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Wednesday, December 24, 2014

AFTER THE BOMB: GOOD NIGHT AND GOOD LUCK: The Screenplay and History Behind the Landmark Movie. Newport Press, New York, 2006 (208 pages).


If you are studying George Clooney’s 2005 film this book is essential reading!

The best and most informative article in the collection has to be the Q & A section in which George Clooney & Grant Heslov are questioned by the writer Rod Feld (pp. 77-98). You discover the essence of their art through a transparent discussion of their manipulation of context & style.

The best equivalent interview online is to be found here. It features an important discussion with George Clooney &  David Straithern who plays Murrow:

George Clooney On the Life & Career of Edward R. Murrow: Goodnight and Good Luck. Clooney addresses RTNDA in 2005: https://www.youtube.com/watch?v=u3eaRo61ZH4 (49:31)

Also highly valuable in this book are the articles ‘Murrow vs. McCarthy: See It Now', by Joseph Wershba & ‘Journalism and McCarthyism’ by Rich Kaplan which clearly establish the historical, political and cultural context of the film.


The script of the film which appears in the book is dated March 2, 2005 PRODUCTION DRAFT. Online you can find an earlier Production Draft 20 October 2004 here: http://www.dailyscript.com/scripts/Good_Night_and_Good_Luck.pdf

If you have the time check this related Cold War doco out: Point of Order (1964): Documentary film of the 1954 Army-McCarthy hearings by Emile de Antonio: https://www.youtube.com/watch?v=2EhOdSSI8n4

Thursday, December 18, 2014

Recommended Photography Book: Ray Collins Found At Sea (2014)


I attended Ray Collins’ book launch at Ryan’s Hotel in Thirroul on Friday 12 December. He is a brilliant local ocean photographer who transforms variable sea conditions into extraordinary visual sculptures. Although originally a surf photographer, Collins has evolved into a serious visual artist. I enjoyed the night: no speeches- a cool but innocuous DJ out the back & a nice roll out of quality grub- & the affable Ray happily signing many boxes of books & copies of his impressive prints.

Found At Sea is packed with hundreds of sparkingly sharp images. Roughly about half of the still photos are surfboard related  and the rest- to me more spectacular- of the jagged, wild contours of the sea.


Collins is clear and sparse in his commentary. He establishes for the reader the specific context of most shots, but thankfully, he provides no grand statement of his artist intent. Near the end of the book Collins says that while shooting the mad Pipeline waves in Hawaii from the water in February 2008, he realised “that I wanted to shoot empty waves.” Find the Pipeline photo here: http://raycollinsphoto.com/collections/store/products/pipeline-peak#.VJKtv2SUdVM




UPDATE: 17 February 2015

Ray Collins was recently awarded the 2015 Nikon Australian Surf Photo of the year for his photo ‘Convection’.




Find an article here: http://www.illawarramercury.com.au/story/2887305/stunning-surf-image-awarded/

Note that the 1st Edition of the book has been sold out & the 2nd Edition will be shipped out on 8th May 2015.

RESOURCES:



Find Ray Collins' website here: http://raycollinsphoto.com/

Have a look at this excellent video of Ray at work from his site: http://raycollinsphoto.com/pages/seastills

Thursday, December 11, 2014

Book Review: John Yamrus ALCHEMY. Epic Rites Press, Sherwood Park, 2014 (188 pages).


This is John Yamrus’s twenty-second book of poetry and his fifth published by the Canadian publisher Epic Rites Press. You quickly get the impression while reading this collection that Yamrus lives & breathes poetry. A solid core of the poems are about poetry but Yamrus takes his inspiration from anywhere- a headline in the local paper, a visit to a nursing home, trying to swat a fly, cleaning a pool, staring at the wrinkles in his face and the like.

Yamrus’s poetry always stems from the blood of his lived experiences. As he told BM in an earlier interview, “i try and write every day, but it doesn’t always happen, and the poems come from what’s happening around me. i don’t make stuff up. i’m not that smart. i see things… i write them down … and move on. i’m not one of those guys who thinks that being a writer is a big deal… all I do is hold up a mirror and hope.”

In reference to the title ALCHEMY, Yamrus recently noted, “Alchemy was the attempt to make gold out of base metals. This book was my attempt to make the same out of everyday subjects.”

ALCHEMY hits gold in several of the 118 poems in this collection- his largest since doing cartwheels on doomsday afternoon (2010). Many of the poems have previously appeared in about two dozen small publications, such as the iconic underground magazines- Gutter Eloquence, Florescent Stilts For Your Uncle, Beat the Dust, Lummox Journal and Zygote in My Coffee. The black & white exterior cover was created by Julie Michelle Sparenberg and the collection also includes fourteen full-page illustrations from the Swedish artist Janne Karlsson which skilfully complement Yamrus’s poetry. A sprawling introduction by Professor Mark Statman of Eugene Lang College links Yamrus’s poetry to that of Frank O’Hara, William Carlos Williams, Hans Shan, Ezra Pound, John Keats and others. I see Yamrus more as a one-off poet who has developed his own unique style.

Yamrus’s poetry is characteristically minimalistic. The guts of his writing have incrementally been filleted to the bone over the years. You won’t find much figurative language in his writing. Forget about extended metaphors or symbols or obscure allusions. Yamrus deliberately reduces language to its purest form. In an earlier review with BM, Yamrus argued that he wasn’t dumbing down the language and robbing it of its beauty and complexity, “what i’m doing…what i’m trying to do…is give the poem back to the reader. i want to get THEM involved in the process. like i said…i’m not very smart. i want their input, so i leave holes in my poems…holes that they can fill with their own ideas.” As with any skilful writer, when we read Yamrus, we are enjoying what he is saying about people and their relationships, but also as readers, we are also intuitively translating his words and creatively forming associations based on our own relationships and search to join the dots in our lives.

The poems characteristically are written in lower case, hug the left hand side of the page and are less than a page in length. Close to fifty poems are less than twenty words and you will also discover several micro poems. My favourites include: 

don’t

  
let

the 

bastards

fool

you


sometimes


the most unexpected thing

about beauty,

is

finding it

gone. 



not


every man’s death


is

a crime.

(reprinted with the poet's permission)


These are wise contemporary aphorisms and each of us can think of people who aptly fit these sayings.

Most of the poems in the collection are based on Yamrus’s personal anecdotes and reflections and the poems can be comfortably be read in one leisurely sitting. In a recent conversation with me, Yamrus explained how he assembled the order of the poems, “As for structure, i wanted to put together a volume that could subtly almost read as a novel, with each poem leading into the other.”

You will find a wide mixture of other poems in ALCHEMY, including some excellent portrait poems, usually about quirky, down & out people, such as, ‘jeremy’, ‘his work’, ‘for’, ‘she’, ‘everybody’s got’ and ‘tony’. There are also many solid poems about relationships- ‘tanya’, ‘i ain’t nothin’ and a few good love poems which Yamrus presumably wrote for his wife Kathy (who he dedicated this volume to), such as, ‘i love you’, ‘she keeps’, ‘i found’ and ‘i’ll’.

I find the most interesting poems in the selection are about Yamrus’s working life as a poet and his reflections on writing and poetry in general. His perceptions on writing, as on other issues, is always multi-faceted and need to be read in the context of his overall vision.

Yamrus’s offers many contrasting views on his own poetry.  In ‘this poem’s a mess’ the speaker of the poem, Yamrus derives a sly satisfaction in the notion that some readers think that his writing “violates/ every rule.” In ‘he said to me’ he agrees with a fellow writer that he’s “kinda glad/ our books don’t sell” because “we’d end up/ just like/ them,//  worrying what to/ write about.” In ‘Newman said’ he has a satiric dig at his own stuff:

Newman said

you’re right
maybe they are
catching on…but
they’ll never catch up.

that’s the thing
with people like you…

you keep on
pushing.

it’s like that letter
you got the other day…

the one
where the guy said
reading one of your poems
was like walking thru dog crap.

they always
want it neat
and pretty
and safe.

but, i’ve been watching you.
that’s not what you do.
nothing’s off limits.
not even the crap.

i smiled at him
like I cared

he was a good enough guy,
but, I hoped to god
he wasn’t finally
catching on.

(reprinted with the permission of the poet)

Yamrus also provides the reader with his views as to what makes a good poem. In ‘Jesus Christ’ Yamrus acknowledges “poetry/ isn’t about// perfection” … “it’s/ about/ taking that// corner/ on two wheels// and/ never/ looking back.” In ‘they all expect’ he says that good poetry “is all about/ surprises.// giving them/ something new.”

The opening poem in the collection ‘give me poetry’ serves as a clear manifesto for Yamrus’s best poetry and that of his contemporaries:

give me poetry

that’s new
that fails.
that makes mistakes.
give me poetry
that you don’t know
what in the world you need to name it.

give me poetry
that bleeds from the eyes

and
shouts at the world

give me poetry that stands naked and beaten,
with its back against the wall,
still screaming
I AM NOW!

(reprinted with the permission of the poet)

Echoing some of his earlier work, Yamrus also cheekily but firmly sinks his boots into the rump of the literary establishment. In a series of playful, highly entertaining poems, he rails against poetry contests (‘don’t put me’), traditional verse forms (‘this poem’), writers’ festivals (‘it was another one of those’), pretentious poets (‘the famous poet’) and university professors- who are good at discussing literary theory but who do not have “any real heart or soul” in their own writing (‘they talk a good game…’).

Yamrus also pokes fun at struggling poets who attempt to write the stuff but who lack the talent to become enduring professional writers. He reads an anthology of small press poems and is disturbed by the sameness of the “bad-ass” shit (‘sitting in’). He scoffs at the internet poet in ‘when i said to Frankie’ who wants to post his work for free. He slams the “slumming god” poetess in ‘she could have been great’ who assumes she can write whatever she wishes without considering her audience. In ‘he said’ a fellow writer can’t understand why his poem- now 12 pages long- isn’t working. Yamrus does. In ‘he had no’ he criticises a writer who overly tinkers with his poetry, “sooner or later we all/ turn up like Michael Jackson, // face up/ and naked/ on an autopsy table. // and/ all those/ rewrites and/ changes won’t ever matter.” In the portrait poem ‘Hardy said’ Hardy gives up smoking, drinking, red meat- “everything” in the pursuit of his writing career. Ironically, the wry speaker concludes, “try/ as he might, / Hardy will never (ever) figure out// the only thing/ he really should give up.” This is shrewd, dark humour at its best.

In ALCHEMY John Yamrus continues to build on his already substantial body of work. This collection of poetry is vibrant, diverse and cohesive. He uses stark, deceptively simple language to distil his thoughts. As a modern day alchemist Yamrus seeks to transform his “base metal” of words into gold and he uses everyday incidents to fuel his craft. Yamrus has reached high and he reminds us all through his risky minimalistic poetry that there is an incredibly thin line between success and failure. 


For more information about John Yamrus find his site here:


To buy ALCHEMY contact Epic Rites Press here: http://www.treekillerink.com/

Monday, November 24, 2014

Featuring: Brenton Booth

Description: Macintosh HD:Users:brenton:Downloads:Muay Thai Pic1.png

FANTE IS WITH ME TONIGHT                                            


In a small room in Bunker Hill
I clip my toe nails then open
the blinds
I can see a building
lots of windows
I stick my head out the
window and turn it
and see the Wells Fargo
Car Park(I know this
because the name is
looking at me)
I then close the blinds
and turn on the tap
I wait a few minutes
then fill a plastic cup
I drink the water quickly
and afterwards screw
up my face
I hope that water doesn’t
make me sick, I then
thought. Sitting alone
in a cheap room. An
unpublished writer
with a full notepad
and the belief that I
will one day be great.
On the edge of the soft
bed. Listening to the loud
fan, and not hearing another
thing.


SUMMERTIME                                                                      


Hot summer afternoons
in the suburbs
of Sydney
1980’s
where even the breeze
didn’t reach,
laying on my bed sweating
in my boiling room
listening to the radio
with nothing else to do;
my father at the pub
drinking
and my mother in the
backyard crying:
all of us hoping for
something more.


THE WORKER                                                                            


The union representative is plump
and dressed in an expensive suit talking
to the workers. They sit uncomfortably
listening to him lie and tell them this
is the best deal they can get. And the
loss of conditions is not really a loss,
but a benefit for them, and they should
all think about the bigger picture rather
than just themselves. They sit there in
silence taking it. They have no choice.
Jobs are scarce and it would be a mistake
to lose this one.


DREAM                                                                                  


Seven years old in my bedroom
in my parents house
a radio on the bed next to
me
the songs all seemed to make
perfect sense
I was just a newborn in a
great thing
a marvellous thing
the human race
I knew so little
but that didn’t matter
others knew
others knew more than I’d
ever need to know
I could live two-hundred years
and still not learn all the great
things that people knew.
And here I am today over twenty
years later
having seen and learned more
than I’d wished I’d ever know
wishing I was seven again:
with that radio and that dream.

Update 22 September 2015

SAVED BY THE WORD

Words
filling
this
page
now
and
reminding
me
of
a
reason
to
still
be
here
after
far
too
many
years
of
disappointment
with
death
only
as
far
away
as
no
reason.


THE DEATH OF THE RED LIGHT DISTRICT

The conservatives have taken
over Kings Cross. The drug
dealers, hookers, thugs, and
alcohol has been taken from
the street. There are cameras
recording every inch for anti-
social activity. Prams have
replaced blood on the footpaths
on a Sunday morning. No more
24 hour bars. No more getting
drunk. No more anything good.
Just a bunch of lifeless dead
people that have destroyed the
only good place left in Sydney.
The conservatives have taken
over Kings Cross:
and I am moving in a week.


WITHOUT A FACE

The problem is we all
want to take
but don’t want to
give
sweating like fools
when we should be
dry and calm
our greatest pleasure
success
but to be successful
others have to be
unsuccessful
so it’s a murderers
game
teaching children to
steal and desire sex
when they should
still be playing with
toys
and not an ounce of
style in our way
all desperate and
willing to do whatever
it takes for wealth
with dead souls
and dead lives
that lose little
when the hearse
finally arrives.


Find a BM link to Benton Booth’s short story ‘The Angel of Death’ here: https://georgedanderson.blogspot.com.au/2016/09/short-story-brenton-booth-angel-of-death.html


Also find Brenton Both’s short story 'Candy Johnson' here: https://georgedanderson.blogspot.com.au/2017/03/short-story-candy-johnson-by-brenton.html



Bio: Brenton Booth lives in Sydney, Australia. After over nine years of rejections poetry and fiction of his has appeared in over fifty publications in the past three years. If you would like to read more of his stuff, his complete published archive is available at brentonbooth.weebly.com