Bradford’s Literature Festival surely must be the most ethnically diverse book festival in the UK, and it is a real honour to be invited onto a panel so rich in minority representation. In fact, I will be the minority, which will be nice for a change. So on 21st May I arrive back in the UK after a week touring the Somme battlefield on me push-bike, then it’s a long shower and quick kip before heading north to join in a discussion about Comics and Conflict on 22nd. What timing!
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WANTED: UK-based comics illustrator to work on (hopefully) Arts Council sponsored graphic narrative written by Brick (Depresso, To End All Wars, Leonardo’s Bicycle). Style of artwork needed – similar to Loisel’s (Peter Pan) for caricatured buildings and environment but more realistic characters, closer to style of Tardi (It Was the War of the Trenches). Story set in medieval period. Script written to allow plenty of room for illustrator’s own creativity to shine. Send two sample pages of previous comics work to email@example.com, subject ‘Mad Day’. Particularly interested in how set piece conversations are handled.
If you are in London on 6th or 7th February and have an interest in mental health and the arts, hurry along to the SouthBank Centre’s huge and encompassing Changing Minds Festival. Brick will be there on a panel that includes performer Celia Knapp and theatre maker Cheryl Martin on the Saturday from 2:00 to 3:00pm discussing the role that sadness and deep depression can play in inspiring art.
If he’s around, maybe Beethoven would like to chip in!
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It’s very rare that I enter into a competition, but this invitation to submit something to Kronborg Castle, né Elsinore, in Denmark was simply too tempting in the year we remember the 400th anniversary of Bill Shakespeare’s death. Read the full adaptation of my opening scene from the Scottish play here.
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Nice to start the New Year with a good review of an end-of-last-year publication featuring my Simone the Stylite short story. I couldn’t possibly comment on Brick being singled out in such ludicrously glowing terms or my being vain enough to, for once, splash it abroad, but you can’t beat starting back with a positively overflowing glass.
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As a grand finale to the build up for Friday’s announcement about Nottingham’s UNESCO City of Literature bid, representatives of These Seven and other Nottingham writers took to the tracks to travel the city’s tram network, giving public readings and, more importantly, giving away books. Naturally many thought it was a scam and brushed aside the offer of free literature, but several hundred copies were gratefully accepted by the travelling public and in the Old Market Square.
While they read and dispensed, I sat on board trying to sketch a crude record of the event while the tram gently lurched through the city, finishing the image off in Beeston’s White Lion, where we came to rest, read aloud and troughed.
Can’t speak for my literary chums, but I had fun.
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The audience for this packed event at the Cartoon Museum in Bloomsbury had them hanging from the mezzanine, although the demographic was overwhelmingly white, middle-class women, something that, as the token man on the panel, worried me a tad. I’m assured the discussion around why the five of us had chosen the comics form to make public intensely personal and distressing traumas was fascinating and truly instructive. Even as a contributor, I learned things I never appreciated about my book Depresso off the back of what the others revealed about their own working practices.
Touchy-feely I can do, but there was a point when our response to audience questions teetered into embarrassing and ugly self-congratulations. My attempt to righten the boat by suggesting that, truth be told, we were doing nothing new with comics sparked a rush of vigorous and maybe contentious discussion, which I’m sure the audience loved. Certainly the conversations after the event suggested we had stimulated a lot of ideas for the folks to take home and mull over.
And isn’t that what these gigs are all about? Both the gallery and ‘Monts’, our link man from Geek Syndicate, were delighted with the proceedings.
One of the last pages to be drawn. Features Karl Drais collecting his laufmaschine from cartwright Frey.
It’s DONE, all 260 odd pages of it!!! Or, at least, it’s done until some publisher decides it “needs more work” or spots 23 spelling mistakes or wants panel 25/4/2 redrawn with Stalin positioned right of frame.
Reactions thus far from copy-proofers are good to glowing, but now the hard work of finding a publisher begins. After seven books, it continues to puzzle me why what I do doesn’t interest a publisher sufficiently to support me beyond a single publication. They’ve all made considerably more money out of my efforts than myself, but such is the lot of the creative.
So, anybody out there interested in a totally nerdy romp through one very esoteric fillip of cycling history?
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