Saturday, 14 May 2016

Updates



Last time I posted we were deep in winter, moaning and scowling. Well, cheer up Moany McMoanface, because I've a few updates about goings on and all that...

Publications

I've had a very short story published in the York Literary Review, which contains some fine writing which you should go and read! Here's my story (if you enjoy arson, you may like this - you sicko).

Shoreline of Infinity issue 3 is born! With loads of great sci-fi artwork, stories and poetry (from none other than Jane Yolen and Marge Simon!!!)


And some of my poetry found homes:
SpacecraftPress (Jan 2016) – “Birds 1.0” (published as a chapbook)
ScottishMountaineer (Feb 2016) – “Out, Out” - go to page 46 for my poem!
CityWalls (Stanza 2016 Exhibition) – “Signature Piece”
Poetry Planet: Animals and Creatures(Feb 2016) – “The Ant Swap”
Bliza (March/April 2016)- The Insider, The Bang, The Flat Opposite, Apologies to My Body and Hanging Out the Washing at Night (translated into Polish by Wojtek Boros and Kasia Kokowska)
BestScottish Poems 2015 (SPL, online published 2016) – “The First Kiss”
Causeway/Cabhsair (May 2016) – “Abigail”


Events

Shoreline of Infinity have put on 3 more Event Horizons (Edinburgh's sci-fi night) 2 of which were at our new venue: The Blind Poet

It's on the first Monday of each month, at 7:30. Come! Event Horizon 8 is on 6th June and will feature music from the artists of Cat and the Howling Moon, prose from Andrew J Wilson and Caroline Grebbell, and poetry from Jane McKie!





Previous acts you've missed (naughty naughty!) this year have included:


February

Atzi Muramatsu, Lynsey May, Aileen Ballantyne, Pippa Goldschmidt

April

Colin McGuire, Dee Raspin, The Dan Collins Band, Arcturus Voyagers

May

Pippa Goldschmidt, Painted Ocean, Monica Burns, me


Other stuff going on / coming up

I've been busy editing a new anthology of contemporary poems about Edinburgh with the ever talented Claire Askew. 

I've been doing the milk rounds at primary schools across Edinburgh, teaching poetry as part of the Edinburgh International Festival. I've also taught a writing course for LitLong, a really cool literary app which shows you what's been written about the city as you walk around it.

I'll be reading in Kirkcudbright on 20th May, as part of "Seeing Stars" - a new play about romance and science, starring Debbie Cannon and Jonathan Whiteside, written by Noel Chidwick and Pippa Goldschmidt.

Poetry Gang (me, Aileen Ballantyne, Lauren Pope, Jonathan Bay and Marianne MacRae) will be joined by Rebecca Tamas for a once-in-a-daytime poetry extravasomething in Cupar's Ti Amo as part of the Cupar arts festival (23 June, doors 7, start 7:30)


Okay, you're bored, I'm bored - go away (come back soon, I need you!)


Russell Jones

Thursday, 21 January 2016

Upcoming readings

Got no friends? Bored with life? Turn off the oven! Put down the pills! There are many wonderful poetry events you can be a part of, full of (potentially) interesting people and (potentially) free booze. Sounds like heaven? Well it (potentially) is!

Here are a few upcoming poetry readings going on, which just so happen to include me on their rosters...



Event Horizon: January 28th, Deadhead Comics (7:30pm)
Okay I'm not really reading at this one, but I organize and host it. It's a great night of sci-fi performances, and this time around it includes:

An Edwin Morgan SF dialogue poetry performed by actors Debbie Cannon and Sue Gyford.
Short stories from Tracey S Rosenberg.
Live art and discussion from Sara Ljeskovac.
Live music from The Chthulu Brothers.
Plus a raffle, comics, chat and more!




Shore Poets Quiet Slam: January 31st, Outhouse (7pm)
This is a bit like a poetry slam, but without all the yelping and whooping. Poets are judged on the quality of their poem and their delivery, with no marks for audience reaction. I'll be reading something suitably morose. Come watch me lose!





Poetry Gang: Words from Reekie: 4th February, Wash Bar (7:30pm)
Meet the most happenin' hip hop quinet around. With topics ranging from candyfloss to crack, unicorns to unicef. Each poet involved is a current or past PhD Creative Writing candidate at The University of Edinburgh, and they is street, innit. Includes readings from Marianne MacRae, Jonathan Bay, Aileen Ballantyne, Lauren Pope and me. There may also be a guest appearance from a real life mobster. (There won't be.)





Rally & Broad - Ampersand Edition: 19th February, Bongo Club (7pm)
I'll be performing live with the horribly talented Atzi Muramatsu. He'll be responding to my sci-fi comic poem (drawn by the ever impressive Edward Ross), with musical improvisations. It's a night of collaborations which ought to get the veins pumping.


That's all for now, but we're worried about you. Come out once in a while, have a shower, wear clothes...


Russell Jones

Wednesday, 20 January 2016

Book Review: This Changes Things, by Claire Askew








This Changes Things
by Claire Askew
(Bloodaxe Books, 2015)
BUY IT HERE





I’m nervous when I read my friends’ books. Sometimes, I’m so off-put that they end up sitting in a pile, pleading to me. The problem is this: what if I don’t like it? Then I have to see them, avoid the topic, try to swerve conversations in not-your-book directions, maybe even test out my poker face if they ask directly, “So what did you think?” It’s with a gram or two of that trepidation that I approached This Changes Things by Claire Askew. Well, here’s my review in a monkey nut: What a debut!

This is a book of (literally) two halves, with the first section covering memory and family tragedy (amongst other things) and the latter taking on the narrator’s (we have to say that) adult life of moving house, finding love, holidaying and so on. The book also rugby tackles a variety of important issues such as checking-ones-privilege, our irrational pre-judgements of women and the unadorned, unappreciated luxuries of living and life. It has an obsession with death, but none of these issues are treated flippantly, none of them seem trodden or familiar. Askew doesn’t let you escape judgement but she also includes herself in those prosecutions, so it feels like her fingers are pointed in all directions.

That’s a sandpaper glimpse into some of the topics of the book, but of course the proof of the pudding is in the expression, and Askew is as about as original and vibrant as you can get. As a writer myself, I’m (usually unwillingly) trying to pick up on ‘how’ a writer manages to achieve success (by which I mean, a punch in the face) in their writing. There are several notable components and techniques to Askew’s style which make her writing identifiably hers (you KNOW an Askew poem when you read it). Firstly, she is brilliant at turning a line on its noggin’. Check out these cuttings from “Fire Comes”:


... Beyond the helpless trees somewhere, a dog rattles awake;
            the air brake
of a distant night bus seethes. Fire slides its tongue into the house’s
            ear


Askew builds the line to a particular expectation, then shifts it in an instant. When we first read “the air brake” we envision a sudden change in the atmosphere which, associated to the waking of the dog (which is achieved through the rhyme, and thus conscious and subliminal linking of “awake/brake” in our minds). This brake then transforms to the mechanical air brake of a bus, evoking a familiar (to me, soothing, but also potentially sinister) hissing sound in the mind’s ear. Similarly, the image of a burning house becomes eroticised (frankly, to my mind, in a somewhat grotesque way) when the image gains an “ear”.

The effect of this technique (it’s not unique to Askew of course, but she employs it regularly, and triumphantly) is to surprise the reader, undermining expectation to bring multiplicity of meaning and image.

Askew creates other surprises through her rhythm and rhyme. None of the poems in This Changes Things feels clunky; rather, they have a natural music which carries you through. This is particularly important because the collection is narrative-heavy (not a criticism, rather an observation). Without the music of her language, poetic narratives can feel laborious or flat. Success is more complex than it seems and it’s a great testament to Askew’s inner musician that she’s been so successful in keeping the engine chugging so virulently. Her use of rhyme is particularly impressive, simultaneously keeping beat and arousing those linguistic surprises I mentioned earlier. Here’s a section from “Wakefield”:


you’re hitching up your negligee
to flash the trains.

Wakefield, the ultimate lousy lay –
mutton-dressed catastrophe, shoving your hands
down the jeans of strangers in doorways


As you might have guessed, this poem isn’t the most subtle verse of the collection, but its energy and subversive humour make for a welcomed intermission between more serious pieces. It’s easy to see how Askew’s rhyme produces a rhythmical tango, with half and full rhymes strewn like a string of flickering fairy lights. However, the full effect is to create unexpected connections between those rhyming words: “negligee / lay / catastrophe / doorway(s)”. It is this twist on expectation which breathes life into the poems, forcing the reader to sit up and pay attention.

Okay, sorry – I got a bit technical there, but I think it’s interested to understand how a poet achieves their effects, because it’s those effects in particular which raise the poems from the ground. This Changes Things made me repeatedly curse, “Damn, I wish I’d written that.” Askew’s poems are brimming with crackling lines which sound newborn, and the poems don’t shy away from relevant, modern and important topics. The orchards and hills of Askew’s are never simply beautiful, never trapped in antiquity or nostalgia; they are fragile, fat, dead, contemporary, complex. This is what modern poetry ought to be aiming for.

This Changes Things is a wonderful debut collection, full of charisma, venom and vavoom. It’s teeming with heartbreak, comedy, damnation and brilliance which I will be returning to time and again. Buy it, buy it now.



I’m so relieved I can look Claire in the eyes.






Russell Jones

Friday, 4 December 2015

A poem for Christmas?




Hark! The angels sing... of pain and loss and inadequacy in the face of tragedy!

Here's a winter scene from my recent full poetry collection, The Green Dress Whose Girl is Sleeping (Freight Books, 2015).

Order a copy here, spread the Christmas cheer! Everyone likes a fish in their stocking.



Heading to the Corner Shop on a Winter’s Day


The air shattered
in a scream which I followed, pounding,
and found a woman lying
snow-angel still on the ice
repeating, half choking, half heaving,
my baby, my baby –

Two men lifted her forward, slowly
unfastened the sling from her shoulders, held her
away from the crushed sack of limbs
as we telephoned.

It was something none of us could take
or leave, so we stood
together, separate
in a limbo of stillness and dread
until the useless immediacy of the ambulance arrived
and we were relieved.



Russell Jones

Thursday, 3 December 2015

Big fat catch up




Where have you been? I’ve been looking everywhere! I checked all your favourite places: the butcher’s shop, the tin foil factory, the urinal cake stalls. Well, I’m glad you’re back.

A lot’s happened since we last spoke, and I'm about to disappear into delicious Asia for a month, so pull up a broom handle, take a seat - let's recap our asses off.


Book launch: The Green Dress Whose Girl isSleeping (Freight Books)
I didn’t see you at my book launch in October. Busy, were you? Yeh, too busy for cake! You fool. Well, it all went swimmingly. Cake was eaten, (too much) beer was guzzled, books were bought, and poetry was talked about. If you STILL don’t have a copy of The GreenDress Whose Girl is Sleeping, there’s plenty of time to buy multiple copies and stuff them inside stockings before we all tear into the national religious-cum-corporate holiday known as X-mas. 


Reviews
So far the new book’s received 5 stars all round on Amazon and Goodreads. Thanks mum! I'm still hovering over that elusive first soul destroying review in the New York times or something, so here are some choice comments from online-land:


“work of accomplished subtlety. A virtuoso performer of his work, Jones is clearly a writer and poet worth watching. His poetry and prose seems likely to blaze brightly over the coming years.” – Blythe K Robertson, Amazon

“A stunning first collection” – Zaphod Peeplepod, Amazon

“engaging, relatable, memorable, lapidary” – Daniel Young, Goodreads

“the language used here is beautiful but never at the expense of storytelling, the emotion and the immediacy of the subject matter. “ – Marrissey, Amazon

“vibrant and relevant beneath Russell Jones' pen. Jones is a master story teller whose inspiring medley of scenes justifies his place among the ones to watch.” – Amazon ‘customer’


“Russell Jones' poetry is beautiful. Perceptive, attention to minute detail, it strikes a chord with one's own reality. “ – Joanne Morris, Amazon




Chapbook due
Much to my surprise, Spacecraft Press have decided to publish my sci-fi poem, “Birds 1.0” (which is about robotic birds laying an egg) as a chapbook!

They do all sorts of weird and wonderful things with prose and poems, including turning them into dice-like cut-outs, transparent portfolios and circuit-board designs. I’m intrigued to see what they do with this poem. Due out early 2016.


Prose
No big news on the prose front, although my second novel, The Happy Land has been redrafted (8 times) and is now in the hands of the powers that be. I’d love to see it published; it’s a young adult novel about a girl who’s tracking down a time-bending kidnapper with glass teeth. You’ll laugh, you’ll cry, you’ll soil yourself. 


I’ve also entered a short story, “The Worm” to Glasgow University’s new science fiction medical humanities’ writing competition, which you can do too (the deadline is the end of January). My story is about a teacher who must administer pills (“worms”) to students, which, as they’re absorbed, release new knowledge into the pupil. It’s based on real research called 
The Cannibalism Experiments by James McConnell in the 1950's. He fed trained flatworms to untrained brethren, claiming the untrained worms performed behaviours the trained worms had learned previously. So, trained flatworm memories found a new home when eaten.



Editing
Two big projects here: Shoreline ofInfinity (Issue 2) is ready for pre-order. I’d not previously mentioned this on my blog (for some reason!) but I’m the poetry editor and deputy of Shoreline of Infinity¸ a new sci-fi magazine from Scotland. Issue 2 took the team many beers and discussions to get it in place, and there’s a great array of prose, interviews, book reviews and more. Plus, poetry from Ken MacLeod and Iain M Banks!

Second big project is a contemporary anthology of poetry. I’m co-editing it with wonder-human Claire Askew. We’re in the early stages but it’s already beginning to look like a really fun and exciting collection (with as little mention of dead white men as possible!)


Events
I’ve been organizing a monthly sci-fi night in Edinburgh, called Event Horizon. It’s a cooperative between Shoreline of Infinity (that magazine I just mentioned – pay attention now!) and Deadhead Comics (a comics store in Edinburgh).

So far the audiences have been giggling (and heckling me) with delight. Acts have included prose readings from Ken MacLeod, Pippa Goldschmidt, SJ McGeachy and Sue Gyford; poetry from Bram E Gieben and Andrew J Wilson; music from Painted Ocean and Lynsey Hutchinson; cosplayers, live artwork, a comic adaptation of one of my sci-fi poems from Edward Ross and a movie adaptation of Edwin Morgan’s sci-fi “In Sobieski’s Shield” by Dan Warren.

Event Horizon runs on the last Thursday of every month (except December, I’m in Thailand eating rice and playing with elephants). January promises to be a banger!

I’ve also done a few readings around and about, but keep your eyes on this space if you fancy coming to future events and readings.



That’s about all – go away! (I love you, don’t leave me)








Russell Jones

Tuesday, 29 September 2015

Book launch!




My first full-length poetry collection is about to swim into the world.

"The Green Dress Whose Girl is Sleeping" (from Freight Books) is about love, loss and space travel, among other things. It includes beach-time haiku, interstellar concrete and terraced sonnets.

Everyone's welcome to the launch. We have poetry, booze and cake! What more could you want?!

Launch details...
15th October 2015, 7:30pm
Wash Bar, Edinburgh

You can join the Facebook events page here. 

If you can't make the event but would like a copy of the book, you can buy it here.


And a few words on the book, from two very fine poets:


'Russell Jones has been one of the most inventive and talented poets around for a few years now, but this first book displays the full range of his poetic gift and sweep of his vision. Few poets can combine, as he does, conceptual intelligence with emotional intimacy.

The poems are alternately witty, laugh-out-loud funny, tender, enriching, emboldening, mind-bending, devastating. From inside the Hadron Collider to outside the chip shop, he offers us shape-shifting collisions of life and poetry.  This is verse that meets our contemporary world, with all its multitudinous potential, fragility and loss, head-on. The reader is in for a thrilling ride. As one of the poems puts it: "Lie back, jack in. This dream is electric …"' Alan Gillis



'Russell Jones's collection moves from the micro to the macro and back with an alert alacrity that marks him out as a younger writer of real promise. This quality of attention demonstrates itself in both his language and his level of engagement: syllable meets chromosome, minute particular collides with particle, sonnet sequence essays a society. There is a Morganic faith in form, in information, and in format's capacity to frame the universe in a verse, evidenced by an abecedarian sequence of one word poems that recalls Hamilton Finlay at his wittiest. In all this, the deities are in the details, as it were, be they a telling snippet of recorded dialect, the 'origami feet' of a kingfisher, or the way a statue is painted darker by the rain. The tenderness with which they are recorded, the equal compassion for individuals caught in catastrophe or lost in introspection, makes this collection as impressive as it is engaging.' WN Herbert

Thursday, 24 September 2015

Emma Press Anthology of Age



Emma's been busy. Very busy. Take a look at this pretty website, with its tufts of grass and hotheaded bulls and sloths having picnics. This website is pretty much like an afternoon inside my noggin, but online.

Anyway enough of that. Emma's brought out a new anthology of poems about age, edited by all-round ace, Sarah Hesketh. An important topic, as we all spiral towards it unwillingly. What has poetry to say on the matter? Well, you'll have to buy a copy to find out, won't you?! Otherwise, you're heading to your pension on autopilot, blind to the truth of your fragility on this mortal rollercoaster.

The anthology includes work from some very awesome poets including Aileen Ballantyne, Clare Best, Robert Hamberger, Holly Hopkins and many more (33, all told - that's your favourite number, isn't it?)

It also includes two poems by Russell Jones, some hairy rapscallion from Edinburgh. One is about dementia, and is a response to the picture pasted (by Edinburgh-based artist, Daniel Young) at the top of this blogpost. The other is about an old guy during Hurricane Bawbag (which translates, for the non-Scottish folk among you, as 'ball bag' - cute.)

So, if you know someone old, or someone who is getting old, I'd recommend checking this out. It could be a matter which makes the difference between life and death...! (PS: it probably won't be)

Russell Jones