Sunday, 25 June 2017

Big Sam

This is the final piece from the creative writing course I've just taken. I really enjoyed writing this. I hope you enjoy reading it



The man checks his watch and grins. Same time, same place, every day. He pushes the street cleaning machine up the dropped curb and onto the pavement, stopping in exactly the same spot outside McDonald's as every other morning. He switches the machine off and locks its wheels in place. He checks the heavy-duty black plastic bag; it's half full, just as it should be at this point in his morning routine. He pulls off his gloves and tucks them into his belt before yanking open the heavy glass door and entering the restaurant.

At the counter he orders the same thing he does every morning: bacon and egg mcmuffin with fries and a large black coffee. He waits the few moments it takes for the order to be prepared and then carries it over to his usual table. He settles into the yellow moulded chair, his food and drink carefully arranged in front of him. He starts, as ever, with the coffee. First stirring in three sugars, he takes a sip of the hot, black liquid. The sweet, insipid taste floods his mouth as he swallows, relishing the slight burning sensation at the back of his throat. He unwraps the muffin and takes a large bite. He chews enthusiastically, shoves a few of the fries into his mouth. The muffin is demolished in two more bites and he turns his attention to the fries, finishing them with the same efficiency. He wriggles his ample backside against the smooth, cool plastic of the seat and holds his cardboard coffee cup in both hands.

His colleagues on the council cleaning team can't understand his love for McDonald's, the cheap fast food and watery coffee, or his pleasure at the ritual repeated every morning, but he doesn't care – it's his routine and he's going to stick to it. He smacks his lips as he drains the last of his drink and congratulates himself on a job well done. Gathering up the detritus from his breakfast to be tipped into the bin on his way out, he returns to his cleaning machine on the street.

Big Sam they call him at the council and he knows they laugh at him behind his back because of his routine, but he doesn’t care. Order is important.

***

Sam checks his watch. He grins - he’s done it again. Same time, same place, same ritual. The girl behind the McDonald’s counter smiles at him; she’s already started on his order. He pays for his food with the exact change, and takes his tray to his usual spot.

Sam freezes. He blinks hard and, balancing the tray with one fist, rubs his hand across his eyes. But when he opens his eyes the interloper is still there. A boy sitting, no slouching, in Sam’s seat. The seat that he always sits in. The boy can’t be older than 15, wearing a hoodie and jeans that must be at least three sizes too big. He’s shovelling fries into his mouth, chewing loudly.

Sam doesn’t know what to do. In all the years he’s been coming here this has never happened. He waits. That kid should be on his way to school, Sam thinks, outraged. But the boy shows no sign of moving. Seconds stretch to minutes and Sam’s food is getting cold. He will have to sit down and eat. But where? He manoeuvres to a table close to the invader and sits down.

He tucks into his food, but finds he can’t enjoy it. He eats quickly, glaring at the teenager in his seat. But it makes no difference. The boy doesn’t even notice. Sam abandons the detritus of his meal on the tray and leaves the restaurant.

In his haste, Sam has left the place early; he hasn’t checked his watch and, distressed by the presence of this stranger ruining his carefully planned routine, he isn’t looking where he’s going. The first he sees of the woman is when he collides with her. He’s a big man and he’s moving fast, she doesn’t stand a chance - she goes straight down and lands heavily on her backside. Just like a sack of potatoes, Sam thinks, and immediately recalls the disappointment of eating his fries in the wrong seat.

The woman emits a loud ‘oof!’ as the air is knocked out of her on impact with the pavement. Sam’s attention is pulled to the woman. She’s inspecting her palms, the skin has been scraped off. It stings, but it’s the only injury she’s sustained.

“Oh my word!” Sam exclaims. “I’m so sorry.”

“Sorry?” She squawks. “Sorry won’t get me up off this pavement.”

Abashed, he extends both hands to take hold of her wrists and help her back to her feet. Gently he pulls her to standing and as she rises he realises he knows her. She’s older - who isn’t? - but he would recognise those sparkling light brown eyes anywhere.

“Lottie?” He asks, still holding on to her bird-like wrists. “Lottie Mabuse? I sat next to you in English class.”

Lottie nods, but the look on her face is quizzical. She doesn’t recognise him. And then a smile breaks out, revealing a row of shiny white teeth behind her red lipstick. “Sam Benson,” she says. “You got big. And older. But I guess we all got that.” Rather sadly she touches her greying hair.

“Oh, but we should go out for a drink this evening. Talk about old times.”

Sam is gobsmacked. Go for a drink with this grown-up vision of the girl he had such a crush on at school? But this evening is Gogglebox on the telly and shepherd’s pie for dinner. He thinks about the boy in his seat, about how he wouldn’t have bumped into Lottie if that boy hadn’t been there. He grins and says: “Yes. Let’s do that.”

Monday, 8 May 2017

Disco Inferno

I’m doing a free online course in fiction writing. The piece below was the first writing assignment, inspired by the first thing heard on the radio. I heard Burn, baby, burn! Disco inferno!




DISCO pulled the curly platinum blonde wig off her head to reveal her own short, greying locks. She pulled a face at herself in the mirror, the same one that George the landlord had stuck lightbulbs all round the edge. “Just like a real dressing room in one of them fancy theatres, Dis,” he'd said. “It won't be long till you've got one of your own, one with your name on the door.” But that was 30 years ago, and George and the mirror and the lightbulbs and Disco herself were all still there. “All a bit tarnished now,” she muttered to herself ruefully.

She tugged a baby wipe from the tube on the dressing table and started cleaning off her make-up. Underneath the thick foundation her skin was pale and lined. She was tired, she realised. She'd been Disco Inferno for so long, singing the same songs, performing the same dances, she could barely remember her real name or the mousy girl who had hidden behind the stage make-up and Marilyn Monroe wig.

She was only 50, but she felt like she was 100 years old. It was her birthday; no one had wished her happy birthday, not even George. She picked up the rapidly warming glass of chardonnay and saluted herself. “Half a century and what have you done with your life?” She asked the reflection in the mirror. No career, no family, no husband. George had asked once. Convinced she about to hit the big time, she'd said no. He never asked again.

“We've seen some changes round here, ain't we, Dis?” George had said to her earlier that evening. She grunted non-committally. She didn't want to be reminded of the lost years, of how she hadn't made it out of Deptford, hadn't even made it out of the Dog and Bell.

She dropped the soiled baby wipe in the waste paper bin and tossed back the rest of her wine in one gulp. She buttoned her faux fur coat over the skimpy outfit she knew was too young for her. She pushed open the door into the bar; George was still wiping down tables. “All right, Dis?” He said. “Another drink?”

“No, thanks. I've got to get off home.”

“Course.” He smiled and his face lit up.

He's got kind eyes, she thought. I should have said yes, all those years ago.

“See you next week, then?”

“Yeah, next week.” She smiled back and left the pub.

There was no one about as she walked along Watergate Street, going in the opposite direction to her tiny flat. She stopped at the edge of the Thames and stared down into the dark water. Would it be cold, she wondered. Would her body go numb before the sodden weight of her coat dragged her into the murky depths? “I'm sorry, George,” she whispered into the night, and took one final step.

Thursday, 16 March 2017

Design notes: Stars and stripes crochet fingerless mitts

Learning a new crochet stitch inspired these warm and comfy fingerless mitts, the pattern for which is my first on Love Crochet




THIS pattern was inspired by a video on how to crochet the star stitch, which popped up on my Facebook timeline. How might I use that stitch? I asked myself and these fingerless mitts were what I came up with.

The star stitch creates a very thick, stiff fabric that I thought would make a really cosy mitt. The yarn I used was left over from another project, but I thought it would be ideal for this one. It’s acrylic so hard wearing but also very soft. An aran weight, it crochets up quickly and the colours really show off the pattern.

I really like the stripped effect and the way the yarn really shows off the star pattern

I wanted a ribbed cuff at both ends of the mitts. These are to help keep them in place, while the one that covers the fingers can be folded back to free up those digits if you need to use them – great for if you’re shopping at a farmers’ market and don’t want to take off your mitts and risk leaving them behind (or is it just me who does that?). I’ve been on crutches recently and discovered that the mitts are a great way of keeping your hands warm while having your fingers free to grip the crutch handles.

I adapted the star stitch slightly from the instructions given in the video. I think the resulting pattern stands out more, it looks more ‘starry’. As well as amending the star slightly, I also had to work out how to create a thumb. I figured it would simply be a case of adding some extra chains at the right place in the mitts and then working these stitches until the thumb piece was big enough.

I tested out several different ways of working the stitches: double crochets, half treble crochets, slip stitches, working just the front loop, the back loop and so on. In the end I went for the simplest option and I really like the way it turned out.

Please do check it out, let all your crafting friends know about it, and maybe even consider buying it

This is the first – and as yet only – pattern I’ve got on Love Crochet. So far I’ve had no sales; obviously I hope this changes. But my timing wasn’t great – I uploaded the pattern at the end of February, when crafters would be thinking about spring and summer makes rather than cosy mitts.

The pattern is available here. Please do check it out, let all your crafting friends know about it, and maybe even consider buying it. It’s never too early to start crocheting those Christmas presents ...

Tuesday, 17 January 2017

Patreon and cost of producing a knitting pattern

A new Patreon is looking at the financial side of designing knitting patterns. Interested in the outcome, I signed up




Edited to add some facts and figures. As of today (18 January 2017), there are 157 patrons signed up to this project, pledging a total of $578. This works out to just under $4 per patron ($3.68), which means some people have chosen to pledge less than the $4 minimum to receive the patterns.

A couple of weeks ago someone I follow on Twitter retweeted an intriguing tweet from @Knitgrrl, AKA Shannon Okey. It was about a new Patreon aimed at looking at the true cost of producing a knitting pattern and how much money designers make.

The project takes place over the whole of 2017 and the idea is that patrons pledge $4 per week, in return for which they get a knitting pattern, again on a weekly basis. As the experiment progresses, Shannon will look in depth at the financial side – how much patterns cost to produce (photography, tech editing, sample knitters and so on), what was earned from sales on Ravelry as well as via Patreon, who got paid and why, and so on. She will consider whether the summer knitting slump has an effect and if knit-alongs or other events help sales.

Money and creative people is a contentious subject. There seems to be a prevailing belief that we shouldn’t ask for any, that we do what we do out of love and being paid for it somehow detracts from that. This is rubbish. Creative people – whether designers, artists, authors or whatever – need to eat, and our time is just as valuable as the plumber who comes to fix your dodgy piping. You wouldn’t offer to pay them in exposure, would you?


It’s incredibly hard to make a living as a designer and it seems that we’re being squeezed harder all the time. Knitting is a very time-consuming activity and there’s a lot of effort in getting to the final written pattern. This can involve coming up with the idea, making notes, sketches and swatches, sending proposals to magazines, sourcing yarns, knitting a sample, writing the pattern, getting it tech edited and test knitted. And this doesn’t even begin to cover the cost of having a website, marketing, creating and maintaining a brand etc etc.

I’m very interested in seeing how this project pans out. Over a whole year, $4 a week adds up to quite a lot; $208 in fact, which is more or less the same in Sterling following the Brexit idiocy. Will I like the patterns? How will I feel paying this amount of money over a year? What will I think when I find out to whom that money actually goes?

There seems to be a belief that creative people shouldn’t ask for money, that we do what we do out of love and being paid for it somehow detracts from that

The first pattern has already been released. It’s a bobble hat called Signy. It’s available on Ravelry for $6. So what do I think? It’s a nice pattern, but it’s not something I would have chosen to buy. I don’t often knit hats and rarely wear them. I like the idea of wearing hats, but then forget to or choose not to because they’re just another thing to lose. I’m very good at losing things.

The PDF is nicely designed with some good photography. The layout of the text could use some cleaning up; there are some bad breaks, with words hyphenated across columns, making it difficult to read and which, as a magazine editor, I wouldn’t have let through. The three-column layout is quite cramped. But the pattern itself seems well written and easy to follow. Three sizes are given so it should fit most people.

As the project goes on, I shall document what I think of each pattern. I’ll also try to knit each one, or at least the majority of them, and talk about the finished article.

Wednesday, 3 February 2016

Review: Sampled at Sadler’s Wells

This wonderful show provides a taster of some of the goodies that will be available in this north London venue’s 2016 dance programme



I can’t claim to be a dance expert. I’ve been Sadler’s Wells a total of five times, I’ve seen Billy Elliot and I watch Strictly. That’s the sum of my dance experience (unless you count the many lost hours in various clubs, which it’s probably best not to). But I do love it, so I’m trying to get to know it better.

It was with this in mind that I went to Sampled at Sadler’s Wells on 30 January. This two-hour show provides a small taster of the venue’s upcoming season, hence the name. I didn’t really know what to expect as I’ve never been before. The show started with a short film of interviews with some of the performers of the first piece, Outlier by Wayne McGregor. Then the auditorium went completely dark, the lights on the stage went up and the performance began.

Sampled at Sadler's Wells. I was a lot higher up than usual. Bit scary.

Outlier is a contemporary ballet piece. To me it looked like ballet but exaggerated. There was an air of threat, of violence, to the performance. It was awe inspiring and powerful, but didn’t have the grace and beauty that I associate with ballet. It was stunning.

The act that really stole the show for me, though, were the duets by Julia Hiriart Urruty and Claudio Gonzalez. They danced two tangos in the first act. The first was heart-breakingly beautiful – the story of a man remembering his dead wife and bringing her back to life through dance. It moved me to tears. They also danced a more contemporary version to the song Wicked Game and then an impressively athletic tango in the second act. They were frankly amazing and I want to see them again – which is surely the point of the show. I will certainly be going to Immortal Tango at The Peacock next month.

Equally impressive, and also on the ‘must see again’ list, was Connor Scott performing his piece Get Up. This contemporary dance won him the BBC Young Dancer 2015 award, and it’s easy to see why. The piece was powerful, athletic and yet graceful; this 17-year-old is certainly one to watch.

The first was heart-breakingly beautiful – the story of a man remembering his dead wife and bringing her back to life through dance

Special mention must go to The Ruggeds, a world champion b-boy crew from The Netherlands. They performed Adrenaline, possibly the most appropriately named piece of the evening. This isn’t a dance form that I would usually watch, but I thoroughly enjoyed it and anyone with an interest should really book tickets to Breakin’ Convention ‘16, Sadler’s Wells’ festival of hip-hop dance.

Much more traditional was Zenaida Yanowsky’s rendition of the Dying Swan from Swan Lake. Making up the rest of the programme were BBC Young Dancer finalist Vidya Patel, performing a traditional Kathak dance Khoj - The Search, and 7 Fingers with Nocturnes, a dreamlike contemporary dance and circus crossover.

They were all excellent. All incredibly different and a wonderful example of the breadth of dance styles. I had a thoroughly enjoyable evening and will definitely be sampling (haha! Sorry …) this show again next year.

Thursday, 12 November 2015

Art: Empty Lot by Abraham Cruzvillagas

The latest installation to grace Tate Modern’s Turbine Hall provides interesting comment on the urban and natural environments




I really love the Turbine Hall installations at Tate Modern. I love how they’ve used that space, turned it into part of the art itself. It would have been so easy to simply convert it into more gallery rooms, but instead they’ve made that cavernous area into both a challenge and an opportunity for artists – how are you going to fill this, how are you going create art here?

The latest artwork is an interesting one. It’s called Empty Lot and is by Abraham Cruzvillegas. It features two sets of massive triangular seed trays. These are suspended above the floor of the Turbine Hall on scaffolding. All the materials are found or recycled.

Nothing has started growing in this series of trays yet. 

Each of the trays has been filled with soil from parks and gardens across London. The soil is being watered and lamps provide light and heat. And that’s it. The artist – and his audience – is simply waiting to see what will appear. It’s very likely that the soil will contain all kinds of seeds; mostly grass seeds, but there could be all kinds of wildflowers and maybe even some insect lavae. The question is whether any of these will develop.

When I visited one set of trays was just soil still, but the other side had a variety of what appeared to be grasses growing. My plan is to go back several times throughout the exhibition – it runs till 3 April 2016 – and see what’s changed. Will the plants that started growing survive? Will more grow? What sort? Will swarms of insects emerge from the dirt?

There are plenty of examples of species thriving in an urban environment, Red Foxes being one of the most ubiquitous, but Collared Dove and Carrion Crow are also survivors
To me this piece represents the interaction between the urban and natural environments: in these times of increasing urbanisation how will nature react and survive? There are plenty of examples of species thriving in an urban environment, Red Foxes being one of the most ubiquitous, but Collared Dove and Carrion Crow are also survivors. Sadly there are many more that are suffering. My knowledge doesn’t run to plant species, but it seems likely that these will be mirroring animals: the most adaptable species will increase while the more specialised will decline and eventually become extinct.

I also think the work says something about the tenacity of nature. The grasses are growing – and hopefully more will do so – despite being transplanted and a lack of natural sunlight. We tend to think that our imprint on this world will be permanent, but it won’t. Humans have had a devastating effect on the natural environment, but this won’t last. The world will long outlive us.

Above and below: grasses are beginning to develop


Tuesday, 27 October 2015

Falling leaves

One of my newest projects is this fun mystery crochet-a-long




I’ve still got a knitted dress and a crochet blanket to finish, so starting two new projects might not have been the best idea. But they both sounded like a lot of fun. Here I’ll talk about the first: a mystery crochet-a-long.

I only recently completed my first-ever ‘a-long’, a knitted shawl. I liked the finished piece and enjoyed the mystery element, so when the designer, Rohn Strong, mentioned a mystery crochet-a-long (MCAL) on his Instagram account I decided to sign up for it. All I knew about it at that stage was that it would be an afghan.

These were meant to be leaves; they look more like elf slippers, or maybe ears

The pattern calls for yarn in five different colours. It’s called Fall Garden, so I chose a selection of autumnal shade. The suggested yarn is Deborah Norville Everyday Soft, but I couldn’t find that in the UK. Instead I’ve used Stylecraft Special Aran, which seems to be very similar.

I’ve completed the first four clues and the fifth and final one arrived in my inbox late yesterday (27 October 2015). I had some issues with the first clue. I was supposed to be crocheting leaves but what I ended up with looked more like elf slippers. I did five of them before I thought to check on Ravelry. And yes, I had got it wrong. Thank the knitting gods for Ravelry and for people uploading their photos! A lesson on why it’s so important to read the instructions properly.

Leaves, as they're meant to look!

I undid the five elven slippers and made some leaves instead and from then on I’ve been going great guns. Clue 2 was a flower. Clue 3 was five more of the flowers in a different colour and clue 4 was the same. I like these easy clues! The final clue is how to assemble the afghan.

I’ve enjoyed this MCAL. I’ve learnt some new techniques and I think both the flower and leaf motifs look lovely. It’ll be interesting to see how it all hangs together.

My first flower. There are another 10, in two different colours.