Saturday 1st June 2019

GENRE DAY
co-hosted by AMA BOLTON & SUE BOYLE

AFTERNOON PRESENTATIONS
visitors will be welcome 1.45pm – 4.30pm

Please note that the programme has not been sequenced yet

 

PRESENTATIONS WITH SLIDES

AMA BOLTON ‘And Other Trees’ cropped willlow (with slides)

SUE BOYLE  ‘Masked Faces and Hidden Rooms.’  How things seen in Venice have become elements in The Venice Book  – and how much they change when they move from the camera to the page. ( with slides )

Fog in the Lagoon

ANN CULLIS  ‘Infinite of new cakes’ – picnics and meals. Drawing on journals, diaries, and some fiction, this is a small selection of summer picnics, meals on the road, and food shared with friends – as recorded by writers from the 1660s to the 1880s.  The short extracts are placed alongside images, from elaborate feasts to ginger beer. (with slides) 

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The picture comes from  ‘Bath In Time’ [Bath Anglers picnic c.1907 photo George Love Dafnis]

LOUISE GREEN  ‘A Lasting Legacy’.  Louise will introduce her lottery funded communal tapestry commemorating lives lost from her village during The Great War ( with slides) 

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JUDE WISDOM ‘The Road to the The Island.’  Jude will take us through the journey from first idea to the acceptance of her new book.  ( with slides )

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SINGLE APPEARANCE PRESENTATIONS WITHOUT SLIDES

EILEEN CAMERON  on her poem Donald  which raises questions which narrative approach might tell a story best.

CLAIRE COLEMAN ‘Form and Content.’  Why do some traditional poetic forms suit the subject of dementia so well ?

MARGARET HEATH ‘Letters Good and Bad’

ANN PRESTON Housman’s ‘Crossing alone the nighted ferry’: If one of the hallmarks of poetry is the use of condensed language then the epigram or short poem of no more than eight lines might be considered one of its purest forms. Such poems are easy to learn by heart and tend to stay with you for the rest of your life. Their starting point may be highly specific but through the poet’s use of metaphor and allusion the meaning can be complex, ambiguous and universal.

SUE SIMS ‘Defamiliarisation in poetry’. This would draw on the work of Wallace Stevens and how this technique has influenced my work and my teaching of poetry. ( I was a poet in school for Threshold Prize for 8 years.)

JUNE WENTLAND will read from her own work

CONOR WHELAN will combine word, image and movement in his story, ‘The Plucky Fledgling.’  The central theme will be one he suspects we can all relate to: the desire to rise versus the fear of falling.

DELIGHTFUL INTERLUDES

MIRANDA PENDER will follow up her morning presentation by singing from time to time with her guitar

FLORY WISDOM ‘Women, Mothers, Daughters ‘: ongoing adventures of an Instagram Star

VERONA BASS Haiku

 

Not able to join us : Marilyn Francis, Penny Gardiner, Nikki Kenna, Peter Reason, Graeme Ryan, Colette Hill, Janet Snowdon 

 

In the morning workshop which is fully booked . . .

VERONA BASS will share some of her thoughts on the differences between writing  Haiku and Storytelling which will lead into . . .

ANN CULLIS will introduce her planned month-long  Bath Writers & Artists’ collective observations Almanac Project

which will lead into thoughts on different ways of presenting observations from  . . .

CONOR WHELAN on the image in poetry, story and movement. Images are at the heart of many art forms.  Storyteller Polly Tisdall considers herself more of an image maker than a wordsmith.  Conor will discuss how he tries to put the image at the centre of his poetry, storytelling and movement.  He will bring along The Book of Symbols to help explore how images can help access some of the more mysterious aspects of our psychology.

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MARGARET HEATH on Diary and Letter-writing : As often, fascinating. “Journaling” can be a psychological or spiritual resource, strictly personal, whereas good, considerate letter-writing, with the recipient in mind is to my mind a different genre.  (Margaret Heath)

and&

MIRANDA PENDER Poems set to music compared with pieces written as songs

Some of Verona’s thoughts on Storywriting will then lead into . . .
Three writers exploring their experience of the pitfalls and  possibilities of different narrative techniques.


SUE BOYLE
 on narrative issues arising from her struggles with The Venice Book and in particular the impossible question (for a complete novice like herself ) of point of view

ALI BACON will compare Novels with Short Stories,  looking at the short story (a single stand-alone narrative) with the intertwining narratives of a conventional novel and to talk about how this distinction can be blurred. Ali has suggested some possible sub-topics: compare a chapter in a novel with a short story; collections of linked short stories ;novels which could be seen as linked short stories; the new form ‘novella in flash’

&

LOUISE GREEN will be looking at some of the constraints we encounter in  writing for radio

to close the morning 

JUNE WENTLAND will be exploring ideas arising from this . . .

“In The Best of British Poetry 2015 (Salt) Megan Watkins says of her poem Losing Lion:

My thoughts about this poem probably don’t bear much relation to how other people read it; it doesn’t really matter as a reader …you respond to the lyric or story. It is the writer who is concerned with the poem as record, with some idea of responsibility and truth.

The poet’s concern with the poem ‘as record’ and its ‘responsibility’ and ‘truth’ is interesting. I don’t think we’d see a novel in terms of ‘record’ in quite the same way. Is this a major difference between prose and poetry? What’s meant by the terms ‘record’, ‘responsibility’ and ‘truth’ and does it differ not just between genres but also between writers?

Morning in the  MURCH ROOM : ALI BACON, VERONA BASS, AMA BOLTON, SUE BOYLE, ANN CULLIS, LOUISE GREEN, MARGARET HEATH,  MIRANDA PENDER, JUNE WENTLAND, CONOR WHELAN (10) 

Afternoon in the  LONSDALE ROOM : VERONA BASS, AMA BOLTON, SUE BOYLE, EILEEN CAMERON, CLAIRE COLEMAN, ANN CULLIS, LOUISE GREEN, MARGARET HEATH, MIRANDA PENDER, ANN PRESTON,  SUE SIMS, CONOR WHELAN, FLORY WISDOM, JUDE WISDOM (14)