimes seem like a shrinking capsule.

    Loafing is always essential in an age of increasing speed, technological overload, psychological detachment and environmental collapse – as we humans exhaust everything under the sun.

    Let’s slow down. Let’s wander. Let’s see and think anew, and laugh. Let’s channel and imbibe energy not into potency, possibility and power; but rather as actual, as here and now, in everything that exists. Energy as a passive ‘is’.

    These twelve new songs (constructed by Giulia, Judith, Jaime and I), from our new album under the title Meandertales, encompass the distorted fairytale and dream-folk that throw us into the middle of life. In the totality and disintegration of chaosmos, in this loafing musical endeavor, I work and play to transform my energetic pessimism into a subversive joy.

    Forthcoming Shows
    Friday, 12th of April: Clonskeagh Castle, Dublin, Ireland.
    Saturday, 13th of April, Bello Bar, Dublin, Ireland. (IRISH ALBUM LAUNCH)
    Sunday, 14th of April, Pot Duggans, Ennistymon, Co. Clare, Ireland.
    Tuesday, 16th of April, Tech Amergin, Waterville, Co. Kerry, Ireland.
    Friday, 19th of April,MUSICBOX, Lisbon, Portugal. (PORTUGUESE ALBUM LAUNCH)    ,

    Bartholomew Ryan is a philosophy research coordinator at the New University of Lisbon (http://www.ifilnova.pt/pages/bartholomew-ryan) and leader of the international band The Loafing Heroes (http://www.theloafingheroes.com)

    Feature Image: Otwin Biernat

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  • Artist of the Month – Héctor Castells

    [Best_Wordpress_Gallery id=”38″ gal_title=”Featured Artist of the Month: Hector Castells”]

    These poems belong to the Puddle Heroes series, by the hectic fish.

     

    Puddle heroes is a collection of pictures of puddles with people on it, people not necessarily drowned as much as free floating

    They are the icons of all the rhymes that follow.

    All the photographs have been turned upside down, which is an involuntary tribute to the photographer dyslexia 

    The idea behind it is that sometimes reality is better upside down, likely always.

    And the idea behind is also that water dignifies, which is something that funerals do as well, for they are the only places in humanity, besides puddles, where people understands silence and go without themselves.

    Or their ego.

    It is the great thing about working with people reflected: they are egoless for they belong to your imagination.

    all verses are written in pencil because sinking the tip of mine on photographic paper is an experience as silent and devoid of ego, as water and poetry are

     

    rubble fish

    my heart is a red fish
    that eats blue rubble
    and loves scrabble,

    my heart is the
    red playlist
    that you yellowed
    on crystal sand

    on black sundays
    when the lord fails to
    deliver shelter
    and the cripple crumble
    long before
    the corporate rumble

    my tongue skips and rhymes
    white canvas and blue velvet
    as my keypad chooses the sky
    against my tendency to sly

    idiot as it is
    stupid is it not

    the algorithm
    keeps playing
    songs of love
    and wisdom

    where Newton shines
    in his own rainbows

     

    BIRTHDAY WAYS

    Coming to an age there’s one tear and my rage.
    My skinny tree has blown all its CV’s,
    floating leaves with former articles and ex professions;
    colliding against empty trays&huge depressions.

    .

    once there was a notion
    and two degrees.
    the spirit of democracy
    cost me all amphetamines
    & a PhD.

    could have been an orchard
    with a lemon tree;
    thought I knew
    I wanted to be free

    all my branches are now empty,
    cracking slowly as one deep wrinkle.
    36 dilemmas and a skinny rope
    should be enough to roll down all my hopes

    end of September
    one more millimetre.
    dripping like serum
    in cold plastic bags,
    early ages are crawling towards
    its aftermath

    CHIT FUCK YOU CHAT     

    oh my dog,
    me life for a Xanax
    Yves Tumor song
    is a sonic sword;
    on its tip, we rattle.

    your acid work
    keeps on dripping
    like a double-bassed
    little green devil
    on sixteen deafening speakers,
    sliding so close
    & far away;
    in absolute disarray.

    this is not my fault.
    It’s my fucking fall.

    I gently spike the bushes,
    its lighters and its promises,
    words pouring away
    like little green devils

    out of control, not aiming
    at one single point
    but wondering what’s
    the whole fucking point
    of your endless black pint

    the fucking interstellar shithole
    where I CHIT FUCK YOU
    CHAT you for hours,
    while you dripped
    and repeated
    all your never-ending routines.

    you use to rhyme your words,
    in mathematical equations
    of love and wisdom,
    where I was the cat
    and you were the snow

    white forests came too early
    like some guns
    or most of the flowers,
    that rarely appear at the start

    this is you and me
    together in our mayhem
    so inescapable and reversed,
    like a Friday
    in a nasty Monday way

    same sugar, identical dopamine;
    your bluntness grew fat
    as you kept the cheat and the chat,
    trading dolphins
    for mosquitoes

    CHIT FUCK YOU CHAT me no more,

    as your sweat drips
    my body weakens
    once you’d reach your vein
    I’d lonely lose my name.

    I neglect the errands,
    and make amends
    with mistakes
    by fucking them slowly
    up and down,
    nice and gently,
    in all directions;

    it’s equally maddening to think
    about the island by your shore,
    realizing that I’m here
    and I’m not

    that you sink
    and I don’t

    the air shaking,
    fucking crunching the barley
    of your CHIT FUCK YOU CHAT
    its endless swifts
    in bloomless fields

    spinning in layers
    erratic onions:
    in every thin line,
    lies a fat oblivion.

     

    LITTLE GOAT

    a little goat sighs above my head.
    softly wrapped in Sunday dreams,
    her lightened breath
    sweeps tomorrow’s beams.

    weekend fades another
    monday dead.

    young ibex
    swapped the heat
    for two cold feet.
    her former curls
    got frozen under wool.
    now she is like a woman
    lying by some pool.
    the sudden stop
    of skinny orgasms,
    kept her kind of cool.

    wind quite blows
    uncompromised frights.
    a bunch of punctured clouds
    are gathering to fight

    little goat smells the air
    and sees the cliff.
    It only takes one memory
    to get her belly stiff.

    dirty rain recalls
    the flavour of her pain.
    there was no hope
    in those remote slopes.

    the skylight bleeds
    northern thunderlights
    are freaking out her tail
    creature turning pale

    run run run,
    little young ibex.
    there is no fun
    in repressed sex.
    far away from your jungle,
    there’s an irish psycho
    and a triangle.

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  • My Grandmother’s Life Under the Third Reich and Behind the Iron Curtain

    Irene H.

    Going into your house, I sat in the conservatory waiting for the door to open. Waiting for your familiar rasping voice to call, “Mann! Herzenskind, komm rein.” I remained there still in the leather chair, trying to pluck up the courage to open the door and be met with emptiness. You’d snuck out one night three weeks earlier.

    In almost a century of life, history marked Irene Hauser (née Leitgeber) and she, in turn, was determined to leave her mark. Born in Berlin’s Wedding district in 1924, her life was shaped by passages in history books. As a twelve year-old girl she sat in the stands watching Leni Riefenstahl film the 1936 Olympics, so awe-struck by the cameras that she almost forgot to watch any of the tournament.

    She left school without graduating and when she told her parents at the end of the war that she wanted to go to university they thought she had lost her mind. It wasn’t her first choice. She had wanted to become a fashion designer but with barely enough food around to feed the population, whatever about fabric, that seemed like an even more fanciful idea. So Irene became the first person to go to university in her family and enrolled in physics at East Berlin’s Humboldt University, where she accounted for one half of the female student population on her course.

    The city had been bombed into the ground and few possessed the creativity to imagine how this heap of rubble could ever resemble a functioning city again. Irene’s lectures were held inside some of the brick skeletons that remained scattered through the city, and during the icy winter months she sat in the auditorium wrapped in an over-sized fur coat.

    In the 1980’s she retired as a professor in physics. Much must have happened between those two moments and sometimes she spoke about her work but it was the stories of what seemed like fantastical adventures that burned themselves into the mind of her youngest granddaughter. She told of her trip to Hanoi during a ceasefire in the Vietnam War. Her delegation was sent to provide expertise to Vietnamese scientists in the war effort, and Irene spent much of her time there trying to avoid the local food. In the 1960s she and her husband, also a physicist, worked on a secret research programme near Dresden to develop nuclear power.

    The lust for life you possessed made everything seem possible and any fragility a bewildering concept. As we all sat in the chapel, your funeral seemed such a ludicrous event.

    Although Irene knew how to bring her experiences to life in the stories she told, there was much silence about the suffering she witnessed and endured. Like many of her contemporaries, it was her actions that provided clues about the war that marked her.

    No scrap of food was ever thrown away. Instead she tried to redistribute what she didn’t want to eat. Once she attempted to cajole her granddaughter into packing a half-eaten sausage for her trip back to London.

    When she did speak about it, it was so matter of fact that there was little room for emotions. Anecdotes like the dead body lying in the hallway of the apartment block, which stopped her home being looted or the ridiculousness of her trying to salvage a carpet from her aunt’s burning home after an air raid seemed like abstractions. Even then, recounting herself walking through one of Berlin’s wide avenues lined by blazing buildings drew a harrowing image.

    Irene was just twenty then. She grabbed life whichever way she could. So when she met the funny and clever Oskar at a laboratory she worked in, she didn’t see his limp. When an overseer, whose only function was to report to the SA (Sturmabteilung), threatened her with concentration camp if she carried on seeing the Halbjuden, meeting Oskar in secret seemed the only plausible solution to her dilemma.

    Oskar didn’t want to let her marry him — him! A cripple. But Irene had made up her mind. And so it went. The two celebrated the defeat of Nazi Germany with a wedding and a rhubarb pie. Four years later, Irene gave birth to her only surviving child while Oskar was imprisoned on trumped up smuggling charges and cultivating his life-long aversion to Skat, a card game he played from morning till night with other inmates to pass the long days. His imprisonment had mobilised a student movement and although newspaper clippings of the protests and petitions for his release had been kept in a folder, Irene gave them to an archive soon after his death. Forward was the only direction she knew.

    You always had a solution to everything and knew how to cover your tracks when you didn’t. Your quirky pride left no room for any admission of defeat. After you gave up smoking, you developed an affinity for checking on the washing behind the shed after each meal. Even your own son had no idea that you couldn’t cook until granddad died.

    Much was left untold. Secretly we pieced some of your story together not to feel so inadequate in your shadow. To get to know the fallible human. Next to you our failures sometimes stung unbearably.

    Perhaps a growing awareness of her silence prompted Irene to write a small booklet about her life in her last years. No one was to read it until she was gone. There was little sense that writing it gave her much joy. Rather it was a task that had to be completed, and like every task in life, complete it she did.

    It recounts her childhood experiences in the Third Reich: pushing her parents to allow her to join the Bund Deutscher Mädchen (the equivalent to the Hitler Youth for girls) against their will; the turmoil of the post-war years, and the division of Berlin; her many professional achievements, and some reflections on the political life of the time in which she was inevitably involved. Maybe some modesty stopped her from indulging personal impressions and feelings in her booklet, but an impatience for anything that lay in the past certainly did.

    In our last phone call you told me to never grow this old. The thought of being a burden to anyone was a greater weight on you than you could bear. ‘But grandma, we’re all so happy you got this old.’ Although I didn’t know it then with that I let you go. That day I stopped tearing and pulling at you. Life would be ok. Your death was befitting of your life. Fast and impatient.

    Photo Caption: A photo of Irene, perhaps strict and stern to any stranger. But for those who knew her those lips hold back a smile and those eyes are filled with a lively curiosity that lasted as long as she did. By Franziska Hauser

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  • BREXIT – A Poem

    Once I had finished it I didn’t understand my own poem,
    so how could you?

    There had been a moment when, possessed by a sort of deftness, I had made choices
    about matters such as line length

    but now all that had left me. I was confused.
    The intriguing question is what path led me
    from that bewilderment to my present mode of address.

    This is something which concerns you, so pay attention!

    In a very true sense it is your curiosity,
    which led me, like an umbilical threadworm,
    out of the labyrinth. And here we both are,
    blinking in the sunlight, a bit traumatised perhaps,
    attracting too many flies for our mutual liking,
    but here nonetheless, in whatever space this is,
    field or piazza, over which I am making this address,
    dear Ariadne.

    ­_                      Never doubt, I will come back for you.
    I see now what separates us is a slowly widening stretch
    of crystalline water. These islands are lovely and puritanical.
    They suit your beauty down to a T.

    I’m sorry, have I made a mistake about your name?
    Is this, strictly speaking, European soil?
    Anyway, I must be off.

    Wait for me!

    Alex Winter practised for many years as a barrister and now works in the field of psychotherapy.

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  • Manus’s Further Misadventures

    Jesinta got back in touch with Manus through the internet. Face-book. He had stuck his name and a photo of himself up, and someone from his distant past had got in touch with him. For Manus it was a timely, and much appreciated contact

    He was down in the dumps living in Dublin. An old man from Belfast. No one knew him.

    He had met a few people but they were all far too straight by far for the likes of Manus. Their smug security inherent in the safe lives they had lived. They hadn’t even tried mind altering illegal drugs or reality revealer’s (as his day would have termed them) like magic mushrooms or acid. Their whole outlook on life seemed to be gleamed from viewing television. They had done straight jobs. Lived straight lives. They had never been on the wrong side of the law, been homeless or squatted houses. They had never been beaten by the police or chased through the streets by thugs while the police looked on. They were straights, who believed the straight view of the world as portrayed on the flat screen. They never thought about it, but if pushed they would say they believed there was a democracy in which they could affect social and economic decisions, and a free press which presented them with all the necessary information to make those decisions.

    Then they would describe druggies as ‘delusional’.

    So it was great to have Jesinta contact him on the net.

    The email said ‘do you remember Ingleston common?’,  then there was the name Jesinta and a telephone number. Manus felt all a-glow thinking about Ingleston common free festival. Just the fact that there had been free festivals.

    It had been the early eighties in England. He had been traveling from Stonehenge with a convoy of around fifty vehicles: cars, vans, flat backed trucks, caravans, buses and motorbikes.

    The police had tried to break the convoy up. It had been during the Thatcher years, and the police were all tooled up and pushing for a ruckus, with the drug-crazed, anarchistic rabble the press had daubed the ‘peace convoy.’

    As a show of strength, police in riot gear lined the bridges going over the motorway. Intent on breaking the convoy they blocked the entrances to the motorway stations thereby denying the convoy fuel. A few inexperienced young bucks broke from the ranks and tried driving in to the service stations as ordinary citizens who had the right to refuel at a motorway station.

    They were captured.

    Then the convoy-led vehicles swerved across the motorway and cut out their engines.

    It was mid-afternoon on one of the busiest motorways in England and if the vehicles of the convoy weren’t going to be allowed to refuel and continue their journey then neither would anyone else.

    The police could trash the vehicles and arrest the people but that motorway was going to remain blocked for at least a day. That would cause disruption to an important trading route, and bring media coverage. The police quickly capitulated, allowing the convoy to refuel and escorted them to a piece of common land just outside Bristol called Ingleston Common.

    A woman called Jesinta had turned up on the site. She was working as a prostitute from a massage parlour in the predominantly West Indian area of London known as Brixton. She had told Manus they were both Virgo monkeys, who could be of use to each other. and brought him home to her boudoir, complete with waterbed, mirrored wall and Turkish light fittings. She gave him the cash for a pound of good Jamaican weed, and set him up in the herb business.

    On the day Prince Charles and Princess Di. married Manus sat with Jesinta and the rest of the girls from the toss shop, who celebrated their day off with champagne and cocaine. They mostly listened too reggae and dub music. Prince Fari boasted about ‘heavy manners … Discipline, discipline, heavy heavy discipline.’

    But Jesinta also had some white man’s music, some American country singer who sang about ‘beat the lady’s of fame at the lady’s own game.’ Manus would always remember the line.

    From his twenties Manus could remember many misadventures. Jesinta had featured in a few. Thinking back to those heady lawless days it seemed like a dream.

    The facebook message from Jesinta seemed like confirmation that his memories were real.

    Manus phoned the number and it was her. He had tried to make contact over the years, but like most of his past she wasn’t easy to trace. And here she was alive and kicking.

    She had got her hands on some cash too. She wanted to send him a ticket to come visit and see how she lived now.

    He was overjoyed at the contact. Some kind of continuity to his life. It seemed he had upped and moved on so many times in his life. Cutting off a little piece of himself each time he moved. Contact with Jesinta was like contact with his amputated self.

    So ‘yea Jesinta,’ he said ‘fly us over to Cyprus.’

    She got annoyed that he couldn’t just up and fly over that day. What was the mater with him had he become an old man? So stuck in his routine that he couldn’t just get up and take off. And he had to admit that he was. He had his five-year-old daughter Shirifa. Her wellbeing was his priority and it wouldn’t be good for her if her da just upped and offed.

    He knew then Cyprus probably wasn’t really such a good idea.

    It had been wonderful the contact with Jesinta. The confirmation that someone else shared the same past experiences but bringing that memory back into flesh and blood reality!?

    Jesinta could be generous and kind-hearted, but she was also a difficult enough human being to be around. She didn’t have any reason to love Manus either. Except in the same way that he loved her, as part of the past, as some sort of passport back to the days of rebellion. Days of virtual no go areas for the police in certain sections of cities all over the British isles. Days when people believed they were going to chant down Babylon. Days of free festivals.

    But that whole counter-culture was dead now. Dead and denied. Like it never really existed.

    Manus had, decades before, loved Jesinta and left her but he had seen her a few times since. The last time he had seen her they hadn’t been lovers for at least five years and he had called round out of the blue after a fight at work.

    She was still on the game advertising herself as a mature woman, and she had a punter call. She asked Manus to be quiet while she went upstairs, but then she was back down in two minutes wrapped in a towel asking him if he would come up stairs and fuck her for a bit and she would give him twenty quid. It was a strange scenario for Manus. Apparently the punter was paying extra to have someone else go first.

    Manus would have done it for free.

    But he’d noticed it then as she’d raised her legs up, her flesh getting flabby and he wondered how long she could keep charging men for the privilege of touching it.

    In the year two thousand and eleven, Manus’s last lover had been the mother of his child and she’d been twenty years his junior. But she had shown him the full, viciousness of unconscious youth in the child custody battle and maybe he was ready for a more mature relationship. Hell he was old himself now. Maybe Jesinta and he could be lovers again. She had been twelve years older than him. He wondered if she could still raise her old legs up. Maybe they could laugh at each other’s ailments and still find some sexual pleasure.

    In any event Manus and his daughter Shirifa flew to Larnaca.

    At first sight Jesinta looked like Maria Sabina the mushroom priestess. Sallow skin and greasy grey long hair, flat against her skull. But her body was plumper. Fast food plump. She moved with the slow effort of age that Manus understood although his own body denied all logic and, in spite of its abuse over the years, had remained fairly healthy. He even still had a full head of black hair. And most of his own teeth.

    When Shirifa went to bed the first night Manus and Jesinta sat with each other. They talked of friends who had died. Biker Spider. Phil the beer. Graham Gaskin. Characters from back in the day.

    And then had little to say to one another.

    Manus was not the wild young brave Jesinta had persuaded back to her reservation and she wasn’t the ass with class persona she had been either. She twirled her once luscious dark, now, lank grey hair between her fingers. There was a residual element of coyness in the gesture. But sex didn’t really seem to be an option.

    She was on some prescription mood enhancers and mostly watched T.V. all day. Manus hated that kinda stuff. As Jesinta had thirty years before. He would rather be crazy and unhappy rather than have sanity and happiness as prescribed by the pharmaceutical and media companies. And whatever they were supposed to be doing for Jesinta wasn’t working. She was intransigent and dogmatic most of the time.

    On one particularly bad day Manus and Shirifa had stayed out as long as they could and, too tired to walk any longer, caught a taxi.

    Then there it was on the floor of the taxi.

    A wallet.

    Bunch of fifties bulging out.

    Manus hadn’t the cash to pay for a fortnight’s alternative accommodation for them but there it was just sitting on the floor of the back seat.

    He thought about it. He picked the wallet up and stuck it in his bag.

    When they got home Jesinta was pissed off. They hadn’t stayed out long enough, or they had stayed out too long. There was no pleasing the woman. Manus asked her if she ever had a good day, and she warned him about another crack like that, and Manus was glad he had picked the cash. He was going to need it.

    He took Shirifa out again on the pretext of getting ice cream. He ditched the wallet in some long grass and pocketed the cash. Six hundred and forty euros.

    He felt sick.

    He didn’t like thieving from individuals. Corporations, companies, banks, governments, he didn’t give a toss about, but individuals…. naw it wasn’t cool.

    He was the sort who would need to talk to someone about it too, but there was no one he could tell. He tried to reassure himself that he could spend it on Shirifa, but it still didn’t feel good. He had a crap feeling in his guts.

    Then Jesinta texted to say the police had called by looking for him. Of course the wallets owner had contacted the taxi firm and the taxi driver had given the last fare’s address. Manus could of course still get away with it. The wallet was ditched and the cash was untraceable but …. no. He just wouldn’t be up to it, and the thought of getting arrested for theft while in charge of his daughter in a foreign country sent shivers down his spine. No. He managed to find the wallet in the long grass where he had thrown it, stuck the cash back inside and brought it down to the cop shop. They said he might be in for a reward. He just raised his eyes and shook his head.

    When he got back to Jesinta’s he felt relief and gratitude for all he had. Shirifa slept safely and soundly and Manus sat beside her. As was his habit he tried to scribble down some semblance of a story around his experience. His story told of an old lover, a free-spirited strong woman he had met at a free festival. A woman who would have despised this ugly caricature of herself trapped in some rut of vicious behaviour. The story went on to the point where Manus brought the wallet down to the cop shop, got back to Jesinta’s and felt grateful for what he had. It went on to have Jesinta wake up to all the treasures she had (not least amongst them being visited by Shirifa and her father) and in so doing Jesinta broke the habit of lashing back at all the vicious blows life had struck her. A habit she had carried on with even when life had stopped dealing her vicious blows.

    Manus left his story (like all his stories an effort to get his point of view across), where Jesinta would find it and read it. And find it and read it she did.

    She never admitted reading it, even denying it when he asked her. But she quoted lines and incidents from the story and did try her best for a half a day or so to behave as though she were with friends. People she could be easy with. People who didn’t want to rob or beat or cheat or dominate or belittle her in any way. People who had a sense of respect and even affection for her.

    They all had breakfast in Jesinta’s room. Brushing Shirifas hair, Jesinta explained to the inquisitive five year old what a September monkey and a March rooster were. But it didn’t last much more than half a day before the drugs wore off, or kicked in, or she just slipped back into some mental rut where she had to fight back even though no one was fighting against her.

    Whatever.

    Shirifa and Manus left Jesinta’s a few days later. They had spent three hundred euros and only had two hundred left. They found a hostel which didn’t charge for Shirifa and only charged Manus seventy for the week. They didn’t eat in cafes any longer, or buy nicknacks, or play the amusement arcades. At the hostel Shirifa met a Romanian boy named Matayo. Manus met a French Canadian woman named Mannon.

    Manus called back on Jesinta before they left. Shirifa didn’t want to. Shirifa at five years old still adored her father, and had been thrilled to meet someone from his world. Daddy’s old friend. And Jesinta had disappointed Shirifa. So Shirifa didn’t call back with him but Jesinta wasn’t the worst. Their was a touch of Miss Haversham about her. The hurt bitter twisted touch.

    Manus tried to kiss her before he left.

    He wanted to be affectionate but the only part of her that seemed to be open to a kiss was her hand. This could have resembled a devotee kissing a priestess or a pupil kissing a teacher. He hoped it wasn’t too much like a peasant kissing the hand of the rich.

    Manus was still an old man from Belfast living in Dublin where no one knew him. Most people that he knew from his youth were now grumpy old ones stuck in their ways. Or dead. The dead ones were easier to love. The living were harder to deal with.

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  • No Comment – Daniele Idini

    All Images © Daniele Idini

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  • From Psalm 119

    Gimel/Retribue servo tuo

    O do well unto thy servant

    Vincible world, I see blown blossom
    hurled with the crumpled rooks before May’s
    impertinent, spooky breezes; newly-dressed
    branches rattled already before
    counter-prevalent and centrifuge gusts.

    Vincible earth, no stranger to kenosis, then;
    it’s what you do. I can’t arrive at saying it.

    I’m lip-deep in the unsayable, (don’t you know?)
    dealing out, let’s say, deuteranopic cusses
    to a space and time all-too-green, in fact,
    to observe Coverdale’s green observations
    in the bright shadows of Hebrew’s plenty.

    Lip-labour for our vincible domain
    in the light and shadow of opulence.


    He/Legem pone

    Teach me, O Lord, the way of thy statutes

    Prayer’s printed page whitens out of seeing;
    self-divesting, and on the run, leaked
    in a voiced extinction, even as the fire
    among the thorns,
    _                            its bright dereliction
    without self-favour, but spoiling
    immarcescibly into faith’s erasures;
    a pale palimpsest, even Cranmer’s gift.

    My page is blinded. Its tongue is stolen.
    God’s syntax is glass, o! cerulean
    titmouse! It’s entropy’s hard vacancy.
    Don’t be caught,
    _                            songbird iconoclast!
    not in time’s continuum, but before
    untimely Abraham. Good philosopher,
    teach us the way of thy statutes.


    Yodh/Manus tuae fecerunt me

    Thy hands have made me and fashioned me

    It’s the waiting. Waiting for the form
    of a hand, in likeness as the appearance
    of fire, from Ezekiel’s amber chambers.

    There in the nonsense, today, of my roustabout
    apple trees and oak, the willow next door,
    though not the form of a fiery, friendly hand.

    It would all be too easy. There’d be no need
    for Empson’s monstrously clotted language –
    antagonyms of faith in affliction.

    Swelling with the skittery breezes, willow
    is no open hand but clutched then hurling,
    yes, a likeness as the appearance of fire.

    And, monstrously clotted, Ezekiel wavers
    into afflicted speech, and this faithful, fiery hand.

    Sections of Psalm One Hundred and Nineteen have also found a home in Scintilla journal. Poems from An Atheist’s Prayer-Book are forthcoming at Litter. Reviews have appeared at Litter, and at Stride. A PhD, Natural Strange Beatitudes, can be found at www.pearl.plymouth.ac.uk. Jonathan Wooding has spoken at academic conferences in Plymouth, Oxford and York on the poetry of Geoffrey Hill. 

  • Musician of the Month – Matthew Jacobson

    A Brother’s Influence

    I distinctly remember this day, aged about twelve, going for a family walk down (up?!) the west pier in Dun Laoghaire when my older brother by seven years was teaching me different rhythms, while the rest of the family discussed the day’s concerns as the seagulls squawked overhead. He would first get me to repeat the same rhythm that he was clapping, before teaching me a second alternate rhythm that would interlock with his original. We walked along with our footsteps creating the pulse and our hands beating out polyrhythms to the bemusement of other families and dog walkers.

    Around the same period, I also clearly remember being at home doing homework when my brother came in and put on John Coltrane’s Giant Steps album. I can still recall the sense of wonder at this chaotic and exotic sound coming out of the CD player. A seed had clearly been planted.

    Another memory is of being in the kitchen before dinner one day and my brother putting on a Sonny Rollins album and getting me to try and click on beats ‘2’ and ‘4’ – as is customary in that particular idiom. At that stage I just could not fathom how it was possible to discern which beat in the bar was which.

    A further recollection is of an annual holiday in Wexford by the beach (along with the rest of Dublin it seemed) and my brother trying to teach me to sing a major scale, using the intervallic approach of tone; tone; semi-tone; tone; tone; tone; semi-tone. ‘How the hell am I supposed to tell what a tone or semi-tone even sound like?’, I remember thinking.

    As you have probably gathered, my brother was at that age a very big influence on me. He was studying jazz performance, and I was more than happy to be his musical guinea pig, testing out and practising everything he was learning himself. It was around then that I also started taking piano lessons, aspiring to play music but not on the same instrument as my guitar-wielding brother. I worried there would be too much competition or that I would end up in his shadow, and there was already a piano in the house as my older sister had also been getting lessons.

    The piano lessons were going well and I had a great teacher, who literally lived at the end of our garden. These continued for about a year, before he moved out of Dublin and the lessons stopped. Over the following couple of years I continued to play a bit, getting one or two lessons with a family friend and my brother also taught me a couple of jazz standards. He said: ‘Chords in the left hand, melody in the right hand. Then to improvise just use any of the notes that are in the chords in your left hand at the time – fun!’ I got a little repertoire together including, ‘Mr PC’ (from Giant Steps) ‘Blue Bossa’, ‘Mac The Knife’, ‘All of Me’, ‘There Will Never Be Another You’ etc.

    At the age of fifteen, when I had to pick an instrument for Junior Certificate music, my teacher at school, who loved that I was playing jazz and improvising – as opposed to the many other Bach-bashing pianists – encouraged me to stick with the piano. When I asked my brother, however, he suggested I take up the drums. Perhaps he had seen some natural talent that day on the pier, or maybe he just wanted a drumkit in the house for him to rehearse on with his own band at the time! Either way, once again his words were paramount and my parents kindly signed me up for a term of lessons, understandably, before they would commit to purchasing such a large and dynamic instrument. The lessons went well and within six months I was swinging away (or at least trying to) on my wine-coloured Pearl Export.

    Image © Gabriela Szeplaki.

    I have since realised how unusual it is to sit down at your first ever drumkit and attempt to play swing grooves à la Elvin Jones, as opposed to the more common rock beat #1. This unconventional route was confirmed by my decision, once again at the prompting of my brother (surprise, surprise), to take transition year out of secondary school and take the same one-year music performance certificate course at Newpark Music Centre that had set him on his way some years beforehand. Later, after I finished my Leaving Certificate, that course became the first year of a four-year music degree programme that I went on to complete.

    This deeper delve into the world of jazz, and the connections that I had made through my brother’s involvement in the scene, meant I gained lots of experience in situations that technically I was probably unready for. I now believe this was an invaluable part of my musical education, meaning there was always a creative or musical reason for practising, as opposed to practising a mechanical exercise purely with the goal of ‘being able to’.

    These formative experiences, absorbing music from somebody I looked up to, learning the piano before the drums, and playing with a variety of seasoned musicians gaining valuable insight into the necessities of a drummer, have made me the musician I am today. And what kind of musician is that?

    Well, I feel hugely privileged to play drums in a lot of different projects, in many different contexts and with musicians from a wide variety of backgrounds. I am at a stage, twenty years on from that day on the pier, where almost every day I get to play with people I respect and love, and whose music I care about.

    My foremost aspiration is to make all of that music sound as honest and real as possible. Amazingly, all of the musicians I play with trust me to make the most appropriate choices for each situation.

    I do not think of myself as a drummer, but as a musician that happens to sit down behind a drumkit (no longer a wine-coloured Export!). For this I thank my brother (who is still very much involved in music too), along with the rest of my ever-supportive family, including parents who have travelled as far as Paris, Cologne and New York to see me perform. Thank you.

    www.matthewjacobsonmusic.com

    Featured Image: © Gabriela Szeplaki.

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    Image © Gabriela Szeplaki.