Fountain of Enlightenment

One of the great gems of St Petersburg, Russia is the The Fountain House, a wing of the Sheremetev Palace, former home of the poet Anna Akhmatova (real name Anna Andreyevna Gorenko) and now a museum to her life and work.

Anna Akhmatova is one of the great Russian poets of the 20th century. I came across her whilst doing research into Natalya Gorbanevskaya for my latest novel.  Her first husband, Nikolay Gumilyov, was executed by the Soviet Secret Police, her son and her common-law husband were both held in the gulag and Anna Akhmatova herself was hounded by the secret police. She was rehabilitated after Stalin’s death and her poems became more more widely published. A lot of her work was lost during the years of repression and the war but after the war she tried to reconstruct some of it. She worked as a translator, a researcher on Pushkin and writing her own poetry. She was befriended and mentored other poets such as Robert Frost and Josef Brodsky. In the 1960s she was permitted to travel abroad and meet up again with some of the resistance revolutionaries she had known in her younger days. She was also able to collect some of the international prizes she had been awarded.

The museum is a fitting tribute to her life and work though it does not readily announce itself to the casual visitor, especially if the entrance gates are open. In keeping with the concept of Akhmatova as a revolutionary and visionary poet the entrance to the small courtyard is also a place where the public can interact with both the museum and poetry. There is a splendid artwork of the poet facing the visitor as they arrive and wall space for the public to write their messages.

Inside the building the museum is divided into two parts: the first part is a recreation of the rooms as they were in Akhmatova’s time complete with her furniture and furnishings; the second is an interactive display of her original manuscripts and poems.

At the time of my visit there were three groups of visitors: those who were awed by the poet, those who were there to make their own interactive momento of the apartment and those who were there to explore the writings. The curators were keen to engage all visitors with the poet and the displays thus turning the visit into a reverential and engaging one.

I cannot imagine what live must have been in such a communal apartment with three different families living there nor how Akhmatova was able to be so productive in such an environment. Also, I cannot imagine how the poet was able to keep going despite the outbreaks of poverty, the mind numbing petty bureaucracy, the personal attacks, the snubbing, the attempts to eradicate her influence on Russian poetry, the imprisonment of her son and her common-law husband and the spying from the KGB. Nonetheless, Akhmatova came through it all with some astounding poetry.

This museum, I feel, is a fitting tribute to her life and work.

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A vibrant cake with your coffee?

Wandering around the backstreets of Tallinn one day many years ago I stumbled up the Energia Kohvik and was immediately taken back to early 1990s Czechoslovakia. How I missed those huge restaurace (beer hall cum cheap restaurant) with large picture windows, formica-topped tables, uncomfortable chairs, suspect pictures on the walls often taken from Soviet-era magazines, dodgy decor, dusty curtains at the doors and windows, chipboard stands for coats and bags, melamine food trays, aluminium cutlery and small squares of thin paper napkins, the smell of beer mixing the Turkish-style coffee in the stale air, a fog of tobacco smoke and quiet chatter from the multitude of tables.

The Energia, still going strong on Kaubamaja 4, is a time capsule like the ones Blue Peter used to bury in new buildings. It is semi self-service as you buy what you want at the counter such as coffee, luminous looking sodas, beer, spirits etc and open-face sandwiches and / or old-time cakes, pay for them and then carry your loaded tray to your table. When you have finished you put the tray and everything on the washing up trolley. Failure to do so will earn a stern rebuke.

This is a not a place where young(ish) people sit with their laptops or tablets working and plugging into the free wifi. This is not a place where you would ask for a skinny latte and expect to be served a milky froth. Here coffee is strong with a dash of milk from a jug. Tea is served, appropriately, with a slice of lemon or, if you are lucky, from a foil lidded plastic container. Hot drinks come in a cup or mug. Cold drinks come in a glass. Serviettes are small and often made from recycled paper.

People come to sit and read; sit and chat; sit and eat; sit and dream; sit and drink; sit and be. The modern world is outside. The world of the café is the 1990s and it is all the more pleasant for it.





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Goodbye Writing Club

Writing groups and courses and meet ups seem to be springing up all over London on a regular basis which is why it is strange, and sad, that North West London’s two major writing groups have shut up shop.

My own writing group, of which I have been an on-off member for a couple of years, folded last week. The organiser is no longer a full-time Londoner and wanted someone to take over. The group had attracted lots of “members” but few actually turned up to write. However, the number of “members” meant that the organiser had to pay a monthly fee to Meet Ups in order to keep the group going under their umbrella. Without that umbrella publicity would be difficult. I stepped into the ring briefly but I am now changing job, city and country so will no longer be around to carry on the mantel. No one else stepped into the empty space last week so the group folded.

This leaves a gap in the writing community. The Willesden group, which had been going for nearly three decades, has also closed its doors. This is a sad loss as they had managed to put out a publication and got their writers noticed.

Perhaps N W London is just too transient for writing groups to stick. Perhaps many of the “writers” were most aspirational than really hard core writers. Perhaps N W London does not have the same vibe as nearby Kilburn or Primrose Hill or Hampstead.

Whatever the reason, I am sad to see it close down. I do not know what happened to the hardy week-in-week-out writers who used to frequent the group. I hope they are still writing and I wish them well. At no time in the history of the world have so many books been available to buy and to read. That surely is a good thing.

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Messing about in Photoshop revisited

A new addition to my Photoshop armoury, are the Uniqum Actions. These actions creates an effect over parts of your digital photos you highlight and allows you to be artistic and to create interesting pictures. I purchased my actions from  as a download zip file.

Inside the zip file are the actions and the brushes. It is necessary to install both in the preset files in Photoshop before you begin.

Once loaded up you need to select a picture to work on. The action works best at over 3000 px and 300 dph. Once selected, create a locked background. Then, add a layer which you call “profaction.” With this layer active, select a large soft brush and brush over the areas of the photo you want to show up as a sketch. You can do this with any colour brush.

That done, you need to make sure the correct brushes are loaded. To do, right click on the canvas or press B to bring up brushes. At the top right of the brushes panel, click on the arrow and then select “replace brushes” with the Uniqum brushes you put into the preset file. Close and activate the background layer. Now you start the action for your version of Photoshop and let it go.

The basic steps are:

  • Select an image in which there is something interesting (sky does not work well). Copy it and paste it into a new file.
  • Make sure the image is 300 dpi and that the image size is somewhere between 3500 and 4500.
  • Merge layers and create a background layer.
  • Now create a new layer. This layer is the one you are going to select the main elements of the image you want to stand out and be painted.
  • Call this layer “profactions”.
  • Choose a soft brush and a nice colour to paint over and then paint your selection.
  • Return the base colours to black and white..
  • Make sure that the “profactions” layer is highlighted.
  • Start the action using the correct version for your version of Photoshop.
  • Wait for the action to complete itself.

Once, I got started I found the action worked well. My advice is to take the time to do something else like make a cup of coffee or sort out your laundry as watching the action is pretty boring.

I made a mistake in one image of including lots of blank space. It did not work out well.

You can actually go through the layers once the action is complete and make your own adjustments.

Here’s what I have made on practice runs:


Dancing House, Prague


Old workshops, Cieszyn, Poland

building in Plovdivsm

This is a lovely house in Plovdiv, Bulgaria. I used the sketch action on it and think it is a rather nice effect.


It is possible to use more than one action on a photograph in order to achieve unique and interesting effects.

These actions work well with images which are partially developed in caffenol.



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Coffee fix for film developing revisited

One of the great things about analogue film photography is that the results are always going to be a surprise since there are so many factors involved in the production of the image. These factors involve the type and functionality of the camera, the type and condition of the film, the way the film interacts with the camera, the camera settings such as F stops and so on, the way the film has been stored, the length of time the film has been in the camera, the atmosphere, the lighting conditions and so on. What you see is not necessarily what you get with a film camera.

I have been experimenting with out of date film, lomography style, without knowing how the film was stored etc. The first thing I have learned from the experiment has been that out of date film needs to be shot a lower stop than the originally designated one. I have to say that when I checked the film the frames shot at 65 and 50 were more defined than the ones at 125. Lesson learned.

The second thing I learned from experiment one was that developing out-of-date film is trickier than developing new film. Taking a standard Caffenol-C recipe straight out of the box and using it on a different film, let alone an out of date one, does not produce the results intended. Caffenol=C produces a high amount of grain which when coupled with an out of date film produces rather artistic results. The image below resulted from the recipe I posted previously and I lot of people I have shown the results to have like them for their artistic qualities.


Another lesson learnt is that the developer needs to be able to coat the film evenly. When I do not get the film on the reel properly then the developer cannot do the job intended. Developing is a journey and I am just starting out on that journey.

I am still having problems with the Paterson reels. While I can thread them easily in daylight I just cannot get it done in the changing bag. This is very frustrating but I need to keep trying. In the meantime, I am keeping my eye out on the new developing tank coming to the market in September.

Back to the film. I am sticking with the Pentax SFXn for the black and white film as I can go down to 64 or 50 film speeds to get enough light onto the film. This is working much better though I am thinking of going even lower since the hot weather might be causing more film deterioration. So far, the results have been promising.

I have also gone back and done some research on the caffenol method. Using the site  I have checked out a new formula. The new ingredient is the iodised salt. I am going to use his Caffenol-C-H-UK Recipe which is derived from Reinhold’s Caffenol-C-H. The C stands for Vitamin C and the H stands for High Speed. The salt apparently makes all the difference. I used Aldi coffee rather than M and S since the Aldi worked better on a previous test run.

For a single roll of Ilford FP4+ 125 which is about five and a half years after its expiry date I created a 300 ml  solution:

  • 45g soda crystals. (I am using Dry Pak)
  • 4.8g vitamin C.  (High Peak)
  • 12g instant coffee. (Aldi)
  • 3.6g salt. (Cerebos Iodised table Salt)
  • water to make 300 ml of solution – I made up the concoction using 150 ml of water and then topped it up from the cold tap.

I picked up the Dry Pak washing soda at a small grocery store, the Vitamin C powder came from the internet but you can also buy it from a health store, the coffee came from Aldi and the salt was from Sainsburys which seemed to be the only place which sold it. I weighed everything on a set of small scales intended for jewellers and measured the temperature using a photo thermometer.

Following Daniel Berrangé I used this method to prepare the developer:

  • Fill the measuring cylinder  or jug with half the target volume of water so that is around 150 ml of water. Some people recommend distilled water but I used tap water.
  • Pour in the soda crystals and stir for a couple of minutes until they are well dissolved. Since Dri-Pak soda crystals are a decahydrate, the temperature of the water will typically drop 8-10 degrees and the volume of solution will increase. NB anhydrous soda crystals would have instead raised the temperature.
  • Pour in the vitamin C and stir, at the very least until it has stopped fizzing.
  • Pour in the instant coffee granules and stir for about a minute. The solution will now be a disgusting looking brown sludge :-).
  • Pour in the the Iodized salt and stir some more.
  • Top up with further  water to achieve the final desired volume of solution. The developer is intended to work at 20 C, and mixing in the soda crystals will have lowered it to about 10 C. So when topping up to the final volume it may be necessary to add hot water at first until it is 20 C, then finish topping up with cold tap water.
  • Check the temperature using a photographer’s thermometer.

After everything is thoroughly mixed, allow the developer to stand for 5 minutes to ensure all the desired chemical reactions have completed. If you could not get the temperature to exactly 20 C during the mixing phase, then sit the cylinder in a basin of hot or chilled water as necessary to adjust to 20 C, stirring all the time. If it is too hot try putting the mix into the fridge for a little while.

NB When I tried to do this on a hot summer’s day it was very difficult to get the temperature down.

Apparently, it smells something rotten but as an ardent coffee drinker I didn’t notice.

Processing the film

When all this is set up then it is necessary to put everything into a changing bag (film, developing tank, scissors, bottle opener) and fasten the bag securely. It is tricky working in the dark using fingers only but you need to get the film out of the can and onto a reel. Cutting the edge of the film in the dark is not an easy task so bear in mind that you need to keep fingers out of the way. When the film is on the reel snip the final end of the film and pop the reel into the developing tank and seal it up.

From this point onwards, fairly standard darkroom film processing rules apply. Pour the Caffenol into the film tank, turn the stirrer several times and then seal the lid. Invert the tank 3 times and then bang it on the work surface to dislodge any bubbles. The quoted development time from Reinhold’s site is 15 minutes. I have seen 20 minutes quoted elsewhere so I guess this is a bit of trial and error. I have done 15 and not got the best results so I guess more than 15 is good.

For the first minute invert the tank continually to make sure all the film is coated. During the development time, invert the tank slowly 3 times at the start of each minute. You can time it on your phone if you do not have a darkroom timer.

Caffenol does not require a chemical stop liquid, so when the development time is up, invert the film tank pouring the caffenol away (you can pour it into a bottle and reuse it once again within a week), then rinse multiple times with cold tap water. Keep rinsing until the water is no longer brown, as this minimizes subsequent staining of the fix. Once rinsed, add any regular fix. I am using Adofix which I got off the internet.

Once fixed, a thorough wash is needed. For this fill the tank with water, replace the lid and invert 5 times. Replace the water and then invert it 10 times. Replace the water once more and invert it 20 times. So that is 3 washes. Some people leave the film in the fixer for around 7 or 8 minutes.

Do a final wash using warm water and a drop of washing up liquid. Pour it in and agitate several times. Then let it sit in the solution for 1 or 2 minutes. Drain out. Again rinse several times until the water is clear.

Then take the film out and squeeze the water off it using a squeegee or finger. Leave to dry making sure there are no water marks on the film.

I was impressed with the results after I scanned them in and had a little fiddle around in Photoshop:


The earlier version

The Beast

Coffee Machine taken at 50 and developed in Caffenol-C


Wall graffiti taken at 50 and developed in Caffenol-C


Scanned using the Lomography Smartphone Scanner and Helmut App.


There are some helpful posts out there on the web such as:

Posted in Caffenol, Lomography, Lomography Smart Phone Scanner, Photo Essays, Photography, Photoshop, Writing | Tagged , , , , | Leave a comment

Using the Helmut App as a scanner

One of the issues I have been having with home developing using Caffenol is scanning in the results. I have tried to Lomo App, my flatbed scanner, my smart phone camera and finally, and successfully, the Helmut App I downloaded from Google Play.

I have been using the app with a Lomography Smart Phone Scanner. The Lomography Smart Phone Scanner has a lightbox and a film feed so you can feed the film strip through and then use the Helmut App to capture the image. When the image is captured then you can use the developer technology to improve the images.

This app has rescued several of my caffenol film strips from being binned.

The process is simple:

  1. Set up the Lomography Smart Phone Scanner so that it works with your particular smartphone.
  2. Feed the developed film through so that a frame is visible on the lightbox.
  3. Open the Helmut App.
  4. I am scanning black and white negatives so I choose that option.
  5. Then select Capture with Camera.
  6. Let the app focus,
  7. Hit the camera icon and take a snapshot.
  8. Accept by hitting OK.
  9. The app goes back to the home screen.
  10. Select BW negative again.
  11. Then Pick from Gallery.
  12. Select the gallery.
  13. Select a photo.
  14. There will be a blue frame on the screen. Using a finger adjust this to crop the image.
  15. Tick.
  16. You will now see the Adjust/Scan option. Behind this is the image. If you like it just spread your fingers across the screen to bring up the options and tap the Scan button. The image is captured and saved.
  17. Repeat until you are done.
  18. If you set up a preset then the process is much easier.

I am delighted to report that I am now able to view images taken using my Pentax SFXn and outdated film which I developed using the caffenol process.

My summer plan is to scan through the rolls of film I took in Eastern Europe in the 1990s.



Westfield, East London


Garden Design at Clitterhouse Playing Fields, Cricklewood.


Caffenol problems, Ithink.


Community Gardens


Caffenol Process on a new film

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After a break of a couple of years I decided to get back into analogue photography last autumn.

I was going on a trip to Belarus and wanted some instant photos to stick into my journal so picked up a second-hand Fuji instant camera and a couple of packs of instant film. I liked the results but not the price of the film. So, I went back online and got a Canon Ixus APS camera and some old film. The photos were amazing so I sold on the Fuji and kept the Canon.

I gave away my Praktika TL1000 a few years ago but had a hankering to go back to the pre-digital SLR age. A Pentax SFXn came my way for a few pounds so I stocked up with batteries and old Fomapan B & W film. I have since added a no brand plastic camera and several throwaway cameras to the analogue armoury. Each camera and each film is unique so I get some interesting results.

The downside of the analogue resurgence is the cost of developing film. It is a trek to find the developing shop which can do my APS and the B & W has to be sent away. The solution is the Caffenol Developing Process.

As is the way of things, all three sets of digital scales in my cupboard are malfunctioning and the thermometer cracked when placed in water.  I consulted the web and found a process using spoons on Look up “recipes.”

Two stage developer

  • 240ml Water, 7 rounded Teaspoons of Instant Coffee (I used M&S)
  • 100ml Water, 4 Teaspoons of Washing Soda (I used DP washing soda)
  • 2 Teaspoons of Vitamin C (got the powder off the internet)

Equipment needed:

  • A dark room changing bag
  • A developing tank with spiral wheel
  • A pair of scissors
  • A can opener
  • A couple of spoons
  • A couple of jugs or bottles
  • A timer
  • Squeegee
  • A used film


First, put everything you need into the changing bag and close it up. Put your arms through the holes and spend some time fiddling about trying to get the cap off the film.. When you have done that get the film out. Snip off the shaped end bit which feeds into the camera spool. Attach newly shorn end into the niches on the reel. Spool entire film on. Snip off end bit attached to the cannister spool. All film should be nicely attached. If not, then the developing mix cannot really get to all parts and not all the film is developed. Place the reel onto the centre column and lock into developing tank with funnel lid firmly placed.

Put the Coffee mix into the developing tank, agitate once per second for the first minute. Leave it for another 2 minutes, agitate for 10 seconds every minute.

Pour out 100ml of Water and add the Washing Soda mix.

Agitate once per second for the first minute. Agitate for 10 seconds every minute for 9 minutes. Stand development for another 4 minutes.

Now wash out thoroughly several times. This gets rid of the coffee stuff.

When that is done you need to fix the image onto the film. You can use a salt solution or chemical fixer. Agitate several times and then pour out. Wash the film in water.

Unpack the film and get all the water off with a squeegee. Hang the film up to dry before scanning or printing.

Full information on the process is also to be found on:

I had a bash and the results were better than the first time…..

I failed to get the film onto the reel properly because I forgot to stick the scissors in the bag! And I could probably have done with timing the process better.

Here are my results:



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In Search of Virginia Woolf

Inspired by “Legacy: Photographs by Vanessa Bell and Patti Smith” at the Dulwich Picture Gallery in February, and embarrassed by not getting to the end of any of Woolf’s books or even the wonderful biography by Hermione Lee, I persuaded a friend to come with me to Rodmell for a day out.


Rodmell was the get-away-cottage that Leonard and Virginia Woolf purchased in 1919 and to which they moved on a permanent basis during the war. It is where Virginia wrote, and reworked, many of her famous novels. It is also, of course, where she died.

Having seen Patti Smith’s photographs I was keen to see the bed Virginia slept in and her walking stick. Delightfully, I got to see both. In those days, of course, people sleeping alone would have slept in a single bed but it was still a surprise looking at the room with 21st century eyes. The bookcases are all original though  most of the original books owned by Virginia were sold long before the house became a museum/shrine. All that remains are the collected works of Shakespeare which Virginia had covered herself shortly before her death. 

Virginias bed

I think that it is still possible to get a sense of the woman and writer even after so many decades and changes to the house. The handpainted fireplace, for instance, gives a wonderful sense of the artistic life which surrounded VW. Her sister, Vanessa, was an important artist of the early 20th century.

The bedroom has terrific views from two large windows of the garden, the church and the countryside. It must have been inspiring to work there. It was a tranquil place and the Woolf’s spent a great deal of time in arranging it. It was here in the garden that they entertained their many visitors.


Within view of the house is the writing hut where VW repaired to do her daily stint of writing. VW had a view of the garden but not so much of it as to provide a great distraction from her work. 


The house itself is a collection of cottages knocked together to form one large building. The house, when bought by the Woolf’s, consisted of an entrance, a sitting room, a dining room and a tiny kitchen downstairs. By all accounts it was a mean kitchen and the Woolf’s had a newer extension built to accommodate some modern accessories. The upstairs had one large and two small bedrooms. The toilet was outside. I assume that after VM’s death, Leonard made some improvements. 


The house and remaining possessions provide a connection with the two writers but do not necessarily give much of an insight into how they lived and wrote. My friend thought she could feel something of VW’s spirit in the writing hut, though. I understand more of how VW wrote thanks a video I saw a few nights ago with Elaine Showalter, who talked about VW’s style of writing and how she put her novels together. The villagers I met who had known VW mentioned how she used to walk around mouthing lines from her books as she tried them out. I can imagine it was easier to get away with that in the countryside that in central London. 

I am not sure that I understand Virginia Woolf’s writing any better than I did (despite having written and read endless commentaries on her novels during my MA) but I have been inspired to pick up Hermione Lee’s biography again and find VW’s works on my Kindle. What can a writer learn from visiting this remote location? Possibly that what a woman writer needs is not just a room of her own but also sustaining relationships to help her realise her potentials. 

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Patricia Highsmith investigates the religious right

Set in the early 1980s during the Reagan era when Christian Fundamentalism was on the rise, Patricia Highsmith’s People Who Knock on the Door chronicles the events which move a middle class American family out of their comfort zone into the world of uncertainty.

Highsmith, best known for her crime stories based around the character of Tom Ripley and, more recently, for her lesbian novel Carol demonstrates her superb plotting and storytelling skills in this novel. Naturally, there are crimes in the novel but not the kind of Highsmith-type crime we are used to. These are moral crimes set against the backdrop of the belief system.

The issues at the heart of this novel are the effects that any kind of religious (or, for that matter, political) fundamentalism has on family and friends and changes the attitudes and behaviour of the believer. When Richard Alderman becomes a born-again Christian he becomes enmeshed in the world of the fundamentalists with their counselling sessions, preaching, outreach groups, knocking on doors, gossip-mongering and pamphleteering.  In his zeal he cannot appreciate that his elder son, wife and mother-in-law do not share his beliefs and have a right to their own viewpoint.

He manages to convince his gullible youngest son that he has been “saved” from near-death and indoctrinates him. Highsmith shows the way in which a vulnerable teenager can easily fall prey to such a rigorous influence when there is no credible opposition. Richard uses his new-found religious faith to alienate his eldest son and to punish him for being a nice kid who is not taken in by the mavericks.

The novel covers television evangelism, prolife vs abortion debate, class, religious freedom, politics and the American obsessions with guns. All this is done is a very readable story which jogs along until the explosion towards the end.

The novel did not get particularly good reviews when it was first published despite being, in my opinion, one of her best novels. Her US editor did not recommend it to his publishers, Harper & Row so it was picked up by Penzler Books. Marilyn Stasio, in the New York Times of November 24, 1985 did not regard it as one of her better books. There are some aspects of the novel which jar, and which have been picked up by reviewers on Good Reads, namely that the young Arthur and his friends seem to drink a surprising number of adult drinks rather than beer (e.g. Old Fashioned cocktails) and hang around old people a lot (e.g. Norma).

Having read many of Highsmith’s books over thirty years, I am now persuaded to return to her as a storyteller.

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I have come late to Eileen Myers

I do not remember how I came across the name Eileen Myers. I do not remember how I came across the work of Eileen Myers. What I do remember is that I came across their poetry and Twitter messages in September last year. I am surprised that I had never heard of them before after all they are the same generation of my idol, Patti Smith. They both emerged in NY around the same time. They were both photographed by Robert Maplethorpe. They were both “punk” poets.  They were, are, both political. How come I had never heard of them?

And now? And now, I am learning to read their poetry and their books. I came across Myer’s last collection “I must be living twice” in Finchley, London. It was an omen. I bought the book and flipped through it as I took the bus home. What did I like? I liked the directness. I liked the straight approach. I have no time for the romantic poets or people who weave words in such a way as a reader needs a PhD in semiology  to understand their meaning. The images of Myers on the internet show a woman who is not bound up with fashion and notions of beauty – a woman who presents themselves as they are, wrinkles and untidy hair. They dress as straightforwardly as they write.

I am currently watching the television series Transparent, in which Myles is a character and also an actor. Reading the credits reminded me of “I must be living twice” sitting on my bookshelf. I took it down. I also did an internet search for their other works. The titles, I think, are arresting: “Not Me” and “The New Fuck You.” They are challenging titles and, I am happy to say, the poems in “Not Me” are as direct and challenging as I expected.  I like “narrative poetry,” by which I mean narratives / stories  told within the confines and structure of verse. The break in the lines and the thoughts are genius.

“When I came
in I switched
on the light
to a yellow &
black striped
towel on the
floor & a big
smashed water-
melon & a
pair of
cowboy boots.”
(Not Me, page 22)

I have come late to Eileen Myers but I am glad I have come.


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