Bit Of Verbal

‘Bit of Verbal’ – by producer/performer Rupert Smith of Southbank Centre’s House of Homosexual Culture
(and do have a look at the photos of the performance in our previous blogs).

Don’t forget the Stonewall@40 event at London Literature Festival tonight!

It was with some trepidation that I decided to present a ‘poetry/spoken word’ event as part of the House of Homosexual Culture’s offering at the London Literature Festival. Generally speaking, I can’t stand live poetry, and I’ve sat through enough ghastly spoken word pieces to put me off for life. But, in the interests of stepping outside my comfort zone, I put together a programme of performers who, I thought, might redefine what a poetry event could be, and at the same time challenge a few of my own prejudices.

And boy, did we succeed. We had rappers, singers, comedians, performance artists and even – yes, even a poet or two. Ste McCabe opened the show with three angry, articulate songs, his polemical lyrics underpinned by fuzz guitar and drum machine. Ste is a real star of the new queer performance scene; his new album, Hate Mail, is well worth a listen. Next up was VG Lee, a novelist who has recenty branched out into stand-up, who kept kept us laughing with her account of a recent failed relationship before reading a great piece about a disastrous trip to the movies.

Gerry Potter used to be known as Chloe Poems, a gingham-clad ‘lady’ poetess who was a star of the 90s/00s performance scene. Gerry’s now ditched the drag, and found his own voice with fantastic accounts of growing up as a queer boy in the toughest part of Liverpool – and I think Gerry’s performance cured me for all time of my aversion to reading aloud. Closing the first half was Jacqui Applebee, who gave us a mouthwatering account of a sex-and-food orgy in New York before reading her fantastic, show-stopping orgasm poem, Yes Means Yes!

We opened the second half with the one and only David Hoyle, the biggest star of the gay performance and comedy scene today, who gave us his unique interpretation of Keats’s Ode to a Nightingale (‘how much was owed to this nightingale?’) and a selection from Wilfred Owen. David must win the prize for the greatest outfit in the festival: he looked like the lesbian love child of Yootha Joyce and Bette Davis. Finally, rapper QBoy returned to the festival to raise the temperature with a very sexy performance of tracks from his new album, Moxie – lyrics, messages, dance moves and very nice abs. Ste and David sang us out with a unique duet of Ste’s Huyton Scum vs David’s rendition of Climb Ev’ry Mountain.

I challenge anyone else in the Festival to name a more entertaining event. We played to a packed house in Spirit Level, and we’ve had fantastic audience feedback. I hope we’ve proved that lesbian and gay people do poetry with as much talent and imagination as anyone.

‘The House of Homosexual Culture’ at London Literature Festival

‘The House of Homosexual Culture’ celebrates its first anniversary of collaboration with Southbank Centre and has been a constant presence on stage and backstage at London Literature Festival. You’re probably now familiar with key ‘HOHC’ collaborators, authors Rupert Smith and Paul Burston (Rupert and Paul both produce and perform – Paul: in top hat and no tails!), and ofcourse the beautiful Rachel Holmes, Head of Literature and Spoken Word, who commissions them and has been running the Festival. So here are a few photos of them all and their fellow performers from two of their wonderful events at London Literature Festival, ‘Love And Marriage’ and ‘A Bit of Verbal’. Enjoy!
Love Rosie X

Profile:The House Of Homosexual Culture at London Literature Festival

Posted by Rosie Goldsmith on behalf of Rupert Smith of HOHC.
Look out for more HOHC events this weekend at SBC Literature Festival!

Paul Burston and I have been programming events at Southbank Centre, as The House of Homosexual Culture, for just over a year now. When we were first invited to put together a series of events for the 2008 London Literature Festival, we were speechless with amazement. Amazed because, despite having written something in the region of 20 books between us, we had never been invited to speak or read at a single mainstream literary festival. The inevitable conclusion was that this was because we were labelled as ‘gay writers’. Thus, when the Southbank invitation came, we felt that something really significant had changed in the literary establishment and the way it deals with ‘minority’ work.
The House of Homosexual Culture has been open for business for about five years now. When it began, it was little more than a group of friends who, frustrated at the lack of engagement with queer culture and history on the commercial gay scene, started meeting in each other’s houses to discuss interesting subjects. This quickly turned into venue-based events, and the thing snowballed from there. Within a few months, we had a residency at the Drill Hall in central London, where we started getting regular audiences of up to 200. We did a season at the Vauxhall club Duckie, playing to packed houses. Our Autumn and Christmas Fayres at St John’s Church in Waterloo attracted crowds of up to 1000 to buy jam and cakes and learn how to knit. We had tapped into something big, and we didn’t really know what to do with it.
Paul and I have known each other for a long time, first as journalists, then as fellow authors. We’ve been invited to read at the same (gay) festivals, and we’ve shared many a typical writers’ conversation about the lack of opportunities to promote our work. Paul took the bull by the horns in 2007 when he started Polari, a monthly lesbian and gay club night where writers and readers come together through words, music and lashings of alcohol. In February 2007, Polari and HoHC joined forces for a big, packed event at a club in Soho celebrating queer books – and then, the next day, we were wondering if anyone out there in the literary world was taking a blind bit of notice of what we were doing.
And then came the call from Southbank, who invited us not only to produce three events exploring lesbian and gay literature at the 2008 festival, but also to keep producing all year round. Since those first three shows in July 2008, we’ve done eight events covering everything from transsexualism to strippers, punk rock to LGBT immigration. Now we’re back at our second festival with four events that combine reading and performance in a way, I hope, we’ve made our trademark. Ever since our first Southbank event, a celebration of literary erotica that featured male and female strippers, and quickly became notorious as the show that ‘put cock in the Festival Hall’, we’ve tried to expand the notion of what a literature event can and should be by mixing readers and performers from a wide variety of backgrounds and disciplines.
We’re able to do this because Southbank has offered us the support, both technically and artistically, to do pretty much as we please. Paul and I are both authors, so our core business is writing, promoting and selling books – but we’re also students of gay culture and history, and want to celebrate every aspect of it. We like to get singers, comedians, dancers and, of course, strippers on stage whenever possible. The programmers and technical staff at Southbank have never batted an eyelid – or, if they have, we’ve never seen it.
Most importantly, working at Southbank gives The House of Homosexual Culture and the subjects we celebrate a status that they’ve all too often lacked in mainstream culture. To be here in the programme alongside all other types of literature, music, performance and visual art is to know that we’re taken seriously and judged on our own merits. For too long, we’ve had our noses pressed against the window of the arts establishment, all too aware that they wouldn’t let us in because they didn’t know what to do with us. Now, at Southbank, we’ve been let in – and they’re letting us show that lesbian and gay literature, culture and history is every bit as exciting and important as anything else you care to name. Having the Southbank on board has made us up our game – we’re constantly striving to show that we deserve our place in the UK’s most prestigious arts centre. And we like to think, when we look around the lobby and see heavily tattoo-ed queer punks, or transgender people, or gay muscle boys more at home on the dance floor, mixing with the audiences for orchestral concerts, or hip hop gigs, or heavyweight Granta-style literary debates, that we’ve added something to the cultural mix that might not have been there before. It’s a friendship that we hope will prosper for years to come.

Jake Arnott & Paul Blezard in conversation.

Shortly after Jake Arnott’s event with Rupert Smith in the Purcell Room on Friday the 3rd July, Paul Blezard sat with him in the green room to discuss the event, the book and Jake’s writing. Here’s what they said:

PB            How did the event go?

JA            It was a fantastic event, really good. The Purcell Room is a lovely place to talk about books and Rupert Smith, who was interviewing me, made everything work so well. I had a really good time.

PB            How did people react to a story in which we have “The Beast” Aleister Crowley and this fantastic character Hector Macdonald, who I hitherto had known nothing about?

JA            Well the interesting thing about Macdonald is that he had tremendous fame in his lifetime but because of the terrible homosexual scandal he was embroiled in he was wiped off the face of history. He was a crofter’s son from the Highlands of Scotland who rose through the ranks after being a soldier in the Gordon Highlanders. He fought in every major conflict in the high Victorian Empire period and was a complete military hero that we should all know about. But the scandal of his sexuality really brought him down. He had a very hidden life, which makes him the perfect character for a novel as it allowed me to invent a complete interior life for him. I think the audience really engaged with that aspect of the story.

PB             It’s a very fine novel, Jake, to my mind the finest writing thus far in your already stellar career. Is it actually a novel tho’ or is it a historical fiction? Where indeed does the border between the two exist for you?

JA            I think the difference is that in a novel one is allowed to go to places that one can’t as a biographer. Of course, a comprehensive biography of Hector Macdonald would be fantastic but completely impossible as he didn’t leave many papers behind. He didn’t write a journal for example and he wrote very few letters. He was a very repressed man, such a close-knit character, because of the nature of his sexuality in the world he inhabited. I think it’s a bit like Shakespeare’s histories. There are obviously all these real characters in a Shakespearean history, but it’s the author – here I am comparing myself with Shakespeare! – it’s not so much that they’re histories however but the attitude of the writer that is the key. It’s a political area. The history in The Devil’s Paintbrush exists between the cracks in the paving stones of creativity as I did have to make up a lot of material, that’s why I consider it a novel. That’s why it is a novel, there’s a lot of speculation.

PB             In your acknowledgements you give thanks to another author of note, Stephanie Theobald (for three years the Society Editor of Harper’s Bazaar and author of  four novels: Trix, Sucking Shrimp, Biche and A Partial Indulgence) not least for her first hand account of a black mass in Paris. How did this come about?

JA            Stephanie is my partner and yes, she is a fantastic writer. She’s spent a lot of time in Paris, it’s her city really, so when I was setting a story there I felt indebted to her knowledge of the demi-monde of that world that still very much exists. The interesting thing is that the occult, and Satanism particularly, is still quite fashionable in Paris. It seems to be part of that tradition – from Catherine de Medici to Huisman, the decadent period – that they have a particular way of understanding that hidden world.

PB             Finally, what does it mean to you as a writer to have participated at the 3rd London Literature Festival?

JA             Well I think it’s fantastic that it’s happening, It’s so good  that London, the most literary city in the Universe, now has this. The capital’s a hard place to have a literary festival in as there’s always so much going on and also there’s something slightly jaded about Londoners, everyone seems to be an itinerant writer of some sort or another and not that willing to go and see people like me talking about their books. All that seems to be changing now though. Up until now the South Bank wouldn’t have been able to put this on in the way that it has and the ‘new look’ South Bank has really made itself the home of a festival with a true heart. Everything is so well done and I’m so glad to be a part of it.

PB             My second ‘final’ question; What are you working on now?

JA            It’s another historical thing. This will be mid 20th century… It’s hard for me to talk about it because it’s still… you know I really don’t want to talk about it, Paul… do you mind?.. is that…?

PB (interrupting to rescue JA from a conversation he clearly doesn’t want to have!)   …then let’s not. I understand. Jake Arnott thank you so much for your time and many congratulations, both on the publication of The Devil’s Paintbrush and on a such a good event here at the London Literature Festival.

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