alexander frater 1937 – 2020

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https://www.3ammagazine.com/3am/alexanderfrater/ You cannot live a fuller life and come out kinder and wiser than my friend, Alexander Frater, who died just upon the new year, after a time of illness. With his passing we witness the departure of a true luminary in a grand generation of travel writers, based in the UK, who reinvented, or invented, what we now take to be travel writing. From Norman Lewis, Freya Stark, Bruce Chatwin and Eric Newby, to Jan Morris, Colin Thubron and Patrick Leigh Fermor – Alexander Frater was a light amongst them, and a key figure in this remarkable era, commissioning, inspiring and instigating many of his peers while editor at the Observer magazine in the 70s and 80s.

He was a brilliant, distinct stylist – a writers’ writer, crafting absorbing, truthful, droll and enthusiastic books on travelling the earth through the later half of the 20th century. Always full of insight and wit, his books are very often subtle in their complexity, drawing portraits beyond the characters within them, beyond the places, anecdotes and experiences, beyond details of Alex’s own life, to lure the reader into meditations on culture, history, birth, death, illness and writing itself.

He was perhaps best known for his book Chasing the Monsoon and I met him in India, in 2016, at a literary festival. I watched first-hand how revered he was for this work, and how surprised he was, and slightly discomforted, by the attention it brought him. In India his book still sells hundreds of copies a month, years after it was published. I watched Alex shine light on others as he was praised. His charisma, his distinct charm and verve, were evident from seeing him speak, but getting to know him I found he possessed the kind of measured, honest humility that was palpable, balanced with his marked intellect, which he wore lightly. He was a man who had travelled to, and written about, almost every single country on this planet, through warzones and dictatorships, tracing history across generations and wore this experience in his personality. It occurs to me that if travel grows the soul, well then that explains Alex.

It was only after we began to meet regularly, after India, in Alex’s home of Richmond, I discovered just how considerably he had travelled and written, meeting him after his years as chief travel writer at the Observer and a three time winner of the Press Awards travel writer of the year. He had done too much to know anyway. Even as poured over his books, reading them back to back and being stunned by their adventure and ambition, he was casually mention a trip to North Korea, Vietnam during the war, meeting Idi Amin in an airport. His behaviour was so unaffectedly generous, always interested in you and deflecting questions on his own work and life, that he altered those in his company, lifted them to his own indelible decency. His friendship meant the world to me, not just because his respect, forty years my senior, was hugely affecting, but because what Alex taught me is that you can learn to be calmer, more considerate, more decent, by proxy. We are the company we keep. We often are our friends, when our friendship with them is aspirational. Alex allowed me no choice in his company to be embarrassed into sincerity, attentiveness and thoughtfulness, lest i be embarrassed thinking what he thought otherwise. All this with a sense of humour that had you in stitches.

My favourite of his books is Tales from the Torrid Zone. In it Alex recounts much of his own remarkable life, being born in Vanuatu where his dad ran a hospital and his mother built its first school. Alex then travels the entire tropical regions of the planet, through civil wars in Africa to a leper colony. At times the book is mesmerising, an enormous achievement, where tropical heat, the only part of the earth to pass direct beneath the sun, alters consciousness, language and experience itself. It will forever remain one of my favourite books.

Once, after many months of meeting, he told me he had to cancel his planned trip that year to Vanuatu because he had fallen ill. You could not tell from his company. I promised him if he were to aim to travel to the island ten years from our first meeting – where he was born and his mother and father worked, and where he returned a church bell, made in Whitechapel, as a gift to the church, and where his surname was still known so keenly – I would travel with him, and write a book on his life. I said I would accompany him there and back. It’d be one way, he said. Though he told me the deal was a touching thing to offer, I now regret making the term a decade rather than a year.

He was one of the most extraordinary people I have ever met and as powerful an influence on those around him as I have witnessed. He was an ideal I had before I met him that I didn’t know I held until I saw it in him. I can’t help but feel in his passing, something more than his life is lost. That I am witnessing a generation of remarkable people pass by, of which we will not see the like of again. But this isn’t true, solipsism and idiocy on my part. It’s just because Alex was so immense, it feels this way.

Do read some of Alex’s books here and here

A note on : Tickets for Whitechapel Gallery premiere of Worm Wood film - Jan 30th

Please buy a ticket https://www.whitechapelgallery.org/events/tereza-stehlikova-and-steven-fowler-worm-wood/ Thu 30 Jan, 7pm

Film

A cinematic witnessing (63 mins, 2020) of London living through aberrant, awkward, ugly change, but mostly dying in the process. Filmed over the last half decade, exploring the overlooked aesthetic power of Willesden Junction, Wormwood scrubs, Kensal Green Cemetery and The Grand Union Canal, the film strives to see a closer place, alien, idiosyncratic and yet familiar. It enters into dialogue with its genius loci, capturing and preserving on camera and in word, before it is transformed beyond recognition by the notorious incoming Old Oak redevelopment. The film is part of an ongoing creative collaboration between poet Steven J Fowler and filmmaker Tereza Stehlikova, a project which also includes poetry publications, an exhibition and various public events.

A note on : English PEN Fest - January 14th in Kingston

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THE ENGLISH PEN WRITER-AT-RISK CELEBRATION EVENT
TUESDAY 14TH JANUARY 2020 - 7PM TO 9PM - FREE ENTRY
THE BISHOP KINGSTON 2 BISHOP'S HALL, LONDON, KT1 1PY

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Contemporary English writers present new works, each in tribute to a writer who is part of the English PEN Writer's at Risk programme, writers living under oppression around the world. http://www.englishpen.org/ (drawings by Gianluca Costantini)

Sam Jordison for Narges Mohammadi
Paul Ewen for Selahattin Demirtas
Sara Upstone for Dawit Isaak
SJ Fowler for Shakthika Sathkumara
Adam Baron for Ahmed Mansoor
James Miller for Nedim Turfent
Helen Palmer for Galal El-Behairy

Writers poets, novelists, playwrights and artists come together to continue English PEN's relationship with contemporary literature. Each of the British writers will present brand new poetry, text, reportage, performance on the day. The new works celebrate and evidence the struggle of fellow writers around the world, in solidarity. https://www.writerscentrekingston.com/pen20/

Please join English PEN You can join English PEN here http://www.englishpen.org/membership/join/ and if you are a writer, poet, artist, or someone who is passionate about defending our fundamental freedom of expression in the UK and around the world, please take the time to do so and become a part of the future of this extraordinary organisation.

Published : A Funeral for Work - new short fiction on Openpen

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Well happy to have new short fiction published by the brilliant openpen, edited by Sean Preston. I don’t share a huge amount of short fiction but after meeting Sean at a bookfair I had openpen in mind for writing something and this came out, i think leaning on some nouveau roman writers, but the playful ones like robert pinget.

check it please
https://www.openpen.co.uk/fiction-the-funeral-of-work-by-sj-fowler/

…… But now, the foreman stood to speech, silent, it need not to be murmured, let alone sung. It looms larger than a leviathan and he cannot wipe it out with tributes to Martine. Apel bites his nails in the shade as Alain represses applause.

‘So,’ the foreman begins, ‘here is…so very sad…the final…place for Martine.’ He gestures upward, to the factory rafters. ‘The factory, where we have given over our lives, where I raised my family,’ the painful hush like a winded bird, ‘has taken what was offered. And he’s dead. Poor Martine.’ Nothing more and Apel hoped that would indeed be all. The silence is perforated by the screaming of a grey gull diving into the river for fish, contaminated though they may be to humans, the gulls gut is long since lined with metals. ‘And I also want to say we must bring to a special individual in our midst. For exceptional service. Apel. Apel who showed who showed such…such care, such…’

‘Please,’ Apel interrupts. ‘Please stop. I don’t feel comfortable. It makes me uncomfortable.’

‘No, no. I must go on.’

‘I said no.’ Apel’s fist crashes into the table.

Hurriedly, the foreman goes on. ‘Apel showed a true sense of loyalty to the factory, to his fellow…’

Apel stands, says ‘Sponge’ and walks free of the foreman and the factory…………..

Published : poems in Conversations on Urban Forestry by Jo Gibbons

I am extremely fortunate and happy to have another chapter in my longstanding residency with J&L Gibbons out into the world, three new poems about TREES in a new publication - Conversations on Urban Forestry by Johanna Gibbons. https://jlg-london.com/

My poems, like all those I’ve written for this residency over five years, are language heavy, abstract, gestural, as they aim to elucidate language itself as a barrier or tool between the ideas of hands on work like landscape architecture, like the planting of trees, like the knowledge of trees and their affect on urban environments. The poems aim to be points of reflection and mediation to bring about, to those attentive to them, renewed attention to the ideas that this volume expounds and promotes wonderfully. This book is like all of Jo Gibbons work - lucid, erudite, convincing and necessary.

A note on : The Poetry Archive

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For some reason recently I’ve had a batch of emails about my page / CD on The Poetry Archive site. I did a recording of loads of my poems for them back in ages ago, I can’t remember, but was surprised and happy then to be asked to be one of the 500 or so poets on the site. I think it’s because this poem A RECIPE FOR PEACH MELBA https://poetryarchive.org/poem/recipe-peach-melba/ seems to have been text published on their site, and when I read it there, forgetting Id wrote it, it made me laugh and made me realise why my work doesn’t make many inroads into the middle stream. Anyway, have a listen to me reading a bunch of my poems here on my page https://poetryarchive.org/poet/s-j-fowler/

and the descriptor keywords on the peach melba poem are great

Published : GANGAN in print

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I was freaked out at how nice the print edition of the latest GANGAN magazine from austria is and was. A lot of the work is visual or conceptual or in english, as one would expected with the brilliant max hofler editing it, for edition 50 - the future of literature (Yea right https://verlag.gangan.at/lit-mag/die-zukunft-der-literatur/

Die Zukunft [der Literatur] Max Höfler (Ed.): The Future [Of Literature] bilingual, Paperback, 176 pp. ISBN 978-3-900530-50-1, € 9,90

GANGAN Lit-Mag #50 Taschenbuch #50 EN

Konstantin Ames | Thomas Antonic | .aufzeichnensysteme | Iris Colomb | Ann Cotten | Crauss. | Brigitta Falkner | Frédéric Forte | Steven J. Fowler | Natascha Gangl | Mara Genschel | D. Holland-Moritz | Zuzana Husárová | Maja Jantar | Benediktas Januševičius | Mark Kanak | Ilse Kilic | Barbi Marković | Robert Herbert McClean | Alexander Micheuz | Nick Montfort | Fiston Mwanza Mujila | Simona Nastac & Olga Stehlíková | Jörg Piringer | Tomáš Přidal | Robert Prosser | Stefanie Sargnagel | Bernhard Saupe | Clemens Schittko | Ulrich Schlotmann | Stefan Schmitzer | Martin Glaz Serup | Muanis Sinanović | Dieter Sperl | Ulf Stolterfoht | Kinga Tóth | Mathias Traxler

A note on : launching Beastings in Amsterdam

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i had a chance to see the Beastings album made by diamanda dramm of my poems, written for the purpose, launched in splendor in amsterdam this past dec 14th. i didn’t perform, but sat in the circle of musicians, led by diamanda, who played out the first half of the night, before there was a listening to the album, in darkness, for the second half.

as in 2018, the experience in holland, with my poems taken so seriously through diamanda’s playing and making of them was unusual for me. i had a chance to be on VPRO radio talking about them, not quite knowing what to say they were and realising how rare it is to be asked questions about my poems by people who have heard them. i had the chance to meet lots of new musicians too, alongside poets like chris cusack and nadia de vries and it was right what diamanda has made in this album was celebrated

https://prettypurgatory.bandcamp.com/album/beastings

A note on: Worm Wood trailer - a film with Tereza Stehlikova

I’m very excited that my film made with Tereza Stehlikova since 2015 will be premiered at Whitechapel Gallery on January 30th. A new blog too from Tereza on our last filming session, with pictures from this below https://cinestheticfeasts.com/2019/12/10/pirates-wormwood/

A note on : Literary Health at Writers Centre Kingston

Another really communal and generous WCK event, the final of the first term of our third year https://www.writerscentrekingston.com/literary

It featured 9 speakers, from backgrounds as diverse as anthropology and neuroscience, alongside poets and writers, all reflecting, obliquely on the notion of health and literature.

I read some poems, for the first time, from my new pamphlet Beastings, which is not meant to be shared alone but with a CD of the songs of the poems in the pamphlet https://prettypurgatory.bandcamp.com/album/beastings I read just three poems, tearing and licking pages but just reading calm calm

A note on : Timelapse at Kielder Forest

TIME-LAPSE / Kielder Art & Architecture commission / 2020

I have been really happy to work with my friend and collaborator David Rickard, an extraordinary artist, over the last year or so, developing a new poem / text about time, to be installed in his Timelapse artwork, soon to be installed in Kielder Forest. More on his piece “Combining dendrochronology and Time Dilation Theory 'Time-lapse' will form a spatial and temporal way-finder within the forest, joining the collection of sculptures and buildings at Kielder by James Turrell, Tania Kovats, David Adjaye and many others”

The sculpture contains my text on its floor and ceiling, read above and below the people who walk within it and will be revealed to the public in 2020. http://www.david-rickard.net/ and more on Kielder http://www.visitkielder.com/

A note one : my one-hour solo performance in Vilnius

Why give me an hour? Why give anyone an hour? It’s weird how everytime I say yes to things like this I forget how exhausting they are. How much they wear you down, waiting, and thinking. Especially when I try to keep things, in the last few years, as open ended, spacially responsive and improvised as possible. I ended up creating a kind of narrative story of different things, trying, I suppose, to set up the concept I was trying to get people to get to know me, while then turning on that ‘authenticity’ with constant, menacing and non-menacing swings.

I first talked, then did an impromptu Q&A, then did some puppetry with a mole, then read poems I pretended were new but were Lithuanian poems put through google translate, then read cinema poems, then destroyed a book and gave it out, then showed a poetry film, then went outside and banged on the windows while they watched with my head, then played with a dog, then played some drums that happened to be there, then lay down, then read a collaborative poem with host Ausra Kaziliunaite, then did sound poems with the names of Lithuanian poets. I was knackered. / Some amazing pics below by Paulius Zizliauskas

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A note : The Vilnius Camarade and collaborating with Zygimantas Kudirka

I was asked by the brilliant Ausra Kaziliunaite to curate a European Camarade during the Paviljonas Book Festival in Vilnius this past November 30th 2019.

It was mostly visiting poets and Lithuanian poets, and the latter, those of the contemporary Lithuanian scene, are amazing. It’s a cracking time for interesting poetry in the Baltic in general, but especially in Vilnius. And friends from Russia, Latvia, Romania came too.  

All the videos are here, worth checking out https://www.europeanpoetryfestival.com/vilnius

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I had the chance to collaborate with poet music monster Zygimantas Kurdika. I met him in London performing a few years back and his work is completely unique and brilliant. We improv’d hard and just had 36 questions for each other, trying to expose our psychologies to the people foolish enough to attend.

Published : four unfinished memmoirs brut poems on GANGAN

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GANGAN is a powerhouse journal from Austria that has made it to 50 editions. This special edition, entitled the Future of Literature, has been edited by Max Hofler and features four of my poem brut visual poems, taken from my book ‘Unfinished Memmoirs of a Hypocrite’ published by Hesterglock Press.

https://www.gangan.at/50/sj-fowler/

The issue is extraordinary, Max has compiled work by some of Europe’s most interesting writers including for example check out Simona Nastac and Olga Stehlikova, or Max Höfler | Konstantin Ames | Thomas Antonic | .aufzeichnensysteme | Iris Colomb | Ann Cotten | Crauss. | Brigitta Falkner | Frédéric Forte | Natascha Gangl | Mara Genschel | D. Holland-Moritz | Zuzana Husárová | Maja Jantar | Benediktas Januševičius | Mark Kanak | Ilse Kilic |Barbi Marković | Robert Herbert McClean | Alexander Micheuz | Nick Montfort | Fiston Mwanza Mujila | Simona Nastac & Olga Stehlíková | Jörg Piringer | Tomáš Přidal | Robert Prosser | Stefanie Sargnagel | Bernhard Saupe | Clemens Schittko | Ulrich Schlotmann | Stefan Schmitzer | Martin Glaz Serup | Muanis Sinanović | Dieter Sperl | Ulf Stolterfoht | Kinga Tóth | Mathias Traxler |

A note on : Writers Centre Kingston - Memento Mori

https://www.writerscentrekingston.com/#/mementomori/

The Writers’ Centre Kingston program this year has been really so excellent. I made some curatorial changes, to bring the emphasis from visiting speakers to shorter readings with more locally based writers, and push the themes. It’s worked. Every event has been full and with a palpable sense of innovation, range and community. This was a remarkable one in the Museum of Futures, with 10 of us responding to the concept of the Memento Mori. All the videos are here.

My own piece was a slight repeat, from a performance I did once also for Kingston folk. I listed three times, from the top of my head, where I thought I had nearly died. I said to everyone at the end, they were all lies. In fact, that was the lie, said on the hoof because I wanted to sound cool. They are all true, I think.

Published : ENTHUSIASM -a film (with Noah Hutton)

Enormously generous of the brilliant Hotel Magazine to host, and premiere, my film made with Noah Hutton (Noah made the film, edited it, and I think conceived it. I wrote it, starred in it, and watched im work, to learn) https://partisanhotel.co.uk/Noah-Hutton-SJ-Fowler

A short film—a transatlantic cinematic collaboration produced as part of The Hub residency at Wellcome Trust—Enthusiasm draws on new techniques in analyzing internal monologues and self-consciousness used by contemporary neuroscientists. Utilising the possibilities of cinema to reveal the conflicts of inner and outer narrative, how our internal and external languages collide, the film features improvised and acted scenes alongside voiceover techniques, to juxtapose that which is said and that which is thought. The text featured below is the latter.

Misophonia, literally “hatred of sound,” is a rarely diagnosed disorder, commonly thought to be of neurological origin, in which negative emotions (anger, flight, hatred, disgust) are triggered by specific sounds. The sounds can be loud or soft. There are ex-votos, or acts of faith, all probably in intentional or symbolic order, with each scene occupying its hierarchical place, and what’s more, each subject, each human figure, rendered in a predetermined size and scale in accordance with some stray, subtle meaning. What is the meaning? That to correct ourselves we must be honest with ourselves. We must admit our desires in order to resist them. This might not seem possible at first. To admit to the harm we might want to do. Because everyone else seems so still. Of course, many are, frozen, fixed—never connected enough to gain motion or momentum. But so often, being too tired, or not methodological enough, we visitors hurry on, distracted, through the zoo. A touch of fingertips on an exposed forearm, a hand resting flat upon a back. Eyes, widely staring, invitational, being taken seriously. The underlying attraction to individuals who are brighter than us, more intelligent, but who are at the same time at a genetic disadvantage—utterly malleable through the lottery of genes. Once you’ve got them to touch you, your arm, your neck, your hair, then it tends to be chance has had its moment, and the endless search for control has found its mark. Can this kind of mechanism be as satisfying if it isn’t built on an assumption that everything is founded upon chance operation? Visions of perfect relations, spaces beyond words. A couple, you and the famous actress, neuroscientist, friend, lithograph, hologram. The last minute is her smiling, correcting the vocal fry register, and the whole abstinence movement of America. You can see, if you watch closely, the dying possibility of a deeper link.

The film being published / premiered / hosted by Hotel is the second of their very generous features on my collaborations to help share word of my selected collaborations NEMESES with Haverthorn press https://www.haverthorn.com/books/nemeses-selected-collaborations-of-sj-fowler-volume-2

A note : Beastings, released

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EP Beastings is out on Pretty Purgatory Records. 
order limited edition CD&Chapbook or cassette HERE
also on Spotify and wherever else music streams.

release show December 14 in Splendor with extra super special guests.

Go here please, have a listen https://prettypurgatory.bandcamp.com/album/beastings

You can now order digital, CD, Cassetter or CD & book of mine poems in them, of the album Diamanda Dramm has made of my text/poems.

You can now pre-order digital, CD, Cassetter or CD & book of mine poems in them, of the album Diamanda Dramm has made of my text/poems. CD with accompanying 29-page poetry chapbook featuring lyrics and expanded poems by SJ Fowler, published by Sampson Low LTD (London, England since 1793).
Includes digital pre-order of Beastings. You get 2 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.

A mention below from the All Around Sound website -

"Amazon", the second single from Dramm's forthcoming album Beastings, immediately hooked me with is juxtaposition of opposites - Dramm's vocals are light and airy against at first an effect not unlike a sliding trombone, and then a mounting cacophony of Dramm caresses Fowler's texts holding them firmly aloft above them to set the mood but also to leap out among the fray of otherworldly sounds Dramm is somehow able to weave from her violin. Fowler's texts are elusive, weaving paths of serpentine grace as Dramm's accompaniment blooms forth, both occasionally dealing glancing blows at they intersect at just the right moments. "To be inside a background noise of a thing I don't possess" Dramm sings, accented by a rumbling low end. / "Amazon" is an excellent piece of songcraft - multitudinous in sound and meaning, a luxurious unfurling reverie that's both delightful simple and awe-inspiringly complex. It's a testament to Dramm's compositional prowess that she's able to craft such a lush backdrop of infinitely rewarding instrumental flourishes that doesn't distract from the simplistic but elusive beauty of Fowler's text.

A note on : Performing with Phil Minton & Eley Williams at Conway Hall for Small Publishers Fair

A brilliant way for me, personally, to end a wonderful experience, as it always is, at the Small Publishers Fair, brilliantly run by Helen Mitchell. So many people in Conway Hall over these two days are friends or people who have actively supported my often quite distinctly uncommercial work. They do so generously and often against their interests, I think, so I see these fairs as an opportunity to thank them. I always try to visit every table, meet as many new people as possible, and say thanks to those I know, and buy books. This year I had the chance also to have the last launch of my selected collaborations, NEMESES, with haverthorn press, by collaborating with my friends and peers I admire, Eley Williams and Phil Minton, both of whom are in the book naturally. I felt quite content, liking them so much, and liking the fair, and conway hall, to have the chance to do this, and I also realised that what I felt was that it is something that I can transition from a literary reading with Eley rooted in her wit to a fully improv free music vocalisation sound poetry piece with Phil, quite comfortably. In fact, perhaps my work is the space between those two things, both powerfully and obviously literary and poetic to me, but on the surface, for the poor audience, clearly radically different.

A note on : Test Centre exhibition at Small Publishers Fair

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Happy to be featured in this exhibition celebrating Test Centre http://smallpublishersfair.co.uk/test-centre-small-publishers-fair-exhibition-2019/ “The Small Publishers Fair exhibition 2019 features Test Centre publications and is curated by Jess Chandler.

Test Centre Publications, an independent publishing house and record label based in Hackney, London, was run by Jess Chandler and Will Shutes from 2011 to 2018. Test Centre’s varied output ranged from spoken-word vinyl LPs to debut poetry collections, experimental fiction, anthologies, interdisciplinary projects and an annual magazine of new writing, Test Centre. / This exhibition looks back at Test Centre’s publishing history, from early limited edition pamphlets, prints and vinyl LPs with Stewart Home, Chris Petit and Iain Sinclair, and the first issues of its magazine, following the growth of Test Centre’s output and reputation into an innovative and independent publisher of poetry, fiction and interdisciplinary and collaborative projects.  https://prototypepublishing.co.uk/2019/10/01/small-publishers-fair/