Categories
Flash Fiction

Gift of the Magpie

Nan started giving me money for Christmas when I was 9. Every year when I open the card she asks, “How do I know what a girl like you wants these days?” Money’s okay but it’s the way she says “a girl like you” that busts my baubles. Shouldn’t she know me by now? I mean she’s lived with me and mum my whole life. The worst is, I couldn’t tell you what I’ve spent the money on. Until this year. In January my class is going on an overnight trip to London. School is paying for most everything but Mrs Core said we’d each need at least £30. Ta nan.

In October me and mum were spotting good stuff and rubbish in shop windows, when she saw these ruby earrings and freaked. She was positive they were the same ones nan sold when I was born. Baby-me’s pram was bought with money from the earrings, mum said. They go with a ring nan never takes off. My granddad, who died before I was born, bought the set for her. We got really excited but mum said I’d have to stump up too. She put £7 down to hold them.

“How do I know what a girl like you wants these days?”

Mum, on it, got me a job walking dogs. She cleans holiday cottages; the families who own them never stay in them and can’t always walk their own dogs. Almost every week until Christmas I put a fiver on the earrings. Mum put more money on them but she said I made the difference. I also earned enough to buy mum the fiddle leaf fig plant she’s wanted since she saw them on Insta.

Christmas day and I was dead excited. Nan’s cringey boyfriend wasn’t coming over until later and mum was happy because her boss gave her cash instead of a turkey. She woke us up, made a big pot of tea and put out a plate of toast with marmalade. I popped across the hall to the neighbour’s who were keeping the plant for me. Mum went mental when I walked into the flat with it. After she’d kissed my head like 20 times, we had to give nan the earrings or we’d explode. The weird thing was, you’d have thought we’d handed her a box of broken glass by the look on her face. She mostly ignored the earrings, set them aside and excitedly gave me a box. A box rather than an envelope. I stopped giving a toss about nan’s jewellery because she’d only gone and bought me a pair of expensive headphones like my friend Casey’s. Stupid cans; nan was right, she didn’t know what a girl like me wanted these days. We all sat round the tree, quiet like, while the toast went cold and hard.

Later me and mum noticed that nan wasn’t wearing her ruby ring. Neither of us said it. But we knew.

by Anmarie Bowler, Ryde, inspired by O. Henry’s Gift of the Magi

Categories
Event Flash Fiction Hear Me Now

Hear, Hear Me Now.

Scroll down for the recording or read on.

Hear Me Now Project

Since March 2024 Anmarie Bowler, Editor of Brevity, The Isle of Wight’s Literary Handbill, has conjured, organise & hosted the Hear Me Now project designed to urge & inspire LGBTQ+ People & Allies to write, read & embrace flash fiction & short form literature. Along with providing participants with one-to-one mentoring, the project offered a series of FREE events led by a variety of diverse, talented & generous writers & creatives. Instructive writing & print workshops, energising guided walks & bold, inclusive talks resulted in more compelling short-form fiction from those who took part. With guidance from StoneCrabs Theatre & financial support from Arts Council England, Brevity has grown a more inclusive, supportive & empowered Isle of Wight writing community.

A special Hear Me Now edition of Brevity (Issue. 021), a new-look edition (Issue. 022) inspired by the project’s print workshop & a one-off Hear Me Now broadsheet created for distribution at 2024 Island Pride celebrations were published as part of the project.

Further, a quiet performance featuring selected writings from the Hear Me Now project can be seen, read, heard & enjoyed in Ryde Library through to mid-November 2024.

A creatively curated spoken-word piece that brings a selection of short form truthful fiction & fictional truths together in a recording entitled This Is Not an Apple can be heard here –

This Is Not an Apple

The Writers

This Is Not an Apple writers & their unique moments in the piece are:

Birdies in the Sky by Jason Watts (1.17), Prunus Spinoza (prefered pronoun they) by Maggie Sawkins (2.46), Another Thing Bites the Dust by Rebecca Dignum (3.34), Stray Cat Strut by Rebecca Tremain (6.20), Soul Soup by Sharon Poole (10.12), All That Remains by Zoë Barker (11.55), Vagaries by Naomi Baisley (13.39), English Nature by Caroline Diamond (15.51), Do you like butter? by Jean G-Owen (16.44), Gentle Being by Jules Wright (17.44), Midnight Monologues & Other Yoga Positions by Callanan Harris (18.48), Used to Be by Katy Suggitt (21.53), Meet Me at the Pronoun Demonstration by Anmarie Bowler (23.10)

The Actors

Island Actors Performing This is Not an Apple

Rafe Hodge Thomas. Often seen in musicals and plays around the Island, Rafe is an overly-tall, ginger, slightly nonsensical aspiring actor who was eager to help share these beautiful works of flash fiction.

Krysia Mansfield. Krysia sprang into the Sydney fringe theatre scene with original songwriting duo Zen Babies, collaborated with Flipside Theatre, The Song Company, Red Opal Dance Theatre, the Renaissance Players, Theatre 4A and ABC Radio. Moving to London in 2003 they worked as an actor and mezzo soprano with the Royal Opera, Longborough Festival Opera, Barefoot Opera for Grimeborn Festival at Arcola Theatre, Theatre Nomad, Actors East, StoneCrabs, touring Italy with Ad Parnassum & L’offerta Musicale di Venezia. TV & film work includes BBC 1, ITV, Netflix, Warner Bros and Universal Pictures.

Claire Natasha. Claire has been involved in acting for as long as she can remember. She recalls creating worlds and stories as she played in the woods near her house at a very early age. She is passionate about acting and how to interpret scripts and theatre pieces. She loves Shakespeare, and enjoys groups that push the envelope and move away from the plummy RP that was prevalent for many years.

She is delighted to be involved in Brevity’s Hear Me Now project; the meshing together of words, creativity, art and sound greatly appeals to her.

The Producers

Island writers & Hear Me Now participants produced the recording of This Is Not an Apple –

Jason Watts. 58-year-old hairy non binary pansexual metalhead writer of flash fiction and other short sharp shocks. Currently to be found driving a bus in 1940s London.

Born in Kent, raised in SE London. Moved to the IOW in 2007. Ex Montessori nursery teacher defeated by arthritic knees.

Rebecca Tremain. Rebecca’s passion lies in using archive materials to connect people to the history of places where they live and work. Her recent play, Wish You Were Here exploring the history of Appley Tower on Ryde beach was created from materials held in the Isle of Wight County Record Office. The play toured locally and can be heard as an audio drama via Vectis Radio: https://shorturl.at/Cdeew.

Other archives she has known and plundered include the London School of Hygiene & Tropical Medicine, YMCA, the British Library and London Metropolitan Archives.

Her work as an actor includes touring in Europe with Nell Dunn’s verbatim plays Cancer Tales and performing Home Death at the House of Lords as part of the Assisted Dying Bill debate: TV includes BBC, ITV and Channel 4.

Rebecca lives in Ryde with her husband and their springer spaniel. She misses The Brigadier, fictionalised in This Is Not an Apple, every day.

See Us Now.

If you’ve written a COMPLETE & COMPELLING story of 500 words or less, and live on the Isle of Wight, we’d like to hear from you. Submit your work here https://brevityisland.home.blog/contact/

Categories
Hear Me Now News

Being 5 is ACE.

Categories
Event News Try This

Yarnival 27-28 September

Write on.

Categories
News

IW Writers Day

Categories
Flash Fiction Write This

Secret Shorts

Why not write a product review in short story form? Keep it clean, make it compelling. Shall we call it ‘flash in the bag?’ Note, other cushion retailers are available.

by Anmarie Bowler, Ryde

Categories
Flash Fiction Hear Me Now Q&A

Q&A with Niall Moorjani

Q. In addition to a Brevity Hear Me Now workshop/talk at Ryde Library, you’re performing at this year’s Ventnor Fringe. Can you give us a preview? When and where can we catch your storytelling?

I am buzzing to be a part of the Fringe this year, it’s my first time. I’ll be performing a queered version of Gawain and the Green Knight and will put into practice a lot of what I’ll be talking about during the workshop. It’s still in the ‘work and progress’ phase but I’ve been having so much fun with it so far and can’t wait to do it on it 23rd and 24th of July at the V Fringe. Would be so lovely to see lots of friendly queer faces and allies there.

Q. How does your Scottish and Indian heritage inform and enliven your work?

At their core both cultures have deep and passionate storytelling traditions, so I feel very lucky I grew up with stories all around me, even though I wasn’t always aware of them. But also growing up mixed-race in a place like Dundee was often beautiful and tricky in equal measure. A lot of my work deals with the difficulty of belonging and feeling comfortable in your own skin and I think a lot of that is due to my heritage. Over the last few years I’ve really examined these things in my work so suppose in a way I owe some of the success of my work to this. More positively I always feel like I have such a depth of heritage to tap into, and there is always an interesting perspective when you are someone who straddles many worlds. Both cultures are warm, playful and centre community, I like to think this has massively impacted my work.

Q. You’ve written a beautiful children’s book entitled Rajiv’s Starry Feelings. How does writing for the page differ from writing for the stage? Or does it?

Oh a fun one. So I think it definitely does. Ultimately there are core things you always need to be authentic, but different mediums require different techniques to be as effective as possible. So on stage it is always important to remember that you are literally performing your work, no matter how small the stage, you’re on the stage...things like voice, gesture and pace can do so much of the work for you and in a way you need the words to do less. However, you also are limited because people can only hear you once, they can’t check back to see what you said 20 minutes ago, if they miss a key set up – that’s not great – so it’s on you to make sure important moments land. Whilst this is stressful there is also something lovely in the sense it’s in the moment, the audience are so important to something like storytelling and in a way each audience shapes the performance live, and if you get it wrong there’s always the next show.

“A lot of my work deals with the difficulty of belonging and feeling comfortable in your own skin …”

On the page you don’t have a live audience and I often find it a little scary how fixed it is, but there is also a joy and freedom in playing with the space that comes with the page. You can indulge in a little more detailed scene setting, you can choose to be a bit more opaque and subtle knowing that a reader can go back. And in a way it’s more intimate, you know it’s probably just going to be someone reading in their head so it’s as if you can just write to tell a story to one person.

I think this mindset of finding the positives in each medium is so important, what works on page may not work on stage and vice versa, a radio play will be different from a stage play, a visual animation may tell the exact same story but with no words. It’s all about learning tools and techniques to maximise the impact your story can have in the medium you are sharing it in.

Q. Whose work inspires you? Are there any writers of fiction that fire your imagination?

Oh so many, I always need to credit Ellen Kushner’s Thomas The Rhymer for being the book that made me become a storyteller. But Madeline Miller always makes me want to weep with jealousy and also just emotion with how good her work is, I think her retellings of the Greek myths are as good as it gets and are a serious lesson to anyone on how to make an old story new. In more nerdy ways the fantasy writer Michael Moorcock built my brain as a teenager and I’ve always been a massive Tolkien fan.

Q. Can you offer any advice to writers of flash fiction who are keen to write a folk tale but aren’t sure where to start?

I think folk tale and myth lend themselves so perfectly to flash fiction. Folk tales in particular are always essentially short stories in their purest forms. So if you aren’t sure where to start I’ll give the classic advice of read widely around folk tales, myths and legends (children’s books can actually be a great resource for getting into them). Then see which stories resonate with you, ask yourself why? Is it because Rapunzel’s hair strikes you as a metaphor for the male gaze? Does Goldilocks come to you as a horror story from the three bears perspective? Is Baba Yaga a misunderstood old school lesbian? And then write that version as a piece of flash fiction, you can follow the beats of the story that still work and change the ones that don’t to suit your new narrative and like magic you will have a pretty exciting and banging story.

Q. You recently referred to yourself as “deeply neuro-spicy” – a brilliant description by the way. Can you talk about how neurodiversity helps and/or hinders your creative process?

Firstly I know some people don’t like the term “neuro-spicy,” but I think it hits me so well. Like with my own brain I’m constantly going, “oooh, didn’t see that coming, there is a bit of heat in here.”

I’m a diagnosed dyslexic and am seeking a diagnosis for ADHD, I got my dyslexia diagnosis in my teens but my mum has always been very good at helping me understand that my brain worked a little differently. I read a lot of stuff around how both of these things are hindrances, and sure I struggle to focus on the project I’m meant to be doing, I can’t sit still for hours on end and am endlessly getting distracted by memes when I should be writing. The dyslexia was hard when I was younger. Getting your work taken seriously when it is riddled with errors isn’t easy, but I’ve worked hard to get a lot better at my spelling and grammar and also when you get to a published level you are working with a proof reader. However I think because I initially found writing so hard and limiting (despite loving it) the freedom of the stage and particularly unscripted storytelling was just incredible and I thrived in that space.

“…I know some people don’t like the term neuro-spicy, but I think it hits me so well.”

In terms of how my probable ADHD impacts me, I think I’ve learned to manage it so well these days that it’s an overwhelming positive. I’ve realised I work better when I’ve actually got 3-4 projects on the go at any one time and so my productively levels are actually generally far higher than my “neurotypical” colleagues. I also have vast amounts of energy to tap into, despite always feeling tired, I’m able to put in shifts of performances day-in-day-out in a way that others don’t seem to be. If I do have ADHD, I personally feel very lucky that I was raised to maximise my strengths rather than focusing in on my weaknesses. Creatively I think all different brains bring positive things, my dyslexia is certainly a hurdle when it comes to writing, but it’s not insurmountable and I broadly feel very lucky for my slightly strange brain.

Niall Moorjani is leading a FREE workshop/talk at Ryde Library on Sunday 21 July from 12.30 to 2.30. All LGBTQ+ people and allies are most welcome but you must reserve your place by dropping us a message here https://brevityisland.home.blog/contact/

Book tickets to Niall’s Ventnor Fringe performances on 23 & 24 July here: https://ventnorexchange.littleboxoffice.com/events/76365 https://ventnorexchange.littleboxoffice.com/events/76418

Categories
Poetry

Cashews

I have seen peace still the
grief of longing. I have
seen goldfinches pour
their wings the colour
of quince in summer thistles.

I hear the autumn
remembering oak leaves
by the window of our
happy nights. Sometimes

I feel still the paulownia
seeds by the city wall
weeks before you left.
I can taste the cashews

we shared in Freshwater.
Faintly I remember and
words return: your eyes
at peace as they always were.

by Blake Everitt, Ventnor
Twitter: @wild_goat_press

Categories
Poetry

First Time.

The first-time i slept in a girl’s bed,
The girl was not even there.
That thought may provoke a smile.
Then a 15 year-old boy, not quite a child.
It was an experience i have remembered
for a long, long while.

The girl, well young lady, a beautiful 24
Said i could use her bed for the weekend,
before Christmas as she was away.
No need to change sheets or pillow cases.
Anything like that she said, if i didn’t mind,
She would do that when she got back

If i didn’t mind, my God.
I undressed that night and slid between
the sweetest of scented sheets.
A shy lad of fifteen,
If the girl had been there, it would,
It would have been too much.

I would have been compelled perhaps,
To perform, to touch.
As it was i slept a sensuous sleep,
between, soft female-scented sheets.
My dreams and nocturnal awakenings made
fifty years ago, could have been last night.

Strange to think the girl now an old lady.
Or heavens, perhaps no longer alive.
I left the bed pristine, or a 15 year’s old idea of.
I often wondered if she changed the sheets.
Straight away or spent a night as i
chaste, but memorable as any to follow.

And far more so than had ever so far been,
An Olfactory, sensory experience of the opposite sex.
For fifty plus years, a pleasure purer than,
Many, so many, well some
far more torrid since then.

by Stephen Michael Whitter, Ventnor, Instagram:@whitterstephenmichael

Categories
Hear Me Now Interview

Q&A with George Budden

Q. You recently conceived and led a compelling series of outdoor, hands-on workshops for young people aged 16-25 on the West Wight. Tell us a little more about that project?
A. Yes, my partner and I drafted an Arts Council Project Grant last Summer and completed the workshop series over a 4 month residency over Autumn and Winter. For me, particularly in photography which is often gate-keeped with expensive equipment and overly technical
processes, it’s hugely important that the sessions I run are affordable and accessible to anyone. The series we conceived consolidated these ideas with the incredible source of local natural materials available in the west wight to create workshops that worked alongside nature and eco focused processes. These sessions included things like developing 35mm film with seaweed, or making natural dyes with the gorse flower found on the downs.

Perhaps even more relevant, particularly to the 16 – 25 age bracket we focused on, was creating sessions that allowed participants to work with their hands and on something new, whilst creating comfortable spaces to network and communicate. Though I’m not from the island, it was evident quite quickly that there is a lack of creative and social opportunities for young people on the Island (particularly in the West Wight), and for me it’s important to have exclusive spaces for certain demographics and communities. The issues different demographics face are often exclusive to that community, and so to create an environment where we can talk openly and relate to each other on those issues is hugely important.

Q. You’re a visual artist, a photographer – who are your influences, who moves you? Including possibly fiction writers who inform your creative practice.
A. Though I’m a photographer, it’s pretty rare that I’m hugely influenced by other photographers. There are photographers who I admire and respect, but they’re generally not the ones who influence my practice. If I look at the work that gets me excited to create it generally follows more performative pieces, written work (often analytical but sometimes
fiction), and music.

My themes change fairly regularly, at the moment I’m finding myself asking a lot of questions around masculinity within urban spaces, and the relationship between my own understanding of gender and sex with the physical infrastructure and buildings around me.

As I think through these ideas of emotional man made landscapes, particularly in London where I currently live, I’m drawing back to a range of creative influences. I find Burial’s music, particularly their album ‘untrue’, reflects a lot of my feelings and thoughts on the topic, as well as books like ‘Alone in Berlin’, ‘London Belongs to Me’, and ‘Last Exit to Brooklyn’, which all explore different personalities and stories in direct relation to the physical and political contexts they exist in. Their methods of written description are exactly what I look to
convey visually in my visual work; delicate and beautiful with heavier theoretical undertones.

Q. How do you imagine the Queer in Nature walk/talk might inspire the work of new and experienced Island writers?
A. Coming to a writing workshop from a photographic education, I hope my guided walk helps to give a new perspective on creative writing and our influences. Often I find myself stuck creatively, particularly when I’m trying to overthink or over engineer an idea, and generally the best solution to that is to give yourself an instruction or visual task completely separate from your natural way of working.

I hope the session helps to introduce a new way of thinking around descriptions and identities, and by the end of the session participants could have a new set of ‘building blocks’ of writing which can help us describe certain values and identities.

Q. You’ve talked about ‘finding infinite ways to describe and identify ourselves’ – give us a hint how examining and considering plant life makes that possible.
A. Particularly in queer identity, written language often fails us. There are literal examples of this in latin based languages, where everything is gendered and words for certain identities simply don’t exist yet; but also more complicated issues around strict labelling and language when trying to convey our very-much-fluid identities. By illustrating what we
relate to and identify as through abstract ideas and objects, like plants for example. I hope participants feel they can be as nonspecific and uncommitted to these ‘labels’ as they like, whilst still conveying the ideas of an identity.

Q. You’ve led a number of workshops and projects; do you have a top tip for fashioning creative spaces and projects that are safe, welcoming, inclusive and inspiring?
A. Primarily there are practical things I tend to do in all of the sessions I host and facilitate, as well as the queer party I work on. Making it clear that by attending the sessions you are agreeing to a respect and no-discrimination rule, by introducing my pronouns at the beginning and inviting others to do the same (again pushing that these are trans and NB
friendly spaces), and reiterating that if anyone needs to take a break or leave there is no pressure to stay; its generally important at a workshop to allocate a separate quite space away from the session as a break room, particularly when working with neurodivergent participants.

On a deeper level; I don’t run classes, I run workshops, I’m showing a process but certainly not telling anyone how to use that process. There is a natural power dynamic between the facilitator and the participants, and the workshops I see work the best tend to try to neutralise this power dynamic from the get go. Understanding that all the participants will be able to bring their own ideas and practises to the session, and holding those ideas as of equal importance to your own. By doing this we unlock beautiful sessions of skill sharing, experimentation and communication between the participants.

As part of the Hear Me Now project George Budden, a London-based photographer, will lead an inspirational walk entitled Queer Nature starting from The Red Lion pub in Freshwater on 25 May, 12.30 to 2.30pm. The walk is FREE of charge thanks to support from Arts Council England. Hear Me Now is a Brevity writing project, in partnership with StoneCrabs Theatre. To reserve your place on the walk, email caroline@stonecrabs.co.uk