Tag: hastings

Blog/

Slam Dunk at the Printworks in Hastings

Spam poetry at the Printworks, Hastings

Last night I took the train (yes! there and back! and only slight delays!) to Hastings to Slam Dunk, a regular poetry night at the Printworks, where Hastings Stanza rep Antony Mair was doing a set.

Although it’s not far away, Hastings is still a bit of an unknown quantity for me, but it has an unmistakeably youthful and creative vibe that’s irresistible. There’s an edge to it too – and my first challenge was to find the way in, which turned out to be down a dark alley and without any external signs…a cross between a speakeasy and some sort of squatters’ den – ha! (The experience reminded me of a ‘foreigners only’ bar in Rome about 30 years ago where you had to know the correct (unmarked) door to knock on, and someone slid open the hatch to check you were a) not Italian and b) not male. Men were allowed but only in the company of a woman, and in the proportion one-man-one-woman. I don’t think Rome was ready for any other relationship possibilities in those days. It sounds bizarre but for me as an eighteen-year-old alone in a foreign country it was a ‘safe place’ away from the pests that followed a girl everywhere.)

Anyway, I was rescued by Judith who appeared at what I took for the emergency exit. The room turned out to be one of those cavernous industrial spaces taken over by artists and the hipster crowd – girders/concrete/crittal windows/bar made of chipboard/Edison lightbulbs etc – and buzzing with energy. The Hastings Stanza poets were there in force to support Antony – a few of us for the first time – and in fact the intrepid Roz Balp took part in the open mic with a high degree of panache (that’s her in the featured pic -trust me!)

The format was that open-mic-ers each read one poem, and there was a time limit (two or three minutes – I missed the introduction so not sure) – and after each reader the audience got to give them marks out of ten, with deductions if they went over time. Somebody then did a quick calculation and came up with a number – I couldn’t work out the formula, but there was much cheering as ’24!’ or ’26!’ were announced. Another knockout round followed, with an eventual winner, then a generous break, then the first headliner poet (the previous month’s slam winner – in this case, Antony), then ANOTHER headliner…. and all over by 10pm.

I’m not a huge fan of open mics, but I thought the format worked well, discouraging the bores who only want to go on and on, and keeping the audience engaged with a bit of friendly competition and banter. People paid attention but there wasn’t the reverential hush of your typical poetry reading – the bar was busy and we were kept entertained with blasts from the Dyson hand dryer in the loos behind our table.

Spam poetry at the Printworks, Hastings

The audience was mostly young, creative types, but all ages seemed to be represented – quite a few people even older than me! Several of the readers were young men with beards, fabulously long hair, or both, most of them reminding Steph of her first husband. We had plenty of anti-Trump rhetoric, relationship angst and a surreal poem from Brian Docherty which appeared to be about aliens taking hostage a bloke who tells them Winston Churchill is dead, all taking place on the set of The Only Way is Essex. I may have got that completely wrong, but entertaining as always is Brian. The average age of the poets was significantly lowered by the presence of 15-year-old Ruby, who made it to the read-off with her excellently angry and witty poems. Such confidence! She would have known how to handle those groping Italians back in the 80s.

Antony presented another fine set, although at one point he had to call for the ‘live open fire’ projection to be turned off, in case he had an epileptic fit. It was a teensy bit of a shame though, as the room seemed decidedly chilly once we were no longer looking at the flickering flames.

Antony Mair at the Printworks Hastings poetry slam

Final poet of the night was headliner Sally Jenkinson, who was a new name to me – as she said herself it’s great to visit a part of the country you don’t know and to come across new people. In Sally’s case she’s from Doncaster, but has been living in Brighton a couple of years. She gave a strong reading and I liked her style. It’s not easy to go last and she kept us listening to the end.

Then I only had to wait ten minutes for The Train, which actually took me home, and my dear husband surprised me by meeting me at the station. Top night out!

Blog/

Seven Questions for Poets #3 – Antony Mair

Today’s poet in the spotlight is Antony Mair. Antony has been a brilliant poet friend of mine for some years, firstly as a supporter of the Brighton Stanza and member of the ‘loose committee’ when I was the rep, and latterly as the founder and chief corraller-of-poets at Hastings Stanza. He has an MA in Creative Writing from Lancaster, and is widely published in magazines including Acumen, Agenda, Ink, Sweat & Tears and Poetry Salzburg. Antony recently won the Rottingdean Writers National Poetry Competition.

1 – What was the last poetry book you read, that you would recommend?

The one that’s given me most pleasure recently has been ‘Cradle Song’ by Andrea Samuelson, who’s a member of the Hastings Stanza group. It gives a voice to her great-grandmother, who was confined to a mental hospital in Sweden from her early twenties to her death some fifty years later, and whom Andrea identified with as a result of suffering from severe post-natal depression herself. Andrea’s been working on a novel since this collection, but I want her to give us some more poems!

2  – Philip Larkin and Dannie Abse are both alleged to have said they only wrote one or two decent poems a year. How is it for you?

I wish it were that simple.  There’s the usual cycle of completing a poem, thinking it’s a masterpiece, leaving it for a month or so and then seeing it’s a turkey.  Even when I’ve done something I’m pleased with it may not survive an editor’s scrutiny.  If Larkin or Abse were to come back from the dead and consider half a dozen of my efforts ‘decent’ I’d be delighted.

3 – What would be your ideal place for a writing retreat?

An apartment in the old town of Nice would do quite nicely for a week – preferably when something’s on at the opera house!

4 – Do you enter poetry competitions?

Yes, though I’ve wised up quite a lot over the past few years, and can see that even my swans may be geese compared with other’s offerings. It’s a bit of a lottery, but everyone enjoys a flutter.

5 – If someone has never read any poetry, where would you suggest they start?

By reading Lifelines – my edition is New and Collected, from Town House, Dublin.  The project involved asking numerous people, eminent in a wide variety of fields, to nominate their favourite poem and explain why.  The result is an anthology with a considerable plus.

6. Why is end-rhyme considered a good thing in performance poetry, but rarely found in contemporary magazines?

Hearing poetry is difficult.  We’re out of the habit of it.  Rhyme helps to anchor the attention by giving us a sense of structure.  When it comes to contemporary magazines, rhyme is simply out of fashion – I don’t think there’s an easy explanation for that.  Contemporary poets who use rhyme well, such as Gjertrud Schnackenberg in the USA, can achieve effects that are sometimes quietly miraculous.

7 – A murmuration of starlings, a murder of crows etc – what would you call a group of poets?

How about a ‘jabber’?  I was going to suggest a ‘parnassus’, but fear it sounds a little too like ‘up-our-asses’ which is of course a million miles from the truth.

QUICK PLUG:  Antony Mair is one of four poets who have been commissioned to write a poem inspired by the Bayeaux Tapestry. The poems have been set to music by Orlando Gough and will be performed at Clash! a special event in Hastings on 24th September. It’s all part of the 950th anniversary of the Battle of Hastings. Full details here.

Previous ‘Seven Questions for Poets’:
#1 – Clare Best
#2 – Jill Abram