Lockdown Interviews: No 28 Joanne L.M. Williams interviewed by Laura Besley

Twenty-eighth in a series of author-to-author interviews to distract them, and you, from lockdown torpor.

Joanne L M Williams

Joanne LM Williams

Joanne L.M. Williams (No Spider Harmed in the Making of this Book, We/She) interviewed by Laura Besley (Story Cities).

Laura:   You write a mixture of short stories, flash fiction and poetry. Do you set out to write in a particular form, or do you let the piece develop organically?  

Joanne:    When I start writing I might not always know exactly how the idea or plot is going to play out, or what the ‘ending’ is going to be, but I do know what form it’s going take, because the processes by which I write a poem, or a short story, or a flash fiction are very different. So, yes, for each piece I suppose I do set out to write in a particular form. Or rather the initial idea I have is for a piece of writing in a specific form.

I can only think of one exception to this: Before I had really heard of flash fiction I had an idea for a short story that I could never quite get to work out. It turned out that idea was supposed to be a flash fiction – and once I was introduced to drabbles, that story idea became a 100 word piece called One Hundred Years.

Laura:   Your poem ‘Gifted’ has been selected for the upcoming Arachne Press anthology, No Spider Harmed in the Making of this Book, and focuses on the mythological Arachne. Did you draw from your background in History for inspiration?

Joanne:    Not especially – I have a history degree, but it didn’t cover the classical world. My degree is in what Oxford, slightly archaically calls ‘Modern History’, by which they mean everything from around 500 AD onwards. Ancient History is a separate department.
However I’ve been fascinated by all kinds of mythology, and especially Greek mythology, since I was quite a young child. I’ve played around with a lot of the myths in my writing before, but I’ve never written about Arachne, and this seemed a good opportunity. I really enjoyed getting under the skin of a version of the character that I imagined.

Laura:   In We/She (short stories by women from Liars’ League, Arachne Press, 2018) your story Cages is written from the point of view of a dragon. Do you enjoy the challenge of writing from unusual perspectives?

Joanne:    Very much so – although it’s perhaps less of a challenge and more of a desire to give those characters a voice. As a young reader I was usually much more interested in the secondary characters, the sidekicks and the ‘baddies’ in a story, than I was in heroes and heroines, so as a writer I often like to explore where those characters are coming from, and what their own stories are.
It’s also a device which allows me to explore the experience of being othered in various ways: Most of my central characters are marginalised, and many of them are queer.

Laura:   As well as Cages you have had several other stories performed at Liars’ League in London and Hong Kong. Do you enjoy listening to your stories being read aloud by others?

Joanne:    Usually, yes! It’s certainly an interesting experience. I tend to think of any piece of writing as a living thing, or a conversation, that’s interpreted by its readers, listeners or performers anyway, but that’s made particularly obvious when someone else is reading it to an audience in front of you. Sometimes an actor will bring out elements in something that I hadn’t even fully realized were there – often humorous moments, or poignant ones.
When I first heard Cages read out, by the wonderful Susan Moisan, she drew laughs and responses from the audience in a few places I wasn’t necessarily expecting, which was very gratifying! It was such a pleasing delivery that I have to admit, when I later read out that story myself, I borrowed heavily from her performance in places.
Still, there can be some anxiety in handing over something you care about so much. A bit of me doesn’t like giving up creative control, but that’s something it’s good for me to learn to do. I’ve only ever had one bad experience, with one group, where I wasn’t really happy with the end result – but that was a situation where I wasn’t able to speak directly either to the actor performing my piece, or to the person advising/directing. Liars League are great because they generally give an opportunity for the writer and actor to discuss the reading in advance.

Laura:   One area in which you enjoy performing is competitive dance. Do you find that movement unlocks creativity?

Joanne:    Dance definitely helps me to unlock my feelings – it’s common for me to go into a dance practice and find myself working through a mood I hadn’t even realised I was in. It’s incredibly helpful in that respect.
I do also find dancing in a style that has a formal structure and technique can drive creativity in the same way that writing in a fixed form can. I love ballroom dancing for the same reason I love metric poetry: Something about the juxtaposition between the intense emotions being expressed and having a tight form to work within has creative power. I have a very long-standing project I’m playing with at the moment, writing poems based on dances where the metre of the poem matches the rhythm of the dance, as I want to explore that similarity.

Laura:   Like many writers, you also have a day job, in your case working in theatres in an organisational role. Do you find that a job which requires a completely different skill set allows more, or less, space for creativity in your free time? 

Joanne:    I’ve always written, and as a child had ambitions of being solely a writer, but I realised whilst I was still in my early twenties that it wasn’t something I could do full-time. I’m an extrovert and like being around and working with people too much – if I spend much time alone it affects both my mood and my productivity very negatively.
Theatre working hours can be long and anti-social, which can make fitting in time for writing, as well as dancing and studying, tricky. But at the same time, it’s absolutely necessary for me to work around people in a job I love for me to then have the emotional energy and ability to write. And even though I don’t write specifically for the stage, getting to see so much creative content as part of my job is beneficial too. Just as reading as much as possible is useful to a writer, so is watching a lot of theatre.

Laura:   When you read something that you think is perfection, how does it make you feel? Does it spur you on, or intimidate you?

Joanne:    Oh it inspires me, hugely. That’s why I want to write ultimately – the sheer excitement when you read something wonderful. I want to be able to create that sort of magic with words too.

Laura:   As writers, we have to deal a lot with rejection. Do you have a ‘tried and tested’ method, or does it depend on the mood you’re in or the piece that you submitted?

Joanne:    I don’t really have a method per se. The majority of the time rejections don’t bother me too much – I know what the statistics are like for almost all writers in terms of rejections per accepted piece.
Of course, there’ll sometimes be a ‘no’ that stings more than I was expecting it to – perhaps if I’ve grown especially fond of a piece of work, or conversely, if it was especially difficult to complete but I thought I’d cracked it.
At the end of the day though, I can always move on fairly quickly. In a way I know I’m lucky, because writing is my ‘side-hustle’ so to speak, and my income doesn’t depend on it.

Laura:   Do you have particular writing goals for the next year, or years? Do you, for example, want to write a novel or a play? Do you see writing as part of your career, or more of a hobby?

Joanne:    I’m aiming to finish the collection of poems based on dances mentioned above, and I’m also looking to write some stories in styles that are new to me. I have the beginnings of some ghost stories brewing for example, and I’d like to write more comedy.
I’ve no immediate plans to write a novel again. I attempted one years ago, completed it, got feedback and put it through several edits. I then never submitted it anywhere because by the time it was finished I no longer believed in it, either artistically or emotionally. I find I enjoy the process of writing short stories and poems much more. As for a play, the problem I have is that the thing I find hardest of all to write is realistic-sounding present-day dialogue! Of course, not all theatre takes the same form, so never say never, but it’s not among my short-term plans.
To answer the last part of the question, even though writing isn’t my primary job, and it doesn’t make me money, I do see it as part of my career, yes. I’ve always been interested in doing lots of different things or jobs; some of them pay me and some of them don’t, but they’re all important and part of my ‘portfolio career’.

Laura:   How have you been managing in lockdown? Have you been able to use this time to write more, or are you – like many others – struggling to put pen to paper? If you are managing to write, what are you working on?

Joanne:    It’s been similar to before in terms of productivity if I’m honest. There’s lots of extra time, but my ability to write fluctuates – some days I’m inspired and write in a burst, and other days are just not writing days. I’m afraid my writing habits have never been especially consistent, and that hasn’t changed. One thing I am finding useful though, is an online writing group that a friend is running for a few hours each evening – I don’t join every night, but when I do it’s a good motivator.
I’m working on two pieces – one short story and one poem – for two upcoming deadlines at the moment. They’re both inspired by, or are responses to, famous pieces of literature (respectively the novel Little Women, and a Robert Southwell poem for Arachne’s Solstice Shorts call out).
However, that’s about all my two projects have in common – they’re very different in tone as well as form. I’m also busy redrafting some existing stories, including a couple of modern fairytales, and a dramatic monologue from the point of view first Mrs Rochester.

Lockdown interviews: no19 C A Limina interviewed by Katy Darby

Author C. A. Limina (Story Cities) interviewed by Katy Darby (Five by Five, Stations, London Lies, An Outbreak of Peace, Shortest Day Longest Night, Liberty Tales,  We/She)

Katy:     You have a flash fiction, Starlight, in the Story Cities anthology. Was the story inspired by the Story Cities call out? If not, what inspired you to a) write it and b) send it to Story Cities? And P.S. I love all the space(ship) imagery in it – very apt.

CAL:    I wouldn’t say Starlight was inspired by Story Cities specifically, but while reading the callout I briefly flashed back to a time when I was younger. My father was renting out an apartment and needed to renovate it, so he brought me up there while he checked the progress. The arid smell of dry concrete and the night sky stayed with me for a reason I could never understand, but it was the view of the vast, spotted city lights and the hollow sky that overviewed it that stole my attention. I got two stories out of it–The Men Who Stole the Stars, the older version that got into The Jakarta Post a couple of years ago, and Starlight. Whereas the former spoke more of the bare concrete and lifeless growth that I remembered, I think I wanted Starlight to reflect more on the loneliness of the latter half of my life (I say that as if I’m sixty and about to die in a couple of months, but I think in these times, we are all spiritually tired, frail and constantly worried about death, so bear with me.) I think Starlight definitely fit more to the Story Cities call and I’ve always been glad that the editors picked it up, because I think a lot of people in the modern world have an experience or two when it comes to being awake and alone in a cold hotel, staring out into a desolate city or an unfamiliar space. Capturing that was a great deal of fun.

Katy:     What’s a (free to read, online) flash fiction or short story you think everybody should read, and why?

CAL:    I don’t know if it counts as flash fiction or not, but the-modern-typewriter on Tumblr makes hero vs villain pieces where they use archetypes in the place of the characters. Some of them used to be prompts but now the owner of the blog has shifted into making it their own pieces, and I think that’s great because a lot of the works are fantastic flashfics. However, a lot of them lean more to the modern styles of online fandom culture, so it’s still a matter of taste. I’ll link one of their classics here:

https://the-modern-typewriter.tumblr.com/post/159015287478/shh-its-alright-the-villain-said-youre

Katy:     Tell me about the first piece of fiction you ever had published.

CAL:    Oh boy. Informally plenty of my work has floated across the web in various forums, so I’d be hard pressed to say which of them were my first. Formally one of the first places that I’ve ever had the pleasure of being featured in was the Jakarta Post, from the same story I mentioned in earlier. That was published in December of 2018, but it’s been in my rework pile for what must be years, so I’m glad it finally got out of the old trunk. Other than that, I don’t think I have much else to say about it. The Men Who Stole the Stars was a byproduct of didactic phase in my portfolio, and it shows–lots of commentary on the hollowness of urban culture, some poetry and nice words to back it up, but not nearly as profound as my younger self thought it was. It’ll always hold a special place in my heart regardless, but one day I hope I’ll be in a position where I can look at it and wholeheartedly think “God, what was I thinking?”

Katy:     Tell me about your favourite story of your own which hasn’t found a home yet?

CAL:    Tough question! Some of my lecturers have compared writing a piece to having a baby, but if how I treat my writing is any bit analogous to how I may treat children, I should be forbidden to sire an offspring. In any case, I have a debilitating dislike for most of my “children,” not necessarily because of a lack of quality but more because I find too much of myself in them. I think, if I had any “favorite child,” it would have to be the journal entries of a robotics technician who works to repair/study the malfunctioning AI of an android modelled after her late abusive father that develops behaviors its inspiration never possessed. It’s probably never going to leave the trunk by virtue of my never having written sci-fi and barely ever reading the genre as well, but it’s a good feels trip to write regardless, and it made me happy so that’s all that matters.

Katy:     What’s your favourite story by someone else in Story Cities? Why?

CAL:    Coffee by Shamini Sriskandarajah. I interviewed the author a couple of weeks back and she was extremely nice, a very pleasant person all around. I’m just awed by its atmosphere, really, the tension summed in such few words. I think it exemplifies everything a good flashfic should be, a story plucked from the city–well, in Coffee‘s case, plucked from the terminus, but the end result is the same.

Katy:     What story are you working on (or thinking about) right now?

CAL:    I have an extremely early draft of a WIP written in pencil. Professionally, it’s a look into the life of a skilled interpreter who is hired to introduce an otherworldly tourist to the human world, learning the language of nature in the process. Unprofessionally, it’s a story of a polylinguist who has the hots for the sea.

Katy:     What’s one DO piece of advice you’d give to someone who writes or wants to?

CAL:    See the next question.

Katy:     And what’s a DON’T?

CAL:    Don’t listen to me, or anyone else when it comes to writing. That’s kind of paradoxical, but what I mean is automatically following advice when it comes to writing is like following advice on how to live a good life–very little of it pans out in the end because of sheer subjectivity, and advice that pans out for everyone end up being so common they might as well be truisms, like “show don’t tell.” I’m not saying everyone who’s ever given writing advice is wrong, not at all, but I am saying that the first thing you should probably do is figure out what you want to do with yourself. Do you want to entertain others? Do you want to express yourself? Every piece you write should have purpose, even if it’s as trifle as “I just wanted to have fun,” and once you discover that purpose, then you can begin to sift through the endless scroll of thought-pieces to understand how to achieve that purpose. Even then, my instructions might be making you red in the ears, which is entirely valid. The way I see it, there are only two things that truly matter in writing, and that’s how a) you feel about it and b) your audience will feel about it.

Well, I’ve already somewhat given a Do advice in my contradictory Don’t advice, so I might as well give one more. Read and listen. It’s truistic advice, but I know more than a handful of people who write more than they read (including me nowadays, oops), and that usually results in their repeating certain cliches within their mediums or making “amateur” mistakes or breaking vital conventions. The purpose of reading and listening is not to be instructed by others, but to find your own set of instructions, to understand what you like, dislike, want to see more of and want to see less of. This is how you know when certain advice is worthy enough to be listened to and when others aren’t going to fit your flow.

Katy:     What are the best and worst things about lockdown for you, as a person or a writer?

CAL:    Best thing is I get to be alone with my thoughts. Worst thing is I get to be alone with my thoughts.

Katy:     We all contain multitudes, and I notice that you have several names (Eli, Cal, C.A.) – do you use them for different purposes (e.g. a gender neutral writing name) or do they all feel like you/represent some different aspect of yourself?

CAL:    I’m pretty non-conforming when it comes to gender, especially in my home country, so neutrality always felt more fitting than anything else. Some of my names, like Eli, are a byproduct of when I was in high school and still figuring myself out. My email account has been around for a while and I never got to changing its title because I never wholly disagreed with the identity my high school self formed. Cal is my name in the present, and a syllabic version of my initials (C.A.L), and I was lucky enough to be in a supportive environment with companions who’d refer to me as that. I only started formally publishing works in my freshman year, so I never figured out a good pen name, but I did start to favour the Indonesian heritage associated with my last name, Limina. The era of President Soeharto forced Chinese Indonesians like my father to change their original names and do various other things in order to “assimilate” into the “culture,” erasing huge chunks of the secondary identity most Chinese Indonesians in Java had. I imagine the same thing is happening to a lot of cultures from developing nations in a globalist world, and something similar occurs to queer folks who are alienated by their “traditional” cultures. The core of it all is the birth of a new identity from the loss or rejection of an old one. I enjoy the metaphor my last name serves me, the idea that I was not born, but moulded by circumstance, the notion that I both did and did not choose who I became. It has no intrinsic meaning beyond that, though, so perhaps one day I’ll go by something else.

 

You can buy all the Arachne books mentioned from our webshop, we will post them out to you.

If you would prefer eBooks, all these books are available from your usual retailer. we recommend Hive for ePub.

Lock down interview no 4 C.A. Limina interviews Shamini Sriskandarajah

Shamini

Shamini Sriskandarajah

Shamini Sriskandarajah is interviewed by fellow Story Cities author, C.A. Limina (known as Cal)

SC_Typography_COVER_v9.indd

Cal:        Your story in Story Cities, “Coffee”, had an atmosphere of clairvoyance, where the narrator implies a troubled interpersonal relationship from a seemingly trifle thing to an audience that acts as an outsider to the dynamic (at least from my personal interpretation). Was the story inspired from a real life experience, or was it inspired by something else?

Shamini:              It was inspired by a real experience. Not a peace-making cake, but a cake I baked and iced for a couple who came over. The wife suddenly wanted to leave after lunch, so I offered to serve the cake before they left or at least wrap some up for them to take home, but she said no. In our Sri Lankan culture, it is somewhat impolite to turn down homemade food, but maybe it isn’t even a cultural thing; maybe anyone would feel offended if they made something for someone and it was refused for no apparent reason.
The dynamic between the two people in Coffee was inspired more generally by the use of silence as a punishment. I trained as a psychotherapist and we were encouraged to use silence to give clients space to think or sit with their feelings. I think there’s value in using short moments of silence, but prolonged silence is a form of punishment for many people. I’ve experienced silence as a punishment throughout my life and it’s excruciating.
Saying all this, I have been that unforgiving person more times than I care to remember. My default behaviour when I’m offended is to sulk, I’m aware it is horrible for other people and I hope I don’t sulk half as much as I used to. Or at least, not for as long!

Cal:        In general, what do you hope to achieve as a writer? For example, do you intend all your pieces to have underlying messages for readers to pick up, are your pieces more experiments in catharsis, or is it something else?

 Shamini:             It’s certainly cathartic to write – even answering your questions has been therapeutic for me. When I was studying therapy for my Master’s, I wrote in my journals about my gender, sexuality, my muddled sense of class and ethnicity, and I’ve continued to write about them and re-evaluate my thoughts and experiences. The articles I write for academic journals are informed by my feminism and ethnicity. Identity and culture also play a big part in my life writing, including my being a single woman who does not have children. My hope is that readers will identify with elements of my experiences or my take on the world, that it might help them to feel less of an outsider or to be gentler with themselves. If they don’t particularly relate to my writing but they enjoy reading it, that would be wonderful, too.

Cal:        What’s on your bookshelf (digital or otherwise)? Do you tend to lean more into certain genres, binge-read certain authors, or are you more lax about your tastes? What do you wish you could read more of?

 Shamini:             I used to read loads and read fast. I studied English for five years at university twenty years ago, so I read a lot of classics and modern classics. I definitely used to binge-read an author once I got into them – I went through a Dennis Cooper phase when I was in my early twenties and remember reading one of his books on the bus on my way to church, which is so bizarre given the kind of stuff he writes.
I worked in publishing for ten years, so I accumulated a whole bookcase of new books. We had book sales every quarter where new books that were recalled because they had a typo or something would be sold for £1 or less, with the money going to a charity that we nominated. There would be a stampede in the afternoon when we got the “All books 20p!” email. Because I was earning a decent wage, I’d often have bookshop dates after work, where we’d go to Hatchards or the huge Waterstones on Piccadilly and spend all evening there.
I have become a slow reader, it’s harder to concentrate and I read less than I would like to. Also, I earn very little now, so I find it harder to justify buying more books (of course there are times I cave in).  Of course, I write much more these days, so I forgive myself if I ignore the unread books on my shelves and pick up a familiar George Orwell or Gillian Flynn again.
I don’t really have a particular genre. I try to read more of the genres I’m writing, to broaden my understanding. So I’ve been reading more poetry, travel writing (I’m trying desperately to find some writing by women who aren’t screamingly middle class and whose writing would pass the Bechdel test) and memoirs. Because I need a kick to concentrate and read properly, I find the best place to read is the British Library. You can’t take books out, so you have to read there. I really miss it now we’re in lockdown. I used to buy the heavy, literary award-winners, but they would usually sit there unread. Reading for pleasure should be pleasurable. I had a cull last year and it was liberating to hand over two bags of books to my local library. Those books will never guilt-trip me again!
At the moment, I’m reading Wild by Cheryl Strayed, which has been on my to-read list for a while. Her tone is lovely, and I can identify with the way she processes her grief by walking and journaling, and how she experiences her femaleness. A lot of my writing is about loss, so I’m curious to see how other writers express theirs. I’m listening to the audiobook of Calypso by David Sedaris. A wonderful writer called Wendy Moore helped me to hone my life writing and recommended Calypso, then I did a short course on memoir-writing at Goldsmith’s University and the teacher also recommended it. I flicked through the paperback in a bookshop a few months ago, but now I’m enjoying hearing Sedaris read out his own words. He’s got a great voice. His writing is so ebullient and funny, the sad moments catch me unawares and are all the more powerful for it. Some of the women from my memoir course formed an online life writing group and book club, so we’ve got an incentive to write and read regularly.
I want to read more women and people who identify as non-binary – many of the memoirs I’ve enjoyed reading about grief happen to be by men. I didn’t enjoy Joan Didion’s The Year of Magical Thinking, having said that, a lovely writer and editor friend called Hannah Hutchings-Georgiou gently confronted my “should”: she said it was important to hear more women’s critical voices, regardless of what our preferences or inspirations are. She’s right, but I need to think more about why I connect with white, male writing when so much of my writing is about not being white or male. The women memoirists I enjoy the most are the ones who write about the crappy parts of life but are funny with it – Jeanette Winterson’s Why Be Happy When You Could Be Normal, Sara Pascoe’s Animal and Susanna Kaysen’s Girl, Interrupted.

Cal:        Obligatory quarantine inquiry! Some people have reported losing track of days or having vivid dreams/nightmares while in lockdown. If you’re practicing social distancing (which most of the world is), have you experienced any odd mental, emotional or spiritual shifts since you’ve been isolated? Has it had an impact on your creative or professional life?

 Shamini:             I’ve definitely had more nightmares. I’ve probably seen too many horror films, but I was terrified of the lockdown at first, and thought I could hear the front door being kicked in one night. So no more horror films and I’ve cut down my news consumption. I still watch The Walking Dead, which feels rather prophetic, but until zombies become real, it remains my escapism. As well as fear, I felt a lot of anger, especially early on. I’m a carer for my disabled sister and there’s been no contact from social services or health services. It seems like vulnerable people and their family carers are just supposed to muddle through months of this alone.
It has turned me into a lioness. I find myself being more assertive, particularly with men. I shared some quarantine writing I did with a few writer friends and they said it was very angry (and sweary!). Anger is often seen as an unfeminine emotion, but that’s part of the problem. Anger is a healthy emotion; we need to separate it from aggression, which is perhaps why some people are scared of other people’s anger and their own.
Professionally, I am now counselling my bereaved clients on the phone. It was hard at first and it’s a bit weird sitting in a car (especially because I can’t drive), but it’s the quietest, most private place to have my sessions. I miss seeing my clients and responding to their faces and body language as well as their words and voices. I miss seeing their smiles and sharing their upsetting feelings in the room. I also miss going to the hospice and seeing my colleagues there, but we talk on the phone every week or so. We call life after a bereavement the new normal and, of course, now we’re all dealing with our new normal. People who are not grieving for someone who’s died are still grieving for their lives of a month ago.

Cal:        Random question. Say you were suddenly physically transformed into someone else and now you have to convince your friends and family members that you’re really Shamini. What would you say or do that would make them believe you?

 Shamini:             What a nightmare! I don’t know. I waffle a lot when I’m talking (as you can see here). I have a fairly good long-term memory – I often remember things that friends have forgotten. So friends and family could ask me about when we first met or a random incident that sticks out in their mind and hopefully, I’d be able to share my rambling version of the story.

Cal:        Any projects you’re working on while the world is going off for a couple of months?

 Shamini:             I have a few writing projects on the go and there’s a lot of handwritten writing from Write and Shine workshops (run by the lovely Gemma Selzer) that I need to revisit to see if there are bits I’d like to type up and work on. Coffee stemmed from a sentence I wrote in one of her workshops – I think she gave us something like ten seconds to write on a subject before she changed it to another! I’m doing a new piece about the lockdown – it’s a challenge to contain my anger enough to make it powerful and impactful, but I feel that it’s important to get it down now, while it’s raw.
For my own wellbeing, I think it would be good to work on my travel writing and live vicariously through my memories of happier, liberated days. Much of my travel writing isn’t even about going abroad; there are weekends in Liverpool and Brighton and days out in London. It’s about going out as a single woman and I can’t wait to do that again. Sitting in a half-empty cinema, having tea and cake while reading or writing or sketching, walking around an art gallery. I even miss getting irritated by people talking loudly in a café and plugging my earphones in to block them out. I miss my friends and colleagues a great deal, but I also miss the freedom of being a wandering Londoner.

Cal:        Well, since you’ve written flash before, how would you write a flashfic of your life/the current state of the world now?

 Shamini:             I’m quite morbid, so I’d probably write something about my whole family dying of the virus, and having to watch the funerals from a live stream. Cheerful stuff.
Seriously though, as a bereavement counsellor, it really worries me that thousands of people are going to be deprived of a good enough ending with their loved ones. I feel desperately sad for anyone going through that now. The daily statistics are frightening but the human impact can’t be quantified.

You can buy all the Arachne books mentioned from our webshop, we will post them out to you.

If you would prefer eBooks, all these books are available from your usual retailer. we recommend Hive for ePub.

IWD video Shamini Sriskandarajah

 

On 8th March we held an International Women’s Day of readings from female authors and poets, surrounded by the  Tatty Divine exhibition at the Stephen Lawrence Gallery. Many thanks to Greenwich University Gallleries for hosting.

Here is Shamini Sriskandarajah reading her flash from Story Cities, Coffee.

 

Women on the Move: Poetry and Flash for International Women’s Day

To celebrate the launch of Emma Lee‘s new poetry collection The Significance of a Dress, we are holding an event at the Stephen Lawrence Gallery, University of Greenwich, 10 Stockwell Street, Greenwich SE10 9BD on the actual day SUNDAY 8TH MARCH 2pm.

Emma will be joined by Jenny Mitchell (Time and Tide, whose idea it was). Michelle Penn (Dusk, Noon, Time and Tide), Shamini Sriskandarajah (Story Cities), Claire Booker (Time and Tide), Laila Sumpton (Dusk, Noon) and Sarah Lawson (The Other Side of Sleep, Vindication, Departures), and there will be an open mic session, and very possibly cake.

The notional theme is women on the move, but this is being widely interpreted.

If you would like to take part in the open mic with on-theme poetry or flash fiction, please contact us, or sign up on arrival, there are a maximum of 6 500-word-limit slots.

Tickets by donation to cover travel expenses for the readers.

REVIEW of Story Cities on The Short Story

We’ve been reviewed by Becky Tipper over on The Short Story website

Hilights:

What emerges from this collection of stories is a sense of the infinite variety of the city – fleeting, contradictory, transcendent, prosaic, intimate, familiar, surprising – full of people we’ll never really know, whose lives briefly touch our own.

And after reading this book, I moved differently through my own city – stopping to look and listen in new ways, and noticing things I might have overlooked. Story Citiescertainly lives up to its promise as a ‘guide for the imagination.’

read the review in full here

buy a copy…

Story Cities at Old Royal Naval College day 2

Rather delayed (by crowdfunding mainly) here is audio of our second outing at ORNC’s bowling alley. A little echoey!

Readings from Nic Vine, Rosamund Davies, Cherry Potts, Shamini Sriskandarajah of their own stories and some by other people too – Catherine Jones, David Mathews, Rob Walton and Steven Wingate.

Rosamund reads You Stand in the Secret Place by Steve Wingate

Cherry Reads Backwater by David Mathews

Shamini reads Coffee

Nic reads Go Directly to Go by Rob Walton

Cherry Reads Lost and Found by Catherine Jones

Rosamund reads The Right Place

Cherry reads Foundation Myth

Nic reads Tech Down

City Writes 2019

On Wednesday 11th December at 6.30, you are invited to City Writes Autumn 2019, at City125 Suite, 26-38 Whiskin Street EC1R 0JD (access via Rhind Building on St John’s Street)

Arachne Press editors Cherry Potts and Rosamund Davies will be reading alongside other Story Cities authors, Evleen Towey, Jayne Buxton and Máire Owens and there will be readings from the winners of this term’s flash writing contest Harriet Atkinson, Kathrine Bancroft, Helen Ferguson, Bren Gosling, Shabnam Grewal, Andrea Holck, Revati Kumar, Shibani Lal, Natasha Mirzoian and Angus Whitty.

TICKETS £10 in advance only

 

Story Cities reviewed on Sabotage

And they liked it…

…a true reflection of the metropolitan experience…

 

Next time you sit down in your favourite cafe, or when you pop in some earbuds as you settle into a plastic chair on the metro during your commute, make sure you have a copy of this anthology.

read more of Kristin D. Urban‘s review here

Sunday in the Storytelling Chair

More readings from the Storytelling Chair, in the skittles alley, under the Painted Hall, in the Old Royal Naval College, in Greenwich. That sounds a bit like we are sending you on a treasure hunt…

Rosamund Davies introducing the book

And reading from Steven Wingate‘s story You Stand in the Secret Place

Shamini Sriskandarajah reading Coffee Nic Vine reading Tech Down

full audio later…