A Field Guide to Lost Time

Title: A Field Guide to Lost Time

By: Peter Jaeger

Publisher: if p then q

Published: 2015

A Field Guide to Lost Things is a book to flick through and select passages from; rather than reading it in one go. With two columns to a page, the book, (undefinable by the usual constraints of poetry or prose) is as densely packed as the novel it used as a starting point- Swann’s Way by Marcel Proust.

In his collection Peter Jaeger uses appropriated text from Swann’s Way – specifically the points where it mentions aspects of the natural world. These references have been taken and then arranged in alphabetical order- making it into a kind of natural dictionary of Proust’s imaginary world. The title A Field Guide to Lost Things is a reference to the series of books Swanns Way is volume one of- In Search of Lost Time. The natural aspects explored range from a “Blemish” to a “Blue Sky”.

Jaeger’s work is certainly an interesting literary exercise. It blatantly required a lot of work and eventually a very battered copy of Swann’s Way. Jaeger describes his work as being poetry or text-based art and I think this piece is a mixture of both.

1000 Sonnets

Title: 1000 Sonnets

By: Tim Atkins

Publisher: if p then q

Released: 2010

1000 Sonnets (not literally- its closer to 100) is an experimental collection of poetry that challenges the very meaning of the term “sonnet”. Sonnets are traditionally quite difficult to write, with a standard line length and rhythm structure depending on whether the sonnet is in the Italian style or is Shakespearean. Tim Atkins embraces this 14 line structure, yet also turns it on its head.

Atkin’s sonnets (named after their number in the collection- “Sonnet 1” and so on) are pieced together with words and ellipses into immediate, stuttering poems. The reasons why Atkins writes in this way is a constant challenge for the reader. There are some clues, such as references to physical illness (eg. “kidneys…….breakdown”) and instances of science combined with spirituality.  These could indicate that Atkins is denoting the mechanism of illness; or they could be entirely coincidental.

Imagining how Atkins’ poems may be read aloud adds another layer of mystery to the sonnets. In my head I experimented with sounding the plentiful ellipses as pauses and as beeps. Maybe this aspect of play is part of appreciating the poems fully.

There are few literary references in the collection (apart from the sonnet structure) which suggests that the sonnets came some a raw place inside of Atkins. Perhaps a place that is infertile for mere imitation.

The Gods are Dead

Title: The Gods are Dead

By: Joanna C. Valente

Publisher: Deadly Chaps



Joanna C. Valente has secrets. Secrets that she taunts you with before swiftly pulling away. Reading her new pamphlet “The Gods are Dead” is both a dance and a mission to discover these secrets.

Using Tarot Cards as a basis (especially for titles: “The Fool Forgets who He is”; “The Hanged Man will Ghostwrite Your Life”) Valente crafts poems that fascinate and torture the brain in equal measure. Among the obscure hidden things are very real modern references. The cards of the Major Arcana engage in technology and celebrity culture as much as they do mysterious predictions. It is fair to say that this pamphlet is thick with dualities and duplicitous characters.

Just like a Tarot deck’s spread there are connections between the poems, as there are between cards. For example “The Magicians Day Job as Paparazzi” links back to the previous poem about The Fool. The poems also relate to the cards through their intense symbolism.

The titles Valente comes up with are just as impressive as her poems. My favorite is  “The Hermit Used to Be the Guitarist in Your Favorite Band”. The length of her titles is reminiscent of the alt-lit movement in poetry.

Valente is an impressive poet with a deep understanding of people and their mysteries. I have no doubt her poems could crack open a mystical door in even the most ordinary of brains.

Kind of Blah

Title: Kind of Blah

Band: Frog

Record Company: Audio Antihero

LINK: http://heyitsfrog.bandcamp.com/album/kind-of-blah

Frog’s album Kind of Blah opens with eerie long tones that gradually become music. Just like this beginning the entire album creates an effect of lulling your mind into an odd, but persistent trance. Each song drags you deeper into the soundscape of gentle through though high-pitched voice; and guitars being scratched like you would a cat behind its ears.

Alongside the music we catch glimpses of ambulance sirens, distant shouts and other ambient sounds which frequently serve to ground the music in some kind of alien version of reality.

Overall this album is perfect for relaxing or painting to on a quiet afternoon. It has an atmosphere reminiscent of child drawn from equal parts Coldplay and Radiohead; but also exists way beyond this comparison.



Title: Keen
By: Lauren Gordon
Publisher: Horse Less Press
Published: 2015

Although these poems have a key link to children’s literature (Nancy Drew specifically) they are beautifully serious and adult in nature. However the innocence of a child’s eye is also frequently preserved; giving the poems a dual layered, haunted, quality overall.

The repetition and re-ordering of words which Gordon uses also gives the poems a demented nature- as if they are confused about their own identity. This is a good thing however as the poems then go on to explore this identity clash in detail- this aspect is what fuels the drama of the poems.

The poems are fairly short and spikey despite being split into “Chapters” in part one and “Articles” in part two. This gives the writing a clean and immediate sense, yet also allows Gordon to express complex themes to the reader through intense suggestion.

Overall Keen is an experimental poetry text that uses free verse to poke modern and adult features into well-known and predictable stories. The concept of the books seems at once strange and natural.

“Playing Up” night at Newcastle’s Northern Stage

Playing Up is an exciting new theatre company of emerging writers from the North-East. Amongst the preparations for their scratch night at Northern Stage I caught up with two of the writers involved- Lewis Cuthbert and John Harrison. They were both eager to talk about their new plays- Causeway and Deltic.

Tell me a bit about your play

Lewis: It’s a two-hander. Absurd comedy drama. It’s New Year’s Eve on a remote island. Old friends Colm and Nye meet for their longstanding ritual celebration (Jools Holland from 1996, Guess Who, blueberries, poems, sitting) and to put a brave face on things once again

John: Dave, a member of a local railway society ‘buys’ a Class 37 diesel locomotive and plans to put it in the rear garden of his suburban semi. Dave loves Class 37’s and feels its preservation is being neglected by the society in favour of the more prestigious Deltic locomotive they have recently acquired. Dave’s acquisition quickly brings him into conflict with his Wife, Melanie, his neighbours, the Council Environmental Health department, a vicious local scrap metal dealer and the Police.

Who is your favourite playwright?

Lewis: I’ve got plenty but I’ll go for Harold Pinter at the moment. For the vicious beauty of his language and the work he makes the audience do.

John: Ibsen, Arthur Miller, Shakespeare.

Which playwright has influenced you the most?

Lewis: Lots of people have called this piece Beckettian (which is fair enough given the absurdity and general air of desolation) but I think this piece was probably inspired by Martin McDonagh, if only for the fake Irish accents and repressed violence.

John: I admire how Ibsen and Miller used the theatrical form to critique contemporary society and its values. The controversial nature of their work provoked reaction that was sometimes personally detrimental, yet their dramas neither preach nor sacrifice character, plots, language or structure to political objectives

What compels you to write?

Lewis: I’ve no idea what compels me to write. It’s something I enjoy, a stress-reliever, something that keeps me sane.

John: It brings the reassurance that creativity can occasionally offset the tedium of existence.

Does anything else inspire your writing?

Lewis: Again, quite a hard question. I suppose life in general, snippets of conversation, relationships between people. I’m also reading through the back-catalogue of David ‘not Peep Show’ Mitchell and am very much buoyed by his mastery of different genres.

John: Overheard conversations, media articles, poetry, the writings of Raymond Carver, Haruki Murakami and Jonathan Franzen, and most of all, the love of language and the power of words.

Could you explain a bit about your creative process?

Lewis: Usually I get an abstract idea for a situation or, more likely, one or two characters. I scribble this down somewhere. Forget about it. Come back to it, think ‘ah, this is good’. Forget about it. Then build up a larger world that this character or whatever would fit into. Spend a lot of time sorting out the plot – but not too much or I’ll get bored – then set about writing it. Try to set a specific time aside each day, generally early afternoon, and follow my plan until I draw inexorably towards the close. There’ll generally be a point before then during which I’ll become disheartened with the whole thing, take a lonely walk up Jesmond Dene then get a ‘bright idea’ that sets me back on track. And finally, the rewriting. A terrible but crucial element far too boring to discuss here.

John: For plays, once I have the basic idea, I like to try and sketch out a structure. The aim is to give a story, consider characters and character development, identify where the problem will sit and how it is revealed and think about how that problem will be resolved. Once I have a structure I write to that structure to try and give a first draft. This never materialises in one go as I am often tempted into revision before I have even got a first draft down.

How did you choose the title of your play?

Lewis:The title came first. It was a nice peaceful image. I was originally going to write something set on Holy Island but then I thought the title may have Irish connotations, what with Giant’s Causeway in the North. And it also vaguely fits in with the underlying notion of ‘things are the way they are cause (that’s the) way they are’, which is the thought process of the two characters.

John: The play really about Dave’s love of class 37’s. Class 37 would have been a misleading title so I decided to name it after the more recognisable cuckoo in the nest, the Deltic.

TICKETS ARE AVALIABLE HERE: http://www.northernstage.co.uk/whats-on/Playing-up


Title: Eleven
By: David Lewellyn
Published: 2006
Published by: Seren

Eleven is a novel told entirely in the patter of a thread of inner-office emails. We experience the characters of the book through the emails they send; and some of the emails they don’t send (saved as drafts). It is an interesting way to structure a book and allows for many unreliable narrators to lead a mismatched series of events.

The emails are sent over one day, specifically September 11th 2001. We see the normal life in the office until the twin towers fall and then we see the shock that follows.

Yet even during the world-wide panic, the office workers continue through their day almost the exactly the same way as before the event. This seems to be a comment on how normal life can seem to go on, despite a massive global event that will have an effect on the world for decades. The book is also a comment on the general numbness of modern society, and the role technology plays in this. So no matter what happens on the news the characters remain mostly indifferent. Perhaps they have been numbed by constant dramatic reporting on even minor events.

The book is an interesting one- especially due to its layout. Unfortunately its layout can also be annoying in places and dampens some of the impact of the book.