Tuesday, December 27, 2022

FINISHED READING - Conviction by Denis Mina


 










Anna is having a really tough time at home. Her marriage is not in good nick, they are barely on speaking terms. Then her husband Hamish declares he's going off with her best friend Estelle, and taking the children with him. Whilst her world is falling apart Anna seeks some respite by escaping into the world of true crime podcasts. The crime being investigated is one of multiple murders, a boat is sunk by an explosion, a father, son and daughter all drowned. Anna begins to recognise some of the people who were murdered. She knew them in her own past, that murky controversial past, that she has done her best to conceal or bury from everyone close to her knowing about. Estelle's ex boyfriend Fin Cohen, a drug addled pop star who has eating disorders, turns up on her doorstop. Anna decides maybe now is the time to sort out the mess from her past, and Fin initially comes along for the ride. They end up shooting across the length and breadth of the UK & Europe, trying to ascertain what happened on that boat, and who was really responsible for the deaths, making there own podcasts of their investigations as they go. Constantly trying to keep one step ahead of the hit-men assassins who are in ruthless hot pursuit.

Denis Mina's novel is structured very cleverly. Initially Anna's life and the true crime podcast alternate, but gradually the two story lines begin to intertwine and eventually become inseparable. Likewise you too are drawn into the complexity of relations between all the various protagonists. Its often unbearably tense or gruesome in its details. In one vividly written scene on a train, they are sharing a carriage with the two assassins who they've been trying to evade. The assassins start telling this tale about two assassin friends of theirs who hate each other, but its really about them. There's a palpable level of anxiety that something truly horrible is about to explode into being, but when and towards whom is unclear. Mina is a really compelling crime writer who I look forward to reading more by.


CARROT REVIEW 6/8



Saturday, December 24, 2022

LISTENING TO - No Thank You by Little Simz

 

After winning the Mercury Prize, Little Simz now has a hugely broadened public profile. Until Sometimes I Might Be Introvert, her third album she has had a slow burning upward career trajectory. The reasons for her being somewhat overlooked for so long all look now unconscionable, if not shameful. That album, though rightly lauded, was not perfect. To make it perfect you'd have to take out the portentous monologues she'd sandwiched between some tracks. I can't have been the only one to do that. You could see what she was attempting to do, but these simply did not work for me. But this also goes to show just how musically daring the album was, that despite those clunky interstices, the album remained an exhilarating triumph.

No Thank You, appears to follow relatively quickly on the tails of that success. The classy work she is doing with Info as her producer, is still proving fruitful from the evidence here. It is though, to a degree, running on the momentum from the formula of its predecessor. The experimentation softer, more moderated, subtler. Some of the tracks could be taken for being out takes from SIMBI. Ruminations on her fame, the way she has been treated, as a black woman, as someone in the music business, her mental difficulties with all of that and more, all permeate this album too. There is anger,revenge and some two fingers up are displayed. Themes are re-explored or reformulated.

Strong musical elements are woven through this album, gospel tinged and string arrangements are multi layered and counterpointed with the rhythmic tumbling of Little Simz's words. The first three tracks are a terrific way to begin any album.  Opening with Angel, looped fragments turning over themselves rather beautifully, orchestral breaks flash and subside.'Life doesn't come with presets'.

   

Gorilla is a brilliantly compressed example of a drama.'cut with a different scissor' and is the stand out track from the whole album. A cool double bass looped riff and brass explosions rumble beneath this non stop rant. Silhouette, is slick and minimal, often only a sparse drum beat or choral phrase behind her rhymes, 'You can't touch my soul'

There are, however, tracks like Who Cares, where the loop in the background and the words do not relate strongly enough with each other. They flow passed you largely without much to note.  Vaguely pleasant bumbling and banter. But such moments are rare. One might be tempted to say she is coasting throughout No Thank You, which would be unfair. It does have a huge amount to recommend it. SIMBI had a strong fertile structure running through it, this follow-up falls short in this area, and perhaps dashes any expectations we may hold. Yet if taken on its own terms there is certainly some extremely fine stuff here. Way above a lot of 2022's supposedly top flight releases.

CARROT REVIEW - 6/8



MISS LUCKMORE SAYS - Number Six








 'Desist warning attention to the askew perception of self. Lightest trivia and the local vectors of frivolity are the topics Adonis will be discussing tonight '

From In Fabric 2018


Friday, December 23, 2022

FEATURE. - Terry Hall & Mushtaq












It was two years after 9 /11, and the worlds response to that atrocity was slipping far too easily into a vengeful strategy. Terry Hall hooked up with Mushtaq Omar Uddin a member of the multi-ethnic fusion group Fun-Da-Mental, and Damon Albarn to make a one off album. Hall had been a bit of a gad fly since he'd left The Specials in 1981, with stints in Fun Boy Three, The Colourfield, solo albums and other one off collaborations like this. Released two years later in 2003.

The Hour of Two Lights, is well worth seeking out as it features by far his best work outside of The Specials. Cuttingly political and drily satirical. The album is a ground breaking multi cultural mixing of styles and genres. There are tracks that mine Hall's own past musical styles. Of course throughout there is his characteristic dead pan delivery. Its hard to pick one track to be a representative. But I guess Ten Eleven will do. Referencing the horrific spectacle of people falling from the two towers in a desperate attempt to save themselves being burnt alive. Its jaunty beat seemingly paradoxical and distancing.

Terry Hall was never one to stay quiet. We lost a man this week who dedicated himself to supporting humanity in all its breadth and riches. Blending racial divides being always worth doing, both upholding diversity and defending our similarities. Particularly in a times of increasingly polarised views and more strident posturing. Hall was that rare thing, someone who could be political in his songwriting, without seeming to preach. And a very gifted catchy songwriter too. Because once people like what you are doing musically, they may be more ready to listen to whatever message your music may contain. 

The penultimate track Stand Together is a statement that he put into practice throughout all his musical career.

MISS LUCKMORE SAYS - Number Five

 








'Our perspectives on the spectres of mortality must not be compromised by an askew index of commerce.'

From In Fabric 2018


Thursday, December 22, 2022

MISS LUCKMORE SAYS - Number Four

 








'When your stature is emphasised, it is my duty to provide you with a notion of proportion that reflects your ideal of dimension'

From In Fabric 2018


FAVE RAVES 2022 - Six Things Cheered Me Up

AIR AFRIKAANS
Jnanasalin unearthed this compilation of sketches in the summer, and some of its catch phrases have now entered our collection of in jokes and references. 

HAMZA YASSIN
What an example and inspiration this man has been on Strictly this year. A joy to watch dance, and a lovely natured person to boot. Who has been transformed from a relatively unknown wildlife cameraman and presenter into a bit of a national treasure, in little over three months of competition.

QUORN ADVERT
Its rare that an advert enters into my consciousness so firmly and with so much love for it. This is simply a genius advert that I never tire of viewing

SHINOBU HASHIMOTO
This year I've had a growing fondness for ASMR videos and watching things being made or restored in real time. This Japanese potter is just one of the better examples. I'll watch hours of him just making a teapot.

MEG SALTER
With this phone video Salter nails a certain sort of 'gay washing' that sometimes goes on. The genius authenticity of her acting in this sketch about someone's rather clumsy attempt at ingratiating themselves with 'the gays' is a hoot. 

BROTHER DAVID STEINDL-RAST
Discovering this man's lifes work based on gratefulness, has had quite a strong effect on my practice over the year. A brilliantly gifted communicator with a simple unfussy humility. Without any sense of dumbing down, or empty spiritual cliches, these blessings here remain helpful whether you believe in god, are an atheist, or are not remotely religious at all.


FEATURE - 1817 Candy Drop Roller Restoration

 

I love watching things being restored. This video is sheer delight, the level of attention to detail and amount of work involved. It ends up being in way better condition than it ever was when first made. Just sit back and watch in awe.

Wednesday, December 21, 2022

FAVE RAVES 2022 - Six Books

DOMINION by Tom Holland
The well known The Rest is History podcaster writes in this book about the enduring legacy of Christianity in Western culture, secular society and politics. Most of our liberalism and radicalism somewhat paradoxically arising out of fundamentally Christian values, and hence in our present secular context prove harder to uphold because they are now removed from their original religious justifications. A fascinating read.



FEMINA by Janina Ramirez
An excellent piece if exploration and revisioning of numerous significant female figures from the Anglo Saxon period onward. rescuing them from relative obscurity and bringing them back vividly to life. Quite often early history is about applying imaginative conjecture to fill in the gaps between what is known or is implied, which Ramirez does brilliantly here.





EMPIRELAND
by Sathnam Sanghera
A personal exploration of what is currently a most contentious issue - the British Empire and its legacy. Samghera handles this with a gently questioning, and remarkably nuanced approach. What makes this book quite compulsive read is the way he gently and impartially teases out how the views of Britain's colonial past have not just formed our view of our place in the world, but also reshaped the self view of those cultures we dominated and controlled. 


YOUNG MUNGO
by Douglas Stuart
A strain of two time frames are interwoven through this second novel from the Booker prize winning author. Here we are in the tightly knit world of families and gangs of youth, at war over territory and influence. In the middle of all this pressure to conform to other people's expectations is Mungo, discovering who he is, hiding his first gay affair and a camping weekend that turns into a horrible nightmare. A gripping, gruesome, but slightly structurally weaker follow up to Shuggie Bain.



CASE STUDY by Graeme Macrae Burnet
Another fabulous concoction from Burnet, part faux documentary, biography, crime novel, and exploration of how we establish what is true or not. It wrong foots you very cleverly, and has a truly appalling bad man at its centre in conman psychologist Collins Braithwate.  Fact & Fiction get more blurred as even the crime novelist gets deconstructed. Tense stuff, but scathingly funny too.



THE HOUSEKEEPER & THE PROFESSOR by Yoko Ogawa
The Professor has lost his long term memory, so anyone who becomes his housekeeper has to remind him who he is, who they are, almost every time they meet. This is a delightfully touching tale of friendship and compassion as the housekeeper and her son try to give her charge a more rounded and fulfilling life.


 

 



MISS LUCKMORE SAYS - Number Three








An embellishment of occasion for instance But also the emphasis of comfort and pleasure Thus will you destroy two birds with one stone'

From In Fabric 2018

Tuesday, December 20, 2022

MISS LUCKMORE SAYS - Number Two

 








'There's a lucky man somewhere in the vista of this mysterious mirror'

From In Fabric 2018


FAVE RAVES 2022 - Six Films

POWER OF THE DOG
One can forget quite what a creepy degenerate punch in the belly this film has. Whilst surrounded by all the most ravishing landscapes and real empathy for all her characters, that is inimitably Jane Campion. 




THE HUMAN VOICE
Pedro Almodovar and Tilda Swinton together make this short film adaption of a Cocteau play compulsory viewing. Its a text book lesson in alienation, betrayal and revenge set in the characteristically heightened style, colour and tone, that his fans love.




DRIVE MY CAR
This adaption of a Murakami short story is a poignant piece about grief, betrayal and loss. It's a slow and gently unfolding tale that draws you into the daily world of a driver and her daily client. This film never drags or overextend itself throughout its near three hour running time. Its like an elegy on life taken from in the slow lane. 




THE GREEN KNIGHT
This is a gloriously grissly and very pagan inflected retelling of the classic medieval tale, of the heroic knight, played here by Dev Patel. Who proves himself to be a supremely accomplished acting lead, in this superlative film and cast. Very visually rich fare.




A BEAUTIFUL DAY IN THE NEIGHBOURHOOD
Tom Hanks was made for this film about the children's TV performer Fred Rogers. Rogers appears to be too good to be true, it must be all a front, he is surely a fraud. A cynical journalist arrives anticipating he will do a hatchet job on his subject, instead he ends up having his views of himself challenged and transformed. Uplifting stuff.



DUNE
Dennis Villeneuve finally succeeds where others fell terribly short, and produces a near definitive film version of Frank Herbert's Sci-Fi masterpiece. Grand in its scale, in its soundtrack and visualisation of an entirely different world and culture.









There are other superb films left out here, ( Nomadland, Detroit, First Reformed, Jibaro, You Are Not My Mother, The Eyes of Tammy Faye, Last Night In Soho, The Joker, to name but a few ) but I set myself a limit of six, so six it is.

Monday, December 19, 2022

FINISHED READING - Case Study by Graeme Macrae Burnet


 










Case Study is probably Burnet's best exposition yet of his unique compositional style. Here its a mix of supposedly found notebooks and biographical research, which lead or mislead your expectations as the book progresses. Case Study fascinates you, as it deconstructs both the crime novel and crime novelists, by calling into question, the writer, other peoples veracity, received knowledge and popular misconceptions. Who, if anyone, is telling you the truth here?

The book begins with Burnet being sent a set of notebooks recovered by a Mr Grey. At first he doesn't know whether to take them seriously. But they contain references to recognisable figures from the 1960's, such as R.D.Laing, some incidents appear to tie up with the facts, so he begins to take the contents more seriously. The notebooks are written by a woman whose real name is never mentioned, but who takes on the false name of Rebecca Smyth in order to become a client of Arthur Collins Brathwaite. Braithwaite even at the time they were written, was thought a scurrilously unprincipled psychologist, infamous for writing books on therapy called Kill Your Self and Untherapy. An extensive extract from the latter being quoted verbatim early on in the novel.

The notebooks writer believes Collins Braithwaite's therapeutic method led her vulnerable sister Veronica to commit suicide. Burnet researches into the life of Collins Braithwaite, who is indeed a horrible beast of a man, the epitome of what we would now call 'toxic masculinity'. But what he does have is charisma  and an ability to use it to exert power over women in particular, whose trust he abuses. As the novel progresses it seems, Rebecca herself begins to lose grasp on her real identity, teetering on the edge of suicide herself. Rebecca becomes this sub personality that chides and castigates her over her many perceived failings. Collins Brathwaite ultimately falls from grace  due to an under age sex scandal, and then declines into poverty and delinquency. Believing in his genius to the end.

Blurring the boundaries of fact and fiction is Graeme Macrae Burnet's key writing method. He deliberately turns himself as the writer into an unreliable narrator, as much as the notebooks reputedly written by Rebecca Smyth do. He deftly evokes the time in the sixties when radical and controversial psychological practitioners, such as R D Laing, were becoming known as the popular cutting edge trend of psychology. This forms the colourful and controversial background to Case Study. The predatory nature of Collins Braithwaite creating this horrendous knot of threat right in the centre of the book. He was certainly a rapist, but was he also culpable in other deaths? There is a very satisfying twist at the end that leaves you with an opaque, yet intriguing, conclusion to the novel.

Quite brilliantly conceived, Case Study portrays the character of Braithwaite as such an unappealing personality. Yet,paradoxically, he seems to be the only one who consistently is speaking the truth. Through all the derogatory comments he makes about psychotherapy, therapists being on the make. and clients becoming willingly dependent worshipers at their feet. These are frequently the funniest and most satirically scathing bits in the whole novel. He is a complete charlatan who people fall for, so in a way that proves his analytical method to be true, doesn't it?

CARROT REVIEW - 7/8




MISS LUCKMORE SAYS - Number One








In apprehensions lie the crevices of clarity A provocation, For what else must one wear?'

From In Fabric 2018


Sunday, December 18, 2022

FAVE RAVES 2022 - Six Music Tracks










Click on the Links to see the You Tube Video.

SAULT - Strong/Up all Night
These two joyous tracks from two separate albums have just been constantly played on a weekly basis throughout this year. I just love them to bits. Created by numerous collaborators with the producing wizard that is Info.
Strong
Up All Night

HERCULES & LOVE AFFAIR & ANOHNI - One 
Here we have another musical collaboration made in heaven. everyone at their very best, punchy, political and party floor filling. truly a wonderful thing.
One 

YARD ACT - Rich
Always a sucker for a bit of post-punk prosody. Yard Act I hope will go on to fulfill the potential this early work hints at. This is such fun and yet so satirically pointed.
Rich

BLACK COUNTRY, NEW ROAD - The Place Where He Inserted The Blade
We will know soon enough the impact of Issac Wood leaving BCNR has had. But here we have the band with him doing that gloriously unhinged romanticism they are so good at. 
The Place Where He Inserted The Blade 

MASTER KG
- Jerusalema (Remix) feat Burna Boy & Nomcebo
Thanks to Hamza Yassin this has become a favourite earworm this year. Such a light afro electro beat, yet so addictive, Fab -You - Luss.
Jerusalema

LOW - Disappearing
Mimi Parker's death from cancer robs us of hearing more of the sublime music of Low. Disappearing is such a ravishing bit of groaning noise, and the video to go with it a beautiful thing in itself
Disappearing

Oh, there could have been so many more, but I've decided to discipline myself to six, so six it is..

Saturday, December 17, 2022

LISTENING TO - The Ruby Cord by Richard Dawson














Dawson's new album has all the unpredictable maverick qualities one has come to expect from one of the UK's finest, but unsung, songwriters. It opens with the track The Hermit which comes in at forty one minutes long. Though Dawson is no stranger to longer form epic piece of music, these usually have been around twenty minutes max. Here it begins with what sounds like random noodling on instruments, of musicians warming up. Though it appears to be unstructured there is a gentle plaintiveness pervading this aimless meandering, then eleven minutes in Dawson's characteristically strained vocals enter.

A noticeable structural quality of the tracks on The Ruby Cord, is how the lone voice at the beginning becomes collective and choral by the end. The Hermit sets this musical template. What's the song about?  Well the lyrics, like the music, have a similar cast to them, an opaque elliptical evasive quality. They appear to be taking you on a walk, a close almost microscopic inspection of the natural world. The character of The Hermit, is living on the fringes of society, not necessarily by choice. With a feeling that the hermit is alienated from these things he is looking at. Is this rustic experience then, a real or a virtual one? 

The Ruby Cord, is the final part of a Trilogy. The Peasant gave you the past, as if viewed from a medievalist perspective. 2020 presented a cogent sense of the current state of the nation. The Hermit shows you a post apocalyptic folk infused picture of the future. Its as though the first album The Peasant is now being seen through a gaming console, a landscape explored through headphones and a plasma screen  A world entirely seen through the internet turns everyone into a hermit. The Hermit ends on a sad plangent note, with a slow waltzing choral lament of:-

Tiny cobbles out at sea
Black wall of cloud in the east
And a taper of a rainbow
Faintly aglow
Amidst their wakes











That Dawson released The Hermit as a single is a bit of a statement of intent, in itself. He is not set on fame or riches, but on continuing to plough his own erratic, particular furrow. The rest of the album, continues in the same vein. Thicker than Water has the protagonist looking to his lost family, to find the house where is Mam and Dad used to live. The Fool, that follows, has a wonderful musically rambunctious quality to it as it ambles along. A man is in love. A love that is perhaps not reciprocated or is not going to be long lasting. Yet he carries it with him like a backpack, nonetheless. Holding out for love in a world that has grown loveless.

Museum, invites you into a this civic institution for an now extinct humanity.

Miles of hard corridors,
Dazzling with projected people
Bound in loops of light forevermore 

Ending on a proud electronic thrum of a march that the chorus hum along to. The Tip of an Arrow continues exploring the boundary between virtual and real worlds of knowledge.

That in a world such as today's
Where each person can display
A bounty of data
On the quivering cave wall of their eyeball
At the merest flick of a lash
The only facts of any worth
Are not so easily dispersed
Yes, it matters how we learn
Real knowledge must be earned
Everything else is a husk
Wisdom's simulacrum 

No-one, is a short hail of crackling static, wind sounds processed through an electronic radio filter, bells ringing, comes then goes. The album concludes with a gently rocking folk melody Horse & Rider as two dislocated folk leave their old life, not clinging on to a world that has now crumbled.

I wonder if my lady knows there is no way back
To the world from which she was born
And the only way out is forward and down
Along weed burst motorways we tear
Past the tangled silence of our emptied cities
Over unseen churning seas we go
Never ending passage through the cold and dark.

Though this may sound bleak, it has an uplifting, even hopeful lilt to it, that something will come of leaving behind the remnants of a civilisation that no longer works. 

As I more closely listen to this album it weaves a much stronger experience than you hear at first. It hasn't the grunge and contemporary punchiness of 2020, but paints with kindness a dissolute realm where the best way to survive is to stride off into the wilderness outside the urban dystopia. The Ruby Cord is proving to be a quiet but fabulous thing of depth and engagement.


CARROT REVIEW - 6/8




SCREEN SHOT - Dr Strange & The Multiverse of Madness













This film is utter shite. Two hundred million US dollars worth of well polished golden sparkling techincolour shite. In the the immortal words of Fela Kuti, this is Expensive Shit. Its almost as if the director realised at some point that it wasn't really happening, so decided - let's throw more complexity and money into the mix dude. The problem here is there is not enough shit going on. It thinks its being clever when its just being a dickhead. No one on this films production appears to have heard of the concept 'less is more'.

As a consequence we have incursions from multiple multiverses, multiple Dr Strange and Scarlet Witch, all in a joyless cyclical crescendo of shite. At two hours and six minutes it felt as though it was way way longer than that. This film has no sense of jeopardy, humour, nor proportion over what it is offering up to the visual world. Its a bit like someone shamelessly displaying their genitalia - take a look at my bright shiny knob! The cultural appropriation and trashing of Tibetan Buddhism is also quite appalling. I just did not care about anything it did, for all of its mammoth length. I no longer want to see any actor with arms commandingly raised twinkling their little fingers directing hot air.

I wont give you a story synopsis, not because it doesn't matter, because it doesn't, really it doesn't, but because to do so would be forcing me to relive a primary trauma. What is a truly remarkable feat is that it made Nope, by comparison, acquire a gripping tight story line with well rounded interesting characters you might relate to. Its shite, just shite, from mouth to anus, from grandiose start to interminable end. 

The score is just to reward them for getting up each day to make leaden shite of superlative quality, because it takes a particular talent to do that with such clarity and consistency.

CARROT REVIEW - 1/8


Friday, December 16, 2022

SHORT STORY - Avril & The Head Bands












I read the note regularly over and over, just to see if anything might have been over looked. A hint in its syntax. A small, insignificant emphases that might suddenly catapult me into understanding, an inkling as to why. Why are we hiding? What are we hiding? I've found nothing, am still finding nothing and, yes, sure that's fine, I mean, its still OK by me. How long will this be my course of action? That would really be good to know. In the fast accelerating run up to Christmas. I am quietly going out of my tiny mind here, entirely on my own. Withdrawn, isolated from the people I know and love. The world I am familiar and would celebrate with. I can't even log onto zoom anymore.

Lying low, I know that is not easy for anyone, but for me this is a daily agony.  Weeks and weeks and weeks since the whole lot of us went incognito. I've stayed faithfully within the confines of my loft apartment in docklands. Online deliveries dropped off in the entrance lobby of the apartment block, keeping me fed and watered. I've had to let Irita, my truly wonderful housekeeper go. Because I can't have people coming in and out from outside on a daily basis. This lack of a housekeeper has probably been the hardest thing. Irita, was my companion, my female confidante. I also loved my apartment being immaculately clean and tidy.  I still love it. Unfortunately I do not possess one gene of emotional investment in dirt removal. From the perspective of cleanliness alone, Irita was an absolute godsend. 

I've invested in countless pairs of black Marigolds and Neoprene gloves. Plus applying a level of discipline upon myself, somewhere between forceful and severe, in order to bend the knees, get down and do it for myself. Dear Administrator Geraldine, do you really grasp what you were asking of me - of all people?. Black, my signature colour - fundamentally unforgiving of dust and grime. All my outfits were never meant to be worn with an apron. Let alone the black latex ones I have. I've since bought green overalls. Though somewhat sack like, they do snazzily pull together with a broad leather belt and large chunky buckle, into instant land girl.

Emotionally on edge, I struggle on so many levels. Mostly its to do with invisibility.  No longer on Instagram or What's App. I've had to stop doing my podcast. I feel sooo starved of the street, my performance arena, my physical theatre. The inhalation of car fumes, the smell of takeaways from fat vents, the hustle and bustle, of just simply being out and about, noticing folk, who'd notice me, acknowlede and greet, the small exchanges that prove I'm still alive. 

The phrase 'not to attract undue attention'. Gosh, does that woman realise that this is my whole raison de etre, it is who I am to my very bones. I attract attention to myself. Human beings are naturally orientated towards bringing attention to themselves. It brings their existence into sharper focus. I've transformed myself into a magnet for it. I can suck a gaze dry from fifty paces. I do not like being ignored. Though I'm not there to be pawed, like some rare species of exotic animal. I'm either in total control of a situation, or I walk. I know how to prepare and declare myself for interaction with my people and my world. Through this I know what my power is, and where it lies.

Toning it down, yes, toning it down, after so many years of consciously learning the best way to tone it up. Well that's tricky. How exactly do I do that, without losing my grip? I no longer recognise myself in the mirror. As it is. I have, I'll readily admit, had to let myself go a bit. My black hair has turned more salt and pepper. This Avril, well, to me she resembles an empty vessel, hollowed out, plain faced, as unadorned as an Amish woman. Only on my good days do I make an effort and put makeup on. Even that makes me look like some pasty faced travesty in drag. There is something in doing things just for oneself that I find eternally dispiriting.

I've decided, today, in Christmas week I am going to venture out during the day. Fuck you Administrator Geraldine! I met you once at a social evening, and you made a point of encouraging me to forge my own way. So, I have forged my own way. Today I am fed up with the forced anonymity. In the mornings I stare blankly, with an increasingly yearning intensity into my walk in wardrobe. Rail after rail, shelf after shelf of beautiful couture black dresses, costumes, hats, the accessories, lining all its walls. A carefully coded fashion library. Pondering quite how 'not attracting undue attention' might be applied to one's décolletage. 

A black signature colour - never thought of as subtle is it?. Blending into the background only during the pitch dark of evening. So I have done a bit of late night stalking.  If I want to go out in daylight, however, I must be discrete. Out of sheer desperation, today I delved into the darkest recesses of my walk in wardrobe, in search of an old battered trunk. I had it for my boarding school, run by nuns. It's the one my Father sent me away with. Primarily so I didn't have to witness the endless string of his short lived affairs. Affairs with women who seemed not much older than me. I was not a stupid girl, though he'd keep referring to me as such. I was well aware what was going on. The abrupt changes in dress sense, the dyed hair, all the insignia of a middle aged man misremembering his youth. My Father, bless him, could be so utterly pathetic.

Anyway, that trunk, once I'd unearthed it, contained one or two unexpectedly painful surprises. An advent calendar, one my Father had given me at the beginning of my first autumn term. I so hated him at the time, I refused to even open a door, let alone consume its contents. It looks very sad now, so stained and crushed. It was here, along with my rosary, communion book, satin confirmation dress, and a number of shapeless pinafore dresses, that I found a whole hat box of head bands. 

Was I so in love with these that I formed a collection? No, I did not. I had, and still have, long and usually wildly unruly hair. Hair that straighteners were made for. But at the time I had no access to such a thing. The nuns forbade it. They'd castigate me for indulging in even the smallest vanity. Yet it was they who were so obsessed with how I looked, keeping my hair tidy and out of my face. They'd tried pig tails and other such restraints, before settling on head bands as the ultimate solution. 

These head bands lie in their box, as though wriggling snakes had shed their crumpled skins in there. Coiled, curved and arched in a variety of widths, colours and styles. Crimped crepe ones, shiny satinette, velveteen, but mostly homely floral (yuk) printed fabrics. One for every rite of passage imaginable in a convent school. On the QT I'd transformed a few into leg garters, with badly ruched up rosettes. These felt transgressive at the time, concealed beneath my plain pinafores. Until they were spotted in gym class by another girl, who so disliked me she ratted to the head. All hell broke loose. The words 'precocious whore' spat from their mouths. From then on the nun's were on a persistent mission to 'save me' from myself.

The nuns ultimately failed in their objective to rescue me, but they did set a vital precedent. Clothes, the surface decoration of appearance, would become my ultimate salvation. Not by restraint or demure self denial, but by embracing impulses with relish. Via succumbing to vanity wholeheartedly, I became whole as a woman. It was my religious devotion, one that I prayed for, performed my exculpatory rituals to, prostrated my plain unadorned self before. Drinking from the stream of novelty, worshipping individualism through fashion and it's idolatry. The inherent transience of this requiring me to live, often in their one sole moment of arising. I got very adept at riding the wave, however brief its tenure.

And now, it seemed to me, it might be once again the time for head bands, for a return to dowdier humdrum camouflage. Perhaps I could see this as broadening my presentational range. I've run up a simple pinafore dress, made from a patchwork of fabrics from the school ones. It looks fine, an eccentric bit of 'peasant couture', with contrasting pockets and matching head band. It reminds me of Marie Antoinette, dressed up, pretending to heard sheep. In more normal times I too would have gone for the full Bo Peep, but for now, I must contain my radical impulses. The purpose here is to blend in, not stand out, to be the blandest of bland. So I can then go out and not be noticed.

At first, I haven't ventured far. Just to the mini mart around the corner for a pack of almond fingers, a secret vice! I wasn't out for long, ten to fifteen minutes at most. I felt a mix of excited transgressive feelings and guarded apprehension. With each advent day, I've gone further and further a field.  Until today, I'm well on my way to the Mulberry Estate, where I suspect a couple of my friends might be hanging out. I felt tense with the anticipation of doing so, as I lightly knocked on their door. Only when the door tentatively opened did I know I was right.  Performing a huge Ta da!  I screamed 'Hello Boys, can I come in for a chat, and a seasonal tipple?'





Tuesday, December 13, 2022

SHERINGHAM DIARY No 72 - Revisiting & Remembrance













December 6th
Got back yesterday from a weekend in Cambridge. Primarily we were there for Vidyasiddhi's funeral yesterday. Our return to Cambridge was the first since we left over five years ago. A lot has happened, both here and there, in those intervening years. Our reluctance to return has previously been limited by the time available, a view that the journey getting there was long and an apprehension around the returning itself.

The drive down was smoother than we expected, and could be easily be done in a day if we wished. So that hurdle has now been leaped over. Returning anywhere you've lived for a significant amount of time, is frequently accompanied by tension. Even if your memories are, as ours are, largely good ones. Cambridge physically has not changed that radically. We wandered around noting familiar landmarks, shops, the minor subtle changes. The general vibe though has altered, it's rougher, edgier, grubbier and poorer. Admittedly we were visiting in the winter, in what was a very cold, wet and windy weekend. No one looks more bedraggled than in such bleak weather conditions 

It now has rather ugly looking motorised scooters littering the street corners. Gangs of cyclists and motor cyclists from Deliveroo and Just Eat behave like they're at war on the narrow medieval streets. It has developed a more urban and unpleasant vibe. Lidl and Aldi supermarkets now rub shoulders within a few hundred yards of each other, near the city centre. And whilst Cambridge has always punched way over its size with the types of shops and facilities it can offer, these feel more conspicuously vulgar and showy. Physically it hasn't changed much, but its more the way it is now occupied, with a harder, hostile and less relaxed air. The gap between town and gown has not felt wider.

This impression is no doubt partly affected by our having lived by the coast and its more easy relaxed emotional context. We go to Norwich about twice a year for but a few hours. Spending time in any urban context is better if its a brief one. Dip in and then dip out. Two days in Cambridge, was our longest time spent in a city for many a year.

We both moved to Cambridge originally to be part of the well developed Buddhist culture there and to work for Windhorse:evolution. The latter no longer exists and there has been a consequent and drawn out diaspora of people involved, of which were two. Also, I've left Triratna since then. So returning to the Buddhist Centre for the funeral, with all the attendant anxieties and apprehensions, felt a bit intimidating. But even that proved to be fine.

Vidyasiddhi's funeral, was very carefully curated by him before his death. Composed of some favourite music and apposite poems with a power to touch one's depths and raw emotional tenderness. I was moved by the appreciative remembrances of his friends and a sense of him in all its diverse forms. The sense of something emotionally stirring through out. 









December 8th
As we grow nearer to the Christmas event, the weather uncharacteristically has started to believe its own cliche. Here in the greatest crisis in people's finances for many a year, where being able to afford the cost of energy to warm your own home, is a live issue. The last thing anyone needs is a traditional White Christmas. There isn't enough money in the bank to light a candle let alone an open fire, for some folk.















December 9th
I appear to be coming to the end of the Christmas present buying and posting process. The last thing is cards. To get them off in good time, given postal strikes etc. Our Christmas decorations have been up a few days now, a tad later than is usual. This year the season seems to have become harder to whip up enthusiasm for. Soon though we start planning of Christmas for ourselves. 

The first of our midweek Craft Fairs in Holt got cancelled due to the inclement weather forecast. We have another next week as a replacement. The advance forecast appears OK so fingers are crossed. The shop itself is quiet, with the occasional good -great day. Rumours of Christmas trade coming late, have yet to declare there veracity. But Christmas ain't over til its over, and when it is over we will sure know it is. The New Year entering like a rapidly deflating balloon.










December 12th
This year my advent calendar contains a daily selection of teas. One I am really enjoying. So far its introduced me to White Teas and Oolong Teas, both are such subtle, beautifully delicate teas. The range of teas on offer in the calendar is wide, with no repetitions, nor novelty teas made to taste like batten-burg. Each of my mornings up til Christmas will begin with a moment of a delightful beverage..

I, like many people, probably spend more time on the internet than is really good for my well being. And well being is often a focus for it. Lately I've been surfing the net for information about how to treat acid reflux. So my feed is now feeding me all sorts of crack pot cures. About the best way to sleep to eradicate wrinkles overnight, with more than dubious science. Well, no science, actually. But I can't stop myself becoming clickbate. I'm intregued and just have to know. It's helped me realise that I am perimenopausal.

There are American 'doctors', and I invert commas intentionally here, who just love long copious lists of side effects from say eating bananas. That will bring about your imminent demise if you don't desist in consuming them. What they do suggest you eat comes right at the very end, which you will only discover if you can make it through half an hour of indefatigably tortuous detail. The detail is there to convince you they are the genuine article. What precedes it making the solution when it does arrive seem utterly obvious and banal.The solution to acid reflux by the way is always, to stop eating so much fatty sweet crap. Ah, neurosis thy name is Stephen.


Monday, December 12, 2022

SCREEN SHOT - Flux Gourmet









I'm an enthusiastic follower of the films of Peter Strickland, part homage, part parody, part something else altogether. A heightened exaggerated sensibility exists throughout, with an eccentrically off beat imagination and wit. Whilst The Barbarian Sound System and In Fabric are whiplash smart, there are others, such as the Duke of Burgundy, which I fail to connect with. To the latter I now must add Flux Gourmet. Because simply being incomprehensible is never enough.

We are introduced to the Sonic Catering Institute, a venue sponsoring performance art pieces exploring the sound potential of cooking and alimentary issues. A new three piece group arrives who have won this prestigious residency over another group who constantly attempt to sabotage the whole event. The trio, curiously, have regular sex orgies after each performance and austere silent walks together every morning. The Institute is run by Jan Stevens ( an under used Gwendoline Christie ) whose attempts to steer the creative direction of this new, as yet unnamed, group are constantly rebutted by Elle ( Fatma Mohamed ) the leader of it. The whole event being documented and filmed by Stone a man with a serious gastrointestinal complaint which does eventually feature in one of the groups public performances.

The world of performance art, I had a brief involvement with between 1986-9. It does have its own curious logic, a rarefied aesthetic, plus rivalries and dismissive bitchiness about the authenticity and integrity, or otherwise, of performers. Only those who have had any engagement with this would fully recognise this. If you have seen a lot of  performance art, you would also know that the creative work as shown here is simply not imaginatively out there, deliberately offensive or taboo breaking enough. The art world is an extremely easy, open target to take aim at. To take aim and hit the spot is rare. Performance work almost has the ability to parody itself simply by virtue of existing. So any film wishing to skewer it to the floor has to really know it, which Flux Gourmet fails spectacularly to do. The film Velvet Buzzsaw is a better, perhaps more conventional, recent example. Strickland's script for this film is just not knowing nor sharply incisive enough. 

Flux Gourmet is a half hearted swipe at an artistic clique, the self  referencing within its own bubble, the pretensions, the internalised rationale. All missed. Like some performance art, we are left wondering if this film actually has anything useful or meaningful to say. It does have occasional flashes of brilliance and humour. But if this was your first introduction to the films of Peter Strickland I would not blame you for never wishing to see another, ever again. It comes across as being as portentous as the people its attempting to send up. 

Really Disappointing.

CARROT REVIEW 2/8