As many of you know — The Forest is in real danger of losing their premises to property developers who may turn this vital community space into a Tesco, Costa Coffee, or Pub / Club Complex a la Frankenstein’s. Currently, The Forest is seeking community support and donations in order to BUY THE BUILDING and ensure there is an open and free social space for artists and organizers of all sorts to meet and play. Please help The Forest by making a donation or — if you can’t donate — consider Stolen Stories as an excellent Stocking Stuffer. It is crammed with great stories, has a beautiful cover by Martin McKenna and fits right in your pocket. Like all good stolen things. Love the arts / support the arts. You can read more about The Forest campaign on The Guardian Blog.
Along with my first ever full collection Tomorrow, We Will Live Here — November has seen a bunch of poems published in foreign magazines meaning you’ll be unlikely to read them. However, if you speak Turkish or Serbian, and have been dying to read my work — well, this is your lucky day!
This is all the outcome of the wonderful Word Express project which had me travelling in Serbia, Macedonia and Turkey earlier this month. The project involves dozens of excellent writers and translators who it has been a massive privilege to work with.
Many thanks to Milan Dobri?i? at Treci Trg who did the Serbian translations and to Efe Duyan & Gokçenur Ç who did the Turkish work. And, of course, my deep appreciation for all the good people who put the Word Express project together.
November 2010: A translation of “A Raincoat, A Spell of Rain Ago” published in the Turkish magazine Akbük.
November 2010: Translations of “Babel” and “The Apartment” appear in the Turkish publication of the Word Express Anthology 2010
November 2010: Translations of “Untitled (Howe)”, “The Ocean I Call Mine”, “Window” & “Unfinished Rooms” appear in the Serbian magazine Treci Trg
And here’s a little video of me reading “The Apartment” at the Nazim Hikmet Cultural Centre, Istanbul. This a wonderful bookshop, restaurant, cafe. If one is in Istanbul, one should find it. It reminded me of The Forest.
If you’ve been following the Save The Forest campaign, you know that the premises at 3 Bristo Place is up for sale. This means costly relocation, closure or The FOREST buys the building. Everyone can help the cause and I’ll hope you’ll consider buying one of these fine anthologies from Forest Publications. All proceeds will go directly to buying or relocating The Forest and you’ll get a lovely anthology of the finest new writing, and great music! Support this worthwhile cause. See below for all the details of go directly to Forest Publication’s on-line store to make a purchase!
If you enjoy words, the answer is ‘yes’. If you enjoy sounds, the answer is ‘yes’. Even if you have not answered ‘yes’, the answer is still ‘yes’. For The Golden Hour Book Volume II is not just a book: it is also a natural resource that may save your life. Its pages will burn without being consumed. It keeps tigers away.
The accompanying CD is equally essential: it can be used as a plate, or better still, sharpened and thrown like a shuriken into the throat of your enemy. Even if the end approaches, there is still the consolation of the words and sounds within — fine poems, stories, and songs from over three dozen poets, writers and musicians — all of which are guaranteed to take your mind off things.
‘There is genuine wit, deep feeling and real entertainment in this most enjoyable volume. Light-hearted and serious by turns, The Golden Hour Book Volume II contains some of the best and freshest new writing I have come across for quite a while.’
– Ron Butlin, Edinburgh Makar
Words From
Ericka Duffy, When We Were Broke
Andrew Philip, The Melody at Night, With You; The Berlin Jar; Watergaw
Jane Griffiths, Lessons From My First Giraffe, Laws of Physics, St Stephen Place
Spencer Thompson, Pancake, Am I a Bastard?
Julia Boll, A House in Disorder
Gloria Dawson, Lapse, A La Fin Tu Es Las
Benjamin Morris, What I Like in Fights, The Apricot Pit, Hitchin
Jason Morton, The Basics of Time Travel
Kapka Kassabova, Buenos Aires: When I Return
Alan Gillis, Anglican, Sifting Through
Kona Macphee, Leprosy, fen train
Phil Harrison, The Birds, Like
Nick Holdstock, A Golden Bowl
Aiko Harman, Lunch, Dragon Sculpting
Russell Jones, The Electric, How to Kill a Blackbird, B. 1984
Robert Alan Jamieson, The Commissioners Investigate
Jane Flett, Flamingos
Claire Askew, Flash; Dreaming My Mother: Tynefield, Penrith, 1974
Ryan Van Winkle, Open the Connections, She Says; Waiting for the Ocean; The Apartment
Lindsay Bower, What it’s Like When You’re Older
Music From
Billy Liar, It Starts Here
Vadoinmessico, Cave
Mat Riviere, FYH
Tuberians, Tuberians Have Landed
Bob Hilary & The Massive Mellow, Hear Mi
The Black Diamond Express, Jack
Asazi Space Funk Explosion, Syababona
Kevin Molloy, Goddess Of The Rain
Sarazin Blake, India Or Spain
Skeleton Bob, Love Song
Diddley Squat, Camel Song
Robin Grey, Women
Mammoth, Sunshine
Groaner & Heid, Massive Genius
Jonny Berliner, Kneeling Down
Poor Edward, Children Of Little Or No Importance
Francois & The Atlas Mountains, I’m So Glad I Met You
Chandra, Malaika
Jack Richold, Lady Of The Calico
Withered Hand, Takeaway Food
Reviews
“The CD sounds like that tent you find in the middle of the madness of one of the larger festivals. You know the tent, the one where you have no idea who any of the people on the stage are, but you find yourself staying there all day just to see who’s on next. With over 20 contributors, including the likes of Billy Liar, Withered hand, Skeleton Bob, Johnny Berliner, Chandra and The Black Diamond Express amongst others, I can almost guarantee that your new favourite song is contained within, waiting to be discovered.
‘When we Were Broke’ by Ericka Duffy is possibly one of the most beautiful and true stories I have ever read. It’s been a long time since a story has made me choke up. Other highlights, which are hard to pick out from a book made up of highlights, include ‘The Birds, Like’ by Phil Harrison, a wickedly captivating tale told from the point of view of a frustrated bully, and the poem ‘Lunch’ by Aiko Harman, if only because it mentions peanut butter, which in my world is a condiment. All in all this collection is a superb little package that you will return to over and over, highly recommended. ” – Unpeeled.com, Nov 2009
“A very impressive literary and music anthology. A dinky little paperback packed with stories and poetry, most of which are very good indeed, and a 20 track CD full of bands I have never heard of but also mostly splendid. (****)” – Scott Pack, Dec 2009
“An eclectic, experimental, gently explosive treasure trove that brings together some of the creative combustions which light up the Forest Cafe.” – Edinburgh Evening News, 2 Jan 2010
“Reviewing this collection is like trying to herd cats into a sack — beautiful cats, strangely furred rippling, not quite tamed. It is a bold and commendable venture: to give voice to a number of (relatively) unknown artists although many of the writers have been short-listed for or won prizes. The Forest is to be applauded for the originality of this project. There is simply too much to cram into this review …. Best thing to do: buy a copy. Invite some friends round. Open some bottles. Host your own Golden Hour. Dance to poetry. Then do it again next week.” – Northwords Now, Autumn 2009
A small measure of how busy I’ve been with the Save the Forest campaign and the release of my book Tomorrow, We Will Live Hereis how long it has taken me to mention this wonderful podcast. Colin Fraser, our intrepid producer, did an excellent job of splicing together the choicest moments of the past year of podcasts featuring some of our favourite moments. If you’ve not listened to our podcast, this is a great example of the variety and talent on display every week. Also, since it was Halloween, we have the world-premier of White Heath‘s version of Goethe’s ‘The Erlking’. It is a fantastic track for any time of year. So make sure to give it a listen if you haven’t already! Here’s the link to info about the Erlking, including lyrics in German & English http://en.wikipedia.org/wiki/Der_Erlk%C3%B6nigRyan
In our anniversary edition we look back on the podcasts we’ve produced over 52 episodes. Featuring a few excerpts from the past year including the Itinerant Poetry Librarian at StAnza, Kim Edgar’s musical response to John Glenday, Owen Sheers, Kei Miller, Kapka Kassabova and David O’Docherty. We also feature a brand new Halloween track – the Erlking – by a great friend of the Forest and the podcast, White Heath. Presented by Ryan Van Winkle. Produced by Colin Fraser of Anon Poetry Magazine. Music by Ewen Maclean. Twitter: @byleaveswelive & @anonpoetry. Mail: splpodcast@gmail.com
White Heath are an Edinburgh-based 5 piece who recently signed to Glasgow record label Electric Honey – one time home to Biffy Clyro and Belle & Sebastian. They are currently recording their as yet untitled debut album with producer Jim Sutherland and engineer Graeme Steel at Stow College. Watch this space for upcoming gigs, releases and news.
In support of my first collection of poems — Tomorrow, We Will Live Here — I embarked on a ‘Virtual Book Tour’ visiting blogs all over the world. Well, mostly in English speaking countries. I talked waaaaaay too much in these blogs so I’m going to say very little here. You can follow the links below to find fodder for why you should hate me OR just Buy The Book. It will make a wonderfully ironic Christmas present. Thanks to everyone who let me appear on their space. Thanks for the great questions and for the kind indulgence!
Ryan discussed his dream poet/musician collaboration, amongst other things, whilst preparing to read at the Crashaw Prize launch at the Phoenix Artist Club watch the video
‘I’ and ‘we’ feature in many of your poems. Would you class yourself as a confessional poet? Or at least in the general line of Robert Lowell, Sylvia Plath, and Sharon Olds?
No, I don’t think I would, though I at times… read more
DAN: Do you find it liberating to purge the melancholia into your work?
RYAN: Meth, as you know, I am happiest when I am most uncomfortable. This is why we went to a guerilla saloon in Kelv, visited the worst town in Mexico and why we laughed so much while hitchhiking through the desert at night while being followed by rabid wolves. Other people would want to be poolside. Other people would go to a Greek island. But “we pursue the darkness and there we find the light of joy.” – Zemeckis, (1988)
Meeting Andrew Greig and seeing him read from his book ‘At the Loch of the Green Corrie’ was a massive pleasure. Not only is Greig an amazing reader and writer — he is a genuinely good and giving man who supports young writers and the Scottish literary community and is a direct line to the legendary Norman McCaig. His book about McCaig was adapted into a BBC documentary featuring Billy Connolly and was a great hit. Hear him read from the book, discuss his influences and generally banter in one of the most pleasurable interviews I’ve ever done. Enjoy. R
As part of the centenary celebrations for Norman MacCaig, Ryan chats to poet and novelist Andrew Greig about his recent book, At the Loch of the Green Corrie, about his quest to find MacCaig’s favourite fishing spot. Presented by Ryan Van Winkle. Produced by Colin Fraser of Anon Poetry Magazine. Music by Ewen Maclean. Twitter: @byleaveswelive & @anonpoetry. Mail: splpodcast@gmail.com
Andrew Greig was born in Bannockburn, and studied Philosophy at the University of Edinburgh. Summit Fever (1985) and Kingdoms of Experience (1986) chronicle his participation in major climbing expeditions. His six books of poetry range from short love lyrics to the epic Men on Ice (1977) and Western Swing, an ironic play on the Grail quest. He has also written five novels, including When They Lay Bare (1999), based on the Border ballad ‘The Twa Corbies’, and In Another Light, set in Orkney and Penang. His poem ‘Orkney / This Life’ is included in the Scottish Poetry Library’s anthology Intimate Expanses. In Another Light was awarded the Saltire Society Prize for Book of the Year 2004. His This Life, This Life: Selected Poems 1970-2006 was published by Bloodaxe in 2006. At the Loch of the Green Corrie is his latest book.
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.
Judy Paterson and I met by accident at the Edinburgh International Book Festival. We were sipping a bit of that old friendship maker — Whiskey — and one thing led to another. I got my mic out and well … one thing led to another and we got a podcast. Enjoy. x
This week we feature a special treat in the guise of storyteller Judy Paterson who Ryan chatted to at this year’s Edinburgh International Book Festival. She chats about the relationship between storytelling and poetry, her own experiences as a child with Shakespeare and lets you know where you can find storytellers in Edinburgh. Presented by Ryan Van Winkle. Produced by Colin Fraser of Anon Poetry Magazine. Music by Ewen Maclean. Twitter: @byleaveswelive & @anonpoetry. Mail: splpodcast@gmail.com
Judy Paterson’s work reflects a lifelong love of history, fairytales, myths and legends from around the world and especially the countries in which she have lived; Australia, Papua New Guinea and of course Scotland.
I’m really pleased to be reading in Newington Library with our good friend and excellent poet — Mr Andrew Philip. Andy is one of the finest poets working in Edinburgh and setting up this reading was my way of getting the pleasure of seeing him read again. It will be your pleasure too. So come down to the library and see Andrew and I. Also, there will be some wine. Which is always very nice. Yum.
Here’s the blurby blurb:
An Evening of Poems…
Tue. 23 Nov. 19.00 – 20.00
Featuring Ryan Van Winkle and Andrew Philip. Philip’s ‘The Ambulance box’, has been short-listed for the Forward and Seamus Heany prizes. His moving poems explore loss and discovery while addressing the death of his first child. One of our favourite Edinburgh poets. Ryan Van Winkle is Reader in Residence at the Scottish Poetry Library and his book, ‘Tomorrow, We Will Live Here’ is focused on parting from America. His collection won the Crashaw Prize in 2009.
White Heath are an Edinburgh-based 5 piece who recently signed to Glasgow record label Electric Honey – one time home to Biffy Clyro and Belle & Sebastian. They are currently recording their as yet untitled debut album with producer Jim Sutherland and engineer Graeme Steel at Stow College. Watch this space for upcoming gigs, releases and news.
Andrew Greig was born in Bannockburn, and studied Philosophy at the University of Edinburgh. Summit Fever (1985) and Kingdoms of Experience (1986) chronicle his participation in major climbing expeditions. His six books of poetry range from short love lyrics to the epic Men on Ice (1977) and Western Swing, an ironic play on the Grail quest. He has also written five novels, including When They Lay Bare (1999), based on the Border ballad ‘The Twa Corbies’, and In Another Light, set in Orkney and Penang. His poem ‘Orkney / This Life’ is included in the Scottish Poetry Library’s anthology Intimate Expanses. In Another Light was awarded the Saltire Society Prize for Book of the Year 2004. His This Life, This Life: Selected Poems 1970-2006 was published by Bloodaxe in 2006. At the Loch of the Green Corrie is his latest book.
Judy Paterson’s work reflects a lifelong love of history, fairytales, myths and legends from around the world and especially the countries in which she have lived; Australia, Papua New Guinea and of course Scotland.
