Kilburn Comic & Zine Fair – February 15th

If you are in London this February, you might like to come down to Kilburn Comic & Zine Fair hosted by OOMK Zine on the 15th,

https://www.facebook.com/events/657152920997461/

It’s free to enter and is going to feature lots of fantastic things from people like Extra Bones, Dead Trees & Dye, and Melon Shrub.

We are going to bring some copies of our mermaid anthology ‘Lines Underwater’ to the fair, so come and say hi and get a copy if you’d like your very own book of new artwork and writing featuring mermaids! Take a look at a couple of the pages. Copies can also be bought right now from our online shop.

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Zines of the Zone – Travelling Exhibition

Zines of the Zone is a travelling library of independent and self-published printed works containing, and relating to, photography. It’s going everywhere from Barcelona to Athens, and will be exhibiting the pieces it’s collected at special events in every city it visits.

Find out more about their project

We were very happy to hear about this fantastic project, and to donate a copy of our mermaid anthology ‘Lines Underwater’ for inclusion in the travelling library and exhibition.

Zines of the Zone logo

Zines of the Zone logo

Here on our website, you can read about some of the photography in our anthology, which ranges from a semi-animate bench and a romantic turtle to a mermaid’s-eye view with an underwater camera and a wiry siren (seen here in its fleshless glory), as well as lots of photographs by Kirsten Tambling. You can also take a look at some of the other artwork involved in our project.

And make sure to try and catch us at Zines of the Zone when it comes to a city near you. If you’d like to buy a copy of the anthology for yourself, it’s only £10 + p&p.


Exhibition at the Undercurrents Gallery now open

Thanks to everyone who came to our launch event at The Bird’s Nest on Friday 4 October. We are now open and on display in the Undercurrents Gallery, Deptford, until 30 October, so do pop by (there are also some events planned at the gallery as part of the exhibition).

Here are some photos from the installation:


Poems Underwater – Launch event in Deptford

Poems Underwater set sail last night on board a boat in Deptford (courtesy of the brilliant Minesweeper Collective).

We launched our new anthology, Lines Underwater, exhibited some of the artworks made as part of the project, and heard readings from some of the poets and writers involved. Musicians Tony Winn, Andrew Souter, Luciana Francis and Sara Eliot performed sets, and we had a splendid mermaid cake (you may remember the original one) courtesy of Alice Saville (RaddingtonB).

Here are some photos from the night…

Thank you so much to everyone who came along, performed and helped make it such a great night.

If you missed it, you can see the artworks from this exhibition, along with a few extra, at the Undercurrents Gallery, Deptford, from 4 October – 1 November 2013. We’ll also be publishing details of events running alongside this in the coming weeks, so stay tuned.


Tony Winn – The Mermaid

 

Tony Winn’s great song The Mermaid is featured in our anthology, which you can buy online. He’ll also be performing it at our launch party this Saturday:

 

 

Lyrics

I don’t want to sit on this rock for ever
I can’t get to sleep on the sea bed
My complexion has been ruined by salt water
And who wants seaweed – all over her head

she prays for the day when a bold sea captain
will be lured by her mystical charms
and his ship will be wrecked on the rocks below
and the tide will bear him to her arms
but these days sailors are better educated
and they don’t believe in mythical sights
and they know that the sound of the mermaid’s song
is just the wind in the night

there was a time long ago when it was easy pickings
and you just had to hum a little tune
and a thousand sails would appear on the horizon
reflecting the beams of the moon
but these days ships are different
and they’re powered by the diesel engine
and you can’t hear the sound of the mermaids song
above the din of the piston thumping

one day she was sitting on her usual rock
with her tail stretched out in the sun
when a sailing yacht hove into view
she lifted up her head and sung
and the ship hit the rocks & the wind tore her sail
and the sailor was clinging to the wheel
and she knew that if once her eyes met his
his heart she would surely steal
but then a noise she heard
like a chopping sound in the air
and a rope came down and the sailor went up
air sea rescue – it just isn’t fair.

 

Essex man Tony Winn writes and performs his own songs and poems in a variety of styles covering all aspects of life, love , the universe and whatever else there is or may be!! An actor and member of a number of groups he also performs his one-man-show “Singing in the Bath” – Visit his world at www.tonywinn.org.uk

 


Sara Eliot – Velvet Skies

Sara Eliot’s song Velvet Skies, feat. Mark Hutin on piano and Ian Peaple on trombone, appears alongside an amazing linocut by Ieuan Edwards in Lines UnderwaterHave a listen:

 

 

Sara Eliot is a London based poet & singer/songwriter. Her unique sound – soulful vocals with a raspy edge – harmony and a touch of Jazz – delivers smooth lyrical poetry.

If you are interested in the other audio-visual responses to the project, make sure you check out our youtube channel!

 

 


Michele Brenton – Five Photographs

We liked Michele Brenton’s photographs because, like Katie Hale’s poem Siren’s Song, they explored the idea of a ‘mermaid’s- eye view’,  whereas traditional accounts often present only a ‘sailor’s-eye view’ of the seductive mermaid. Michele writes,

“When I take a photograph I am trying to capture every moment and view I have experienced with that space over an extended period of time.  It could be seen as the diametric opposite of cubism as I attempt to concentrate as much as I can into one simple image.  This series of images was taken with a waterproof camera, one is completely underwater, four were taken as I trod water after swimming some distance out from the shore and one was taken from a rocky outcrop at sea which I reached by swimming and climbing so I could take the picture looking down at the boundaries between rock, dry weed, wet weed and open sea.  All are places intimately known to me and I hoped that the images would give a sense of being surrounded by water and allow me to share the sensual essences which collected make up each individual image.  I felt a spirituality of connection to these places and in my humble way I tried to capture the soul of them with my camera and eye and heart.

“Spartia at Dusk is a photograph taken from the sea off Spartia beach on Kefalonia in the Ionian Sea where I lived for three years.”

Michele’s beautiful photograph Spartia at Dusk can be seen in our anthology, and will also be exhibited at Deptford’s Undercurrents Gallery throughout October. Meanwhile, here are five more of her photographs, and a poem A life on the ocean’s wave!

 Michele Brenton self-identified as a writer before she was five & now past fifty realises self-identification is a complex, never-ending journey of discovery and surprises.  She does not like to imagine what her life would be like without the internet and the people who live in her computer. She hangs out on Twitter at http://twitter.com/banana_the_poet


Sue Wood – ‘Birth’ and ‘Land’s End’

Charlotte Lindsay: 'How Babies were Born'
Charlotte Lindsay: ‘How Babies were Born’
http://mamsie.org/visual-library/visual-library-charlotte-lindsay/

 

Sue Wood’s two poems ‘Becoming Sand’ and ‘Postcard: Salt Marsh with Cows’ appear in our anthology Lines Underwater. We loved the gorgeous imagery in these poems, and the sense of a visceral yearning for the absent sea in ‘Postcard’.  You can read these two poems by picking up a copy of Lines Underwater: ‘a beautiful, mesmeric piece of work’ according to a recent review. Sue has also donated two further poems, ‘Birth’, and ‘Land’s End’ to our website, take a look at the downloadable pdf:

 

Land’s End and Birth – Sue Wood

 

Sue Wood explains,
“My writing has to fit round a life that is always busy with running creative writing projects, gardening, being a grandmother and running a guest house. So it occurs in fits and starts: when I have a theme or poem on the go  I seem to make more time for writing. I find attending Poetry School courses or going on an Arvon course gives me useful deadlines, and it is a treat to be a participant and not the leader of a writing group. I wrote ‘Becoming Sand’ in a writing workshop about travel – it is almost unaltered apart from the ending that I’m still not sure about. ‘Postcard: Salt Marsh with Cows’  came from a workshop led by Penny Shuttle. We were each given a landscape postcard and this one intrigued me by its absence of actual cows. The idea of shifting realities governs the poem, as well as my memories of the Norfolk fen country, its huge emptiness.

 

“‘Birth’ is one of several poems written close to the births of grandchildren and not only have I been moved by the way (given modern science) we come to know unborn children through  early scans, but the sense that we all pass from  a comforting, solitary, enclosed, watery world in the womb to the discomforts of our survival within human society. I had been reading Darwin at this time so evolution was in my mind.

 

“‘Land’s End’  is a memory of  a walk I did with my husband several years ago in early evening out on the Cornish peninsular.  I have always been attracted  to the ‘edges’ of land – where  the world we know and perhaps take for granted ends and becomes abruptly different, alien and disconcerting.  This is an experience that makes us know our own  human limitations, re-assess what and who we are, where we sit in the universe, why ‘love’ binds us to each other.”
Sue Wood works as a creative writer in various health care situations. She is widely published in anthologies and journals, including the Forward Poetry Anthology, 2010. Her first collection Imagine yourself as water won a Cinnamon Press Award for Poetry.

‘Recessional’ – Bernd Sauermann

Bernd Sauermann has contributed an excellent poem, ‘The Give and Take’, to Lines Underwater. Here, you can read another of his poems, ‘Recessional’. He explains,

“My writing process is, for the most part, mysterious to me. My poems often begin with random lines presenting themselves to me. If a given line catches my attention, I just sort of flap in the breeze behind it in the composition process, often not fully realizing what the poem is going to be about until the poem’s rough draft is fairly complete. Then, in the revision process, I tighten things up, paying close attention to the nuances of words’ sounds and meanings in the context of the poem’s dramatic situation. I’ve been drawn to prose poems lately, partly because the form (or lack of) I think forces readers to focus more exclusively on content and idea, vs. focusing on content and idea as a part of a “poem,” though I guess a “prose” poem is still, ultimately, just another “form” of poetry.”

Recessional

I float on the warmth of fingers through warm hair.  A

future is strung like Spanish moss in the trees, and the

bayou rises to meet the laughter of a woman. Later, a

truce is drawn: I gather moss, and a laughing girl

watches the rain wet my hair. She describes the rain

to me in glances, and I take in her glistening syllables,

someone who used to wallow in a dry heat, the glare

of a red sun setting on a highway receding in the

cracked rearview mirror.

Bernd Sauermann teaches at Hopkinsville Community College in Hopkinsville, Kentucky, and is also the poetry editor at Whole Beast Rag, an online (and sometimes print) journal of art, ideas, and literature. He has poems, stories and photographs published in The McSweeney’s Book of Poets Picking Poets, Southern Indiana Review, New Orleans Review, Nimrod, Poet Lore, The Kansas Quarterly Review of Literature, Leveler, Mad Hat Review, ežRatio, Vinyl Poetry, and many other publications, a chapbook titled Diesel Generator from Horse Less Pressand his first full-length collection, Seven Notes of a Dead Man’s Song, will be published in the coming year by Mad Hat Press.


Christopher Brown – ‘Mer Bench’ and other photographs

Christopher Brown’s photograph Mer Bench  has just been published in Lines Underwater, our anthology of new artwork and writing that re-envisions mermaid myths for the twenty-first century. One of several works in the anthology that brings the mermaid into the city (another is Kate Noakes’ beautiful poem Melusine at Chatelet which you will have to buy the anthology to read!), Mer Bench will form part of a month-long exhibition of some of the artworks from our project at London’s Undercurrents gallery this October.

The Starbucks symbol, a melusine, is perhaps today’s most commonly-seen mermaid. In Mer Bench, a coffee-cup lid has become mere detritus: a very unfortunate twenty-first century mermaid indeed. For us, the froth in the photograph evoked the myth that, having no souls, mermaids turn into unhallowed froth when they die.  It looked to us as if the frothy mermaid had exceeded, and burst out of, her mass-produced Starbucks container!

However, it is the bench that is the true mermaid in this picture. Christopher Brown is one of the only people in the world to have witnessed the activities of a Mer Bench, as he explains in his artist’s statement below.

Mer Bench, by Christopher Brown

(click on the image to enlarge)

“Mermaids tend to live at sea, but Mer Benches are equally at ease in seawater or freshwater (think of them, in that sense, as bi-curious). At night they scuttle off in the water, where they rid themselves of the memories of having been sat on, before returning to their former positions by sunrise.

Mer Bench is one in a series of photos I took in late 2006, around the lake in central Geneva. It was a chilly, wet morning, so there were very few people about. The exceptionally strong winds meant that the iconic Jet d’Eau had been turned off, and I remember feeling exhilarated as I explored the empty jetties, promenades and playgrounds.

“My gloves were too thick to operate the camera properly, so I had to remove them every time I took a photo. As a result of the bitter cold, my hands were soon red and sore.

Mer Bench came into being after the wind blew some waves over the promenade, which washed up against a nearby bench, spitting up a coffee-cup lid in the process.

“After I had taken the photo, a peculiar thing happened. In broad daylight, the bench got up, stretched its legs, then headed into the lake for a swim.

“Like me, it must have thought there was nobody else around.”

Christopher Brown is a film director and screenwriter. His feature project ‘Knock-Out’ recently won Best Screenplay at the London Independent Film Festival, and the Cordelia Award for Best UK Screenplay at the LA-based BlueCat contest. His latest short film ‘Remission’ is forthcoming in the autumn. Chris lectures in filmmaking at the University of Greenwich and has published articles in Film Criticism and the Quarterly Review of Film & Video.

Christopher has also donated four more photographs he took on that windy day to our digital collection of mermaid artworks. You can enjoy them below, and check out our online gallery for even more fantastic responses to the project.