I mostly read The Breakup Monologues: The Unexpected Joy of Heartbreak over the course of one weekend, author and comedian Rosie Wilby’s conversational stage persona making it easily digestible and impossible to put down on a sunny weekend with few commitments. Mirroring the non-linear nature of breakups, the book flits back and forth in time, marked B.G. (Before Girlfriend) and A.G. (After Girlfriend). Using ever-changing vocabulary to describe a number of different ‘ghosting’ methods, the book delves into Wilby’s dating and breakup history, alongside incredulous anecdotes from others. The driving point of the book, inspired by the podcast of the same name, is that each breakup can teach us something. Despite this, the romantic in me can’t help but hope that Wilby, equipped with the knowledge and experience of past relationships, might find a happy ever after with Girlfriend. With this mixed sense of hope and impending doom, the book itself mirrors the structure of an uncertain relationship.
Content warning: references to and short descriptions of sexual harassment, sexual violence, xenophobia, homophobic & transphobic abuse.
Made by Sea and Wood, in Darkness, the debut novel by Alexandros Plasatis, weaves together a collage of stories that tell the experience of Egyptian immigrants in Greece through a variety of voices. The stories are primarily set in and around Café Papaya in Kavala, where Pavlo the waiter works nights, acting as both a main character and an observer of the Egyptian fishermen. In snapshots of a male underworld, violence dominates this narrative, as the central female character Angie the barmaid fights against being cast as a victim.
January 2021 saw the start of the Living Record Festival, which featured over forty artists and theatre companies showcasing digital work, from spoken word audio pieces to mini-web series. It has garnered many four-star and five-star reviews. In the second part of this two-part series, Carmina Masoliver discusses her remaining picks of the festival’s most interesting shows. You can read part one here.
January 2021 saw the start of the Living Record Festival, which featured over forty artists and theatre companies showcasing digital work, from spoken word audio pieces to mini-web series. It has garnered many four-star and five-star reviews. In this two-part series, Carmina Masoliver discusses her picks of the festival’s most interesting shows. You can read part two here.
by The Norwich Radical team
At year’s end, many of us feel the pull to try and put a positive spin on the preceding 12 month period – to celebrate its joys, while recognising its difficulties in order to put them behind us as we look to the new year with a hopeful eye. At the end of 2020, it is particularly difficult to find a positive angle from which to look back, or forward. The slow-motion explosion that is Brexit has rolled on, the UK government that came to power just over a year ago has taken every opportunity to demonstrate its incompetence and corruption, and the mainstream media has continued to side with the powerful over the marginalised. And then there’s the elephant in every room – the Covid-19 pandemic, which has pushed many of the institutions we rely on to breaking point, revealing just how little many governments care about the lives of their more vulnerable citizens.
I recently moved to Forest Hill, and amongst the shops, pubs and restaurants, I found a pop-up gallery displaying the work of local artist Maria Luisa Azzini. Normally found in Greenwich Market, Azzini is originally from Florence, Italy, though she has been based in London for nearly twenty years now.
In the present times, the visual arts is just one of the many industries that needs support, with arguably very few industries not heavily impacted by the COVID-19 pandemic. It’s possible to buy Azzini’s work from as little as £45 for a print (£55 framed), to a few hundred pounds for an original painting. Each print is unique as Azzini touches them up with small strokes of silver and gold.
‘I do not take photos/I give them/as I always give/in love’, the protagonist of Christine Sloan Stoddard’s poetry/photography collection Heaven is a Photograph declares, a characteristically bold admission of vulnerability. These lines, taken from the poem ‘Unrequited Pixels’, evoke an overarching theme of the collection: the emotional intensity of the protagonist’s relationship with photography. Charting the protagonist’s journey, from a childhood as the daughter of a photographer to becoming a photographer herself, Stoddard’s brief and beautiful collection explores the power of both photography and photographer – through a deft and deeply meta combination of verse and photography itself.
Content warning: brief references to sexual assault
The Barging Buddhi and Other Poems takes us on a journey from human expectations that are created within a set culture, to more cosmic climbs, from which we are brought back to earth with the fragility of life, to then be connected to a wider sense of nature. Sunita Thind’s poetry is rich, sensual and visual. Although her numerous questions throughout the collection hint at self-doubt and uncertainty, she shows a strong sense of voice that is not easily contained, like the ‘pyrotechnical parrots’ she describes, how humans ‘clip their wings to capture the fury of their rainbow constellations / humans devouring them like black holes / sequestered in monster iron cages.’ The collection is strongest when assertive, using imperatives: ‘delete the tears’, ‘stain me’, maroon me.’
The Solstice Shorts Festival is an international festival held on 21st December of each year, and includes short stories, poems and songs. In 2019, it was held in seven port towns across four different countries (England, Scotland, Wales and Portugal). The theme was ‘Time and Tide’, with performers sharing work about making a living on or beside the water, and making new lives over the water. Arachne Press funded the event, along with 50 crowd funders, Arts Council England, Aberdeenshire Council, and Literature Wales. The press is directed by Cherry Potts, who edits/co-edits all the anthology. She also runs the festival connected with this book, and is one example of just one of the independent feminist ventures that makes up the live literature scene in the UK.