I’ve had this song in my head since I saw Peter Garrett recently. Not at the Midnight Oil concert, but at the WORD Christchurch Shifting Points of view session at The Piano. It was the last talk in a series of goodies that formed WORD’s suite of Christchurch Arts Festival offerings.
Peter Garrett – musician, former Aussie federal politician, activist – appeared in conversation with the able and amiable broadcaster/journalist Finlay Macdonald, and followed the session with an audience Q & A and a book signing.
Peter’s book is a memoir of his life and career called Big Blue Sky. He found writing it both challenging and gut-wrenching:
It’s not just about what you remember, it’s how honest can you be.
He talked about the reformation of Midnight Oil and the series of concerts they are undertaking, including such stunner venues as Alice Springs and a rainforest in Cairns. Peter reckons they are sounding even better than their heyday.
His broad and expansive knowledge of Australian history as well as other topics made him a thoroughly engaging speaker. He talked politics, music, and more – and his move into federal politics made a lot of sense because he strongly believes:
The system cannot work unless it is infected by people who want it to work.
Peter went with the Labour Party instead of Green because he was “allergic to moral superiority and preachiness”.
There was plenty of music talk for the aficionados. He shared musical influences and passions – The Beatles, Neil Young, Rage against the Machine, Aborigine bands. Recalling seeing Muddy Waters play at ANU university, Peter got shivers right there on stage. So did we.
The appearance of Mr John Safran in Christchurch managed to pack out The Piano venue on Sunday with a fair audience. He was matched with NZ’s very own version of himself, Te Radar Esq., who pointed out that although they both looked very similar, you could easily tell them apart as John was the one with the accent. Unless of course you were from Australia, in which case Te Radar was the one with the accent. Simple really.
Yet simple John’s new book Depends What You Mean by Extremist: Going Rogue With Australian Deplorables is not. In fact it might be claimed that one reason for writing the book was because most other media didn’t like the tangled web of stories John had discovered in his very own Aussie backyard. What he’d found happening in the world of political radicals was not easily reduced by the popular media spotlight to black vs white, or local vs outsiders.
There are many reasons people are in involved in anti-Islam rallies, and it’s not always politics.
In the world of Australian extremist groups things have become very complicated, says John. “Out in the street things are so messed up, it’s hard to pick things apart.”
John has found a very diverse range of cultures and people marching for the reclaim Australia and anti-Islam causes, some of them strange and unexpected bedfellows. An anti-immigrant campaigner with Aboriginal and Italian lineage hanging with white nationalists, a Sri Lankan pastor opposing multiculturalism, and leaders of anti-immigrant rallies opening their speeches by acknowledging the land they were standing on as belonging to the Aboriginal community.
Some have claimed the lack of media interest in John’s stories proves the “bubble” caused by social media and the internet is real, the so-called echo chamber where we only pay attention to things and ideas that meet our world-view and beliefs.
Yet people have always filtered news and read newspapers and magazines selectively. We read what attracts our interest and reading things that don’t fit our understanding of the world can be challenging, so often we don’t. The internet hasn’t created that effect, it’s just made it quicker and easier to achieve – such is the way of computers.
What John has discovered is that thanks to social media on the internet, the “unsayable often becomes normal when repeated over and over”:
The world changed as I was writing the book. The anti-Islam street movement tried to portray the rallies as ‘normal’ not extreme, but I found they were led by some very extreme people. It was like the fringe and alternative had become mainstream or at least mingled up with the mainstream.
Te Radar asked John if he’d become less optimistic about the world as a result of writing the book? John’s response was that he had definitely got a bit paranoid hanging around with extreme people. Ironically he thought that getting out on the streets got him out of the echo chamber that the average person might inhabit.
But the idea that he may be humanising these people by writing about them in a book was not something he was trying to achieve. He is more driven by the comedian and artist in him, not so much the need to be a writer:
I can’t moralise about anything ‘cos I’ve always done something in the past I shouldn’t. But I don’t think people read my book and think the things these groups are saying and doing are ok.
A few questions from the audience stirred things up, with a bit of heckling that just came across as try-hard or even embarrassing. Mostly it was all very civilised and well-behaved. I don’t go to a lot of these events, so maybe that’s normal in Christchurch.
I’ve enjoyed reading the book and it’s definitely an eye opener. And thanks to John seeing the irony in much of what he saw happening, very funny too, although perhaps more in a gallows humour way.
All of which made me think that maybe John Safran is using humour to wake us up to the way people under our very noses think about the world. Does this make him the comedic hand sanitizer of the Aussie extremist world?
As the movie proves, it isn’t just books that inhabit Sheila’s world. It’s also wonder and passion for the natural world — plants, animals and rocks. This translates into writing and beautiful illustrations. The documentary shows so much — her love for the sea and sailing, honeymoon spent in the hut under Mt. Aoraki, the fun of learning Icelandic and swimming with seals, her close and dear friendship with Janet Frame in their formative days as young writers. Got the feeling? Who needs a TV and a car if you can enjoy a night camping under the stars and a bicycle tour from Picton to Bluff?
Sheila Natusch greatly contributed to the understanding of nature by writing and illustrating Animals of New Zealand, the first comprehensive reference guide on this subject. She carried on writing all her life, on nature and history. Sheila has her artistic talent (inherited from her mother and grandmother) to accompany her words with convincing yet soft illustrations. In 2007 she was awarded New Zealand Order of Merit for her services to writing and illustration.
Watching the movie, it is not hard to see what compelled producer Christine Dann and filmmaker Hugh MacDonald (Sheila’s cousin) to capture Sheila on film. With premieres rolling out in cinemas from Auckland all the way to Gore, they are both fully occupied these days, but Christine still found some time to reveal the backstory of this inspiring project.
When did the idea to make a documentary about Sheila become obvious and where did it come from?
Director Hugh Macdonald has known Sheila all his life and always wanted to make a film about her, as she is such a fascinating character, as well as a woman of great achievements. I knew about her achievements before Hugh introduced me to Sheila, and as soon as I met her knew she’d be a great film subject.
Sheila is such a cinematic character, her enthusiasm and love for life in all its forms is beaming from the screen. Her story and persona are perfect for a form of a film storytelling. What was your intention in making this documentary, besides portraying Sheila and telling her story (because it also is a film about nature, New Zealand, wonder, curiosity and passion)?
Hugh and I share Sheila’s love of nature and the wild places of New Zealand. We agree with her that they are a source of much joy and inspiration. In making a film about her we wanted to share some of that joy and inspiration via someone who embodies it.
You produced the documentary but also contributed as a researcher and writer. How long did your research take, what were the main resources you used?
The research for the film took about nine months, but that was spread over 18 months in time as it involved going to Dunedin twice, down the West Coast, and to Southland and Stewart Island. My written sources included Sheila’s letters to her parents in the 1940s, and to Professor Ramsey in the 1950s and 60s, plus all her published work, both books and articles. Of course I talked to Sheila a lot to check things out as needed.
Is there a funny story from behind the scenes, something that happened during filming that you could share with our readers?
There always seemed to be lots of surprises happening, mostly good ones – such as the completely unexpected delivery of a box of chilled mutton birds to Sheila’s place when we just happened to be there with the camera for other reasons – and that enabled us to shoot the scene in the Bach Cafe where Sheila takes them to her friend Maraea to cook up for them all.
The visit of the Ecuadorian navy sailing ship the Guayas to Wellington in January 2016 was another such good surprise, even though we had to scramble hard to get the filming organised
Sheila made nature and science accessible to New Zealanders in a user-friendly and encouraging way, especially with the Animals of New Zealand. However, she was to an extent criticized by scientists due to a lack of scientific language in her works. Why do you think that happened?
She was writing at a time when the scientific community (especially the Royal Society) was trying to raise the status of science as a profession of experts who communicated largely with each other, rather than the general public. Sheila has always believed that knowledge about nature needs to be shared as widely as possible, and that means writing in non-technical, jargon-free and also lyrical ways.
Sheila is extraordinarily talented in so many different ways: she is an amazing self-taught illustrator as well as a writer, she has a great passion, understanding and an eye for the natural world, she is a researcher and an “outdoor pioneer-ess”. And she managed – it seems like all throughout her life – to nurture and develop all those talents, which must have been quite hard in those days.
Sheila is not only very intelligent, she’s also very determined, so although she was certainly knocked back and excluded from some things she wanted to do, or ways she wanted to do them, she just kept on pushing until she found a way around the obstacle.
Which is your favourite motto or a thought from Sheila’s wise yet witty repertoire of thoughts?
Too hard to choose! But in the film you’ll hear her say several times that you have to ‘keep on keeping on’ when challenges arise, and that’s a good advice.
I was very delighted, when I realised that Sheila quotes Walt Whitman in her introduction to Animals of New Zealand (his poem The beasts, which talks about the animals). I wonder if she ever in your conversations revealed her fondness for any other authors and who were they?
She has a big library of books on ships and sailing, and likes novels and poems about the sea and life on it. She can remember a lot of songs and poems from her early years with a sea theme, such as John Masefield’s Cargoes. She’s pretty good on Shakespeare as well.
Is there anything else you would like to share with our readers about Sheila and your movie?
It has been very rewarding for Hugh and me to share our enjoyment of Sheila, and her enjoyment of life, through this film, and find that is (as we hoped) resonating deeply with other people.
Sheila’s story told through the camera lens is full of curiosity and wonder for nature and great outdoors that surround us. It proves that those who observe and see, will be rewarded greatly – with life-long beauty and content. Make sure you see it!
If you like movies based on books — or want to read the book before you see the movie — there are plenty of films for you at the 2017 Christchurch leg of the NZ International Film Festival. Thanks to the Film Festival organisers for providing us with some of the following information:
A Monster Calls
A story-telling monster (voiced by Liam Neeson) helps a sleeping boy with his waking-life nightmares in this adaptation of Patrick Ness’ novel, spectacularly realised with lavish CGI and painterly animations.
Based on the novel A Monster Calls by Patrick Ness.
A Woman’s Life (Une Vie)
A literary adaptation of a story by Guy de Maupassant styled with striking immediacy, Stéphane Brizé relates the tragedy of an adventurous young 19th-century noblewoman harshly judged for an unfortunate marriage.
Call Me By Your Name
This gorgeous and moving adaptation of André Aciman’s acclaimed novel, directed by Luca Guadagnino (I Am Love), stars Armie Hammer and Timothée Chalamet as lovers in sun-kissed northern Italy.
Based on the book Call Me By Your Name by André Aciman
A documentary capturing the showdown in the 1950s between the activist Jane Jacobs and the trumpian urban planner Robert Moses: as she fights preserve urban communities in the face of destructive development projects.
Based on The Death and Life of Great American Cities by Jane Jacobs
Ethel and Ernest
This animated adaptation of Raymond Briggs’ graphic memoir of his parents’ lives is both humble and profound, with gorgeous renderings of Briggs’ justly famous lines. Featuring the voices of Jim Broadbent and Brenda Blethyn.
Based on the graphic novel memoir Ethel and Ernest by Raymond Briggs
Heal the Living
A catastrophic accident leaves one family in ruins and bestows another with precious hope in a hospital drama immeasurably enhanced by the delicate sensitivity of Katell Quillévéré’s script and the poetic force of her direction.
Based on Mend the living by Maylis de Kerangal
I Am Not Your Negro
A documentary based on James Baldwin’s unfinished manuscript, Remember This House, exploring the history of racism in the United States through Baldwin’s reminiscences of civil rights leaders.
Florence Pugh is mesmerising as she transmutes from nervous bride to femme fatale in this bracing British period drama based on the 19th-century Russian classic by Nikolai Leskov – Lady Macbeth of the Mtsensk District.
The Lost City of Z
Charlie Hunnam makes a commanding flawed hero as British Amazon explorer Percy Fawcett in a sweeping giant screen epic, filmed with rare intelligence by writer/director James Gray. With Sienna Miller and Robert Pattinson.
Based on the novel by David Grann, The Lost City of Z
No Ordinary Sheila
A documentary exploring the life of New Zealand writer Sheila Natusch who has written over 30 books including Animals of New Zealand, The Cruise of Acheron, Hell and High Water and Wild Fare for Wilderness Forager. No Ordinary Sheila is a documentary about her life, times – and places.
Swallows and Amazons
Four children (the Swallows) on holiday in the Lake District (UK) sail on their own to an island and start a war with rival children (the Amazons).
Based on the book Swallows and Amazons by Arthur Ransome
To Stay Alive: A Method
This Dutch documentary film is based on Michel Houellebecq’s 1991 essay To Stay Alive, about struggling artists, the role of the poet, and mental health problems. It features marginal artists as well as Houellebecq and the rock singer Iggy Pop.
Read books in our collection by Michel Houellebecq
A young woman arrives unexpectedly at an older man’s workplace looking for answers as to their shared past in an abusive sexual relationship.
Based on the play Blackbird by David Harrower
Ciao Italia – showcasing Italian fun, food and fanfare Wednesday 14 June 2017, 6pm to 9.30pm at The Colombo 363 Colombo Street, Sydenham – Christchurch
Fancy a trip to Italy but the budget won’t stretch quite that far? Well, here’s your opportunity to experience the next best thing without having to get on a plane! Throughout June, Italy will in fact be coming to The Colombo. This will culminate in Christchurch’s first ever Ciao Italia festival on Wednesday 14 June.
As we all know, Christchurch has seen an influx of new residents in the last few years. Italians have been among the many attracted to our shores and have brought with them their inimitable flair. Ciao Italia will showcase some of this flair in the form of fashion, home and art design, and beautiful cars.
And of course, as befits any self-respecting Italian festival, there will be food and wine! You will be able to feast your palate on both imported and locally-made delicacies such as wild-pig prosciutto, cold meats, all kinds of delicious cheeses, gnocchi, pasta, espresso coffee, and even edible gold leaf.
The entertainment line-up includes:
Luca Manghi on the flute and David Kelly on the piano playing Donizetti (Sonata per flauto e pianoforte), Briccialdi (Concerto per flauto e pianoforte) and Mascagni (Intermezzo from Cavalleria Rusticana), and the Canterbury Cellists playing Antonio Vivaldi’s Four Seasons;
Claudia Lues and the WEA Italian Singing Group singing Italian canzoni; and
the Dante dancers performing a traditional Tarantella.
You will be able to chat with representatives of the Italian Programme of Research in Antarctica and of the Italian Chamber of Commerce in New Zealand, which is organising the event.
Make sure to also say Ciao to the students and members of the Dante Alighieri Society. This cultural society for lovers of all things Italian hosts monthly talks, film screenings, the Cartolina radio programme on Plains FM, and book clubs (one in English and one in Italian), as well as managing a very successful Italian language school.
Fear not, though, because you won’t have to choose one over the other: very conveniently the Cinema Italiano Festival is also being held at The Colombo, in the Academy Gold Cinema.
The Festival opens at 7.30pm with complimentary aperitifs and appetisers before screening Roman Holiday, the 1953 classic romantic comedy which made Audrey Hepburn a star. Plenty of time therefore to visit Ciao Italia before the film begins.
So circle Wednesday 14 June in your diary and spread the word. Let’s make this first Ciao Italia festival a great success so that it may become a regular occurrence in the events calendar of our ever more cosmopolitan city. And, why not, let’s show Wellington and Auckland that Mainlanders do it better!
So I missed WORD Christchurch Autumn Season but just up the drag from Cape Town, in the beautiful Western Cape lies Franschoek, where every year (in May) the Franschoek Literary Festival (FLF) takes place. I was curious to see how Africa festivates*, so my daughter and I offloaded the kids and headed into the mountains.
What is it about festivals that I love? Is it the books, the authors, the coffee, the vibe? In fact a better question might be: What’s not to love? The event that we booked for at FLF was entitled On Being A Book Club Writer, with three world renowned authors: Joanne Harris (of Chocolat fame), Lesley Pearse (books like Belle and Tara) and Sophie Hannah (murder mystery writer of books like Closed Casket). The event was chaired by an ebullient Mohale Mashigo who thoroughly enjoyed herself, and worked the festival miracle of getting participants to interact with one another.
Here’s a selection of some gems that I gleaned:
I’ve never belonged to a book group, but I am glad they exist. Basically I am a storyteller – I think everything I write is rubbish until I’m told otherwise. My most bizarre reader interaction came from a young Korean man who proposed marriage. To this day I think he mistakenly thought the beauty selected for the cover of the book was me! All my writing is kept in my head, I make no notes, I seem to have no control over my characters. If I get Alzheimers, that will be it. You’ll be on your own!
I’ve attended many book clubs and spoken at quite a few of them. I love it when people come to blows over my writing. That coupled with wine and pizza, what’s not to love? It certainly feels to me that Book Club members care about books and reading. But I don’t write for book club members, I write for me. I too have very little control over my characters, I am more attracted to the Voodoo of writing, the making of little marks on the page. I once got a Valentine card from a Japanese man made from his hair – that’s the weirdest correspondence I have had. I firmly believe that you can’t express anything in writing unless you have experienced that feeling (OK so you can’t murder everyone, but you must have felt murderous at some point in order to write about it).
I did belong to a dysfunctional Book Club once, it had nine members, all women. Two of them spoke constantly, the other seven never spoke at all. I walked out one day saying I was off to fetch Chinese takeaway and I never returned. I don’t have a single weirdest correspondent. Bizarre correspondence is so regular, weirdness is so normal. I keep very detailed notes. I adore buying beautiful little notebooks. You might as well work in a canteen if you don’t like writing in a notebook! I work on a battered laptop, for at least a year the letter “p” didn’t work and I had to cut and paste it. I was writing a Poirot novel at the time!
This was my first festival coverage out of New Zealand. I loved it just as much as all the home fests I have covered. When I am old and very, very rich (one of those things has yet to happen!), I intend travelling the world from festival to festival … by train.
Sawubona from Africa!
* You are allowed to create new words when you blog about festivals!
Matariki – the Māori New Year – will take place on Pipiri 25 June 2017. During Matariki we celebrate our unique place in the world. We give respect to the whenua on which we live, and admiration to our mother earth, Papatūānuku.
Matariki 2017 is a fresh look through old eyes at Māori oral traditions, practices and customs associated with the Māori New Year. Over the next three years the Christchurch City Libraries will be re-introducing ‘Te Iwa o Matariki – the Nine stars of Matariki’ beginning with Te Kātao o Matariki – the water stars of Matariki, Waipuna-ā-rangi, Waitī, Waitā.
Matariki Toi – Community Art Project in the Library
Each year a community art project runs in all our libraries for all to explore their creative side. This year the project is weave a star. Materials are supplied, all you have to do is bring your creativity.
Matariki Wā Kōrero – Matariki Storytimes
In addition to our normal Storytimes we have Matariki Storytimes. Come celebrate and welcome the Māori New Year with stories, songs, rhymes and craft activities. All welcome, free of charge.
Our Learning Centres are offering special Matariki Connect sessions for schools, introducing students to the key concepts of Te Iwa o Matariki with a focus on the three water stars, and involving a range of fun activities. This programme is now fully booked.
Other Matariki events in Christchurch
Matariki in the Zone – Sunday, 25 June
Organised by the Avon-Ōtākaro Network – a celebration of Matariki at the Mahinga Kai Exemplar site including the opening of the Poppies commemoration garden. Activities include –
build your own hut
displays and talks
Anzac Drive Reserve
Corserland St (access of New Brighton Road)
“This is what the river told me” art and writing competition
Year 1-13 pupils can submit a written work (up to 2000 words) or artwork (maximum size A3) along the theme of “This is what the river told me”. Entries close 16 June and should be emailed (for artworks a photograph of the art and dimensions/media) to email@example.com
Please include your first and last name, age, school and year.
The author of numerous books of a scientific bent is careful with his words and keen not to ruffle any feathers. It’s speculation on my part, but I wonder if his experience is that, on the topic of Time Travel, passions might sometimes become inflamed?
A curious full house gather at the Piano for this WORD Christchurch session featuring Gleick and fellow New Yorker Daniel Bernardi (erskine fellow, film and media studies scholar, science fiction expert and documentary filmmaker). They discuss the ins and outs, twists, turns and paradoxes of Time Travel. Before long there is, as is the new tradition when two educated Americans speak in the presence of non-Americans… a jocular swipe at the current US president.
Fortunately this science-loving audience is not in the least offended by the joke.
Gleick’s book Time Travel: A history is an exploration of the literature, science and zeitgeist of Time Travel. It’s far-ranging, smart and brain-expanding.
But what made him want to write on that topic in the first place?
I discovered this weird fact – that Time Travel is a new idea. That didn’t make any sense to me.
Why did it take until H. G. Wells’s novel The Time Machine for people to explore that as an idea? It seems a few things came together: photography and cinema were showing people a slice of the past in the present; instantaneous communication was suddenly possible making the lack of temporal alignment in different places more obvious; and time standards became a thing for the first time. As Gleick puts it, “the way people thought about Time was up for grabs”.
Then Einstein came along and things got really interesting.
Though Einstein’s theories allowed for the possibility of a sort of Time Travel, Gleick is quick to point out that it’s not the punching-a-date-on-a-machine or opening-a-portal-to-another-era kind. It’s really just the acknowledgement that there is no universal time. Everyone’s experience of time is personal and given the right set of circumstances (speedlight travel, for instance) your version of time can slow down relative to everyone else’s. This means that the Time Travel stories of the “Rip Van Winkle” (or Futurama) kind become technically possible. But Gleick doesn’t believe the imaginary, sci-fi type Time Travel that continues to excite our imaginations exists, or that it will. Though he seems apologetic about it, as if he’s mindful of deflating the aspirations of wannabe Time Travellers in the audience.
On the enduring appeal of Time Travel in literature and popular culture, Gleick feels that it lets people explore many things about families and relationships – it gives you the ability for “a do-over”. Like the movie Groundhog Day. He points out that a lot of Time Travel stories are about fathers and mothers, families and parents.
Take Back to the Future – isn’t this really just a movie about looking at your parents and realising they were once young like me, and wondering “what was that like?”
This is far from the only reference to Time Travel in popular culture, and many in the audience probably come away from this talk with a reading/watching list that includes:
A Handmaid’s Tale by Margaret Atwood – indicative of pessimism about the future of “our benighted country”.
Doomsday book – H. G. Wells never wrote about going into the past but Connie Willis does.
Looper – Movie that nicely skirts over the paradoxical plot difficulties by having Bruce Willis tell his younger self “If we’re going to talk about Time Travel sh*t we’re gonna be sitting here making diagrams with straws all day”.
Interstellar – Bernardi’s pick as the film that best visualises the science of Time Travel.
Arrival – A film that Gleick feels works very well in performing a “subtle trick” on the audience. All Time Travel stories have to do this but in this film you barely notice it happening.
Twelve Monkeys – Another Bruce Willis film that deals with a Time Travel loop and deals with a death.
“Blink” – Gleick’s favourite episode of Doctor Who, in particular a scene set in a spooky old house, “old houses are great time travel machines”. It’s also the first episode in which the phrase “timey-wimey” is used.
Gleick is at great pains to try and describe these stories in a way that does not reveal any important plot twists. In the case of Planet of the Apes this is… is adorable the right word? The movie came out in 1968. But no spoilers!
Another appealing aspect to Time Travel is that it’s a way of escaping death. After all, (spoiler alert!) Time will kill us all in the end.
When we hear Time’s winged chariot it’s not delivering good news.
But what is Time (other than universally deadly)? Scientists may tell you that Time is the 4th dimension and that it’s similar to the other physical dimensions in that we inhabit one spot and the rest stretches out away from us, both backward and forward. This rather flies in the face of what Gleick says we know “in our guts” about Time i.e. that the past has happened and the future hasn’t.
It seems an oddly obvious statement to have to make, and Gleick says it’s not a scientific one but a religious one.
Some of the audience questions delve into this idea of religious thought versus Time Travel and at this point I get lost, draw a spiral in my notebook and label it “loop of confusion”. Questions like “is God in Time with us?” and “doesn’t an interventionist God imply that the future isn’t set?” do somewhat “screw my noodle”. Given the heady topic, it seems inevitable that I lose the thread of the discussion at some point in proceedings. Perhaps it always has, and always did happen?
Other questions posed include one from my colleague Fee (who wrote her own post about James Gleick) and wonders if the future is set, then what about premonition? Which Gleick says (gently) that he does not believe in, though it’s a powerful idea.
Another question asks how it is that Gleick can explain such scientifically complex stuff in ways that non-scientist folk can understand. He says simply that he’s a journalist so he asks lots of questions and that a big part of it is just getting scientists to talk you as they sometimes “live in their own abstruse world”.
I am lucky enough to get the last mic grab of the night and ask my own question (which if I could have a Time Travel do-over for, I would make slightly less waffley). It’s with reference to the way we think about Time in terms of spatial metaphor. In the Western world we conceive of the past as being behind us and the future in front of us but in Māori culture this is flipped around – the past is known and therefore visible before you and it’s the future that approaches you from behind. In the course of researching had he found any other cultures that view Time this way? Gleick replies that the language we use, the words that we use to describe Time really shape how we think about it and that in some Asian languages Time travels on an “up and down” axis or “right to left”.
And if I thought my noodle was screwed before it definitely is now. As I exit the theatre along with the rest of the audience I concentrate on travelling forward through space and backwards/forwards/vertically through time.
Time: The real history of science fiction – BBC programme that discusses several of the films discussed in this session as well as the Grandfather paradox and other Time Travel tropes. (log in with your library card number and PIN to watch online)
Last year, I went to two events run by WORD Christchurch, and I fell in love with Ivan E Coyote.
I first saw them (Ivan goes by the gender-neutral pronoun) at Speaking Proud which I’d attended to see old favourite David Levithan. Ivan read their reply to a letter someone had written them, ‘Shouldn’t I feel pretty‘. It was a powerful, powerful letter and we were both tearing up by the end of it. All Ivan’s writing is performed impeccably – for them, writing goes hand in hand with performance – and is simultaneously moving and stunning. The letter was about more than just gender identity, it was about surviving in the world.
At the end of the session, I bought their book Missed Her – a collection of moments, autobiographical stories, things you might read on the blog of a friend. There’s a wicked punch of honesty in each of the stories. When I went up to get the book signed, Ivan thanked me for being part of the audience “I saw you listening intently.”
Then the Christchurch Art Gallery hosted Hear My Voice, a non-stop hour and a half of spoken word poetry, and Ivan was there, a storyteller among the poets. They read ‘literary doritos’ – not quite poems or prose, but little anecdotes, some of them deeply upsetting, some so full of hope. There were stories of cruel, cruel words spoken by adults and poignant, brilliant words from kids who haven’t learned to hate yet.
“I don’t think he is a lady” said a young girl named Rachel, “I think he is a man… but with really pretty eyes.”
A year on and I can still hear Ivan’s delivery when I read those lines. Their storytelling power is epic, the kind of epic that, if you possibly have a chance, you must hear in person to really believe it.
And for those who can’t make it, I really encourage you to pick up one of their books and read a story. It won’t take much time, some of them are only half a page long, but it will be worth it. Or look them up on YouTube (Ivan’s done a great TED talk about the use of public bathrooms, and you can also find several performances of their work).
But try and get there if you can; it’ll be a night to remember.