Category Archives: literature

Famous writer pinches things in Regents Park

 

From Alan Bennett’s Keeping On Keeping On

I was given this book for Christmas and am now on page 361 out of 753. Quite a bit to go which is great as I won’t want it to end.

Also reviewing another book at the same time and the temptation, with KOKO, is to pick up a pen and make notes. Fatal. I’d be making notes all the time.

Here’s one anecdote out of many: he cycles through  Regent’s Park every day for the exercise but one day it’s raining so he walks.

“Almost out of piety and a respect for a tradition I filch a couple of  branches from the base of  a balsam poplar  on the north side of Regent’s Park. The buds are hardly open  and thus are briefly heavily scented.  Now in a glass on the sitting room mantelpiece they bring a flavour to the room as they have done every spring for the last forty years.”

http://www.maryrussell.info

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Books my mother gave me

 

 

It was a chance remark overheard on a train, someone recalling a book given to them by their mother, not one I recognised.

Mine were The Hound of Heaven and the Rubaiyat of Omar Khayyam. The first has a blue cover and the other a soft leather cover, smooth to the touch. I can feel it now. But wait – they have long since disappeared, shoved into battered cases and pushed under the bed. Or stowed in black plastic sacks and carried from one Earls Court bedsit to another and then lost on the momentous journey that led to married life.

Lost but not gone for they were treasured gifts from my mother to my teenage self in the days before teenagers were invented, categorised as YA, isolated in bookshops  a month and cut off from the chequerboard of poetry.

And so, some years,  I give myself a treat by swearing faithfully to read  a book of poetry a month.

Last time I did this, about ten years ago, I kept my New Year’s Resolution for three or four months and then forgot….

I may do better this year though then again I may not.

I can’t recall how I heard about Portadown poet Sam  Gardiner. Perhaps it was his marvellous witty poem  Protestant Windows for it was this one that made me buy the book – published by Lagan Press in 2000.

 

 

Here’s the poem:

 

 

Protestant Windows

 

They come at sunset peddling daylight, two

Salesmen wearing glasses through which they view

His shabby sliding sashes with disdain.

“Wood?” they suppose and feign

Dismay. “Yes, comes from trees.”

And he raises the drawbridge ten degrees,

a hurdle to reservists

but child’s play to frontline evangelists

with news of paradise

in earth ( at this address to be precise)

in whitest white PVC.

 

“Think of all

the blessings. And if economical

heavenly comfort isn’t what you need,

think of our Earth,” they plead

and their plastic-rimmed, double-glazed eyes glow

with love for generations of window

salesmen as yet unborn.“If I were you,

I’d save  my CO2

For atheists and papists. I doubt

They even know about King Billy.” “Who?” “William lll to you,

Brought sliding sashes to

Britain. Fetched in pure air and sanity.

Without him we’d still be in the dark.

“Sorry, we must go. It’s late,” they say

And beat a retreat to the gate,

And pause. Quick as a flash

He raises an effortlessly sliding sash

For a parting shot. “Plastic heretics!”

He shouts. The window sticks.

He lugs, a sash cord snaps. The window  drops

On his head, where it stops.

Latimer and Ridley know how he feels

As bloodied, martyred for his faith, he reels

Towards eternity,

Where planets, the  latest novelty,

Are looking less and less

Like being a success.

 

 

If you liked this blog, maybe have a look at my website: http://www.maryrussell.info  – and keep in touch.

 

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Always the bridesmaid?

Went last week  to see Pinter’s No Man’s Land at London’s Aldwych Theatre, starring Patrick Stewart and Ian McKellan.

Patrick Stewart had lost his voice and so his understudy took over.

At the end of the play. Ian McKellan came forward and praised the performance of the understudy. And quite rightly as it was excellent.

Two points: as the cast were taking their curtain calls ( there were three) McKellan kept the understudy’s hand  in his – a brotherly gesture or an attempt to prevent the understudy from stepping forward to take a well-earned applause of his own? Still, that’s the theatre for you.

And the second point? McKellan got the understudy’s name wrong so here it is:  Andrew Jarvis.

If you’re interested in the plight of the understudy – always the bridesmaid never the bride – have a look at David Weston’s excellent book Covering McKellan. He spent a year as understudy to Ian McKellan when the latter was touring Lear.

Poignant but a story that has to be told. All part of the theatre canon.

 

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Bob Crowley’s sexy set.

I was lucky to see the production of Les Liaisons Dangereuses at Stratford, directed by Howard Davies who, sadly,has just died.

I returned Stratford  a week later having persuaded the Irish paper for which I was then freelancing that it should be reviewed, pitching  it to the paper as something that should be covered since the set designer was Irish, from Cork.

Bob Crowley was his name. Still is. And it was his set that mesmerised me:  a larger than life chest of drawers  out of which was spilling an array of white, gauzy female underwear.

Alan Rickman and Juliet Stevenson were in the lead but I couldn’t take my eyes off that chest of drawers. Brilliant.

 

 

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Hisham Matar and the lost father.

His latest boook, The Return, has just been broadcast on BBC R 4.

It is heartbreaking and for that reason I don’t think I can now read the book. On the other  hand, it is so heartbreaking that I know I must read it.

The Return is  a memoir about his search for the father he fears he will never find.

In the Country of Men, a novel, is about a child’s search for his father. It ranks high in my chosen books and I have always been glad I read it. I am now reading it again.

It is about a marvellous man – the father in the story – who disappears from his home in Libya, is sought in Cairo and disappears again.

Since writing the novel, Matar has gone in search of his father again and so found out more about him.  The memoir is about loss and also about the man who has  been lost.  Lost forever? Only the writer knows.

The final sentences in the radio broadcast were so powerful that I was left alone, in the silent kitchen, the only other person there with me Hisham Matar.

 

 

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