So, I’m currently decompressing after the Living Record Festival finished on Monday! As well as taking part in the festival myself, I also completed a total of 11 show reviews, pretty much all in the last week of the festival. These mini-reviews will be published on The Norwich Radical soon, so you can find out some artists to follow.
Here are some final images from listeners… though rather unusually, two printed with a black background, and one listener, unable to print, drew her own version. Next, I’m hoping to record a binaural version with the Living Record, and potentially put out a more permanent version of the audio. Watch this space!
I still have over 25 copies of the illustrated poem available in book form from Burning Eye Books, signed directly from me on my Big Cartel shop. Meanwhile, I’m looking to begin a new schedule realistically by the second week of March, which will allow me to carve more space for creativity.
I think writing these reflections on a weekly basis should allow me some time to actually pause and think: what have I done this week? Often I make being “productive” a priority and aside from the daily grind and socialising (even if it just video calls and walks in the park for now), I often don’t feel creatively fulfilled. Aside from the importance of certain issues going on in the publishing world right now, I’ve been thinking about the idea of six-figure salaries being made through art, or even salaries close to the mark. It feels so far removed, and as much as I want to shake off the idea of the “struggling artist”, the idea of money and art is something that gets even more messy in my head when you start to combine it with ideologies like feminism, as well as subject matters like grief. Yet, here I am below, promoting my piece Circles for the Living Record Festival, trying to act like I’m talking to someone in the bar. I can be a pretty awkward person sometimes, so maybe it is realistic enough!
Being born into capitalism, valuing ourselves does seem to be linked with monetary value. Even as I’m writing this, I feel like I’m not valuing myself enough. I’ll use self-deprecating humour as a defence mechanism. I worry that I’m not putting the time into my art and creativity partly because of capitalism and chasing after the money (even if it only pays 3p per word), but also because I’m not believing in myself enough. I like my work, and I think it’s also getting better, yet even receiving compliments on it feels surprising.
Circles is new to the world, but for me, it’s something I’ve been holding onto for a long time, and this is part of me letting it go. I want to give myself the time to work on my other creative projects, whether they see the light of day or not. I’m slowly working on a new collection of poems that I feel is pamphlet length, a kind of memoir that even if I published under a different name would still contain too many identifying features, and a spoken word show that has been way too long in the making.
For now, I’m going to try my best to promote this show, as a celebration of what I have created, knowing that however many people it touches, it is important to someone else other than me. I remember reading the piece when I supported Sabrina Benaim at London’s Bush Hall. It was incredible to see the mass of people watching live poetry, but also felt great that audience members also appreciated my work, whether they bought my book or cried during my piece, hopefully allowing them to heal a little. In me letting this piece go, I hope others will be able to let go some of their own pain, whether from grief or lost love.
Since my grandad passed away just over a week ago now, I’ve found how difficult it is to experience such close familial loss and try to work at the same time. This week has been a struggle, but when you’re self-employed, there is so much uncertainty about your finances and I didn’t find out about the funeral date until the end of the week, and which days of work would be impacted. It’s hard to even allow for time off, even when it’s so needed. Then again, my cousin has also been in the same position, unable to take time off from her job, despite 3-5 days being the standard, from what I know. It has meant welling up with tears whilst walking to work for 45 minutes, finding more time to talk to family without being able to see them, and writing poems of grief in the early hours of the morning.
I feel like I’m just about staying afloat, whilst wanting to carve time that allows me to realign my schedule the way that is more fulfilling each day. I’m also ordering 25 copies of my book ‘Circles’ from my publisher, Burning Eye Books, ahead of the digital ‘Living Record Festival’, which will be taking place from 17th January until 22nd February, where listeners can buy a copy of my physical book, along with the audio and creative activity. You can now buy £15 tickets for the festival, remembering that this includes a copy of the book, which is worth £10.
I am also waiting to hear the results tomorrow having been shortlisted for the Anthology Magazine prize, so fingers crossed! It would be something positive to hold onto for my poetry career, for sure, but even making the shortlist is still an achievement worth celebrating, something that I forget to do all too often.
The start of the year will begin with the Living Record Festival, where I’ll be sharing ‘Circles’, as previously mentioned. I’ve been challenged as things have not gone as expected. My binaural experiment failed as it appeared the microphone was broken after spending an hour and a half setting it up, with lots of phone calls for support. I’d realised when I collected it that I could only test it out in the studio, and everything went perfectly in terms of set up, but it was just sod’s law that it didn’t work.
However, this has all been put into perspective and I’ve given myself more time to rest than ever. Yesterday, my maternal grandad died. It is still so raw and the shock is intense as he was in hospital only a week. As many others have experienced this year, it is the worst time to lose someone, as my parents and my nan are having to self-isolate after having seen him. But I am grateful they at least had that. He turned 80 just as we went into lockdown, and although we never got the celebration, we managed to see him in August.
I had 25th – 27th off to rest and relax, and likewise, I have given myself most of the time from the evening of New Year’s Eve until now to do the same, and just taking things slowly. Tomorrow is ‘Blue Monday’, but work may end up being a welcome distraction at the moment. Perhaps grief will allow me to work more in the way I want to, rather than with the stress and pressure I have been putting on myself on the lead up to and between these holiday breaks.
The main news this week is that I am in the process of recording audio for the Living Record Festival. I’ve done one recording already, but I’ll be experimenting with a binaural microphone to see if I can do something a bit different. I’m going to try to give myself three solid days off for spending time with my bubble, walking, reading, watching films and eating good food, then I’ll be back in the studio recording and at my laptop polishing the piece.
I saw fellow Burning Eye poet Maria Ferguson post about it and thought I would also apply. After many years after doing Scratch That Hackney, I’ve been working with producer Ellie Barr as part of the festival, which I believe is where I may have performed some of ‘Circles’ before. To find out more about the festival and the other artists involved, please sign up to this mailing list.
As part of this digital festival, I’ll be featuring an audio version of my book ‘Circles’, with a ticket option to include a copy of the the physical book. Whilst listening, I’ll also include a PDF of an activity with every ticket. The festival launches in January 2021, so make sure to sign up to the mailing list to keep updated.
So, what can I say about this week being freelance? Well, I have a bill of nearly £1000 coming my way from overpaid tax credits in 2018-19. The good news: I earned more money than in 2017-18. The bad news: it’s 2020, I now pay rent, the Christmas holidays are approaching, and we’re in the middle of a pandemic. With that in mind, I’ve been taking the opportunity to plug my book, ‘Circles’.
Circles is an epic poem inspired by Sarah Kane’s 4.48 Psychosis. Taking the point of view of a suicide victim’s lover in the play post-death, the piece takes place on London’s tube network and follows the fragmented views of this once-absent character. It is a piece about love, loss and the line between sanity and insanity. Whilst fictional, the emotions and experiences are also inspired by elements of the author’s life, and are written with the aim to bring comfort and healing to those who can relate to its themes.
The book was published last year and I began to tour at the start of the year, and then… you know the rest. If I sold just 100 copies of this, then my bill would be sorted, so if you’re reading this and can spare a tenner, order a copy for yourself. If you can spare more, why not buy some for your friends and family? And if you can’t afford it, a share on social media or any way you can would really help.
I shared extracts from ‘Circles’ on ‘Spork’ in place of the real-life gig from my tour dates. It’s available to listen to on Spotify, and I’ll also be recording an audio version of the whole poem for The Living Record Festival in 2021, so watch this space for updates on that.
“I speak and the only voice I want to hear is yours” This is a quote from Carmina Masoliver’s stunning epic, Circles. Yet, I find myself feeling this way about her voice. Carmina has a very special way of finding the smallest of cracks in your heart and filling them with visceral, yet elegant poetry. She mines the mundane; those everyday moments riding the tube, or in the shower, or sitting with a stranger on a fence, and she brings you into them so gracefully, before you know it, you are sitting on the tube with her, “holding onto her hand in a reverie.” – Sabrina Benaim
‘This poetic dramatic monologue is at once lament, and testament to an unimaginable reality. Masoliver has created a theatrical poem that is both haunting and ethereal, where the audience experience the world though a protagonist trapped in on a train looping the central line and and her recurrent memories of a lost lover. The fragmented beautiful lyrical prose unfolds like a smashed mirror, each piece a jigsaw. Circles takes us effortlessly into the head of a suicide victim’s lover in order to illuminate the devastating effect of her grief. She captures an elusive emptiness whilst hypnotising us with an honest lyrical epic.’ – Malika Booker
I have five copies of my book in stock, and five more of the She Grrrowls anthology, so even if I sold those ten books, it would be lovely (as I would have to buy another big lot of books from the publisher in order to sell more than five of each). You can get them from both Burning Eye Books directly too, and I will be sure to plug again once I’ve sold out.
Tonight, I’ve just done the final Instagram Live show for She Grrrowls until next year. I’m giving myself January off, so the next show will be February 2021! It was particularly exciting to have fellow Burning Eye poet Cynthia Rodríguez share their work, which I loved during the She Grrrowls tour, when collaborating with Leicester’s Find the Right Words.
Meanwhile, I’m trying to find some balance between being horribly productive with all the stuff I have to do, doing the more creative stuff (when, oh when will I have time?) and giving myself a break and resting. This weekend, I’m having an actual weekend filled with mother-daughter Christmas shopping time and chilling the fuck out on Sunday with some wintery walks or something.