www.thewand.org.uk

www.thewand.org.uk

Raising Lady Lazarus

CharlieWisemanBlogPosted by Charles Wiseman Tue, October 21, 2014 06:57:36

The Screenwriters Festival which shows artists at one moment individualistic (out for their separateness, perhaps paradoxically harmonious desire to join as one) the next,supporting each others visions. So special thanks to Fen Greenfield and Lucy Hay there, the latter wanting to quote my Thought about healing from pain with Judy Goldberg for Being Heard..The 'female characters' talk again represents a paradox for me as Alessandra talks of how women are able to dominate without need of a man as in 'Silence of the Lambs', which I realise actually has more feminism in it then first clear: Jodie is capable of fixing our attention on her without the need of a male counterpart ( while most male/edged films require a love interest). Similarly the talk on holding down a career, writing and parenting is wonderful for its simple faith in love.

Judy Goldberg has been a great support with her empowerment asking me at a Landmark what I feel I should do. My writing a book then seems to be an alternative to feeling I have to follow commercial ideas. When it comes to commercial ideas the London Screenwriters Festival seems to have a special place in London, set up entirely by the voluntary efforts of dozens and the avoidance-of-falling-into-debt-philosophy that is the cutting edge of much righteous thinking. Take the women like Phoebe Gibson, Cathy and Judy who combined efforts to work on the subject of abuse. It reminds me of my language degree and how quirky words often reflect the sense of words reflecting unconsciously on how we feel: moved to tears like in French, emu a larme suggests the words take physical motion as part of the experience. The context of being touched is the same, although 'abuse by touch' is a thousand miles from the sort of 'touched' referred to. Mothers have been presented with children that were supposed dead, only to find they were revived simply by the human touch of a parent.

Her own short film is in the pipeline about vulnerable children and reflecting her own growth from difficulty to commanding respect.

Further inspiration comes from a BFI event with the animator behind 'Who's Afraid of Roger Rabbit' with a former President of Warner Brothers. For a while his daughter Tayah Howard comes along to help develop a script which I showed to Charles Harris whose martial arts combine with a deeply intuitive take on writing.

He has a book coming out this month on Screenwriting.

All didn't feel it could get better until a chance chat with Fenella Greenfield who is one of the best editors in the country: Gabriella Apicella has used workshops with women who had been in prostitution and seeing alternative career paths to make Honest Lies, terrific in part because of Fen's brilliance.

She offers to help us develop an experimental film which can be seen on their Euro blog and combined words and images of women talking of scars and painting in pastels which would not have begun without her.

Now I am intending to develop that further with some Belarus actors and perhaps use it as multi-media for a play with street kids.

It could also tour to Edinburgh where Astell Foundation have twin Carlowrie Castle, an innovative academy for street people.

Apart from that I am translating and trying to keep an income to support fatherhood.

I hope that the snippet at St Augustine's goes into something:
https://vimeo.com/99788744
Maybe a fundraiser could help with Fenella building on the foundation of the short /improvements.

A hand reader once said I always meet the people I need to get moving.

Awards worthy for Gabey, Fen and others on 'Honest Lies'

Also congrats to Daniel on finishing his Light of my Eyes' for Fests.

























Charlie CAHIERS DE LONDONTOWN

CharlieWisemanBlogPosted by Charles Wiseman Wed, August 13, 2014 20:25:30
News:
Support the heroic resistance of Natalia and Nicolai to a nuclear power plant being built put up: in Edinburgh then in London, or house an actor for Belarus Free Theatre.
It is always something joyful when I see a company that is supportive of political change in contrast to the inward-looking stories I will come to.

See Rupert Ferguson I saw in this blog I wrote:
www.greatgypsies.thewand.org.uk
CLAPHAM OMNIBUS MAN

I start to write about protesters after an envisioned sandstorm in which the Mandela statue animates :

Mandela climbed down from his pedestal on Parliament Square
No-one could believe their eyes, or move they didn't dare
I yearn to join the protest of shepherds on the grass
With a song of change in their hearts...

I like the idea of climbing off a pedestal as it always isolates. The comedian who everyone thought was happy taking his life is nothing new. The same person reportedly saw John Belushi hours before he died unexpectedly. Surely we should sit up and listen to heroes of another kind. The humble ones who do not show off. The concept of Oblomov as a person in Russia is like a fairytale because he is so indolent that he speaks to our hearts' desire to dream, calm down, loosen up rather than have the tight sharp angled jaw that comedians who are blowhards -without being cruel - can become.
It is a balance: when we first toured from Edinburgh with plays we had a man Terry Francis Rigby who was able to dive into comic avenues of self-deprecation about how fearful he had been in the war, yet he also posed questions about why we look down on people who failed, like him promised a hero's welcome by Churchill on returning from the War but actually becoming homeless for all his life. He had a third of a page feature obituary in the Independent by Jean Findlay when he passed away, but was the source of inspiration for a New Theatre that I still try to spread, in Chelsea Theatre, Clapham Omnibus, brilliantly named for the average citizen who has a healthy compassion for his neighbour.

It may be in every religion that we are told to love our neighbour but congregation in a physical space also contains a Greek self-knowledge in it. We wish to see ourselves, to applaud, laugh and be moved. Angels in theatre mean those that support us and Chelsea and Omnibus have both been very generous in return for an understanding that we believe in community.

The man on the Omnibus is busy but still tends to think of his fellow citizen as it is of importance to one's own self-worth. A man I know who is often on buses is John Dunbar who took photos of our Oblomov in the park; he introduced John and Yoko and when she came to talk with him at ICA in London she credited him with starting the modern art scene here. He is so humble that he put me up when I was homeless. His friends try to hide him from the glare of the media, yet I know Marianne Faithfull is grateful to also visit and stay when she passes through - as she lived on a street corner and never bought a home. The same could be said of Judy Goldberg who wrote from the trenches. She and Peter and the team organise entertainment for the masses of largely unemployed and perhaps unemployable scriptwriters and film wannabes. It was interesting to hear Charles Harris speak at a workshop of 'free therapy'. The power of the arts (and grants reflect this now) is their value in unburdening a self-seeking Narcissist type. When I first watched the homeless in Edinburgh on stage I was consumed by their unremitting unapologetic desire to be seen and heard. They spat on the state theatre foyers to express their independence of mind, not to impress.

A suicide based on deprivation is understandable in the Middle East but in our society it reflects a lack of openness. The East Berliners treated us to a party on our arrival so as to make it clear they were celebrating our lack of Narcissism. Interviewing Heiner Muller for 'Plays and Players' on his receipt of the European Theatre Prize made me doubly aware that we were with people who did not judge












Charlie /CAHIERS DU LONDONTOWN

CharlieWisemanBlogPosted by Charles Wiseman Mon, June 16, 2014 22:42:11
It is mid June and Oblomov and Lizzie have been growing exotic chamomile lawns sewing elephant poo into the ground, surrounded by spells. Our Editor-in-Chief is expecting a baby so hold onto all those spells.
No-one has ever died who wasn't born and no-one who was born ever died, it's the circle of life. Look for new beginnings and endings. The Wand will appear in due time, we will write about chocolate as Lizzie and Oblomov ate this to give their skin a tan, and left a trail of chocolate in Paris, to find their way and where Proust hung out in cafés with them. Drinking wine after only eating cocoa meant their stomachs fermented and they zealously inexplicably convinced that a great Flood was coming covered the walls of his apartment with cork. (You can google this, as it is a peculiar fact.)
We are working on Big Sister, like Big Brother crucially though -Reality t.v. show in which homeless women fight for the keys to the house or are voted off by viewers. Lizzie Stratosphere sews dreams into hats. The half-dreamt, discarded remains.

EXT. - NIGHT

Out of the wall a man seems to appear in the BS house. Oblomov picks up and inspects the hats.

He tries one on and disappears smiling, pleased with it through the wall..

The real cruelty of the show was when they were voted back on the street.

A limousine drives to a street kerb where journalists are waiting and take thousands of flash photos. The homeless friends of Sonia cheer and one brings her dog barking on a lead. Thrilled Sonia says that she is delighted to have found him after he was lost in the dunes.

There are dreams enough for everyone.

Can you hear them blowing in the wind?

Sonia: Well, I did miss my dog.

She pets it.







Charlie/ CAHIERS DE LONDONTOWN DAY OF THE FLOWERS

CharlieWisemanBlogPosted by Laura Hymers Mon, March 31, 2014 02:34:28
From Glasgow to Havana via Southbank and Bafta. Tomorrow we are going to see a screening and reception for 'Fifty Kisses' at Bafta, celebrating its Guinness Record Status, for the number of people to work on a film.

This will be a light relief after the highly emotional days of listening to extremely brave and moving women, like Judy Goldberg talk of overcoming painful, personal experience; or the focussed Catherine Artin sharing her compassion; as well as seeing Malala Yousafzai just a few weeks ago in conversation at 'Women of the World' at the Royal Festival Hall, Southbank, eerily overwhelming, cheering and miraculous after her near death experience. In fact her message of love helps transcend the sadness of Lennon and Gandhi, with her simply 'being alive' after being shot, and repeatedly answering Jude's education and questions with > 'it is simple,' when discussing education and choice, in a way that reassures all humanity. Then the more harrowing first hand stories of women like Nimko Ali, with her provocative and funny 'Mitts off my Muff' campaign with Feminista, a Somali survivor of FGM, female genital mutilation. Or humanitarian reporters on the United Nations which only first acknowledged 1998 that women in warzones have a particular vulnerability to potential rape.

There is some positivity exploding which I experienced at Sunday's screening of 'Day of the Flowers', when Chris points out that the film was made in very guerilla style, with a family feel of jostling open rows producing an unusual result; writer Eirene Houston, producer Jonathan Rae, director John Roberts revelling in tales of their differences, but ultimately making a low budget film on two million pounds, in Cuba itself. I am all for that family feel having started with Kafkaesque Frank Castorf, at Berlin People's Stage, who has had a Turk with little language ability at the stage door and a young man running the box office with a hunchback for over fifteen years. The airbrushed cosmetic theatres of Western Europe are put to shame simply by him alone. After we put the homeless and gypsies on stage, Frank wanting to keep up allowed the most gifted to join the ensemble and tour Europe.

To return to 'Day of the Flowers', shot in Cuba, director John Roberts points out how Americans are not even allowed to work in that country, which may have prevented a big star acting alongside the impressive ballet ace, Carlos Acosta, himself from poverty-stricken origins, which may have informed some of Eirene's writing of those heartening kinds who are not broken or worn down but raised up to immense courage when under pressure.

The film seamlessly melds alluring landscapes, filmed on 35mm by Vernon Layton, with the story of mismatched sisters Rosa and Ailie whose tense relationship overlaps on the road, as it is a road movie, with the relationship of their parents who supported the Cuban revolution.

There is something in the air with Judy Goldberg starting a campaign for 'Be Heard', a short film competition for victims of abuse, which I take interest in supporting as most homeless are on the street to avoid abuse, from family. I hope with Laura to be a conscience for it as Cathy and Phoebe say.

The Day of the Flowers is as fragile and vibrant as real life, flowing scenes integrated at the last minute writer Eirene together with Jonathan the producer admit. John adds that that 'keeps the actors on their toes and fresh'... Eva Birtwhistle and Charity Wakefield deliver a humourously wayward sisters' relationship, the former Rosa ( named after Rosa Luxembourg) willing to forego all pleasure to save the planet, idolises her father while the younger one is more free and experimental, willing to take good with bad.

Another humorous aspect to the film is the fact that director of photography Vernon Layton wanted to do some producing in a minor role as a change, when the Director of Photography pulled out as it coincided with other work, so he had to be DOP. He explains how he preferred shooting on film as it lends 'the film the look of a tapestry'; 'beautiful old crumbling buildings make a great setting.' He also mentions later to me how he 'did the 'Rock Circus' of the Stones', which makes him a legend for me. I see him in my minds eye walking around Cuban cities where they shoot, finding angles of buildings to make the decaying grandeur of an ex-colony resemble somewhat the states of the two young women. The actors throw themselves into their roles exuberantly.

They mix the aesthetically pleasing with dramatic interludes of the women finding new dimensions to themselves in the fabulous landscapes they encounter, dancing late nights for the love of beautiful local men, including the dance star Carlos Acosta who is a member if the Royal Ballet although Cuban. His zest for life and screen presence adds a dimension that dramatically alters any false view of Cuban people as lost souls in need of a Western injection: he lives for dancing. We see how relative poverty neither enables or detracts from the ability of individuals to stand out from others if they chose better lives. He teaches others dance. He is in stark contrast to the villainous family in the Cuban countryside trying to exploit innocent foreigners. As Kermode writes Eireen Houston's script is 'thoughtful and draws together a plethora of issues.' Good work I say that Rosa retrieves her father's ashes from their probable fate as a golfing prize and tries to deliver them to a river in Cuba. I am delighted that the writer and my partner Laura have an hour long chat about character writing in the pub afterwards. Eireen drops hints about scripting.

Remember to vote on IMDb so it becomes a cult classic.












Charlie/CAHIERS DE LONDONTOWN FIFTY KISSES

CharlieWisemanBlogPosted by Laura Hymers Sun, February 16, 2014 19:32:28
THE FIFTY KISSES FILM HAS HUGELY EXCEEDED BOX OFFICE EXPECTATIONS, PUTTING IT AMONG THE TOP RATED FILMS OF THE WEEK AS THE GUARDIAN WHICH I USED TO WRITE FOR WROTE/ IS CINEMA AT A CROSSROADS? Is taking a step back a motivation to move forward?

Of course blockbusters will always exist to make us jaded, stay in and prefer making love. Or watch 'Fifty Kisses', another upbeat, sublimely eccentric film from Judy Goldberg and Chris, who make no bones about bringing about positive outcomes in this case by involving a record number of screenwriters, filmmakers, and musicians in a film, over 2000?

So what inspires all these people to jump at the chance Chris gives them of directing, writing, acting and editing in a crowd funded feature that will not be paid? It must be the touching innocence that exudes from Chris. 'Gone Fishing' his Oscar nominated short that 'came much closer to winning than I thought' he tells me, is beautifully created by one of the masters in his field, Director of Photography, Vernon Layton. It is as he also points out a children's version of Jaws, brilliant conceived and just as entertaining.

I notice that on London Screenwriters Community last year there was a message ahead of the festival from Chris Jones suggesting that everyone 'like' Judy Goldberg' on IMDB which I immediately did. I know they are also co-writing a piece 'Rocketboy' to follow on. Facilitating others to success is a gentle and charming asset though and so I also was happy to read on their blog about 'Honest Lies'. Written by Gabriella Apicella and directed by Emma Croft. Gabey I feature in previous articles I have written in my award scheme for 'London Peace Prize' and she and Emma give their own talk and showing with Fenella Greenfield at the Cinema venue of Screenwriters Festival. It had a premiere at HQ of London Amnesty and was based on the story idea of a woman who had been a prostitute, who tells 'white lies'. What is laudable also about smiley Gabey, her nickname is how much effort she makes not only as a tutor on female characters for 'Euroscript', but also as a campaigner for showing films at her Underwire Festival which has centred on outstanding women's work, amongst them also by Isla Ure, for 'Passengers', a mutual acquaintance.

Let's face it, men are like the burnt victims of their own wars, like disfigured Simon Weston, anti-war campaigner who I saw on the tube looking deep into all eyes. Do we need to stop winning whatever races of burn-out?

The axis or shift of power from men to women has never been hazier. As I watched these fifty attempts at healing kisses it feels comforting how much I enjoy listening to women talking of film, or directing as Yildirim of Turkey did in 'That Good Night', in which a lead is played by her neighbour who has never played more than in background roles. Bertolt Brecht had the habit of employing 'lay actors',non-experts, and I find myself the experience of working with homeless on a Millenium Award funded 'From the Horses Mouth' an authenticity left us yearning to do more work like this. In Eastern Europe we worked at Brecht's 'People's Stage' probably the most avant-garde in Europe. Certainly first for working class work and his first attempts.

Even this though does not compare for me to the upbeat nature of many of these fifty films. For example in 'Beryl' by Sarah Page, the care worker takes on the role of former husband of the Alzheimer sufferer.

How interesting in fact it is to look at Kenneth Lemm's script, which centres on disappointment in familiar settings of parental hopes or wishes. The author notes a number of times that no-one has taken on the task of filming his offering and he must have felt concerned. Then as said a woman from a relatively unknown environment with 'zero budget' succeeds in making the film. Being a woman is what it speaks of to me, for she doesn't exaggerate the old man's anger, anymore than his reaction to his prodigal daughter's return with granddaughter. The understatement is what wins us over and makes us admire Yildirim as best director also.

I recently admired a book of poems by a woman from Massachusetts who delivers a guide to herself by seeing others, self-portrait drawn from many, and this is what I think has always made men see themselves, the reactions of women. The nurse yielding in the face of the old man's brutality, as well as the daughter silently but forcefully returning set the tone. In fact when comparing script and finished film understatement is more exalted by the end.

There is also the 'Dream Date', a much-admired section co-written by two females Ann Marie Draycott and Charity Trimm which is a great one to see. It works entirely out of the mistaken expectations we have of film to reveal aggressive, testosterone-driven sex, with the sedate parents exclusively orgasming over enjoying 'quiet time'. Similarly simple, gentle nuances are what set the works of women a cut above.

In fact all in all the female sequences seem more believable. Tracy Flynn also rewards with her sensitive tale of agoraphobia, while sheer multitude of kisses envisioned Jennifer Allen wins? Nina Haerland makes for the gushing tears but Smiley Gab and Emma Croft bring a powerful outcome. 'Enough' by Kirsty McConnell was considered good enough to win best script on the night of the Premiere. It speaks intensity which is what we all feel in relationships that break down. Interestingly similar to 'Love Actually' it is however more believable, urgent with the woman's role having more depth, with her smoking out of the blue; it does not glamourise the misery that is experienced when lines o communication are impaired and what feels right becomes much more ambiguous. The film was played by a whole canon of actors and filmmakers showing that it is a universal scenario.

There is a need to see your work out there so you feel you have taken chances and reached people. That is why Chris, Vernon and his ensemble buzz with positive energy.. I find myself surprised to be writing a review, but then again there is a good tradition with Jean Luc Godard starting 'Cahiers du Cinema', out of anger or dissatisfactions so I may continue on occasion to welcome what appeals to me.



SEE www.fiftykissesfilm.com

..the youngest award




















BEING A MAN AT SOUTHBANK OR PETITIONING THE PEOPLE'S IMAGINATION

CharlieWisemanBlogPosted by Chas Wiseman Sun, February 02, 2014 10:01:54
Last year there was a Parliament of the People at Southbank's Women of the World, which led to a vote for admitting fifty per cent of women to Parliament, so that in a clause of it, to make this possible every time a man vacates a seat a woman should take it over. Who can say how effective this petition has been. Or for honesty's true sake, who wants to be a politician as one woman in the audience suggested she has 'better things to do…!'

If we are to believe what we read about quantum, it is the unknowable, as Professor Brian Cox assures with a meaningful grin, which is a good thing to be a professor of because it is a holy task, like a priest or Greek philosopher in a Raphael cartoon pointing at the sky, so we know knowledge is a feast, with many courses, and if you missed it, it is still possible to find a meal.

We cannot know how our actions will effect the wider world, but we can try to do our part, so I am impressed that Laura has put up a quote from instigator for change Jude, on her new amazing Everyday Superman, a response to the everydaysexism that we engage along with other speakers from Being a Man in, such as @seanyokane. See our twitter.com/everysuperman that Jude mentions: if you can 'volunteer to visit a person in prison. She has herself helped many I sense by setting up People's Parliament, across the river from the other, that is coming up next month as part of the final day of five at Women of the World. Read more about our raising awareness and funds later in the article.

Malala's Father, Ziauddin Yousefzai, Wayne Hemingway and Billy Bragg have one thing in common. They are open to exploring their roles as men.
From Nick Hornby in his informal talk on being a 'bloke' alongside Wayne and Bill comes the plea for 'help' him, as he has three sons, 'so he ought to be a role model, but doesn't know what that is.' 'Walking on the cratered moon', is Jude's description of what has happened to her and those trying to understand what the weekend should be about.
As gender equality draws a bit closer, we are unsure what it means to be a father though. Jon Snow is a friend who told me he would do everything in his power to support the World March for Peace when I was doing theatre in Berlin and London for it. I am also touched though that he has made an effort to open up here, in spite of potential pitfalls.

The last lecture of Saturday evening at 'Being A Man' was really eyeopening as it started with us being required to stand up on our feet, 'to be in our physical bodies, admitting to how frightened we felt and all the bad things we feel, before wiping these things off, then making eye contact with the person next to us. A brilliant workshop from a man who makes theatre with prisoners. How bold it is that Jude Kelly has always made visible her real feelings and so transformed the Southbank Centre with something much more open, multicultural than theatre traditionally is!


'Being A Man' festival was an open invitation to drama and fear in equal measure. Jon Snow remarked on how 'extraordinarily badly men behave' in a bravely open way.
I was at a Longford lecture with Jon about prisons and there also I became aware from Peter Stanford there is a 'limit to how much he will say' or is allowed to which must mean his contribution to the Festival is a fortuitous sort of survival mechanism.

'The Swat valley' is beautiful I learnt today from following a link to Ziauddin Yousefzai and many other nations are represented at Southbank. It is a typical event of Jude Kelly. The first festival for men and we are all a little embarrassed as men to be talking about ourselves, and unsure where it will lead. Jon has described how he doesn't feel he can say what he really thinks as a journalist, yet the act of saying it here, like a confession, is amazingly powerful and a quantum leap to freeing ...

I often see Jon on his bicycle in a crash helmut and he seems to need one as he was recorded in the Evening Standard as saying, 'he sees every woman who walks in to his studio as a potential sexual partner'. Hornby and Bragg don't quite see that as the case, but sympathise with the 'fear' of knowing what being a man is, or as Jude rightly describes feeling like she is walking over the surface of the moon. Hopefully at Southbank next month Women of the World, WOW will have a stall with a competition about what frontiers the combined festivals can explore.. We are using www.thewand.org.uk, our explorative mag of feminist issues to highlight and question. With interviews from Olivier's granddaughter to Bloomsbury's heir, Hen Garnett, we wish to make a collage of opinions and photos for our spring edition 14 March; mappings of new sentiment; then we will give a couple of prizes for best flash fiction and discussion of the Festival. Commitment to community is utmost.

We look forward to Isis Olivier's further collaboration with maps, and Kate Pankhurst Smurthwaite providing inspiring thoughts and biting, fun remarks to help.

Fundraising for a charity is no mean feat as I was reminded the last six months, as Laura tried to help me to, so it is a matter of finding the right mix of fundraisers that is most important. We have contacted in the past,Chelsea Theatre,as well as diverse groups, such as a charity supported by Coldplay called Astell Foundation. Our work succeeded, raising awareness as well, and we believe that we can build on it, by involving Pret, Waitrose again, as well as businesses who supported too, and by continuing to circulate and write about the many diverse projects of great value that can be found in London. I find for example in Battersea Park there is a project where unemployed and those with learning difficulties as well can work together to create the arrangements of beds in the English Garden, a most impressive and secret tip to locals. Although our local press relates that the Posh and Becks like to walk there when they can, it also has a hidden history that we researched.














































LondonScreenwritersFestival

CharlieWisemanBlogPosted by Chas Wiseman Sun, October 27, 2013 20:59:22

Breaking cycles of self destruction and manifesting authenticity

I think scriptwriters have a need to relate, as a form of therapy as well as to help script development and so it has been really valuable to see others and spend a sunny weekend gathering in a marquee in Regent's Park and taking time to enjoy the good air, earth and conversation.

'What did you most enjoy about the festival?'

I pause to consider, when I along with everyone else am asked this on a questionnaire at the end of three days and I have to concede it is a bit nebulous, a mystery.

It isn't just the young, overwhelmed at meeting some of the cutting edge, avant garde here, some going up to say 'I love you' to Chris, hugging him, so it looks like a live audition for a new version of Fellini's 'City of Women'.

It is also the older folk, like Lance Nielsen, who lectures on the last day and explains that he was close to giving up on the creative industry and writing, until Chris insisted he come to one of his Guerilla Filmmakers workshops to recharge his batteries, where he met the entire Greek crew of his next film, now in progress.

Just like Chris himself, swept along by his own limitless enthusiasm and telling us in a talk entitled 'Manifesting Success' that if we are authentic in our own lives, it will rebound in our work: like his own decision, leading to meeting and committing to his partner now of eleven years when he broke a self destructive cycle of thinking women are laughing at him.

This fear having stemmed from a time when, at five years old, he mistakenly thought another five year old was laughing at him, for calling her beautiful and announcing his desire to 'marry her one day'. No doubt she was flattered, perhaps embarrassed or unsure of herself.

There is a sense of all pervading fun, driven by a spontaneous irreverence that I draw on, as I sense others do. If Judy Goldberg and Chris Jones keep it up I think I will bring my partner Laura next year

We are all swept along, by the reasoning that if we are enjoying each others company then it is probably alright to be crazy creatives. A sort of breakthrough for all of us in our lives. One of the women who comes to his lecture on manifesting success is convinced that she must be dedicated to her creative life, as well as having a relationship and a baby. Chris is thrilled that LSF is going to have a baby.

On another tangent it was worth following obscure parts of the festival as bushels often hide considerable light, which might if one is lucky bring forth a burning bushel or bush even for that matter, so I consider myself most fortunate to find that this phenomenon was made manifest by a woman who once taught me writing female characters, a preposterous presumption if ever; if one can write characters it must be from a good Freudian parental relation, or else result from a stitching together of wounds and bruises that have entered one's own psychic map, by mischance, or to be Buddhist about it, by good luck, for misfortune is a map of rainbow gold to those who have blind faith in blindness or sleepwalking being a key to treasure hunting. After all we all have so many experiences that we cover up, as unbearable, that is to say not what bears would like. So U N B E A R able simply refers to the wish to be a bear who cools his body, but stays warm enough in his thick skin to be able to survive. Many think winters are much colder in Siberia, than in the West, completely failing to take into account the fact of bearskins, bearing dreams so old and oiled like old oil lamps made from whale grease, that they completely warm the owner. The wise Mongolians and Siberians have long worn hides, to hide their fears, to meld with the minds of bears, to travel the road less travelled, where bears mind all paths with simple snoring rhythmic..snuggleability.

I imagine many people assumed I would reveal some morsel of the content of writing female characters but that would be breaking a code of honour, cos I think deep down, that no woman would ever want to reveal how she is written. It is demeaning like dissecting a vein or artery, to try and find the meaning of its flow, as though it is not just flowing for its own sensation of BEING.