Photography © John Stadnicki, May 2020
On both sides of the frontline,
orchards in bloom.
People buy and sell goods,
occupy central squares,
dogs run after barefoot children
with grain baskets – linen flags.
Buses on schedule, taxis in queue.
Business as usual.
Gunshots, grenades, mortars.
Stray barks come out of houses
with blown-up windows. Splinters
rising – morning’s canines.
Soldiers wake up to the call to prayer,
switch radio on, shave by the roadside.
Nametags rest in shoe polish tins,
heat bakes bread already sliced.
Buses carry wounded further inland.
Poem published in Sweat, Ink and Tears, 8th Jan. 2019, available here.
©Maria Stadnicka, 2019
The Stroud Book Festival is thrilled to once again be hosting an eclectic line-up of poets and poetry from Gloucestershire and beyond.
The first poet on the bill is multi-award-winning poet and broadcaster, Daljit Nagra, on Thursday 8th November at Wycliffe College, one of the festival’s splendid sponsors. Nagra, who was the first ever poet in residence at BBC Radio 4, will be reading from his latest book, ‘British Museum’, as well as earlier books, including the Forward Prize-winning ‘Yes We Have Coming to Dover!’
“He’s a marvellous reader of his work,” says Adam Horovitz, who will be introducing him on the night, “and his questing, questioning, witty and politically pertinent poems are well worth discovering aloud as well as on the page.”
On Friday 9th November, the Stroud Book festival Poetry Night offers up a wonderfully varied and immersive evening of readings, performance and music by a hand-picked bill of acclaimed poets, in two parts.
The first part brings together three poets with Gloucestershire connections: Kate Carruthers Thomas, Patrick Mackie and Maria Stadnicka. It closes with acclaimed Welsh poet and singer Paul Henry and will be compered by Adam Horovitz.
“On Saturday 10th November we’ll be celebrating the work of Gloucestershire poet and composer Ivor Gurney with a one-woman show starring writer and actor Jan Carey, to mark the 100th anniversary of the end of World War One,” says the festival’s artistic director Caroline Sanderson. “Author, Composer, Soldier-of-a-sort: The Life and Work of Ivor Gurney is fresh from an acclaimed run at the Edinburgh Fringe this summer and we are delighted to bring the show to Stroud.
“We round off our poetry programme on Sunday 11th November with a magical family event inspired by nature,” adds Caroline. “We hope that children of all ages will come and meet Frann Preston Gannon, illustrator of the poetry anthology I-am-the-seed-that-grew-the-tree.
“It’s a glorious new gift anthology of 365 nature poems for children, spanning over 400 years of poetry, and including the work of poets as diverse as William Blake, Roger McGough, Carol Ann Duffy, John Agard, Eleanor Farjeon and William Wordsworth. As well as a chance to enjoy the poetry-telling, Frann will be encouraging children aged 6 and above to create and illustrate their very own nature poem.”
How to book tickets:
In person: at The Subscription Rooms, Stroud
By phone: by calling 01453 760900
Online at https://stroudbookfestival.org.uk
I finally met the musician Andrew Heath in 2017 at the launch of my book Imperfect having previously written a few poems inspired by his third album Europa. His music talks in a quiet, subtle voice about the changing world around us, it points out the fine details of a moment of silent reflection, a moment which only requires one to be still and to observe. The colours, the speed, the flight, the descent, the little fragments of life.
Andrew Heath has spent over twenty years producing and composing experimental music. He has collaborated with Peter Maynard (Dust and Threshold, 2016, Disco Gecko Recordings, UK), the legendary musician Hans-Joachim Roedelius and the composer Christopher Chaplin (Triptych in Blue, 2017, Disco Gecko Recordings, UK), the Dutch guitarist Anne Chris Bakker (Lichtzen, 2017, White Paddy Mountain, Japan) and he is currently working on a joint project with the Mercury Award nominated Toby Marks (Banco de Gaia).
A few months ago, Andrew invited me to collaborate towards his fifth solo album Evenfall due to be released later on this year. Several weeks after we completed the recording, inspired by the subtlety of his new album, I went back to his studio in Stroud and invited him to talk about his fascination with silences and with pauses. Over many cups of freshly brewed coffee we talked about the way we experience the world, through rhythm and speed, but Andrew explained how one could transform a world with only one sound.
Recording the scissors
MS: Would you place your music within the limits of a particular genre?
AH: As my music has developed, it seems to occupy different spaces. There are many names for this musical area I feel drawn to. Some call it ‘ambient’ but this is quite a broad term. I prefer to use words like ‘lower-case’, ‘quiet’, music without beats and without words and, I know people would then ask what is left but of course to me, the answer is, everything is left.
I became aware of music through listening to the world around me as a very young boy and one of my prized memories and an important formative sound moment in my life, was when my father came home from work with an old reel-to-reel tape machine. I was intrigued to discover I could record sounds on it and play them at different speeds, or turn the tape over and play it backwards. I had a microphone which I’d started using and I remember recording the sound of a pair of dressmaking scissors my mother had. When I played the recording back and slowed it right down it sounded like somebody had drawn a sword. From that moment, recording and transforming sound was something I would be constantly drawn to.
MS: In terms of influences and directions…?
AH: Many things but certainly other musicians and their work. I am inspired by the American pianist Harold Budd, who worked with Brian Eno. I love his sense of timing. His playing is like notes falling downstairs, they just cascade in a beautifully ad-hoc way. I’m very interested in other experimental musicians like Roedelius and the Japanese sound artist, Sawako. An exciting recent discovery for me is German YouTuber, Hainbach who works a great deal with tape, and due to his music, I’ve begun using dictaphones which is an interesting new development for me. However, I think the biggest influence is the environment. The sound around us is music. It could be the song of a bird, which is very beautiful, but for me it can also be planes, my fridge makes amazing sounds. Any noises from our inside or outside spaces.
MS: Are you trying to make people aware of what surrounds us or is your music a product of your own reflection about the world and the passing of time?
AH: I am not trying to educate an audience but this is very personal music. Like an artist who is process lead, I am very interested in taking ‘found’ raw material from the environment around me and then processing and ‘treating’ these recordings building layer upon layer of sound. In my case, the pigments that I use are the piano, guitar and ‘found’ sounds. Where an artist will choose a brush, a pencil or a knife, I will use computers, software and tape.
Spaces between notes
MS: You use ‘found’ sounds as you call them, ‘raw materials’ from nature, being open to the randomness around you, but then you process it using technology.
AH: Yes, true, but I am being selective on the technology I use though or approve of. For me, the fascination of transforming, changing, processing sounds is all consuming and you can’t do that without technology – typically very modern technology. I start with just a few sounds, listen to the interaction between them, go down the rabbit hole and realise suddenly, I have the beginnings of an idea.
In my sound world, I try to find and then follow a path, as I go along, I become a collector of things. It could be a piece of wood, a stick, a stone and put them in my imaginary backpack. But then, as I build it up and up and up I realise that it becomes heavy and I leave stuff behind. I leave spaces between notes to reach an equilibrium.
MS: I understand that when you start to work on an album it can begin with something random. What inspired the album Evenfall?
AH: I was deep in the Norfolk countryside – a real wilderness area with little woods and lakes. I was interested in making longer field recordings. I stood there recording in one place for about two hours. And it got darker and darker and darker. It started to rain. It was a magic moment of stillness that really informed the music on Evenfall.
To add to the magic, I must mention the amazing contribution from the young musician Lydia Kenny, Gloucestershire Young Musician of the Year 2018 who so kindly gifted me such beautiful soprano saxophone lines on the title track, ‘The Still of Evenfall’.
MS: When will the album be available and what follows for you this year?
AH: The album will be launched by Disco Gecko Recordings on 21st September 2018 at The Old Church, London and it will be available on ITunes, Spotify, Amazon as well as in CD format. Prior to this, I will be performing with Toby Marks at Extreme Chill Festival, Reykjavik, Iceland, 6-9 September 2018.
©Maria Stadnicka, 2018
It gives me great pleasure to find out that some of my texts have been included in Meniscus Literary Journal, published by the Australasian Association of Writing Programs. Thank you Distinguished Professor Jen Webb and the editorial team.
This latest edition creates a wider perspective of the current literary and poetic discourses, with excellent new and established international voices. A brilliant selection!
You can access the magazine here
Pentru cititorii in limba romana, saptamana aceasta a sosit cu o surpriza minunata. O pagina de poezie publicata in LitArt publicatie lunara de cultura, tiparita la Tg. Mures, sub egida onorifica a filialei locale a Uniunii Scriitorilor.
Multumiri redactorului-sef Adrian Armand Giurgea si echipei redactionale pentru promovarea valorilor culturale romanesti.
Pentru mine are o semnificatie speciala. 14 ani de cand am publicat ultima oara in Romania. 14 ani lungi, foarte lungi, de absenta si de dor. Editia tiparita este distribuita in Romania si poate fi accesata electronic in format pdf aici:
For Romanian readers, this week arrives with a beautiful surprise. Nine poems published in LitArt, Tg. Mures, Romania, under the Romanian Writers Association patronage. Gracious thanks to the editor-in-chief Adrian Armand Giurgea as well as the whole editorial team for the great work you are doing in promoting the cultural values of our generation, in Romania and abroad.
This has a particular significance for me, as it marks 14 years since the publication of my last poem written in Romanian. 14 long years.
The magazine is available in print and online, downloadable here:
Photograph: @Georgiana Calinescu-Barber
Stroud’s Politics Kitchen presents a musical experience showcasing a new and exciting political paradigm whose time has come – the Politics of the Heart. This is Politics that recognises that we have more in common than that which divides – a more intelligent, courageous and compassionate politics.
The event, on 11th February 2017 at 19.30 – The Subscription Rooms Stroud, features music from the sensational Bristol-based Spiro who are described as “World Music that speaks directly to the soul” – this is a truly unmissable event.
“This is soulful, passionate music, and I love it”, says Peter Gabriel, speaking of Spiro (see links below). If there were a ‘Stroud Sound’, Spiro would surely be it.
They are supported by Jennifer Maidman Music, stellar singer-songwriter and ex-member of the legendary Penguin Café Orchestra, 1984–2007.
Spiro are also supported by Hattie Briggs another wonderful singer-songwriter, inspired by the likes of Joni Mitchell and James Taylor Hattie recorded her debut album, ‘Red and Gold’ with Peter Waterman (Joss Stone/Uriah Heep/Emma Ballantine), as was her second album, ‘Young Runaway’, in 2016.
The event is supported by and features poetry readings with Gabriel Millar, Maria Stadnicka and JoJo Mehta.
Tickets available at Stroud Subscription Rooms: http://www.subscriptionrooms.org.uk/whats-on/politics-of-the-heart-with-spiro/
The fatal morning Europe woke up and thought it had something to say,
there was nobody else left in the world able to listen.
Oh, earth, the bones had gathered to queue for bread,
by the front door at Saint Joseph seminary.
An ordinary day for ordinary death.
The bakery opened and closed.
The workers arrived on time for a last shift then went home.
The ovens had no traces of grain.
The ink stained hope filled up rusty water pipes.
The crowds’ whisper went on, up the hill, out of the city.
After that, freedom meant nothing.
It all came down to
who could hold the front running place the longest.