I’m lying on my side in a darkened studio with lights and a camera pointed at my bare back. Christoffer is taking the pictures, directed by Andreas and Dagmara. The studio is in Aarhus, Denmark, I’m naked, and the film, called ‘Landscapes’, puts together close-up images of seven LGBTQI people over 60.
It’s a four-hour shoot, first across my back then tight on my chest, moving to my hand and finally to my upper body and face. While the camera pans through smoke effects and I’m in the picture, the film crew are exclaiming how beautiful it looks. Dagmara calls the session ‘funky’. It’s as if they’re sightseers in a gallery being constantly surprised and astonished by the artwork they see there. Continue reading ART & GENDER – Leslie Tate→
In part two of my interview with Eilis Phillips, synaesthete, historian, blogger, musician and author, I asked her to expand on her academic work, her experiences of synaesthesia and how ‘being different’ has affected her world view .
Leslie: Could you give a few details of your studies & teaching, please? You’re a member of Supernatural Cities – what does that involve?
This is the final diary entry written by Beth, the protagonist of my novel ‘Violet’. It was influenced by accounts of near-death experiences. Rather than dwelling on the physical trials of dying it focuses on recapitulating life – the marvellous, sad, varied, inspiring social experience. Continue reading VIOLET – LAST ENTRY→
I interviewed international poet Kinga Fabó whose work has been translated into 17 different languages. Kinga has been published in journals such as Modern Poetry in Translation; Numéro Cinq, Ink Sweat & Tears, Deep Water Literary Journal and anthologies like The Significant Anthology, Women in War and World Poetry Yearbook 2015. Her latest book, a bilingual Indonesian-English poetry collection Racun/Poison was published in 2015. She lives in Budapest, Hungary.
When character drives story the narrative no longer depends on ‘hooks’ or plot twists and satisfaction comes from seeing more deeply into personality. This kind of writing goes beyond ‘entertainment’ or ‘reveals’. It’s often quite personal, taking the reader into psychological space, so when the ‘ah’ moment arrives it’s usually a discovery about innerness or hidden feelings. Character-led writing values depth over cleverness, subjectivity over analysis, and may depend more on tone of voice than content. And because it’s person-centred it may feel ‘exploratory’ with very little happening until suddenly the protagonist’s mind shifts and the authentic personality steps forward. Continue reading CHARACTER-DRIVEN STORIES→
I interviewed Nadia Nadif, actor and theatre activist. Appearing with innovative theatre companies in a wide range of roles, Nadia has taken part in family shows (including learning how to stilt walk!), plays about domestic violence, and performed a Sudanese trance dance as part of a production at the Edinburgh Festival. She has also toured the Middle East with a comedy-farce show.
I began by asking Nadia about the pivotal role she played in creating The Scar Test, a challenging exposé of the UK’s inhumane treatment of refugees in detention.