For seven years Colin Fraser and I have been making the Scottish Poetry Library podcast. In that time I’ve had the opportunity to interview over 100 poets, many of whom you’ll know. In this, our final episode, we look back at some of my favourite moments. In this very special episode, you’ll hear candid clips, bemused moments, revelations and advice from some of the world’s most talented and generous poets. My sincere thanks to everyone who has allowed me to talk with them over the years and we wish Jennifer Williams and Colin Waters the best in helming the SPL podcast from here.
Featuring: Robert Pinsky, Caroline Bird, Sarah Broom, Owen Sheers, Jed Milroy, Matthew Zapruder, Jane Hirshfield, Golan Haji, Sabreen Khadim, Krystelle Bamford, John Glenday, Mark Doty, Paula Meehan, Adam Zagajewski and Mary Ruefle.
And if you want to continue listening to the podcasts Colin & I make, you can find all sorts of conversations on our Culture Laser podcast including favourites like this conversation with the playwright Jo Clifford.
If you enjoyed our final episode or want to share your favourite memories from our SPL podcast you can tweet to [email protected] or just drop me a line. We’d love to hear what were your favourite poetry podcast conversations.
There are many reasons why Mark Vitelli and I came to Edinburgh in September 1999. There are two reasons I came back in 2000 — one was a job, the other knows her own name. But there is only one reason why I still live here today. That reason is, quite simply, The Forest. For those of you who don’t know — The Forest is a volunteer-run, collectively owned, free arts and events space masquerading as a vegetarian cafe which was founded in August 2000 and (as if you can’t do your sums) just celebrated its tenth birthday.
The Forest is many things to many people. An art gallery, a space to share skills and have free workshops, a resource, a place to eat good food, a rehearsal space and more. There has been a pretty comprehensive listing of what The Forest does on The Forest’s website and on the Guardian Blog and if you are interested you can download the press pack but I want to talk about why somebody who doesn’t know or care about The Forest might want to consider donating to help the cause. Here’s a short video to bring you up to speed:
For a decade The Forest has run a vegetarian kitchen. You could call this a business-model: Volunteers work for free in the kitchen, money made from the kitchen goes into supporting The Arts and keeping the place open. This means — paying rent, buying equipment, paint and more. The Forest also supports an independent press, a fringe-theatre, a record label, a community choir, free workshops, a radical library and much much more almost solely through volunteer power alone. We are not sponsored by the government, city council or the arts council and we don’t exist for profit. Mostly, the Forest exists in order to exist.
Now, if you’ve been reading the news you might think — “Well, these young idealists got scuppered by a bad economy and brutal arts cutbacks.” This is not the case. We’ve been running a successful alternative business for years. The problem is — our building is up for sale. This means either a costly, time-consuming and difficult relocation, closure OR — we BUY the building.
Why Buy a Building?
Well, it won’t be easy. But — it can be done. We only need 5,000 donations of £100 and if we don’t know 5,000 people willing to help out — I don’t know who does?
My feeling for why a city centre building is important for the Arts community is a semi-story: I was in Paris at Shakespeare and Co. talking to a guy who was living in the bookshop. Now, Shakespeare and Co are right across from the Notre Dame – an incredibly historic, tourist centre, a place where rent is astronomical. I remember standing there and this guy saying, “I love this place because – surrounded by all this – it is an Anomaly.” And I thought – yeah, it is.
And, the beautiful thing about Forest (to me) is the fact that it too is an anomaly. In an increasingly commercial, logo, corporate, bland, safe, disney-fied world The Forest is an anomaly and a beacon. A flag-ship social enterprise. A place that exists outside of commercial pressures which allows artists and organizers of all types to co-exist, perform, and produce without fear of failing, without fear of economic ruin. This is why young bands from all over the world play The Forest. This is why the Forest Fringe is one of the most unique parts of the Edinburgh Fringe Festival. The Forest allows people to try. Sometimes this happens on stage with a GameBoy (like the chip music festival) and sometimes this happens with hammers and saws as people work together to build kitchens and toilets and hang curtains and paint etc.
From the looks of the world being built around us – there is no earthly reason why Forest should be in a beautiful building in the heart of Edinburgh, doing what it is we do. Providing a space, doing nearly anything folk want and doing it outside the regular way of things. It is even more important now, because, if nothing else we show what giant things can be done when people get together.
Even if you have never been to The Forest — you have to understand the profound and lasting effects this one place has. It is a beacon to other community and artistic-minded people. The Forest has spawned no less than four similar projects (that I know of) — one as far away as South Korea. People who have been involved in The Forest go on to do great and good things — bands like Aberfeldy and Withered Hand and White Heath and St. Jude’s Infirmary and Foxgang and Billy Liar all have had early gigs there. Jed Milroy and Hailey Beavis play together because they met through The Forest. People who help organize events and workshops and festivals at The Forest go on to do similar things in their hometowns, or Berlin or London or elsewhere. Sometimes they make careers out of it. Sometimes they do it for free. Young people with no work experience or people who have not been able to find work in a long time — get skills and confidence and companionship working in the kitchen. In short — ideas are made. Connections. Community. And these things don’t just stay in our building or even our city. They fly to New York and Damascus. They go to Bosnia and Washington D.C. Sometimes they even make it over to Glasgow. Forest mingles and works with other festivals, organizations, and institutions and the people who do things in The Forest spread out and create networks and continue to share and exchange art and information. Ideas and art spread and there is a good chance if you are reading this — then The Forest has touched you too. Maybe not in our building — maybe in a field during Knockengorroch, maybe at a Golden Hour gig at the Edinburgh International Book Festival, maybe through your TenTracks subscription, your visits to The Bowery, Balkanarama, The Roxy or Octopus Diamond? Maybe through Reel Festivals maybe through one of the many ‘zines the Forest Free Press has fostered, maybe via the many touring fingers of Robert Sarazin Blake? I certainly would not be doing what I am doing at the Scottish Poetry Library without it. I would not have had the confidence — I would not have tried and failed and learned and tried again. If you like me, you like The Forest and as friends, I hope you’ll consider lending your financial support.
I recently was watching this video about “Where Good Ideas Come From”. Good ideas need people and places. Places where artists and organizers and interested people and uninterested people can meet and share and play together. I don’t know about you but I want places like this to exist forever. I don’t want people to turn this building into flats or a Costa Coffee or a Sports Pub. There are millions of those. But there are very few genuine alternatives — The Forest is one of them. If The Forest can, through community donations from good-minded spirited people, keep a building then we can be a beacon to others. We can, together, say This is What We Can Do. We can change the world in small ways but those small ways have a lasting affect on people’s lives, their happiness and that is good for everyone.
Ben Lancaster – live via satellite from snowy Canada. What, oh
what, will he wear?
music:
Forest Choir – they will unleash their full might upon you.
Jed Milroy & Hailey Beavis – New and traditional songs from
two of our best friends. Like Christmas morning all over again.
The Stormy Seas – place their brand of ‘aggressive folk’
under the GH tree. Featuring all the stuff you want — guitar, bass drums,
banjo, melodica, squeezebox, fiddle and Sea Shanties with a Punk
attitude.
And if that isn’t enough, here’s a little video treat from The Golden Hour Tour in the Highlands. Featuring: Hailey Bevis, Jed Milroy, Billy Liar and Withered Hand!
One of the nicest things about hosting, performing and touring with the Golden Hour is that I occasionally get to collaborate with great musicians. So, on this podcast I share with you one of my favourites – Jed Milroy and I performing Bluegrass. In the podcast I explain a bit about where the poem comes from but here are some more interesting facts.
* I recorded the vocal part sitting in Jed Milroy’s loo.
* I never lived with anyone named Tuna. The name is an oblique reference to the horrendous Johnny Depp film, Blow. At some point the overweight character named Tuna wanders into the ocean as a solemn Johnny Depp says, “Nobody knows where Tuna went” or something like that. At the time, we found it very funny and it managed to sneak into the poem.
* The poem wouldn’t have been written if I didn’t live with an amazing bunch of people in a huge house in Ithaca during the Summer of 2001. This experiment in communal living was revolutionary but not in the naive way we all expected. Hammocks and skinny-dipping in waterfalls, table football, music and artistic endeavours were all around us. Living closely with a dozen artists and activists changed my life and, in a way, has guided me to this day. We made some mistakes, and we were young enough to believe we could change the world in some way. Then 9/11 happened, the house broke up and the world really did change. This is what we looked like:
* The poem wouldn’t have been written if Jed Milroy, Jack Richold, Andy McKay, and Ian Stoddart didn’t play magnificent bluegrass music every week for a while at The Jazz Bar on Chambers Street. Hearing songs like Wagon Wheel and Loudon Wainwright’s Swimming Song brought me back to America and returned me to the friends I lived with. Thank you Greenman Bluegrass Boys!
Anyway, that’s all a lot of preamble. Here’s the blurb from the SPL site. Let us know how you enjoy the podcast.
Emily Ballou & Bluegrass
“I felt a Funeral, in my Brain…”
Ryan catches up with American/Australian poet Emily Ballou just before her event at the SPL. They discuss what it’s like to be a poet abroad, the influences on her work and her recent collection, The Darwin Poems. We’re also treated to ‘Bluegrass’, a poem by Ryan, with musical accompaniment by Jed Milroy.
A cast of hand-drawn marionettes are magically brought to life. This is what happens at the accidental meeting of inkblots, photocopies, cardboard, angle-poise lamps, the occasional table, video technology, a laptop and a banana box.
The Golden Hour performs on the ferry to Amsterdam
Exciting news! Part one of the Golden Hour Tour diary by Jason Morton and Ericka Duffy is featured on the music and arts website Drowned in Sound! The article documents our travels through Amsterdam and Berlin as far as the Shakespeare and Co. bookshop in Paris, with the upcoming second part following our journey home. It also features a whole bunch of video footage and music from all the performers.
If you weren’t there — you can pretend you were. And if you were there — you can remember the magic.
The Golden Hour is a literary cabaret which has played to sold-out audiences at the Edinburgh Fringe Festival. It is poetry and prose, original eclectic songs and visual amazement. It is physical and mental. It is a reading. It is a gig. It is stunning puppetry. It is a party. It will be in english.
Readers / Writers:
Ryan Van Winkle – poems & stories from the Reader in Residence at the Scottish Poetry Library.
Nick Holdstock – short stories which grow inside you like golden crocuses.
A cast of hand-drawn marionettes are magically brought to life. This is what happens at the accidental meeting of inkblots, photocopies, cardboard, angle-poise lamps, the occasional table, video technology, a laptop and a banana box.
Special Guests
Joining us in Berlin will be the amazing all-dancing Exploading DJ & DJ Dirk Markham
Duets: Withered Hand with Hailey Beavis
TOURDATES:
Please tell everyone you know in these cities. We hope to see you there!
On Monday, April 6th The Bowery (2 Roxburgh Place), in association with Forest Publications, is hosting a special non-Wednesday edition Golden Hour to raise funds for the Golden Hour European Tour! The more we raise, the further we can take our literary cabaret into the continent, so come along, get a free copy of Stolen Stories, and enjoy Edinburgh’s awesomest literary hoedown. It is a reading. It is a gig. It is a party.
The shenanigans start at 8pm! All proceeds help pay for ferries, petrol and sustenance for our upcoming European tour, and every penny will help us take the Golden Hour from Cambridge – Amsterdam – Berlin – Paris – London. So come along to The Bowery!
On Sunday 30 October, 6pm til late, The Golden Hour presents … BONE DIGGER, in which we don our masks & give ourselves a fright.
For seven years Colin Fraser and I have been making the Scottish Poetry Library podcast. In that time I’ve had the opportunity to interview over 100 poets, many of whom you’ll know. In this, our final episode, we look back at some of my favourite moments. In this very special episode, you’ll hear candid clips, bemused moments, revelations and advice from some of the world’s most talented and generous poets. My sincere thanks to everyone who has allowed me to talk with them over the years and we wish Jennifer Williams and Colin Waters the best in helming the SPL podcast from here.
