written and posted by members of Lancashire Dead Good Poets' Society

Showing posts with label play. Show all posts
Showing posts with label play. Show all posts

Tuesday, 28 February 2017

Play the Game - Board Games

If you noticed me grinning a bit more than usual the other day, it’s because something went right. I managed to download ‘Tetris’ on to my new mobile phone all by myself. I’ve had the phone for a few weeks now and I’m still finding my way round it. I’m not one for electronic games but Level 1 Tetris fills a gap if I’m hanging about waiting and I’ve exhausted Facebook, Googled the things I’ve remembered to look up and checked my inbox. It’s fun trying to beat my own points.

When I was a child, my Nan taught me dominoes and a couple of card games. I got to stay up past bedtime because we were in the middle of Gin Rummy and couldn’t just stop. She always knew when I was tired or bored and I could never persuade her otherwise.


I’ve always enjoyed board games. Every Christmas, a Compendium of Games would be left by Santa. Ludo, Draughts, Snakes & Ladders, Tiddly Winks, Blow Football and more besides. I’d pester the family for someone to play with. Grandad was good for Tiddly Winks and Draughts. I didn’t have enough puff for Blow Football, so it was mainly ignored.

I was twelve years old when I was given my first Monopoly. I loved it more and more as I learnt how to play. For me and my parents, it became our regular Sunday evening thing and stopped me worrying about Monday morning and dreaded school. Times were tough for me then.

Monopoly is still a firm favourite, though alas, seldom played since our children grew up and left home and had babies. I wonder how friends might react to me hosting a Monopoly and supper evening? Just an idea.

We’ve got Trivial Pursuit and various levels of general knowledge games. We still have the small box of ‘Kids Trivia’ that our children and I would take to visiting times when my husband was in hospital long term. He would provide a box of Maltesers to share. So many times we walked from home, up East Park Drive to Victoria Hospital, with the game, juice and other things for the children. We saw snowdrops, then crocuses, and then daffodils as winter turned to spring. The conversation was always the same.

“Is Dad coming home soon, Mum?”

“I don’t know, love. We have to wait and see.”

Maltesers remind me of those visits and the fond memories of the lovely family times we shared in a side ward. Eventually, he could come home and all was well. My anxious times, when the children were in bed and I was alone with my thoughts, began to evaporate as life returned to normal.

As the children got older they had Game Boy, PlayStation and later Xbox, all beyond me though I managed a couple of levels of Super Mario. We still kept playing family games as often as we could and certainly round Christmastime and school holidays.

Scrabble must be the best word game ever and I’m always up for the challenge. I bought a travel version thinking it would be perfect to take away with us on our breaks to Scotland. I hadn’t considered how tiny the letter tiles are and how hard to read, when I’m short-sighted to begin with and my husband has glasses for reading that he wears all the time.

Recently, a work colleague told me what a fun-filled evening she’d had at home with her husband and adult sons playing board games and enjoying a takeaway meal. I’m glad to know I’m not the only one who would like that.

Meanwhile, let’s see if I can exceed 200,00 points on Tetris.

This poem is written by Morgan, on hellopoetry.com. I'd forgotten the fun we had playing Operation, until the game mirrored life too much.
 
 
February nights rip me into pieces
So when I'm scattered randomly
across your bedroom floor,
I hope you look down
at my knee caps
and collar bones
& think about how much you
enjoyed doing puzzles at
the small, cherry wood
coffee table in your parents'
living room when you were ten
And I hope you put my tongue
back in my mouth
and my eyes back in my skull
And you breathe your
cinnamon & whiskey
breath all down my throat
until I remember how to
find air on my own.
 
Thanks for reading, Pam x

 

 

Wednesday, 12 March 2014

Like a roll of Bounty in a swimming pool



Absorption. I think this can be applied to writing. I think it's important to read widely and sometimes randomly. Every writer's work is different, but it is good to digest lots of different authors to see what works for you as a reader, and as a writer. The subconscious is a funny old thing, and we really don't know quite how it all works yet. Because we aren't conscious of it. Obviously. But the things we read don't just disappear I'm sure. I'm the most random of people who will get ideas and not know where the hell they have come from, but clearly my subconscious has scurried away to find something useful and splurt it out at the right moment. I attended a workshop yesterday where the creative process was mentioned, and it was likened to a state where we could just freely relax and let our subconscious do the work for us, and for many, including me that is the case. In the right environment I can sit and write and surprise myself at what comes out. If we can get into the state of 'flow' where it comes easily and prolifically then that is an amazing feeling, almost a state of play for me.

But the subconscious needs something to work with, and this is where reading widely comes in. We might think it's trash but it's worth reading to find out why it compels people to read it. It all is absorbed into the subconscious and may come in handy in the future, if nothing else to know what's already been done, what to avoid and what gives a story teeth. Read beautiful prose, read poetry, read trash, it can bubble away in there and come up with something unique. But trust it. Your conscious is for the editing process, and that can come later, when the playing is finished.

But this doesn't just apply to reading. Like an artist learns to 'see' the world in a different way to paint it we have to look at things closely in a new way, describe things with words in a way an artist would paint a scene. To avoid clichéd

writing we have to try and find a new way of describing what we see without verging into the old purple prose. There lies the tricky bit. It's worth it when it comes together though.
It's amazing how much the subconscious can actually absorb. I'm not a puritan, a bit of rubbish is good, just so you know what's out there. I'm not sure you need to actually feed it in any other way than just exposing yourself to more. Even if it feels uncomfortable it's got to be worth something, be absorbed and give something more to your work.


So if my writing seems grammatically incorrect at times, or a bit scatty, trail off somewhere else, it's just that I've tired myself out playing too much to tidy up afterwards. Note to self: Stop being lazy.

Monday, 8 July 2013

Toys, Toys, Toys

10:05:00 Posted by Colin Daives , , , , , 1 comment
Toys, toys, toys.
Big toys,
Little toys.
Toys about films,
Films about toys.
Toys, toys, toys.

Toys for girls,
Toys for boys.
Oh toys of my toy kingdom,
Take me away from this place of darkness,
This joyless town,
From this frowning clown,
From this eiderdown,
That I use to make a fort.
So I can sit there deep in thought,
Surrounded by you all.

Toys, toys, toys.
Red toys,
Blue Toys,
Toys with pictures,
Pictures of toys,
Toys, toys, toys.

Toys for me,
Toys for you.
Oh Toys of my toy kingdom,
Take me to this place of light,
This Joyful Place,
In this moment of pure laughter,
In this brief happy ever after,
That takes place in my den,
So I come back again,
Surrounded by you all.

Toys, toys, toys.
Toys, toys, toys.

Toys, toys, toys.

Saturday, 27 October 2012

Sherlock Holmes and the Haunted Fairground


 by Ashley Lister

 A radio play with costume changes. 

This is a one act play for three actors.

Actor #1: Sherlock Holmes [wearing a deerstalker and holding a pipe].
Actor #2 plays Mr Oldman and The Ghost.
Actor #3 plays the following characters using the following props and voices:Miss Marples [holds a handbag/has an old lady voice]; Hercule Poirot [Wears a moustache/has a Belgian/Frenchman voice]; Philip Marlowe [Wears a hat/has an American accent]; Scooby Doo [Wears dog ears/does a Scooby-Doo impression] and Dr Watson [No props/has a Scot’s accent].


ACT ONE

Mr Oldman: Ah! Sherlock Holmes. I’m so pleased you could come here to help me with my little problem.

Sherlock Holmes: Mr Oldman. I look forward to solving your mystery – the case of the Haunted Fairground – by using my logical reasoning and my intelligent processes of deduction. To illustrate my prowess: I have already deduced that you own this fairground.

Mr Oldman: [Unimpressed] Yes. It says Fairground Owner on my name badge. You’re not really that great, are you? [beat] I was worried that this case might prove difficult. Consequently I’ve enlisted some assistants for you.

Sherlock Holmes: No. I’m the great Sherlock Holmes. I don’t need assistants.

Mr Oldman: [ignoring him] There’s Miss Marples.

Miss Marples: Good afternoon, young man.

Sherlock Holmes: No. Chuff off.

Mr Oldman: There’s Hercule Poirot.

Hercule Poirot: Bonjour, mon ami.

Sherlock Holmes: I don’t need any help.

Mr Oldman: There’s Philip Marlowe.

Philip Marlowe: Here’s looking at you, kid.

Sherlock Holmes: Go away.

Mr Oldman: And there’s Scooby-Doo.

Scooby-Doo: Shaggy?

Sherlock Holmes: A talking dog?

Scooby-Doo: Jinkies!

Sherlock Holmes: A barely literate, talking dog. Honestly, I prefer to work solely with my bromance colleague, Dr John Watson. [Hastily] Not that I’ve got anything against working with dotty old women, dodgy foreigners or barely literate talking dogs.

Mr Oldman: I’m afraid Dr Watson can’t work with you on this case. He’s dead. That’s why I asked you to investigate this crime.

Sherlock Holmes: Watson’s dead! Good Lord. How did that happen?

Mr Oldman: Well, since you’re the detective, you’re supposed to tell us. However, I can tell you that he was found pecked to death at the bottom of a chicken coop.

Sherlock Holmes: A chicken coop? [beat] I suspect [waggles pipe] foul play.

Hercule Poirot: I suspect it was a disenfranchised lover.

Philip Marlowe: I think it was the drop-dead blonde with the big tits.

Scooby-Doo: Shaggy?

Miss Marples: It was probably a darkie in the library.

Sherlock Holmes: [Sherlock Holmes stares at Miss Marples in disbelief.] A darkie in the library? For chuff’s sake. Are you solving crimes on behalf of the BNP?

Mr Oldman: Don’t be distracted by Miss Marples’ generational racism. There’s a case for you to solve, Holmes. I’ll leave you detectives to solve your case whilst I go and attend to Haunted Fairground business.

Exeunt Mr Oldman

Sherlock Holmes: I should really go and check on the body of my poor old friend, Dr Watson. I see his hand is reaching into the soil and pushing up daisies. There’s a receipt in his other hand to show that he’s cashed in his chips. His lips are closed hard, as though he’s bitten a mouthful of dust. And I can see that there’s a bucket by his foot. It looks like it’s been kicked, in another attempt to write a really shitty pun.

Enter Ghost

Ghost/Mr Oldman: Woo Hoo Woo Hoo. I am a scary ghost. Chuff off you bunch of detectives. Go away.

Sherlock Holmes: Egads! A ghost!

Hercule Poirot: Mon Dieu!

Philip Marlowe: Holy-Moly!

Scooby-Doo: Shaggy!

Miss Marples: What colour is this ghost?

Sherlock Holmes[Sherlock Holmes stares at Miss Marples in disbelief.What colour is the ghost? Chuffing hell. You really are a bigoted old battleaxe, aren’t you? How many black blokes have you sent to the gallows in your books, you racist old cow?

Ghost/Mr Oldman: Woo Hoo Woo Hoo. I am a scary ghost. Chuff off you bunch of detectives. Stop focusing on the racist old bag and focus on the murderous ghost. Be scared of the ghost.

Miss Marples: I never sent any black blokes to the gallows in my stories, Mr Holmes. Black blokes have never been allowed in St Mary Mead. Well, not unless they’re servants.

Ghost/Mr Oldman: Woo Hoo Woo Hoo. I am a scary ghost. I’m trying to give you a clue that your great detective minds can work out.

Miss Marples: Ah! I see it’s a black ghost. Never mind. We should still listen to what it has to say.

Sherlock Holmes: Scooby. Be a good dog and piss on that racist woman.

Miss Marples: Mr Holmes! There’s no need for rudeness. We have a mystery to solve.

Sherlock Holmes: I’ve solved it. The ghost is Mr Oldman. He killed Dr Watson. Mr Oldman is a serial killer.

Hercule Poirot: Le plume de ma tente!

Philip Marlowe: Howdy-Doody

Scooby-Doo: Shaggy!

Miss Marples: It’s one thing to make an accusation, Mr Holmes. But what makes you think the ghost is really Mr Oldman?

Sherlock Holmes: It wasn’t difficult to work out. He’s still wearing his name badge.

Miss Marples: But why would Mr Oldman kill Dr Watson?

Sherlock Holmes: I suspect Watson had already worked out that Mr Oldman was the ghost haunting this haunted fairground. Watson was always very good at reading name badges.

Hercule Poirot: But why would monsieur Oldman want to haunt his own fairground? Sacre Bleu? It makes no sense.

Sherlock Holmes: I don’t know. Insurance I suspect. A weak plot structure, more likely. Or maybe he just likes wearing sheets whilst he’s out so he can interfere with himself in public.

Hercule Poirot: [reflectively] Ah yes! Which of us can honestly say we do not enjoy that particular pleasure?

Philip Marlowe: But you said he was a serial killer. That suggests he’s killed more than one person.

Sherlock Holmes: There’s not much slips past the vast intellect of you Americans detectives, is there?

Philip Marlowe: Who else has he killed, Sherlock Holmes? And why are you pointing that gun at me?

SFX: BANG

Philip Marlowe: Holy-Moly. I’m shot.

SFX: BANG

Hercule Poirot: Chanson D’Amour! I am also shot.

SFX: BANG

Miss Marples: Ouch. You blackguard. You popped a cap in my ass.

SFX: BANG

Scooby-Doo: Shaggy! You bastard.

Ghost/Mr Oldman: What the hell are you doing, Holmes?

Sherlock Holmes: I’m enhancing my reputation. No one would care if I discovered a creepy weirdo was dressing up like a ghost and tugging one off whilst he floated around the fairground. But now I’m going to be credited with having brought down the serial killer who knocked off four legendary detectives.

Ghost/Mr Oldman: I’ll tell the truth. Everyone will know you’re a fraud.

SFX: BANG

Ghost/Mr Oldman: Ouch.

Watson stands up from the floor.

Sherlock Holmes: Watson! You’re not dead.

Dr Watson: No, Holmes. Don’t you remember? It was part of our plan that I should pretend to be dead so we could kill Mr Oldman and then buy his land cheap, demolish the fairground and build a private school on the land.

Holmes: Of course.

Dr Watson: And what sort of school do you think we should build here, Holmes?

Sherlock Holmes: [waggles his pipe] Elementary, my dear Watson. 

FIN

Thursday, 19 April 2012

A little bird told me...

07:30:00 Posted by Damp incendiary device , , , , , , , , , , , 5 comments
All work and no play makes Vicky a dull girl.
Scrawl work and no play makes Vicky a dull girl.
All work and no play snakes Vicky a dull girl.
All lurk and no play makes Vicky a dull girl.
Thrall work and no play makes Vicky a dull girl.
All work and no play makes Vicky a null girl.
All work and no play makes Vicky a dull twirl.
Maul work and no play makes Vicky a dull girl.

All jerk and no play makes Vicky a dull girl.
All work and crow play makes Vicky a dull girl.
Wall work and no play makes Vicky a dull girl.
All work and no pay makes Vicky a dull girl.
All irk and no play makes Vicky a dull girl.
All work and no play makes Vicky a skull girl.

Tall work and no play makes Vicky a dull girl.
All work and woe play makes Vicky a dull girl.
All perk and no play makes Vicky a dull girl.
All work and snow play makes Vicky a dull girl.
Small work and no play makes Vicky a dull girl.
All work and no play makes Vicky a dull pearl.
Gall smirk sand dough clay bakes sticky (hah!) bull earl.
All work and no play makes Vicky a dull girl.



Sunday, 18 September 2011

Essence and Inspiration

An interview with Cath Nichols, extended from one previously conducted by Deborah Swift (novelist) at: www.deborahswift.co.uk

1. What is it about poetry that makes it essential to you?

Something about the reading of poems makes me go into a different space/time experience – whether that’s reading them in my head or hearing the poet read them out loud. It’s not usually the ‘story-telling’ space (which I think of as a kind of escapism, or learning, or forward momentum) that I get from reading prose. It’s more like meditation or a quality of attention. If prose is forward momentum, poetry is circular; it ripples out from the centre. Certainly when I’m writing poetry, too, there is a sense of ‘tardis space’ – time spent ‘in’ poetry is bigger on the inside than it is on the outside!

2.Tell me about the themes that most excite you at the moment, or structures in poetry or prose that make your eyes light up.

I have been preoccupied with the sea for years and with various myths. Also hybrid people and characters: for example, mermaids, and over the last couple of years the Procne and Philomela, a myth where both women are turned into birds. I’ve noticed that I often get hooked on material that was someone else’s first. The hook is where my mind keeps going back to a thing that I disagree with strongly (such as Hans Christian Anderson’s use of the little mermaid and how she has to work to earn a place in heaven - yuk). It’s the gritty irritation than later develops into something, a percieved injustice in the older writing that needs re-writing for today (in my opinion). Philomela (the nightingale in various odes) had real appeal: why should she turn into a nightingale and sing a sweet sad song having been raped by her brother-in-law? It made me furious! So, I wrote a poem and later a play (set in the present and involving an Asian family in Manchester) to work out a different approach.

I am building up a novel now which is a response to Shakespeare’s Cymbeline. Again deep outrage that Imogen’s husband agrees to a bet to test his wife’s faithfulness. She is put at great risk; he believes she has been unfaithful and sends someone to kill her; and then at the end of the story they reunite to live happily ever after! Aargh! The gall of it. Of course, I realise in those days women had to put up with a great deal and possibly marriage was the best protection available, so you’d do all you could to make it work, and forgive all kinds of crap. But not now.
Investigating structures: now I’m doing longer works I am fascinated by links between poetry and prose or plays – it’s something about rhythm and alternation, I think. In prose it seems to be to do with suspending the revelation of plot and creating recurring motifs; and in a poem it’s to do with the tension in enjambment, and repetition of words or sounds.

3. You are interested in radio and the aural experience of words. How has this influenced your work?


It was a big part of my PhD research. I’d noticed that many poets write for radio as dramatists, docu-drama writers and sometimes as poets. I love Michael Symmons Roberts work (he used to be a BBC documentary producer and later Head of Religious Broadcasting before becoming a full-time poet and academic). Paul Farley and Simon Armitage too have done a lot. Way back you have Dylan Thomas and in fact almost every poet based in London in the forties did some work for radio as an actor, writer or producer. Samuel Beckett did some innovative stuff (he did the first really radiophonic play All that Fall – using sound in a distorted way for atmospheric effect). Joan Littlewood and Charles Parker valued working-class history and experience. With Ewan MacColl and Peggy Seeger they made the Radio Ballads series: this pretty much invented documentary without commentary – people were heard in their own voices for the first time, instead of transcribed interviews being read by actors! That followed on from the invention of new technologies that made recording equipment portable – writers and producers could get out and about.
Kathleen Jamie did a wonderful radio play in the 90s that had imagined characters from Larkin’s Whitsun Weddings talking about their lives since the great Whitsun train ride. Their stories were interleaved with Larkin reading the poem. You can listen to it in the British Library if you go to the sound archive there. All of it is just so inspiring.

I’ve done some local BBC radio short drama and poetry but I’m still trying to crack Radio 4 drama. New writers have to go via the Afternoon Play slot which is pretty pedestrian. Only the famous get asked to do docu-drama stuff, which would be more up my street. So, watch this space!

4. Which other writers have made a lasting impression on you and why?

For novels, Shani Mootoo’s The Cereus Blooms at Night. Fabulous, surprising novel set in the Caribbean with race, sexuality (as in queer as well as straight) and gender issues seamlessly woven through a great story set in the past and present.
Anne Carson, a Canadian poet and Classics professor who writes book-length poems or sequences. The Autobiography of Red (Red is a little ‘creature’ from a Greek myth alive in the present day), and Glass and Gods. The sequence where the narrator goes home to Mum after heartbreak, but re-investigates Emily Bronte and the moors, sums up a particular kind of sadness and detachment. It is sometimes shocking when it describes certain acts of desperation, but it’s so truthful as to how humans can be with each other. The Beauty of the Husband is another book-length poem of hers (subtitled ‘a fictional essay in 29 tangos’!). It won the T.S. Eliot Prize a few years ago). Carson also does translations of Greek drama and writes fantastic essays.

5. Tell me about your publications or scripts-in-progress.


Pamphlet, Tales of Boy Nancy (Driftwood, 2005). This is being re-issued soon by erbacce press (Driftwood having closed) with a group of new poems, ‘Distance’.
Collection, My Glamorous Assistant (Headland, 2007).
I’ve poems forthcoming in Poetry Wales and The Stinging Fly and, I found out last month that I’ll be in 2012’s Lung Jazz: Young Poets for Oxfam. I’m not that young, but the line was drawn at 40 years old at the time of sending in work last year.
I’ve a couple of plays doing the rounds at the moment (i.e. being sent to theatres and companies), so look out for them, or if you’re part of a theatre group you can request to read them. They all have very strong parts for women. Drowning Meirion Evans – set around 1915, Woolworths, the Lusitania and with lots of magical business. Birdie – the Philomela myth re-written for an Asian family in Manchester. And there’s Ada – a take on Phaedre where an older married woman falls for a young lad with dire consequences. I took inspiration from the Iris/ Peter Robinson affair in Northern Ireland (she was sixty and had an affair with a nineteen year old, yikes!), but also gave it a twist: she is ardently religious and finds out that the lad thinks he might be gay – so she’s trying to ‘help’ him be straight. It all takes place in a country on the brink of civil war, and Ada is married to the country’s president.