Author: professorwu

If the philosophers had been dogs

/ professorwu / Leave a comment
Screen Shot 2019-06-19 at 14.59.05

The canine philosophers Sun Shitzu and Bernard the Saint: some of the true masters of philosophy whose ideas have finally been revealed in ‘Philosophers’ Dogs‘ – a satirical, illustrated book created by Samuel Dodson and Rosie Benson. (Images courtesy of Rosie Benson/Unbound).

Is it possible to be a good dog? Do we catch balls of our own volition? Or are our decisions to eat the rotten apples, to bark at the cat, predetermined? What is it to know that you have behaved well rather than merely believe it?

These are just some of the questions that promise to be answered in a new creative project from award-winning publishers, Unbound. Written by Samuel Dodson and illustrated by Rosie Benson, ‘Philosophers’ Dogs‘ is the ground-breaking textbook that will shake the very foundations of both western and eastern philosophy by revealing a truth that has hitherto been kept secret: that all human philosophers stole their ideas from their dogs.

Featuring beautiful illustrations alongside thorough, meticulous research and historical fact*, the book follows the philosophic trials, tribulations and tail-wagging of the dogs owned by famous philosophers and essayists, and presents to readers the unadulterated, real histories of the true philosophical masters of enlightenment.

*Not necessarily historical or fact.

Feast your eyes on the true masters of philosophy

A vital companion to the bookshelves of all philosophy students, teachers, dog lovers and, indeed, anyone with any interest in THE TRUTH, Philosophers’ Dogs also reveals the original, genuine quotes hitherto (wrongly) attributed to minds such as Karl Marx, Ayn Rand, David Foster Wallace, Socrates and Simone De Beauvoir.

Nothing in the Rulebook are proud to present here, to you, dear readers, some of the images that can be found in the book. Here below, you can see the real depiction of ancient Greece that Raphael so diabolically painted in his artwork ‘The School of Athens’ – as it truly was.

Screen Shot 2019-06-20 at 18.23.05

Raphael can eat his heart out. In this picture we see an illustrated vision of the famous Athenian case against Socrates’s dog, Droolius Caesar, who argued that he could not possibly know anything about who pooed on the rug. Image copyrighted by Rosie Benson

Spot the difference? Compare this accurate representation of reality, above, drawn by Rosie Benson, to this deceitful painting by Raphael, below – who failed to include any of the canine companions we owe so much to. 

800px-_The_School_of_Athens__by_Raffaello_Sanzio_da_Urbino.jpg

Or why not check out the following illustration of the historic scene where Karl Marx’s dog, Karl Barks, finally broke free from his leash to teach canines across the world that they were truly in control of the means of walkies.

KARL BARX, COPYRIGHT ROSIE BENSON 2019.png

“Dogs control the means of walkies” – Karl Barks. Image copyright of Rosie Benson.

Unbound: liberating ideas

Unbound have been making waves in the publishing sector since they launched – a crowdfunding-based, selective publisher who exploded onto the scene as a suite of their books won or were shortlisted for countless prestigious awards, including the Man Booker Prize. Picking up diverse titles that range from comprehensive ‘rhyming dictionaries’ through to short stories about a small town in Dorset, England, they have played a key role in transforming the publishing sector through crowdfunding.

Their model enables them to pick up and support projects by new authors and artists – something that precious few mainstream publishers seem to be interested in doing in this day and age.

Why not check Unbound – and Philosophers’ Dogs – out, using our exclusive Nothing in the Rulebook discount code to get a whopping 25% off. Simply pledge for a reward that you want, and use the code NITR to get your discount.

What the authors say

We couldn’t turn down the opportunity to get a quote from the creative duo behind ‘Philosophers’ Dogs’ – not least because Samuel Dodson, the author, is also a part of the Nothing in the Rulebook creative collective! On writing the book, he says:

“In making this book I owe a huge amount to my early philosophical teachers, my Lab-Collie cross, Layla, who taught me that not all tennis balls need to be chased, and my border terrier, Marnie, who showed me that obeying orders isn’t always strictly necessary (especially if food is involved). Having grown up with dogs, it quickly became apparent to me and my sister, Rosie, (whose incredible illustrations in this book blow my mind) that the real masters of philosophy in the world were of the four-legged variety; and so Philosophers’ Dogs was born.

It’s hugely exciting to be launching the project – but also incredibly terrifying. Crowdfunding looks like it has the potential to break down the old barriers that existed within the publishing sector, but, given my particular English sensibilities towards being ever so self-effacing and modest, it doesn’t make it any less difficult or awkward to ask people to financially support the project! Still, the fact that people can pick up original art prints, personalised ‘dog-rees’ for your pooch, as well as unique ‘paw-traits’ of your dog as rewards for pledging does certainly make a huge difference. So I feel exceedingly lucky to be on this creative journey with Rosie. I just hope I can do her proud and we can raise the funds we need for the book. It would be so wonderful to see our name’s side by side on bookshelves and coffee tables.”

His sister, Rosie, says:

“It feels like a funny thing to call myself an artist as for many years it hasn’t been my main source of income, as I guess is true for many artists. It seems more appropriate to say that I’ve been artist in my heart, and sometimes in my head, for my entire life.

I certainly wasn’t going to turn down the opportunity to collaborate with my brother on his wonderful book.

Dogs have been part of the family my entire life, with one particularly special furry friend ‘Hector’, a beautiful, loyal and dependable Dalmatian. Although he has departed this mortal coil I know he would want me to do my best, to do justice for all the dogs out there whose philosophical ideas have been ignored and stolen for far too long.”

Pledge to support the book with a Nothing in the Rulebook Discount

If you’ve enjoyed what you’ve seen and read here, Nothing in the Rulebook are pleased to have teamed up with Unbound to offer readers a 25% discount. Just use the code NITR and pledge to support the project today.

https://unbound.com/books/philosophers-dogs/

 

 

 

 

 

Advertisements

Music review: Augustine

/ professorwu / 2 Comments
augustine_palma2

With his debut EP, ‘Wishful Thinking’, Augustine captures the optimism of humanity and youth alongside the fear of the oblivion our species is facing

A lot will be written about the latest musical export from Sweden, Augustine, who first caught attention earlier in the year when he dropped his tracks Luzon and A Scent of Lily. At first glance, the new tracks on his newly-released debut EP seem to promise more of the same uplifting builds and studiously bright melodies that at times feel as though what might be created if you were to blend Dylan with Avicii, Rodriguez with Foster the People.

But this is more than a simple case of taking masters of folk and turning them into electro-pop. Augustine incorporates smooth brass and jazz instrumentals alongside modern rock and trance to create a potent musical cocktail. Add to the mix the artist’s wide vocal range that springs around energetically and captivatingly, and you quickly realise that too much of these tracks will get you pop drunk, and quickly.

What separates this music from other electro-pop artists is the lack of interest in slick varnish; the disregard for auto-tuning or using digital processes to create a ‘perfect’ (and as such, unrealistic) sound. Instead, moments of intensity – as when he reaches for the very limits of falsetto frequencies – are allowed to exist in a certain state of rawness that makes the music all the more real for it.

Indeed, while the driving beats, synth productions and mellatron tones can capture and thrill, the content of the lyrics often hints at something darker: a sense of oblivion amid the delirium – the madness of Shakespeare’s Midsummer Night’s Dream with the existential angst of Hamlet.

There’s also a bravery in the departure from the driving, synthesised brass chord progression and smooth frequencies of his first track Luzon, to the melancholic, desperate vocals of Slacks – where, accompanied by slow, minor piano keys, listeners might suddenly think they’ve stumbled into a Bon Iver album. And, as with the emotional intensity of tracks found on Justin Vernon’s seminal For Emma, For Ever Ago, we encounter moments of oblivion found in the everyday (in this case, the impossibility of facing your reality while sat in your house wearing little else than tracksuit trousers):

“I was close to going out

I look so fucking helpless in these slacks

Another day is slipping through the cracks”

The hints at the versatility of Augustine’s ability long to be explored further; and it’s a shame the EP can only provide us with a limited amount of content to discover. The full album can’t come soon enough.

There’s an outstanding amount of talent on display here – and praise is well deserved for a 22-year old who has delivered an EP full of potential summer hits. As the world burns and stumbles from one political crisis to another amidst a global, catastrophic climate breakdown, Augustine captures the optimism of humanity and youth alongside the fear of the oblivion our species is facing.

Augustine on Augustine: the artist reflects on the meaning behind the songs on his debut EP “Wishful Thinking”

/ professorwu / 1 Comment
artworkoriginal_augustine_oskaromne_5mb.jpg

Characterised by soulful falsetto, cinematic instrumentation and melancholic love stories, Augustine’s songs and lyrics have drawn comparisons to iconic voices like Mark Foster, Justin Vernon, Ezra Koenig and James Blake.

Moving through a vibrant soundscape of future-retro indie-pop with shades of bedroom electronica, 22-year-old Swedish songwriter, producer and multi-instrumentalist Augustine made his debut with ”Luzon” in February of 2019, followed by “A Scent of Lily” in April. Both singles went straight to #1 on Hype Machine and received critical acclaim – and Augustine quickly became one of the most talked about debuts of the year.

Characterised by soulful falsetto, cinematic instrumentation and melancholic love stories, his songs and lyrics have drawn comparisons to iconic voices like Mark Foster, Justin Vernon, Ezra Koenig and James Blake.

As he releases his debut EP, Wishful Thinking (Read our review, and listen to the songs right here on Nothing in the Rulebook), Augustine offers a few reflections on each of the tracks on his EP:

Luzon

Augustine says: “The first song I released as an artist that changed so much about my life. It’s a memory of the contrasts in a relationship, thinking that it’s a bit scary if the current moment is the highlight of your life. You are high on life, but so afraid to lose the feeling that you somehow lose yourself instead.”

Viola

Augustine says: “I was a little angry with the world when I wrote ‘Viola.’ Much of that anger was due to feelings of anxiety, guilt and other boring things. The line ‘I’ll be your biggest disappointment if you sum up the years of adolescence’ is really about being scared of not being enough.”

Wishful Thinking

Augustine says: “I’m weak for synth pop songs that are so big that you just lose yourself in them, so I wanted to try one myself. ‘Wishful Thinking’ is a twisted love story about looking back at something with both regret and lack, but mostly with a fear of forgetting how a certain person is, looks and sounds.”

A Scent of Lily

Augustine says: “This was initially an attempt to write a pop song, with inspiration from the chorus of Ariana Grande’s ‘Into You.’ ‘Lily’ eventually became much more alternative. It’s about powerlessness in a relationship, when you buy into everything about the other person, to the point that you stop thinking your own sensible thoughts.”

Slacks 

Augustine says:“The most personal song of the EP. It’s about how a lovely relationship didn’t last because of distance. We moved to different cities, and I became so self-absorbed. I started suffering from agoraphobia that made it hard for me to even go outside. A little crazy in hindsight.”

Augustine exposes his deepest fears on debut EP “Wishful Thinking”

/ professorwu / Leave a comment
augustine_palma1.jpg

One of the hottest prospects to hit the music scene in 2019, Swedish artist Augustine has now released his debut EP, Wishful Thinking

One of the hottest prospects to hit the music scene in 2019, Swedish artist Augustine has now released his debut EP, Wishful Thinking, adding three new songs that broaden and crystallize a singular sound built on gorgeous falsetto, cinematic productions and evocative lyrics.

Since his February debut, where he released Luzon and A Scent of Lily, Augustine has received worldwide praise for the pair of effervescent indie-pop singles, both of which went to #1 on Hype Machine.

As his debut EP drops for the first time, Augustine has spoken about the highly personal connection he has with the new songs, which he says are a means for him to express, and share, his deepest fears.

Listen to Augustine’s new EP on Soundcloud here

“Hearing the EP from a distance,” he says, “it became clear that this music grew out many years of me being afraid of being a disappointment to others. All the lyrics were inspired by being afraid of people, the world and leaving things behind.”

The power of his critically acclaimed singles “Luzon” and “A Scent of Lily” made 22-year-old Augustine one of 2019’s most talked about new artists. Both of these self-released singles led to comparisons with iconic voices like Bon Iver, Mark Foster, James Blake and Ezra Koenig.

The five-track EP contains three new songs: the bombastic synth-pop thrillride “Wishful Thinking”, the warmly pulsating “Viola” and a heartbreaking ballad “Slacks.”

Augustine says he has also taken a lot inspiration from The XX, Lorde and Maggie Rogers among others. All songs are collaborations with producers Rassmus Björnson and Agrin Rahmani (LÉON, Skott).

“An outstanding amount of talent”

The 22-year old songwriter, producer and multi-instrumentalist grew up with the poetry-laden music by artists from Bob Dylan to The National, while living among the traditional Dutch-style canals and leafy boulevards of Gothenburg, before moving to Stockholm. From these beginnings it seems as though Augustine is set to go global sooner rather than later, as Nothing in the Rulebook notes in our review of his debut EP:

“There’s an outstanding amount of talent on display here – and praise is well deserved for a 22-year old who has delivered an EP full of potential summer hits. As the world burns and stumbles from one political crisis to another amidst a global, catastrophic climate breakdown, Augustine captures the optimism of humanity and youth alongside the fear of the oblivion our species is facing.”

Check out our full review of Augustine’s ‘Wishful Thinking’ debut EP here. 

Read Augustine’s own personal reflections on the meaning behind each of his new tracks here. 

 

 

A poetic conversation with Frank Prem

/ professorwu / 6 Comments
frank by mark.jpeg

Frank Prem: a storytelling poet. 

Frank Prem has been a storytelling poet for forty years. When not writing or reading his poetry to an audience, he fills his time by working as a psychiatric nurse.

He has been published in magazines, zines and anthologies, in Australia and in a number of other countries, and has both performed and recorded his work as spoken word poetry.

He and his wife live in the beautiful township of Beechworth in northeast Victoria, Australia.

Nothing in the Rulebook – and particularly Professor Wu – have been fans of Prem’s work for some time, which is available online and via his poetry blog – as well as Youtube. So it was great fun to catch up with him and quickly get down to the bones of what makes a poet tick.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle

PREM

I Live in a small town in North East Victoria (Australia) called Beechworth. This is the town I grew up in back in the 1960s and 70s, before moving away to the city for my middle adult years. I returned to the town about 10 years ago, and have settled back into rural life.

The town itself is well known, in a small way, for three things. It is a well preserved gold rush town. It has associations with Australia’s most renowned bushrangers (Ned Kelly and the Kelly Gang), and it has a tourism favourite in The Beechworth Bakery, which is known far and wide.

Professionally, I am a Psychiatric Nurse, and have worked in or around Psychiatric Services for forty odd years now – almost as long as I’ve been a poet.

My wife and I live a creatively rich life in our small town and, despite putting myself about in interviews like this and in whatever media I can entice to publicise my work, I consider myself quite a private person.

INTERVIEWER

Has writing always been your first love, or do you have another passion?

PREM

Terms like ‘first love’ and words like ‘passion’ aren’t quite accurate in defining the relationship I have with my writing. I have always been a word person – whether reading avidly, or writing, but with writing it is not so much a thing that I sought to do, as a thing that was required of me.

I mean that I don’t think there is much in the way of choice available to someone like myself. I simply wouldn’t be who and what I believe myself to be, if it weren’t for writing, and in my case, writing free verse poetry, in particular,

I reserve passion for my football team, or perhaps some aspect of the garden.

Writing is more like the breath I take.

INTERVIEWER

What draws you to writing and poetry?

PREM

Going back to when I started writing in a journal as a teenager, I used words and pen as a way to make sense of my world. This continued into my career in Psychiatry, where much of what I encountered was incomprehensible to me, even though I had childhood associations with the institution in which I trained as a nurse through my parents employment, still it was bizarre and inexplicable to me.

Over time, I found that my interest branched out into many different areas, and gradually I arrived at a point where I felt (and still do) that every single thought, idea, sight or sense that I encounter is potentially worthy of being captured in a poem, that in turn, should be able to be made worthy of being read and appreciated.

I felt and believed that all this was in my grasp and power to achieve.

An example, Professor. On a particular occasion, driving a country road, I had that sense of well being that led me to actually say to myself ‘I could write something amazing about the very next thing I see …’

Well, driving around the corner, the thing I saw was a row of dead foxes in various stages of decay, and strung up on a paddock fence.

Not the subject I might have hoped for, but exactly the test of hubris that I deserved.

Did I write something? Yes I did. Was it worthy, in the way I suggested above? Hard to say, but, fortunately, I can let you decide by posting a link to the poem – a conversation with three foxes – here: https://wp.me/p7yTr8-1MC.

I don’t know if I succeeded but I was quite proud of the poem when finished, and I’ve tried to avoid such extravagant thinking since.

INTERVIEWER

Who inspires you?

PREM

I have a reasonably clear inspiration for my writing and what I attempt to achieve with it, but the source dates back to a couple of writers born in the 1860s – Henry Lawson and A.B. (the Banjo) Patterson.

My writing is nothing like theirs. They wrote poetry in galloping rhyme, and Lawson wrote many short stories. Lawson was an alcoholic associated mostly with the bush, Patterson was a city lawyer who wrote of the bush.

The reason I find them inspirational is that they wrote at a time when words were not easily accessed by a largely illiterate populace outside the cities, and yet their work was memorised and recited as news and as entertainment.

I have a vision that recurs of one person who could read, holding the Bulletin Magazine in his hand and reading aloud, while a group of men stand around listening, with lips moving as they try to memorise the verse for repetition later. Perhaps asking for the piece to be read aloud again to make sure.

Fanciful? Probably, but that image informs the aims I have for my work. I want it to be able to be read and understood. I want to take complex ideas and present them in a way that lets my next door neighbour, or the greengrocer, or a stranger in the street know exactly what I’m on about and be able to form a response without difficulty.

You may get a sense that I have a few concerns about published contemporary poetry. you’d be right. I have no time for the deliberately obscure. I think it does the reader of poetry (and therefore poetry itself) a grave injustice.

INTERVIEWER

Who were your early teachers?

PREM

I’ve deliberately avoided formal instruction in the black arts of writing and of writing poetry.

My first reason is because I’ve always had a belief that only I could write the work of only me. I have been inordinately concerned that reading others and formal instruction would dilute my own voice. When I finally discovered that I had a unique voice (someone pointed it out to me in a poem), it became the most precious thing in my repertoire and I would not risk it.

A second reason though, (and I apologise in advance to any who may feel offended) is that I have not trusted the teachers of creative writing programs to know what they were doing. Harsh, yes, but it seemed to me that what I saw as product of such instruction was largely shallow cleverness dressed up in fashionable and exclusive attire. Very little uniqueness that was capable of communicating to everyday folk, who I saw and see as the proper main audience for poetry.

Having said that, I was strongly encouraged by an English teacher in my Year 9 many moons ago who marked my poem higher than neighbouring essays. I haven’t looked back.

INTERVIEWER

What does the term ‘writer’ mean to you?

PREM

Professor, this is an excellent question, I think. I now understand that , in my own case, I have been a writer forever. That is, a person who creates works – whether they be fiction or non-fiction, poetry or prose – by writing.

I have drawers full of manuscripts created while I was a writer.

So. If you write, you are a writer.

However, being a writer is actually the easy part of the writing pursuit.

When you create a book, you become an author. Wherever you may appear, you are representing your book as its author. Being a writer is a mere prelude to being your book.

Becoming a publisher (my Wild Arancini Press is a single author publisher) is another step again. Followed by becoming a promotor of the book you are author of. These are work tasks that go with being a professional in the industry of writing.

The simple creativity of just being a writer becomes a bit of a nostalgic dream, if we’re not careful.

INTERVIEWER

What research (if any) do you conduct before setting out on a new writing project?

PREM

I have two answers, Professor. One is a little more boring than the other and both might seem a little shallow.

My first three collections (two published, the third starting now) are written in a memoir style. My research has been to live the events that I relate and turn them into a form that is readable and attractive to readers and listeners.

  • With Small Town Kid, I walked the town again, and went out of my way to have some conversations with folk who could inform and correct my views before I made an ass of myself with them.
  • Devil In The Wind came from direct experience on the periphery of the fires, conversation with fire fighters, news (TV, radio, papers), and finally the Royal Commission we held to Inquire into the circumstances of the fires. Plus all the empathy I could muster.
  • The New Asylum will be the third collection, dealing with my lifetime involvement with psychiatry from a child through to the present day. Primarily the material in this collection will be direct experience.

The second part of the answer relates more to my more fictional work, which is yet to see the light of day. This work includes simply hundreds of poems directly inspired from reading the French Philosopher Gaston Bachelard who died in the 1960s. I can’t begin to tell the influence reading this mans translated works has had on me as a writer.

I also have a speculative fiction manuscript that is perhaps more surreal in nature. That came from a given theme, sustained by a piece of music playing in my head throughout the writing.

So, true answer on research? Not much, I’m afraid.

INTERVIEWER

Do you feel any ethical responsibility as a writer?

PREM

Ethics in my own writing is not something I think about a lot, but I believe it is a valid question.

I put great store in my writing having recognisable qualities, so that there is little likelihood of mistaking mine for someone else’s. That includes content, however, and I feel a responsibility to give my reader not, necessarily, what they expect, but to challenge them within some nebulous parameters that are clearly consistent with me, the writer they thought they were getting

I feel the need to shape any controversy in such a way that it represents, rather than dictates or argues.

Without shying away from a topic, I don’t want to be in the position where I am running a partisan or shallow line on a controversial subject.

I am most comfortable, I think, in representing and interpreting ideas and philosophies poetically than in arguing a position.

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

PREM

My current work in progress has a working title ‘stories of the somme’. I am taking photographs from World War 1 – Australian Soldiers at the Somme and the Western Front, and using what empathy I have to allow each picture to tell me a story.

I hope to publish these in due course, providing I can raise the cash to purchase high quality photographic prints. They are not cheap.

I have been amazed by the capacity of these 100 year old images to move me, and of the poems and pictures together to affect readers emotionally.

Here are links to two of the sample poems posted on my blog page:

  1. Ypres (24): munition wraiths https://wp.me/p7yTr8-76Q
  2. Ypres (16): within the walls (while we lived) https://wp.me/p7yTr8-76s

Quick fire round!

INTERVIEWER

Favourite book/author?

PREM

Robin Hobb – Farseer books

INTERVIEWER

Most underrated artist?

PREM

Emmylou Harris – US Country singer.

INTERVIEWER

Most overrated artist?

PREM

Take your pick. Contemporary seems to be about hype.

INTERVIEWER

Who is someone you think more people should know about?

PREM

It’s going back a bit, but H.E. Bates (Darling Buds of May etc) and Damon Runyan (Guys and Dolls) shouldn’t be forgotten.

INTERVIEWER

Do you have any hidden talents?

PREM

I play ukulele in my wife Leanne’s music classes and like to sing – mainly country songs.

INTERVIEWER

Most embarrassing moment?

PREM

Early on. I was meant to say thank you, but I actually gave a rambling speech full of nonsense. Had to get dragged away from the podium. Have never forgotten, never repeated.

INTERVIEWER

What’s something you’re particularly proud of?

PREM

I think I’m most proud of my wife Leanne’s endeavours and achievements in art and other creative endeavours, including music teaching.

INTERVIEWER

One piece of advice for your younger self?

PREM

Don’t be in a hurry. Everything is material, every moment is developmental.

INTERVIEWER

Could you write us a story in 6 words?

PREM

I became my mountain, became me.

WATCH: ‘Rigs of the Time’ music video

/ professorwu / Leave a comment
Sink MJS

The music video for the song ‘Rigs of the Time’, as featured in the movie SINK (both starring Martin Herdman) has now been released.

The music video of ‘Rigs of the Time’ – as featured in the film SINK (written & directed by Mark Gillis) – has now been released.

Shot entirely on an i-phone and using FiLMiC Pro, the song is performed by Oliver Hoare and the Late Great. Directed by Mark Gillis (who was recently interviewed in Nothing in the Rulebook) alongside Director of Photography, Cassius Rayne (of ‘Go Film It’ fame) – the music video makes full use of the groundbreaking mobile technology that made headlines when Sean Baker’s movie ‘Tangerine’ made waves at the Sundance Film Festival.

The music video has been released just as SINK hits stores and streaming services on DVD and online.

Described by Nothing in the Rulebook‘s own Professor Wu as “genuinely original” and getting “under the skin of the audience in a way precious few films do these days”, SINK has received critical acclaim since being released in cinemas.

Check out the music video here below, then go on and watch the film yourself.

Students of Warwick University’s acclaimed writing programme launch anthology

/ professorwu / Leave a comment

FINAL - CHIMERA FRONT COVER JPG
Agents, publishers, and editors are invited to join Warwick’s Writing students for their
anthology launch at Piccadilly Waterstones on the evening of Wednesday, the 12th of June.

Following tradition at the University of Warwick, the students of the esteemed MA in
Writing Programme have been working hard for the past eight months to publish an eclectic anthology of their work.

The anthology, Chimera, features work from 41 writers and includes a foreword from
award-winning poet, translator, and critic Michael Hulse.

Chimera, titled after the monster in Greek mythology, encompasses different styles and perspectives from local and international voices travelling across genres in fiction, non-fiction and poetry.

The launch will feature readings from 13 of the students, whose work includes:

  • An extract from a fantasy novel, where a Warrior-Queen leads her army through the desert to meet a tribe.
  • The opening of a horror novel centring around the haunted past of a childhood
    home, previously owned by a mysterious figure, Howard Pertman.
  • An extract from a historical fiction duology telling the story of Cecily Neville, mother of Edward IV and Richard III.
  • A novel exploring a Palestinian Christian family’s experience living under
    Bethlehem’s occupation during the early 2000s, from the viewpoint of a child.
  • A poem that stands strong in the face of tragedy, telling of the poet’s experience
    losing a friend in the 2011 Norwegian massacre.
  • Short stories that range from a humorous tale, to a classical horror story, to an
    intricate tale of unfinished business at the end of a life.

Nothing in the Rulebook’s Professor Wu said:

“At a time when the major publishing behemoths risk creating a homogenised culture where only the same books are published by the same small clique of authors, it is vitally important to support collective creative endeavours like the Warwick Writing Programme Anthology, which has consistently brought unique voices to the ongoing literary conversation – and provides a rare opportunity to discover new stories, characters and worlds, as well as the writers behind them.”

A literary invitation

Literary agents, editors, and publishers interested in attending the launch are welcome to register in advance by emailing Frances at projectmanagement.anthology19@gmail.com, as spots are limited. Limited copies of the anthology will be available at the launch.

Alternatively, copies are available in both physical and e-book versions on request.

The launch of Chimera will be at 6 pm on Wednesday 12 June at Waterstones, Piccadilly, London W1J 9HD.

Creatives in profile: Ben Thomas

/ professorwu / 1 Comment

006 Ben Portraits.jpg

Ben Thomas is editor of The Willows Magazine, author of The Cradle and the Sword, creator of TheStrangeContinent.com, and founder of the neuroscience news agency The Connectome. He travels the world as a freelance writer, and has lived in more than 40 countries. His hobbies include aquaculture, Linux customisation, tantric meditation and ink drawing.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle

THOMAS

I spent my earliest years in the woodlands of Ohio — but was transplanted to the desolate steppe of West Texas at age 10. I got out of there as quickly as I could, moving to Los Angeles to study cinema. I spent most of my twenties in California — then in 2013, I made a decision to cast off my material possessions and backpack across Europe, Africa and Asia for four years. These days I’m nesting in Austin, Texas. But I’m hoping to get back to London, Paris and Rome soon; if only to collect the books and relics my friends have been kind enough to keep for me.

INTERVIEWER

Has writing always been your first love, or do you have another passion?

THOMAS

I’ve always been intrigued by mysteries of all sorts. One of my earliest memories is of staring into an aquarium at the Toledo Zoo, gazing deeply into the eyes of a fish, trying to imagine what it was like to look out from those eyes; to be that fish. And I suppose some version of that quest has fueled all my great passions: my fascination with rare and esoteric creatures, my love for mythologies and ancient languages, my research on neuroscience and the human mind, my travels around the world, and my lifelong love for weird tales.

INTERVIEWER

What draws you to writing and literature?

THOMAS

Well, words are magic, aren’t they? When we present a compelling argument or conjure an imaginary scene in someone else’s mind, we’re quite literally casting spells: shaping our own (and others’) perceptions of reality through the verbal evocation of ideas. I can’t imagine a more delightful or rewarding trade to be in.

INTERVIEWER

Who inspires you?

THOMAS

Ashurbanipal, Enheduanna, Paul Atreides, Hypatia, Isaac Newton, Wu Zetian, Aleister Crowley, Lord Byron, Ada Lovelace, Iain Banks, Rosalind Franklin, Hülagü Khan.

INTERVIEWER

Who were your early teachers?

THOMAS

For the first few years of my life, my mother devoted herself almost entirely to teaching me everything I wanted to know. We’d go to the library and check out stack after stack of books, then bring them home and read them one after another in our rocking chair. If I wanted to learn a skill — say, finger-painting or guitar — we’d acquire the necessary materials and explore that area until it was time to move on to the next exploration. She was the most wonderful gardener my growing mind could have wished for.

INTERVIEWER

What does the term ‘writer’ mean to you?

THOMAS

A magician of language. (Cf. my answer to the question above.)

INTERVIEWER

What research (if any) do you conduct before setting out on a new writing project?

THOMAS

I find it’s impossible to write fluently about any subject — fictional or otherwise — without a working knowledge of the world in question. But my research rarely proceeds according to any prearranged plan; each day I simply wake up and ask myself, “What do I want to know about today?” and proceed from there.

INTERVIEWER

Do you feel any ethical responsibility as a writer?

THOMAS

I believe people in all creative disciplines bear a responsibility not only to describe the world as it is, but to present compelling pictures of the world as it could be. One of my mottos is, “Remember, someone is turning sixteen every day.” — in other words, every day, new people are waking up to themselves; examining ideas in the media they read and watch; deciding which ones they want to pursue, or integrate into themselves, and which ones they’ll reject. We don’t get to decide which of our ideas will connect with these people — but we do have a responsibility to provide them with accurate and useful concepts, and not to frighten them with falsehoods for the sake of profiteering.

INTERVIEWER

Tell us about ‘The Willows’ – how did you first conceive of the idea, and what are some of the challenges in running a regular literary magazine in this day and age.

THOMAS

I first conceived of The Willows in 2006. I’d been an enthusiastic reader of Arthur Machen and Algernon Blackwood since my university days — and one evening it just occurred to me that no one was publishing fiction in that vein anymore. Right then and there I set up a small website and put out a call for stories, and the response was far beyond what I expected: authors, illustrators, marketers and supporters appeared out of the blue, all rejoicing that this magazine existed. Seems I wasn’t the only one who’d noticed a cultural void where that The Willows ought to be!

A small crew of us ran the magazine from 2007-2010. The funds came out of my own pocket — earned at a series of mind-numbing day jobs — and many contributors volunteered to provide work for free, or for significantly less than their usual fees. I hadn’t the slightest idea how to produce a magazine; I taught myself Adobe InDesign, found a local print shop that was willing to work with me, and learned the trade through (often expensive) trial and error.

Over the years, the stress and expenses took their toll — I was spending upwards of $1000 of my own money to produce each issue, and usually making only a few hundred in profit, even with the advertising space we sold. My co-editors Skadi meic Beorh and Orrin Grey picked up a lot of the slushpile work, enabling me to focus more on the production side — but even so, we’d set ourselves the task of publishing a bimonthly magazine, out of our own pockets, while simultaneously working forty hours a week or more at our office jobs.

This obviously wasn’t sustainable — and it was, perhaps, inevitable that in the spring of 2010 I suffered a nervous breakdown, stormed out of my job at at a media planning agency, and became a recluse: living off government benefits, painstakingly crafting elaborate ecosystems in garden planters on the balcony – tiny bonsai trees, grassy hills, lakes, mountains and caves – and attempting to populate them with small frogs and fish, who all hopped away, or died overnight, to my horrified dismay; stringing up fluorescent lights in the attic to grow tomatoes and soybeans, resulting in a forest of dead leaves and vines into which I frantically pumped nutrients in the vain hope of resuscitation; poring over Babylonian cuneiform texts and ancient Greek philosophical treatises.

Long story short: I was, for all practical purposes, dead to the world until 2012 or so. When the dust settled, I decided I wanted to have nothing to do with The Willows — or the weird fiction community — and I moved on to studying neuroscience; and later, to traveling to other continents. It wasn’t until the spring of 2019, when I attended the Outer Dark Symposium of the Greater Weird in Atlanta, that I reconnected with many old friends (and made new ones) in the Weird community. At that conference I floated the idea of a Willows hardcover anthology — and once again, the response was far stronger than I expected. The Kickstarter campaign flowed naturally from there.

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

THOMAS

I’ve just begun a new Strange Continent series on neolithic China, which I think is a fascinating time and place. I hope eventually to bring all Strange Continent stories together into a single attractive print volume (as some readers have suggested). But since visual images play such crucial roles in the historical tales I tell, I’ll need to find a way to acquire print rights to the paintings I’ve interspersed throughout these stories — and I anticipate a labyrinthine series of bureaucratic headaches in that direction.

In the meantime, I’ve been getting back to my roots, writing weird tales in the classic tradition of Machen and Blackwood (though some are set in the present day). I hope to find welcoming homes for some of these stories over the coming months.

Quick fire round!

INTERVIEWER

Favourite book/author?

THOMAS

Absolutely impossible to pick just one. Here are my top nine.

INTERVIEWER

Critically acclaimed or cult classic?

THOMAS

Cult classic. Fashion is fleeting, but style is timeless.

INTERVIEWER

Most underrated artist?

THOMAS

Brian Evenson. He’s our century’s Kafka.

INTERVIEWER

Most overrated artist?

THOMAS

The Apostle Paul. We should’ve tossed him out and kept the rest.

INTERVIEWER

Who is someone you think more people should know about?

THOMAS

My friend Orrin Grey. He’s a skeleton who writes more about monsters before nine a.m. than most people do all day.

INTERVIEWER

Do you have any hidden talents?

THOMAS

All my talents remain hidden until the right time comes.

INTERVIEWER

Most embarrassing moment?

THOMAS

Hmm… probably that time on a cruise to Mexico when I had a catastrophic panic attack (because it was impossible to get away from the throngs of loud drunk people) and locked myself in our cabin’s bathroom while my girlfriend screamed at me to stop being a psychotic infant. I’ve never set foot on a cruise ship since.

INTERVIEWER

What’s something you’re particularly proud of?

THOMAS

I’ve done my level best to share everything I have with my friends.

INTERVIEWER

One piece of advice for your younger self?

THOMAS

Nobody’s going to do this for you. If you want it, you’re going to have to build it yourself.

INTERVIEWER

Could you write us a story in 6 words?

THOMAS

She’s just my student!

Honey…
Seen.

 

The greatest books that haven’t yet been made

/ professorwu / 5 Comments
Karl Marx mock up

“Canines of the world, unite! You have nothing to lose but your leashes.” – A look inside one of the unique creative projects currently seeking crowdfunding, ‘Philosophers’ Dogs’, from award-winning publishers Unbound reveals the truth about the real masters of human philosophy: dogs.

Will the revolution be digitised? For the past several years, this has been the question increasingly being asked by those in the publishing industry looking to break with the old, frustratingly risk-averse models that so often – as Julian Barnes once noted – only seem to be interested in publishing “copies of novels that are copies of previously successful novels.”

As the online world becomes ever more a part of the real one, the pressures on writers and publishers has only increased. With the incomes of writers continuing to collapse, and independent publishers struggling to compete with the corporate behemoths, many aspiring writers and publishers are reaching out directly to readers before their books are published (or even written, in some cases) through crowdfunding websites such as Kickstarter.

Now celebrating its 10-year anniversary, Kickstarter has seen tens of millions of dollars pledged to fund successful book projects, among their number, the speculative science fiction novel, The 8th Emotion by Josh Spiller, ‘Mud’ by Chris McCabe (published through incredible art-house publishers, Henningham Family Press), and the delightful Shallow Creek project from literary creatives STORGY.

Unbound: liberating ideas

The crowdfunding model is now even being adopted by the publishers themselves. UK publishing house Unbound made waves when they were founded in 2011; and truly announced their arrival as publishing heavyweights in 2014 when one of their novels was longlisted for the prodigious Man Booker Prize.

With Unbound, the company takes crowdfunding beyond the singular focus of financing a project like Kickstarter – as The Independent Publishing magazine explains: “Unbound is a publisher that happens to use a funding platform, rather than a crowdfunding platform suitable for book publishing. It’s an important distinction and visitors to the Unbound website will appreciate that the company is driven by the publication and sales of books. It is refreshingly transparent about its method of business.

Found in the crowd

So, why the move towards crowdfunding? Well, as the author Dan Coxon has noted, part of the reason is that this model provides both writers and publishers with confidence. Coxon says it is “useful to think of the new crowdfunding model as a kind of inverse marketing: whereas the publicity campaign usually kicks in upon publication, here we did all our marketing in advance. I like to think that most of these people would have bought the book anyway – but by doing it ahead of publication, they helped reduce the risk to both publisher and authors, and therefore made the book possible.”

Coxon knows what he is talking about here – having successfully crowdfunded two anthologies on Kickstarter: Being Dad: Short Stories About Fatherhood (Tangent Books), and most recently This Dreaming Isle (Unsung Stories). But for every book that does reach its crowdfunding target, there are two more that fail to do so and never see the light of day.

10 (plus one) of the best literary crowdfunding projects

So, in the hope of honouring our ambition to support creatives of all stripes to fulfil their artistic ambitions – while also introducing readers to new and unique books, we’ve put together the following list of literary crowdfunding projects that we’d recommend you all supporting. And remember, there aren’t just books on offer here, but often wonderful rewards that you can pick up as well.

P.s. If you or someone you know has a crowdfunding project that you’d like to see here in this list, contact us and let us know – we’ll be updating the list over time as projects successfully fund and new ones launch, so it’s always fresh.

1. Philosophers’ Dogs

Philosophers’__Dogs_2_3DIs it possible to be a good dog? Do we catch balls of our own volition? Or are our decisions to eat the rotten apples, to bark at the cat, predetermined? What is it to know that you have behaved well rather than merely believe it?

All these questions – and more – are answered in Philosophers’ Dogs: a ground-breaking book, featuring beautiful illustrations, it promises to shake the very foundations of both western and eastern philosophy.

Support the campaign now – and pick up rewards including the opportunity to name a dog in the book, pick up beautiful original art prints, as well as even receive a personalised illustration of your own dog as a philosopher.

Also – considering one of the creators of this book is a member of our own creative collective, how could you not support this project? We’re a collective, after all.

2. The Advanced Rhyming Dictionary for Rappers and Poets

3D.RAPPERS_2.4.19.jpg

This book is a necessity for writers everywhere. Traditional rhyming dictionaries are becoming outmoded as we see rappers and poets turn to multi-syllabic slant rhymes rather than the mono-syllabic perfect rhyming suggestions of ‘cat/mat/Monserrat’. Rhyme is rarely so precise anymore. It has evolved. And with that evolution our tools, too, need to evolve.

With traditional rhyming dictionaries ill-equipped to cater to modern writers, this book, from battle rapper Adam ‘Shuffle-T’ Wollard, there are so many applications for this book and so many ways in which it can help people’s creativity.

Get rhyming (and battle rapping, if you so wish) now – all through pledging for one of the fabulous rewards on offer.

3. Atari: A Visual History

Atari Visual History.jpg

Atari: synonymous with some of the best-known early arcade hits such as Pong, Asteroids and Centipede, and to this day a favourite of those who understand the groundbreaking impact it had on the home computer and video games industries.

But this book isn’t just a sweet nostalgia trip (though it promises to be that, too). It is, more obviously, a beautiful, one-of-a-kind compendium book for your coffee tables about the Atari 8-bit home computer and its third party software titles from the 1980’s and beyond.

4. Future

Future Poster.jpg

A full-colour science fiction graphic novel about love, hope and the end of the Earth.

Featuring stunning illustrations from award-winning artist Rupert Smissen, Future posits that it’s during the worst times that we most need to move forward, to push through hopelessness and shape our future rather than letting it shape us.

What’s more, you can sneak a preview of this fabulous book by reading the first chapter online.

5. ‘The Willows Magazine’ Hardcover Anthology

Willows Anthology.jpg

We love a good creative endeavour put together by a collective of likeminded creatives, so perhaps no surprise to find this one in the list. ‘The Willows’ is the beautiful hand-crafted magazine put together by a group of artistic and literary misfits. This project aims to bring all past issues together into one beautiful anthology edition.

Featuring a wealth of classic stories from G. D. Falksen, Sarah Monette, Lawrence Dagstine, and many more — along with brand-new tales from award winners Gemma Files, John Langan, Brian Evenson, Orrin Grey and Jesse Bullington; plus a new introduction from editor Ben Thomas — this anthology will be a collector’s item you’ll be proud to treasure.

6. Nothing But A Good Time

This one is right on the cusp of reaching 100% funding. This book will provide readers with a fascinating cultural history of Glam Metal: where it came from, how it defined America in the 1980s and how it all came crashing down.

The book is written by Justin Quirk, an award-winning writer, editor and broadcaster from London who has written for The Guardian’s, Kerrang! Arena and Esquire as well as the Times, Sunday Times and The Independent.

 We have nothing but good things to say about this book – help make it a reality.  

7. 100 Voices

This book is the culmination of a huge undertaking. Between 6 February and 16 May 2018, 100 Voices crowd-sourced stories from female-identifying writers all over the UK. Award-winning novelists, theatre makers, short-story writers, bloggers and poets each contributed a short piece responding to the theme ‘something I have achieved’ on the 100 Voices For 100 Yearspodcast. The resulting collection, transcribed in this stunning book, is a treasure trove of thoughts on what it is like to be a woman in 2018.

8. Wonders and Visions: A Visual History of Science Fiction

CoverRenderWhite.jpg

This sumptuous book tells the story of science fiction through its most iconic, beautiful, interesting and (sometimes) crass cover art: from the earliest days of publishing in the 19th-century, through the glory days of Pulp magazine covers and the Golden Age, into the endless visual experimentation of the New Wave and so to the post-Star Wars era, when a ‘visual logic’ comes to dominate not just science fiction but culture as a whole.

With over 350 full-colour images and more than 50,000 words of text this is more than simply an anthology of famous science fiction covers–it is an ambitious attempt to tell the whole history of the genre in a new way, and to make the case that science fiction art, from the sober future-visions of Chesley Bonestell, to the garish splendours of Hannes Bok, from the Magritte-like surrealism of Richard Powers, Frank Freas, Judith Clute, and Ed Emshwiller to the amazingly talented designers and artists of the 21st-century, exists as a vital and neglected mode of modern art as such.

9. The Bystander Anthology

bystander anthology

50+ South Asian creatives. 13 countries. 1 Comics Anthology. Stories about Gender,Identity, Boundary and Exclusion. Presented by Kadak.

The BYSTANDER anthology is comprised of both a print and a web component. The print output will be a beautiful and stunning book offered alongside a variety of rewards like delicious zines, posters, postcards, stickers… which are all up for grabs!

10. Quiet Pine Trees

Quiet Pine Trees is jet fuel for your imagination and a wrecking ball against writer’s block. This collection features more than 500 tiny, strange stories from my years-long campaign to turn the humble tweet into a self-contained work of literary art. The limited format forces each story to combine powerful imagery with haunting themes in just a few words, creating snapshots of bigger, stranger worlds to inspire the creativity of the reader.

These micro stories cover a wide range of genres, from science fiction about advanced time travel techniques, to otherworldly fantasy about desperate trees and artillery pianos, to cosmic horror about why dolls can close their eyes.

11. Poetry to the People: A Book Truck Tour

poetry to the people

Okay, so technically not a single book, but we’re a collective and all about any project that aims to bring lots of literary delights to lots of people, so we’re big fans.

House of SpeakEasy, an inventive NYC-based literary arts nonprofit, has a 27-foot-long box truck retrofitted with open-air bookshelves with enough room to haul thousands of books. Narrative 4, a global story-exchange organization, has a summit in New Orleans. What happens when you put these two together along with dozens of community partners along the way? A 10-day, 10-stop tour: Poetry to the People.

The tour will feature outstanding authors including Raquel Salas Rivera, Rayna Guy, Rickey Laurentiis, Jenny Johnson, Hanif Abdurraqib, Eloisa Amezcua, Hannah Pittard, Kiese Laymon, Darrell Bourque, and Daniel José Older–with more authors joining the tour soon!

Go on and get involved. You know you want to.

 

 

 

Creatives in profile: interview with Katie Arnstein

/ professorwu / Leave a comment

Screenshot 2019-04-21 at 21.17.49

Katie Arnstein is an actor, writer and musician from the Midlands. Her two solo shows have both won Show of the Week at VAULT Festival, with her most recent show, Sexy Lamp winning The Pick of Pleasance Award.

Sexy Lamp is a show inspired by Kelly Sue DeConnick’s ‘Sexy Lamp Test’, which determines if a female character is relevant to the plot of an artistic work or merely decoration. If a female role could be replaced by an item of otherwise alluring lighting without changing the story, it has failed the Sexy Lamp Test. In the era of the #MeToo movement, it is in many way a defining show of our times (and, as such, we – along with many others – have been raving about it in our reviews).

Ahead of a summer touring Sexy Lamp, which includes a run through the Edinburgh Fringe Festival, it was a genuine pleasure to catch-up with Arnstein and talk about her show and everything else besides (including her constant fear of frogs).

 INTERVIEWER

Tell us about yourself, your background and ethos.

ARNSTEIN

My name is Katie Arnstein, I am a 28 year old actor, writer and musician originally from the Midlands. I am the daughter of  two now-retired teachers, Jane and Tim, and I have two sisters, Grace and Lil. I’m a vegan but am fun in other ways.

INTERVIEWER

In your latest play, Sexy Lamp, you speak about how your love of acting can be traced back to watching Judy Garland in The Wizard of Oz. Has acting always been your first love, and what have been some of the defining moments that have brought you on your journey so far?

ARNSTEIN

I am told that when I was very young I wanted to be a face painter but after seeing the Wizard of Oz I wanted to be Dorothy. I loved acting but didn’t know how to do it as a job until I met the careers advisor at school who said “You can train to be an actor, you know?” and I was like “AWESOME. How?”. I got in to a regional drama school and moved to London in 2012 to begin my glittering career*

*career decidedly not glittery.

INTERVIEWER

Apart from acting, what else are you particularly passionate about?

ARNSTEIN

Equal rights, large cups of tea and Bruce Springsteen.

INTERVIEWER

Who inspires you?

ARNSTEIN

Alexandria Ocasio-Cortez, Jess Phillips, Morgan Lloyd-Malcolm, my sisters and my oldest friend Laura Higgs.

 INTERVIEWER

What are some of the key challenges facing aspiring artists and actors today?

ARNSTEIN

How hard it is financially. How hard it is getting your foot in the door. The lack of diversity within the arts.

INTERVIEWER

Could you tell us a little about your journey in putting together your show, Sexy Lamp? Why do you feel it’s been important to put this show on now, and could you have put it on to the same effect when you first arrived in London, in 2012?

ARNSTEIN

Sexy Lamp is the second solo show I have written. It follows Bicycles and Fish, which I have been touring on and off since 2017. I wrote Sexy Lamp in December, 2018 up until the day of the first show on the 6th of February 2019. I had surgery at the start of December so spent the month sitting down and trying to write. I wrote the opening song and a number of real life accounts of my experiences and then tried to piece them together. It was like a nightmare jigsaw puzzle.

There is absolutely no way I could have put the show on in 2012, I didn’t believe I could write until 2016. In 2012 I was waiting for the call from the National Theatre or Spielberg. Reader, that call never came.

DSC_0443

The ‘Sexy Lamp Test’: if a female character could be replaced by an item of otherwise alluring lighting without changing the story, it has failed the Sexy Lamp Test. Photography by Simon Jefferis.

INTERVIEWER

In the 1980s, there seemed to be a move within the acting industry towards putting strong, female characters front and centre of stories – think Thelma and Louise, or Alien, for instance. So it’s not unsurprising when many people voice incredulity, really, that we still haven’t moved on much from then, in many ways – and there are still far too many films and theatre productions that don’t pass either the Bechtel Test or the Sexy Lamp test. Why is that, do you think? And what can be done about it?

ARNSTEIN

We need more female voices in every area of the industry; but particularly when it comes to making the decisions of what gets made. We also need to vote with our time and money. We need to seek out and support female and non-binary work. It has been a boys club for the whole time. Thelma and Louise and Alien are exceptions, not the rule, when it comes to films. I hope to see a change and have every film or show pass these incredibly simple tests addressing gender balance.

INTERVIEWER

Writers often speak of having certain habits or processes they follow strictly when writing their first, second and subsequent drafts. Are there any strict rules or rituals you stick to when crafting your shows?

ARNSTEIN

I try and do youtube Yoga with Adriene in the morning. I always start the day with a big cup of tea and breakfast. When the show is coming up I sleep with the script under my pillow and I always have a notebook and pen with me. My friend Dan Goldman will hear the script throughout its many drafts and note it for me. Also, for Sexy Lamp, the wonderful Ellen Havard directed and was key in creating the show as it is now. I always buy a Big Issue on the day of the show. My process also includes huge panic and crying. I am trying to work on this…

INTERVIEWER

Your shows blend performance and almost memoir-like driven narrative with music and song. How do you see the relationship between the various different artistic aspects of your show? Do you prefer writing song lyrics to a script, or vice versa?

ARNSTEIN

I began writing songs when I was 21 and only thought about writing dialog when I entered a scratch night at Redbridge drama centre at the end of 2016. It takes me a while to get a song I like the sound of; but once I get there I can write a song in about an hour, it is just a bit hit and miss until then. The script took longer but I am trying to keep practicing.

INTERVIEWER

Why the ukulele, and what are your biggest musical influences?

ARNSTEIN

My Dad bought me my use for my 21st birthday. I was leaving drama school and wanted to start writing songs and can’t play the piano well enough so the ukulele was a brilliant gift. It’s portable and easy to get started on.

Influences wise, I have my dad’s taste in music. I am particularly interested in great lyricists, Joni Mitchell, Tom Waits, etc. The Kinks are a very important band to me as they make the everyday appear magic.

INTERVIEWER

Do you have a specific audience in mind when you write or act?

ARNSTEIN

I imagine I’m talking to friends which might sound cringe but I hope not. I try to write in a conversational, accessible and gentle way. I want it to feel like you have sat down with a pal you haven’t seen in a while and you’re just catching up. I also try a write a couple of jokes that my parents will like and a couple that my friends will like, then build it up from there.

INTERVIEWER

Do you feel any ethical responsibility as an actor and writer?

ARNSTEIN

I feel I have a responsibility to be truthful and raise awareness of issues surrounding sexism and the everyday struggles that women are faced with. I hope I contribute to the conversation.

INTERVIEWER

What, in your opinion, is the sexiest type of lamp or lighting?

ARNSTEIN

Since showing Sexy Lamp at VAULT festival I have had many images of sexy lamps and lighting sent to me. It is an unexpected perk and it has OPENED MY EYES I can tell you.

INTERVIEWER

What’s next for you and your creative projects?

ARNSTEIN

I have a few more shows of Sexy Lamp and my first show Bicycles and Fish before taking Sexy Lamp to the Pleasance this summer for the Edinburgh Festival. I will start writing a third show I think, although every time I begin it is such a scary feeling I am putting it off. I am also looking to collaborate with other people and theatre companies to keep learning and developing.

INTERVIEWER

Could you give your top 5 – 10 tips for aspiring writers and actors?

ARNSTEIN

  1. Write a to do list everyday with clear achievable goals.
  2. Be brave.
  3. Believe you can do it.
  4. Get a small and brilliant team around you to help you.
  5. Keep a notebook with you at all times.
  6. Find your individuality and that will be your strength.
  7. See as much as you can.
  8. Be kind. (It is not necessary but it helps)

Quick fire round!

 INTERVIEWER

Favourite book/author?

ARNSTEIN

I have just had my mind blown by Normal People and Conversations With Friends, both by Sally Rooney.

INTERVIEWER

Critically acclaimed or cult classic?

ARNSTEIN

I suppose critically acclaimed? But then I’ve seen The Room about 20 times.. so I don’t know.

INTERVIEWER

Most underrated artist?

ARNSTEIN

I have followed a woman called Karima Francis for over 13 years and I think she is wonderful.

INTERVIEWER

Most overrated artist?

ARNSTEIN

 I think R Kelly is still being played and we need to shut that right down.

INTERVIEWER

Who is someone you think more people should know about?

ARNSTEIN

Anna Seward, she was a writer, poet, botanist and feminist from my home town of Lichfield and even though we have many statues of men there is nothing that celebrates her.

INTERVIEWER

If the acting industry didn’t exist – what would you do?

ARNSTEIN

I would like to enter pub quizzes for money and see if it could sustain me.

INTERVIEWER

Do you have any hidden talents?

ARNSTEIN

Me and my brilliant pal Simon just did American Boy at karaoke and it was wicked. I don’t know if that counts.

INTERVIEWER

Most embarrassing moment?

ARNSTEIN

When I was at primary school I had my dress tucked into my pants when I was taking the register out to the office and my teacher got the whole class to tell me in unison. It was a harsh move from them.

INTERVIEWER

What’s something you’re particularly proud of?

ARNSTEIN

Sexy Lamp won the Pleasance Pick of Vault Festival and that is remarkable. I am proud of my sisters, Grace and Lil everyday.

INTERVIEWER

One piece of advice for your younger self?

ARNSTEIN

Don’t worry so much, please. AND DON’T WEAR STILETTOS FOR SCHOOL WHAT ARE YOU THINKING?!

INTERVIEWER

Could you write us a story in 6 words?

ARNSTEIN

She dreamt it then did it.

Check out Sexy Lamp for yourselves

Follow Katie Arnstein on Twitter @KatieArnstein and on Instagram (also @KatieArnstein). Ahead of her run at the Pleasance Baby Grand Theatre in Edinburgh for the whole of the Fringe Festival, you can catch her at one of her upcoming shows (information on which is available through Arnstein’s website).