On Readings

A.L. Kennedy has been talking about readings, over on the Guardian Books Blog. I threw in a few comments, in the comments section. I may as well copy my first one here...

"Readings improve the work, and the confidence in the work. Having to read a chunk of prose aloud, you're forced to disentangle sentences that look lovely and literary on the page, but which are in fact merely incoherent and needed another draft. (Don't worry, good weird prose survives this process, you aren't going to flatten it all out to Ladybird Book level.)

And so much of good writing is about delivering information in the right order (especially inside the sentence, at sentence level). Reading it aloud to strangers (who don't already know it as horribly, blindingly well as you do), you can see where you've screwed up and delivered the tragic/comic punchline twice, or too early, before a vital piece of information needed to make it work. Or very simply that you've had a character do something in a new room before it's entirely obvious to the reader that she's walked through the door."

 

More on than topic over at the Guardian...

Aengus McMahon - Rock Star, Sex God, Athlete!

Number one in a very occasional series, in which I bring you up to date on the continuing adventures of the other members of Toasted Heretic, the "messy beat combo" (courtesy Andrew Mueller, Melody Maker, circa 1991), in which I whiled away my youth.

Aengus McMahon has been running along a beach in Mexico. You can read the full story here, and even leave a comment, ideally sarky (sample comment so far: "Don't come to Dangan if you catch a flu :))") but meanwhile here's the picture, 'cos he looks so cool in the heat...

 

Aengus McMahon, rock star, sex god, athlete...

 

 

Must We Fling This Filth At Our Irish Indie Pop Kids?

I am in Tipperary, for reasons mysterious. And yes, that means I am typing on a computer older than time. I strike a key; the computer begins to think about perhaps carrying out an action; I go off and make coffee, play a game of chess, solve a major global problem, write my memoirs in longhand, and return to the computer; it carries out the action; I realise I had pressed the wrong key; and so the long day passes.

 

So no complicated blogging.

 

But, seeing as we were talking about Toasted Heretic (about a week ago)... I was interested to see that an act of wanton vandalism by, er, me, has been chosen as one of the Top Twenty Moments in The History of Irish Indie Music by Hot Press magazine.

 

Hmmm... I may have photos from back then... It would take me about six hours to put up a photo here, but I might when I get back to Berlin...

 

Meanwhile, all you pop kids (well, the Irish ones) - Hot Press are asking what would you nominate as your top Irish Indie Moment. Throw in your fivepence worth in the comments section here. And paste a copy down below, I'd be interested. My top Irish indie moment (leaving aside Toasted Heretic) was probably Cathal Coughlan-related. Personally - seeing him play an astounding lunchtime set with Fatima Mansions in a slightly dodgy club New York, and then getting trapped there for half an hour afterwards, as the cops fought a gunbattle with some drug dealers a little further down the street. (And this was lunchtime, imagine what that street was like at 3am...) Must have been 1990.

 

A more objective top Irish indie moment (ie one I didn't see myself), has to be Cathal Coughlan buggering himself onstage with a plastic Virgin Mary holy water dispenser in front of 50,000 very angry Italians, when he supported U2 in Milan.

 

I could write a small essay about the significance of that moment, but I am very tired.

They Didn't Teach Music In My School

Speaking of Toasted Heretic has reminded me of a small but annoying itch I'd been meaning to scratch. Here goes.

 

The report of the Commission to Inquire into Child Abuse has finally been published in Ireland. It is 2,000 pages long. It tells us that the Catholic Church in the Republic of Ireland (which ran most Irish schools until very recently, including the one I attended, the Christian Brothers, Nenagh), systematically sexually and physically abused the children in its care, particularly the boys. In particular the "industrial schools" run by the religious orders were tiny gulags. I have been reading, with mild annoyance, responses to this. John Banville's, in the New York Times, is typical:


"Never tell, never acknowledge, that was the unspoken watchword. Everyone knew, but no one said.

Amid all the reaction to these terrible revelations, I have heard no one address the question of what it means, in this context, to know. Human beings — human beings everywhere, not just in Ireland — have a remarkable ability to entertain simultaneously any number of contradictory propositions. Perfectly decent people can know a thing and at the same time not know it. Think of Turkey and the Armenians at the beginning of the 20th century, think of Germany and the Jews in the 1940s, think of Bosnia and Rwanda in our own time.

Ireland from 1930 to the late 1990s was a closed state, ruled — the word is not too strong — by an all-powerful Catholic Church with the connivance of politicians and, indeed, the populace as a whole, with some honorable exceptions. The doctrine of original sin was ingrained in us from our earliest years, and we borrowed from Protestantism the concepts of the elect and the unelect. If children were sent to orphanages, industrial schools and reformatories, it must be because they were destined for it, and must belong there. What happened to them within those unscalable walls was no concern of ours.

We knew, and did not know. That is our shame today."

 

Hmmm. "Everyone knew, but no one said." Below are the lyrics of a Toasted Heretic song, released in Ireland (on vinyl and cassette) as part of the Smug EP in 1990 (well within Banville's definition of that "closed state"). The song is called "They Didn't Teach Music in My School". Its real title is, of course (as it should be in any good pop song), the key line of the chorus, "Sliding Up Seamus". However, we foolishly believed that it was a good song, that it was - in as much as a pop song can be - an important song, and that the national broadcaster RTÉ might actually play it, so we made life easier for them by giving it a title they could actually read out on air. They, of course, didn't play it.

 

 

They Didn't Teach Music In My School.

 

"When your calls go uncollected and the neighbours have electrified the fence

Then will you start thinking, will it sink in, will you exercise some sense?

Everybody hates you, thinks it's great you got the flu, do you know why?

It's because you're such a shite we'll laugh all night with sheer delight the day you die


Your hand inside your habit, you would grab it and emit a gasping noise

As you walked in your black cassock past the showers and slapped the buttocks of the boys

 

 

But we got out alive

We're rich, we're famous

And you're inside

For sliding up Seamus

 

 

In our religion classes you would glare through black-rimmed glasses down the back

And summon up the sinner who'd regurgitated dinner, to be smacked

Vomiting in terror was a tactical error, he'd find

As you lowered his trews and began to bruise his behind

Picture our joy when you were caught inside a boy behind the bike shed

Oh summer holidays forever, and much better weather, when you're dead.

 

 

But we got out alive

We're rich, we're famous

And you're still inside

For sliding up Seamus..."

 

 

 

Of course, pop culture never gets much credit for saying anything of any importance, though it often speaks truth well ahead of high culture. John Banville, who is an excellent writer (though of the kind of novel I don't like), and by all accounts a very nice, decent man, appears to be speaking for Ireland when he tells the readers of the New York Times "Everyone knew, but no one said." "What happened to them within those unscalable walls was no concern of ours." "We knew, and did not know. That is our shame today."

 

Well, it's not MY bleedin' shame, mate. "Sliding Up Seamus" was being played live in towns across Ireland, and being cheered to the rafters by pupils and ex-pupils of the Christian Brothers, twenty years ago, before it was even recorded. And my friends and I officially released our report, on vinyl and cassette, 19 years before the Commission to Inquire into Child Abuse released its report.

 

And, of course, being a disposable piece of pop, existing only in analogue recordings on vinyl and cassette, on an indie label,  before the internet, it has vanished almost entirely now. I don't even have a copy myself. But just to prove it existed, here is a rotten recording, with terrible sound, of a live performance of "They Didn't Teach Music In My School" - which we may as well officially rename "Sliding Up Seamus", now that it doesn't matter any more - in Róisín Dubh, Galway, on the Now In New Nostalgia Flavour Tour.

 

 

(The actual vinyl version was unusually well recorded, for a Toasted Heretic song, and sounded darn good. Renouncing our 4-track Tascam 244 for the first time, we recorded the Smug EP on 16-track in West One, with the great Pat Neary engineering.)

A final point: The song, rather optimistically, places the chap in the black cassock behind bars. In that, "Sliding Up Seamus" was less a description of the Irish present in the late 1980s, when it was written, and more a projection of a possible future, a wish-fulfillment exercise written to cheer up some friends of mine, who had suffered under the regime, and give them a laugh. No priests or Christian Brothers were getting jail sentences back when that song was written. But it is slightly sad to be reading this on Wikipedia, twenty years later:


"The report itself cannot be used for criminal proceedings (in part because the Christian Brothers successfully sued the commission to prevent its members from being named in the report) and victims say they feel "cheated and deceived" by the lack of prosecutions,[18] and "because of that this inquiry is deeply flawed, it's incomplete and many might call it a whitewash."[17]"

Hot New Band Discussed In Guardian Music Podcast

Wow, Toasted Heretic are discussed on the new Guardian Music Weekly podcast (about 32 minutes in)

Note for younger readers: Toasted Heretic was the band in which I invested the golden coin of my youth. Back in the 1980s, we looked a bit like this:

 

 

And we sounded a bit like this. Think lo-fi. Now think even lower-fi. No, lower... (There's a "play" button for each song, down the left side of this page.)

 

In 2005, after rather a long break, we looked a bit like this:


 

We are currently all growing long white beards, in preparation for the next performance in our grueling schedule, pencilled in for late spring of the year 2039.

Goats! Trains! Aeroplanes! Pet Shop Boys!

 

I've finally heard The Great Hargeisa Goat Bubble, and it's fab! Hurrah! Hugh Quarshie is a splendid Ibrahim Bihi, utterly real and grounded. And Sam O'Mahony-Adams as Jude is a terrific comic foil to Quarshie. The BBC economics correspondent, Stephanie Flanders, really threw herself into it, and her interviews from Hargeisa Goat Market are a delight. (I love creating such unstable moments, where the real and the fictional are perfectly mixed. A real BBC correspondent fiercely interviewing a fictional character about theoretical goats... Bliss!)

The director Di Speirs did a great job making all these elements, and performances, work together. A tricky task, mixing actors and non-actors, present tense and flashback, thoughts and actions, and keeping it all clear and artistically coherent. And I'm very happy with David's sound design... Goats! Trains! Aeroplanes! Pet Shop Boys! Beautifully blended.

 

That distant wind you hear is my great sigh of relief.

The Great Hargeisa Goat Bubble

Well, my first radio play, The Great Hargeisa Goat Bubble, went out on BBC Radio 4 today, but my highly strung, indeed neurotic, computer wouldn't let me listen to it. I gather it is available for the next week here, so I'll try and listen to it tomorrow. But if any of you heard it, tell me what you thought, I'd be very interested... My parents heard it, in a shed in Tipperary (don't ask), and thought it was marvellous, but they are biased.

 

If any of you are BBC listeners looking for the original short story, it is here.

 

It will also be appearing as part of Jude: Level 2 later this year...

There are worse jobs

Oh, all right, sometimes the writing life IS glamourous. A bit.

 

My last day in Dubrovnik started with a cappuccino at a café near the Ploče gate end of the Stradun (the main, white marble street of the old town). There, sitting in the sun, I did an hour of work on the filmscript. Then a  break, a stretch, a move into the shade... I ordered a coffee with cream, in Croatian (kafa sa slagom) and got an enthusiastic and unironic "Bravo!" from the waitress, which made me blush (and think, hmmm, the average tourist mustn't try very hard here). I did an hour's work on my Prospect column.

 

Then I wandered the hundred yards or so to the Gradska Kavana (the City Café), where I was due to meet the wonderful Croatian actor Niko Kovač. Everybody knows him, so the waitress led me over to him (we'd only ever talked on the phone before). Soon we were joined on the terrace by those I love, and we all drank more coffee and tea and talked of disgraceful and amusing things. Niko is recovering from throat cancer, and thus of course talked more than all of us, pressing on a valve in his throat to do so. Splendid stories of Tom Stoppard, of Peter Brooks,  of legendary performances of Chekhov in the former Yugoslavia, of doing Beckett during the war as Yugoslavia ripped apart, in a blacked out theatre in the rubble of Dubrovnik. The tales were enhanced if anything by the whispering, hissing delivery.

 

Then later an idyllic couple of hours drinking on the cliffs outside the city walls, at Café Buža (well, one of two such cafés... Buža just means a hole in the wall...) Down the steps to the sea with the ones I love, and a quick swim in the Adriatic... I hadn't thought to bring swimming togs, but so what.

 

I looked back, over turquoise water, at the towering medieval walls, nougat in the sunlight. Hard to believe that, during the most recent war, REM were in the charts... (it was the worst of times - Vanilla Ice, Color Me Badd, Michael Bolton, Bryan bloody Adams at number one forever with (Everything I Do) I Do It For You)... I  couldn't help but remember, as I swam, that in 1991 people swam here even in December, just to stay clean, because the shelling had cut off the water in the city.

 

There are worse jobs. There are worse lives.

Radioactivity

I should mention a couple of things that are coming up on the radio in the UK and Ireland...

 

I'll be one of the people talking about Chekhov on RTE Radio 1, on the Arts Show, on Tuesday night.

 

And (far more exciting for me, as I am thoroughly sick of the sound of myself), BBC Radio 4 will be broadcasting The Great Hargeisa Goat Bubble as a lunchtime play on Friday,  May 15th. I haven't heard it yet (I finished the script at 3am on the day I left Berlin for the Balkans, and it was recorded in London while I've been here), but the cast are terrific, and I'm greatly looking forward to hearing what they did with it.

 

Cast and info here: http://www.comedy.org.uk/guide/radio/great_hargeisa_goat_bubble/

 

More on that next week, but I thought I'd mention it well in advance. It should be available live, streamed, worldwide, from the BBC and I'd imagine it'll be archived for some time afterwards.

Carnival in Budva

Well, the floods finally overwhelmed us, and we fled to Budva... One of the nice things about being a Tipperary lad is that, no matter where you go, you have a global Mafia of excellent cousins who will aid and assist you in times of affliction. Thus a splendid time was had in Budva, thanks chiefly to my cousin Colm Mitchell, who runs the Irish bar in the old town, Chest O'Sheas. (Yes, there is a story behind that name, but I cannot tell it to you...)

We ate, we drank, we Carnivalled in splendid feathered masks. Photos may - or may not - be posted when I get back to Berlin and run them past the lawyers. Much film script got written, over many cappuccinos, each morning in Hemingway's. And we had two of the most enjoyable meals I've ever had. The first was on our first night, in the huge and atmospheric Jadran, on the seafront. Grilled squid, octopus salad, spuds and Swiss chard. Stunning domestic wines, whose names I, shamefully, do not recall. (A red as rich as port... a white as crisp as apples...) Extraordinary singing from the vocal quartet who drifted from table to table, singing a glorious mixture of songs, from Serbian Orthodox religious stuff to Stand By Me. And a waiter who really should run for president. (His name is entirely comprised of those syllables which you can write in Cyrillic but not in English, so I am not brave enought to try putting it down here.)

 

The second great meal was in Knez, in the old town, on our last night. The restaurant is so intimate (three tables, and the kitchen's in the corner), that you are in severe danger of joining the family by the end of the evening and never leaving. Petar was both chef and maître d', welcoming guests with one hand while doing extraordinary things to fish with the other. A remarkable performance from a top chap. (And he gave us free strawberries and biscuits! Hero!)

 

To set your mind at ease, we had some rotten meals elsewhere, but I shall not name and shame. These two really stood out (and were of course the two recommendations Colm made... run to him! Seek his wisdom, oh visitor to Budva!)

 

Anyway, that idyll has now ended, and a new one begun in Dubrovnik... more on that later, perhaps... Got to order some coffee and write in the sunshine now...

The Glamourous Life

The blog is, and will remain, quiet for a bit, as I am currently in Montenegro, writing a film script. This sounds far, far more glamourous than it is - I spent yesterday standing on a toilet seat, gingerly using a long-handled dustpan to scoop raw sewage off the flooded floor. Montenegran plumbers are fierce, hardy men, who know that life is brutal and meaningless. Their plumbing reflects their philosophy of life.

The nearest internet connection is in Herceg Novi, some considerable distance from the small village in which I pace, drink coffee, and scribble.

We shall speak on my return...

Toodle-pip...

Covering Will Young's Buttocks With Butter

Will Young covered in butter

Well, that was a splendidly enjoyable reading in Kaffee Burger on Wednesday night. A lovely crowd, and excellent questions afterwards (except for Clare's one about bondage). One is always delighted with a crowd that contains both one's parents and Momus. (Giving the evening the air of a disturbing teenage dream.) I do like the way you can stay on in Kaffee Burger after the reading to catch the band, then the disco, and dance till dawn. (Though I wussed out, and only danced till 3.30am.)

 

I have just been contributing my opinion to a row on the Guardian's Books Unlimited about Will Young's fitness to judge the National Short Story Prize. I may as well cut 'n' paste my contribution in here too... Feel free to head over, and add your own thoughts...


I'm probably slightly biased in favour of the National Short Story Prize, as I won it in its second year.

But Alison, I think you are completely wrong when you say

"What's the point of having a literary prize if it isn't judged by someone with some kind of literary knowledge/qualifications?"

Wrong on two levels. The prize isn't judged by "someone", it is judged by a team of five. It's the overall balance of the team that you have to consider. I hope you agree that a team of, say, five professional semioticians would be very high in literary knowledge and qualifications. But they'd make for a lousy, unbalanced team of judges.

A short story contains a lot more than just literature. I note that the Guardian have linked, just below these comments, to an account of my 2007 win, headed "'Tipperary Star Wars' wins National Short Story Prize". Now, the team of judges in my particular year included the magnificent A.S. Byatt. I'm sure she got my references to Yeats, and to Voltaire's Candide. But I have no idea whether or not she got my story's references to, say, the Eurovision Song Contest, or knew what I was on about in lines like - "A brief chant went up from the Young Farmers in the Mosh Pit: "Who put the ball in the England net?" Older farmers, further back, added bass to the reply of "Houghton! Houghton!""

Yet I do know that the judges read and reread the stories, discussed them, and were unanimous in their final decision. And I believe a good range in age, sex, class, nationality, and experience of both life and literature can make for a richer collective decision.

This year, Margaret Drabble, for example, who was born before World War Two kicked off, needs a great deal of balancing in certain important areas. So, of course, does Will Young - but between them, there are very few references that they won't be able to explain to each other.

Last of all, but very important; a short story is not designed to be analysed by professionals. It is created to be read by human beings. If a short story, after several rereadings and much discussion with Margaret Drabble and others, still fails to make a connection with an intelligent young man who has read Ulysses, then it has on some level failed.

Will Young is OK by me as a judge (and no, I've no story entered this year, so I'm not covering his buttocks in butter with any selfish intent).

However, if you want a tip for a potential future judge from the pop world who likes his short fiction literary: I met Morrissey in a hotel in Galway when I was a teenager (long story). I happened to be holding a copy of James Joyce's Dubliners. "Dubliners!" he exclaimed. "Oh, you've read it?" I said. "Read it? I have it tattooed all over my body," he said.

I'm reading in Kaffee Burger on Wednesday

Just a reminder that I'm reading in Kaffee Burger, on Torstrasse, this Wednesday (March 25th 2009), at 9pm... Five euro in, and there's a band on after (a New England electrofolk trio called Erving).

I will extend to you the offer I just extended to my Berlin friends by email: If you'd like to come and you're broke this week, give me a shout and I'll try and get you in free... (There's an "Email me" button lurking somewhere on the sidebar.)

(Er, this offer is going to collapse into ignominious chaos, failure and bitter recrimination if more than three of you ask. But, this being Literature, that's not very likely...)

Not sure what I'm going to read... I might read The Orphan and the Mob, because it's won prizes, and it works well live, and I haven't read it here before. But it is also the opening section of Jude: Level 1, so some of you will be bored sick of it already.

Anyway, more information here.


And here.

 

And there's a charming picture of the magnificent venue here (it's not known as the Taj Mahal of Torstrasse for nothing).

See you down the mosh pit...

I'm Busy Writing

I really need some sort of white-noise playing, blizzard-of-static, this-station-is-off-the-air blog post, with a lot of Flash graphics, to indicate when I'm busy writing. But this'll have to do.

 

Hi, sorry I'm not here right now, I'm busy writing...

 

Normal service will be resumed after I've met a couple of deadlines. (Not that my normal service is much cop, but you know what I mean...)

Do Not Approach This Man. He Has Just Finished Writing A Novel, And May Be Dangerous.

 

I have finished writing Jude: Level 2. Thus the depraved and hideous face you see above, exhausted from months of writing and rewriting. (Twenty drafts of the toughest sections... though of course by the last few drafts you're just tweaking, or - to use the more accurate technical term favoured by the serious novelist - disappearing up your own hole). Exhausted, in particular, from the final weeks of staying up till 5am every night, with no days off or weekends. By the end I wasn't entirely sure what year it was. (1987, by the look of the shirt and stubble.) I look like a released prisoner, bewildered by his freedom. Which is appropriate, because I am.

 

 

With three days to go, I developed stigmata. The skin on the backs of my hands began to break down as I wrote. I was quite pleased when I noticed. Oh you know you've given it everything, by God, when you develop stigmata in the final furlong. You haven't cheated the book by selfishly holding anything in reserve, for yourself, or those you love, or the future.

 

In fact I finished on Oscar night, but I've been too knackered to post until now. When I finally, finally, finally finished, at 5.30am, and hit send, and it vanished from my screen in a swirling stream of zeros and ones down the phonelines to my agent and my publisher, I ran out into the street and danced and sang and sprinted through the melting slush.

 

If New York is the city that never sleeps, then Berlin is the city that doesn't have to get up in the morning (because it doesn't have a job), so there's always something on. And so I ran, singing, around the corner to the Babylon Kino, where they were still screening the Oscars, live from LA - nine timezones away - on the big screen. I arrived in the middle of Kate Winslet's acceptance speech, stayed till the end, and talked to friends afterwards. There was a great buzz in the cinema, as the crew for Spielzeugland / Toyland were there, and it had won an Oscar for Best Short Film earlier in the evening, to mighty cheers and screams. So, between them snaffling an Oscar and me finishing my book, there was a bunch of very happy people jumping up and down on the pavement on Rosa-Luxemberg Strasse at 6.30am, as the birds on the roof of the People's Theatre across the road cleared their throats and thought about singing.

 

Spent the last few days recovering, and dealing with the backlog of a life that has been on hold for months. Visited the doctor with my stigmata (they are beginning to heal). Today was the best day yet, I had a brilliant plan and I carried it out: I stayed in bed all day, dozing, reading, drinking coffee, and eating chocolate.

 

So, now, back to work. Radio play. Screenplay. Poetry. Life.

American Stars 'n' Bars

If you've read Jude: Level 1, you'll know I'm highly entertained by the glorious free-market energy of the US prison system. (The total number of people in prison, on parole, and on probation, in the US at the end of 2007 was 7.2 million - damn near twice the population of Ireland - so that's a lot of entertainment.)

But a magnificent new twist has emerged, which even I hadn't thought of. Over in Pennsylvania, people eventually started to wonder why the local judge was sentencing teenagers to serious time for crimes like putting up a spoof Myspace page about their assistant headmaster (a page marked "this is a joke"). As the New York Times reports..

"The answers became a bit clearer on Thursday as the judge, Mark A. Ciavarella Jr., and a colleague, Michael T. Conahan, appeared in federal court in Scranton, Pa., to plead guilty to wire fraud and income tax fraud for taking more than $2.6 million in kickbacks to send teenagers to two privately run youth detention centers run by PA Child Care and a sister company, Western PA Child Care.

While prosecutors say that Judge Conahan, 56, secured contracts for the two centers to house juvenile offenders, Judge Ciavarella, 58, was the one who carried out the sentencing to keep the centers filled."

Brilliant... Sigh. I am simply too innocent to be a real satirist. It never occurred to me to formally employ the judges.... Anyway - and skip this if you've read it before - while I'm at it I thought I might as well paste in a big chunk of Jude: Level 1 at this point, for the amusement of new readers. (I'm hardly going to sue myself for copyright infringement.)

In this bit, Jude has lost his voice, got a crick in his neck, is stuck in a wheelchair, and has been mistaken for Professor Steven Hawking. Barney O'Reilly FitzPatrick McGee, the Irish-American CEO of the great American communications company, Westcom,  is showing him around a huge, secret, underground unit in their Galway plant...

 

From Jude: Level 1...

 

    “You’ve noticed they’re mostly Black, huh?” said Barney.

    I looked closer, and saw that most of the faces around me were indeed unusually deeply tanned for an underground Irish workforce in mid-winter.

Barney nodded. “Might be the last generation of authentic, home-grown Blacks to work for Westcom, and I’ll tell you why…” He looked about the great space, and a drop of moisture swelled in the corner of each eye.

    I settled back in my chair. I liked a story.

    He blew his nose, and cleared his throat. “Back when old man Fitzpatrick grew tobacco, the procuring of labour was an arduous, expensive, time-consuming business. Black men had to be sourced and purchased from unscrupulous Arab middlemen and imported by ship from West Africa. Spoilage rates were as high as 50%. Oh, times were tough for old man Fitzpatrick. Sure, eventually we had sufficient spare capacity to provide a breeding stock, and we were self-sufficient in labour. But then the cost of raising our African workers fell entirely on our family, a manifestly unfair situation. Often we’d get a good crop of sturdy young Blacks raised up to five or six years of age, near enough ready to do productive work and repay our investment: and they would all sicken and die in the sheds, and we had all the weary work to do all over again. The situation was intolerable, it was against natural justice: and so we campaigned for the abolition of slavery.”

I nodded my approval of this virtuous campaign.

“Came the glorious day, and we could kick them all out and they could rear their own brats on their own time, and their own dime. We rehired them, as needed, when they had matured. This improved profitability enormously. Productivity shot up too, for now the workers no longer had a cushy berth for life. The excess money saved, we invested in mining and smelting the iron ore in the hills too steep for cultivation. But, for that, a steady supply of strong male labour was required. We couldn’t be willy-nilly hiring by ones and twos. And so we contracted with the local prisons to supply our needs. They sourced the male labour as required. A vagrancy sweep, or a crackdown on gambling would supply peak labour demand at the mine. By now we were Western American Steel... But pretty soon we were paying so much out to the prisons for convict labour that we had a change of heart. Old grandpappy Fitzpatrick built our first prison. And so we could get the State, then later as we expanded into Federal Prisons, the Federal Government to pay to feed and house our workers, and we could pay ourselves for their services. So we were getting paid for them to work for us. It was soon our most profitable unit… You may have heard of our correctional subsidiary, American Stars ‘n’ Bars? Our Patriot Prison? With its uniquely flexible modular system?"

“Hmm?” I had been watching the green-eyed woman, who was very carefully taking something out of a safe and transferring it to a silver container that bounced light across her cheekbones, her noble nose… I shook my head, though as my head was on its side this involved rotating my face vertically rather than horizontally relative to the surface of the earth. Barney tilted his head in sympathy with mine.

"That's a... yes. Ha ha. Are you nodding or, ha ha... Anyway, as WAS became Westcom, and our jobs moved up the value chain, our prisoners, chiefly Negroes of little educational attainment, simply weren’t cutting it. Oh, they were bright and willing, but training them up costs time and money, and these guys simply weren’t inside long enough to make the investment worthwhile. They were missing out on training opportunities, the chance of betterment… Why, it was a crime. It was worse than a crime: it was a tragedy. So we lobbied Congress long and hard to give us time to really make a difference to these young men’s lives. And so we got their sentences doubled.”

I nodded, sideways, and stared at the face of the dark haired, green eyed woman. Head bowed over the silver container, staring into its depths.

“…But as Westcom became a favoured contractor on Federal Government Defence contracts, and we came to understand the Federal Government better, we came to… if I may use the word… love the Federal Government. And we began to feel concern for its welfare. You’ve got to see the bigger picture, and take the longer view. As the Federal Government pays us up to $500 for a screwdriver on our Defence contracts, it makes sense to maximise the State’s revenues so that they can pay us… Thus, if we can lower the burden on the Government, we can increase our income and profitability. And our prisoners are fine, fine, people. But they cost the Government a fortune in benefits, in healthcare and education, in providing streetlighting to their ghettos and so forth, before they are old enough to graduate to prison. It is the old problem my ancestor faced, of covering the overhead on their unproductive years. So the future lies in outsourcing labour to foreign slave-states. Let the Chinese and Hindus and so forth raise the whining infants to maturity. Not on America’s tab… We will build our prisons abroad, and ship the goods home. Indeed, we have used this opportunity to rethink the entire prison paradigm. In our next-generation foreign prisons, the prisoners will be kicked out after their shift and will have to feed and house themselves at their own expense. It is quite, quite brilliant, and will enhance profitability threefold… And so these are the last, I fear, of the great Black American workforce which my family has served so proudly and so humbly for so long. Here, meet some, before they vanish, like the Buffalo…”

He waved, and two young men in dark suits walked over to us. Barney whispered in my upturned ear, “Lately many of them have discovered Religion. I have encouraged it, for it makes them more Punctual, but Christ Almighty, they tend to go on about it… Gentlemen! I’d like you to meet Professor Stephen Hawking.”

“Sir.”

“Sir.”

I asked them about their religion. Barney groaned.

“Well sir, we are brothers in the Brotherhood of Brothers of Muhammad in the Hood.”

“Followers of the teachings of Muhammad…”

“It is a little known fact that Muhammad was a Black man, of Africa…”

“It is a little known fact that the first man to whom the Prophet gave the honour of giving the Call to Prayer was a freed Black slave, Bilal…”

“And so we follow that great Religion…”

“A Religion blind to the colour of a man’s skin.”

”A Religion of compassion.”

    “Religion of Love.”

    “Religion of tolerance.”

    "... for the Prophet taught us to hate no-one.”

    "And thus we hate no one."

    "Except the fucking Mexicans."

    "Yeah the Mexicans. And the fucking Koreans."

    "…’king Koreans. And whitey."

    "Yeah, whitey."

    "Fuck the Man."

    "And the cops."

    "Fuck the cops."

    "Nothing worse than a black man in a cop jacket."

    "Fuck those negroes."

    "Yes, fuck them."

    “Thank you, gentlemen,” said Barney.

    “Sir.”

    “Sir.”

    They bowed and left.

    “Oh well, it is better than Marxism,” said Barney.

 

 

(From Jude: Level 1, published in the UK by Old Street Publishing. And published in Greek by Topos Books, very handy if you're Greek...)

(Oh, and the terrific image is borrowed from Prison Penpals, check 'em out.)

...And now I'm reading in Kaffee Burger, on March 25th (...2009)

Well, my first reading in Berlin went so well that I'm going to do another one, dash it. And this time my Berlin friends will get more than a day's notice.

I'll be reading in Kaffee Burger, on Torstrasse (just around the corner from my house! Why, my butler and pantry staff will be able to attend!) on Wednesday March 25th 2009. That's the regular monthly English language reading sponsored by Ex-Berliner, the rather funky English language magazine. The evening will kick off at 9pm...

I love Kaffee Burger, and have been to some great readings there (in both English and German), so I'm delighted to be invited. Kaffee Burger used to be the home of the semi-underground DDR poetry scene, and not all the stains have been cleaned from the ceiling. (Nor have they bothered to remove the old DDR price list, which still quotes you the one, fixed, national price for a cup of coffee across the socialist paradise. Doesn't CHARGE it, sadly, just quotes it.)

Great, great place, and host to some mighty club nights too (it's still home to Wladimir Kaminer's legendary Russian Disco).  And do stop to admire the building itself - a superb example of East Berlin architecture, in which the pre-wall-fall DDR aesthetic (a knackered concrete building made with sand and no cement) has been enhanced by the best of post-wall-fall Western urban street art (illiterate graffiti and some dogshit).

East Berlin architecture at its finest

I'm reading in Berlin on Saturday

Phil Rose took this picture of me in Berlin a while back

I'm reading a new piece from my next book (Jude: Level 2), this Saturday, January 24th 2009, at 4pm, in the Johann Rose in Kreutzberg. Why? Because the magnificent Nikola Richter asked me. Only a fool would say no, and my mamma didn't raise no fools. (Her Wikipedia entry is in German, but here she is in English.) I gather I'll be reading in the Hinterzimmer Salon (in the back room... I'll be everybody's darling...)

There will be cake. (In fact, I am being paid in cake.) This is, bizarrely, my first reading in Berlin. And I've never read this piece live before, so it may suck. But it may not. Anyway, it's free, so no whinging. Here's the address:

 

CafeBar & Lounge
Johann Rose
Forster Str. 57
10999 Berlin
U1 Görlitzer Bahnhof

Tel.: 0049 (0) 30- 55 10 35 90
news@johannrose.de

 

 

Elis will also be reading... Heck, read all about it in German (the key phrase is "Eintritt Frei"!)

 

Herzliche Einladung zum ersten Hinterzimmer-Salon im Johann Rose im neuen Jahr!

Come visit!

24. Januar: Wild komisch

Bei Kuchen und Kaffee und Musik vom Plattenteller geht es im Januarsalon am Samstag, den 24.1., darum, wie man eigentlich das Lachen in Texte hineinschreibt. Die Gäste sind:

Julian Gough ("Juno and Juliet", "Jude: Level 1"), Gewinner des BBC National Short Story Awards 2007, Sänger und Texter der literarischen und legendären irischen Band "Toasted Heretic", die mit "Galway and Los Angeles" einen Top Ten-Hit in Irland erzielte. Hier kann man erfahren, was er über den satirischen, lyrischen Autor Clive James denkt: http://www.prospect-magazine.co.uk/article_details.php?id=10530 Julians eigene Webseite findet man hier: http://www.juliangough.com/


Und Elis, Mitglied der Berliner Lesebühne LSD (Liebe statt Drogen), die jeden Dienstag im Lokal auftritt. Berühmt sind unter anderem seine McGyver-Geschichten bei der leider nicht mehr existenten Lesebühne O-Ton-Ute. Er liest neue Texte und vielleicht singt er auch eines seiner "Lieder für Kühe". Mehr hier: http://www.myspace.com/eliscbihn und hier http://www.liebestattdrogen.de/

 

Eintritt frei, Hutspende erbeten

----

Eine gemeinsame Lesereihe von Nikola Richter, René Hamann im Johann Rose, http://www.johannrose.de