Friday, 23 February 2018

Lila - Tinted Poems No.4

Her name was Lila.

Chewing her purple jumper sleeves
leaving droplets that she needed
to kiss the boy she did not know about
How she never got caught there
But that was just Lila

Some days she was blushed and blue
True, her hands would bruise in the chill
but her disposition was a realist
Ideally the world would be her canvas
But that was just Lila

Twisting blackberries from their stems
hems splattered with their plum juice
Her favourite memories cradled in the sun
sometimes she longed for contrast from leaves
But that was just Lila

Pressed lilacs and witches hats
That tutu and tiara marriage
she would pretend to enthuse, while
smiling, she would remember the cauldron pot
But that was just Lila

Fraying her hair with pastel violet
Petting her pout with mauve lipgloss
to whisk herself to living room parties
partly to observe him, and him, and her
But that was just Lila

That lavender girl always on my lips
Because she was Lila.


Thursday, 22 February 2018

The Food of War

It would not have mattered if it were April or November; the landscape was drowned in a brown-grey, like farmyard mud flung into the sky, to be rained down over the scenery like a drab watercolour painting. It did happen to be spring however, so the brown-grey ground was now churned by an unrequited rainstorm the night before. When the men were in the light of the dull sun, they were greeted with the thick sludge they had hoped to be left behind in the previous winter. One of the young men – for all men in war are young – picked up a boot, resting diagonally on the uneven trench wall. His calloused fingers blended into the rough material of the boot, as he lifted it, and tipped. Murky pond water guzzled out, smacking the mud below and creating a welt from impact. His name was Giovanni. While the other men scanned for items to save from the muck they were stuck into, Giovanni’s stature remained, his eyes unmoved from the boot, drips now falling from the inside of the boot. If he had bent down and crouched close enough to the boot’s opening, he would be able to see the bulbous world he now inhabited through the drop, before it soundlessly fell to the manmade mud below. One of the men nudged Giovanni’s outstretched arm, but only after a few moments more did he solemnly lower the boot. Turning away from the wall, he leant against it with his elbows crooked, so only they would be patched with mud and not his back. Still his eyes were almost unmoved from an unspecific spot, as the savoured boot stood by his side.

In that moment, the very instant of tipping this army boot, with rain water gushing from its innards, rippling the ground below him, surrounded by a bleak yet unforgettable landscape, hankered with men attached to lives they may never drag themselves back to again, Giovanni felt all that came before him implode in his head.

Filippo, a man – a boy – a year younger than Giovanni, had entered the trench with his uniform as smart as a major and as clean as if his own mother had bathed it. Even when being sucked into the brown-grey of their war, Filippo did his best to keep his head above, like someone determined not to drown, keeping clean habits even when every implement was bathed in mud. It was one of the first times that Giovanni had ever heard the thunder of bullets, sharper than blades, stabbing through the air, the wasteland, the skin. And there lay Filippo, his mouth agape, caught in a startled shout like a bird mid-song, his chest exhibiting the mud mixing with his blood through the holes in it.

When they were travelling to the barracks, even Giovanni’s dark curls that had so attracted the attention of all of the Italian mothers in his town did not differentiate him from the hundreds of men cooped in the trucks, transporting them across the countryside. The fields were brimming with golden greenery, with vines stretched along the width of some, trailing up sticks to guide them straight. Giovanni only witnessed this because he sat on the very end of one of the benches, and could have stuck out his head and let his curls dance in the slow breeze they were leaving behind. That was when he had first seen Filippo, with his neat clothes and a nose as straight as if he too had splinted it like the baby vines in the fields. But then, they were all men, and they were all going to war.

Before they were politely loaded into the deep green trucks, Giovanni had never considered another life than the one he had in his restaurant, Colomba Blu, named after his girl. She perched, her long legs under a blue dress the colour of forget-me-nots in the turning of summer, pleasantly crossed under her seat, peering at the menu. The white paper contained the names of five dishes, not a niche place but that of simplicity, as Giovanni was fond of. After her third visit, in the same seat, under the lemon tree that swooped over the tables like a shade for Goddesses, Giovanni’s father mentioned the lady, with her high cheekbones and hair that captured the sunlight that was then bright and incandescent. After a week more, Giovanni served the food himself, ruffling his hair out of sight with the lemon tree, before greeting the lady with her dish. It was always the same: Lo speciale di Giovanni. He would later lament about her: she was like a dove, his Colomba, he would think, with her pointed yet soft features and feathery, drawn-out voice. When they were soon afterwards together, and Giovanni’s father had given the restaurant solely to his son, he named it after her. Her favourite dish was always on the menu.

Surrounded by this brown-grey scene of bleak destruction, what had softened the memories to float them to the surface, from the congealed suppression Giovanni had forced, was not the tasselled photographs or crumpled letters with curling fonts, but the boot tipped of its rainwater. To Giovanni, the sight of thick glugs falling into the soupy mud reminisced of the day many years before, when Giovanni’s father had asked him into the kitchen of his family home, later to be overrun with food menus and sauce spillages from the family restaurant. His father, square hands softened by the flour that haloed them, beckoned Giovanni up onto the wicker stool, which barely sagged under his toes. With this leverage, he observed his father making pasta; an origami of food. Bestowed with a spoon, Giovanni loyalty never left the side of the cooking pot, bubbling pulpy sauce, stirring tentatively and attentively so it would not begin to coagulate. Once both were completed, the sauce was ladled onto the fresh pasta, glinting with a varnish of egg wash. His father called it Lo speciale di Giovanni and it transcended through every draft and redraft of menu, a changeover of owners – from father to son – and staff, the influx of customers and that one special girl, and it followed him here. Only the taste would tell Giovanni that the liquid that came from the boot was not brimming with fresh tomatoes from the porch garden, dancing under the sun on top of the devotion and care of family. It was just murky rainwater. And he was in a war.

Tuesday, 13 February 2018

The Oak and The Willow

She stood grand and proud
A full afro of evergreen
embedded in her Northern roots
Unafraid of creeping stretch marks;
the scarification of growth

He lolled quaint and lean
Picking daisies under long toes
that stretch over the riverbank
Conscious of sunlit fly-aways,
rippling the halcyon water

And this she sees in him:
a calm freeness flows over his face,
dancing off his lithe limbs like nymphs
When she breathes, her air is now full:
Sepia softened by the stars

But what he saw in her
was a regal boldness: striking
Whereas his head was a bird’s nest,
a collision of thoughts and trinkets,
awaiting to be rearranged

She leant grand and proud
He stretched quaint and lean
Beating cores, once only a bean,
electrified by another life,
mushroomed, extended; roots elongate
Intertwined in a dance of nature
The oak and willow, in love.

Friday, 9 February 2018

Rich and Sweet

Scrolling through my feed, with only the occasional patter of semi-chipped nail-vanished nails on the smudged screen to distil the silence, I double-no triple tap on a new photo by melinabeauty: Miss Melina, with her frolicking curls kicking into the air against the Parisian backdrop of side streets and cobbles, effortlessly tossing- no, delicately placing a vintage Burberry scarf over her slender shoulders, smiling mid-girlish-giggle, into the camera, her eyes alight even behind mauve-tinted sunglasses. I pause. Where did she scout that scarf? The Burberry dynasty fell, with thread and dollars ablaze, over thirty years ago, its stock virtually unseen for decades. I wonder if she has advisors, designers, panderers who take their wallets like rifles into the handrail jungles, hunting for the rare pieces to pounce upon. I wonder if she pays them, or if they are rewarded by being number eighty-seven of one hundred and twenty one hashtags, because she loves us all. Miss Melina, with skin that is rumoured to be completely pore-free, and legs long enough to ride a penny-farthing comfortably. (Who said these bad boys have to stay in the 1880s? was ThriftStoreSteffi’s camera-aimed comment, as she slung her mini mini bag over the authentically-rusted handlebars, snapped by Hallå magazine, and it was instantly in anybody who is anybody’s feed.) She was probably one of those lucky ones who had their genes examined, studied to excavate the harsh pebbles in amongst the golden stars of a future icon. Not that they are actually allowed to intercept rogue splinters in DNA, but it cannot be a coincidence that those who have money seem to be smooth and knot-free. Look at her, Melina, Miss Melina, with her perfect photo-worthy life.

I come across ThriftStoreSteffi’s third picture atop her penny-farthing – ‘Bruce’, as if she did not even have to try to cultivate any more followers, she chose a delightfully tough yet comical and quirky name – to complete her perfect trios, all glazed with a deliciously hazy pink hue. jaz eats away at a ruby-round bonny-baby apple, while S T A R S T R U C K meditates in front of an image of a polar bear. I remember learning about those in school: huge, shabby-white bears, turned-in feet that could kill with one swipe, all reduced to ribcages and droopy, inky jowls. Even mum can barely remember them.

And then filling my screen was Isabel (now a copyrighted name, as of two years ago, when her brand took over America), with her signature over-saturated filter; perfect for covering any blemish – not that her beautiful skin even knew that ugly, forbidden word. She was lying damsel-like on a retro lime-green lilo, in a red swimsuit made entirely of strands held together at the side, to give a modest impression until one got within five meters, as the dutiful camera man clearly had. However, this particularly risqué wear wasn’t what drew my attention – nor her toned body or her wild, yet tangle-free, hair – but what she was floating upon: instead of the typical clear water, cleaned quarter-hourly from the smog that drifts through the air from every factory (no matter how ‘clean’ their labels proclaim), possibly exhibiting a sheer drop below, the water was white. I zoom in, pinching the screen further and further until the minuscule granules were broken up into their singular parts.
It was unmistakably sugar: a pool full of sweet, white sand. I scan the caption: just one dollar sign.

Waggling my fingers around in the air like I am conducting a crab-sized symphony, in confusion of what to make of it, I command my screen to refresh with more sharp aggression than I had intended. It was everywhere: a craze for sugar.
Girls with wire-infused pigtails threw sugar in the air like it was fake snow that was imported in at Christmas. Men, with strained plastic bags of sugar, pointed with gun-shaped fingers to their sweet bounty resting on one knee. With their supersonic cars and six figure wardrobes, pre-teens kissed coffee cups overflowing with sugar: ‘Money sure is sweet’.

After the 2037 sugar tax, and the 2039 amendment, and the 2041, 2042 and 2045 revisions too, sugar has been – until now, apparently – extinct, for us at least: it is a silent, secret knowledge that is whispered around the crowns and palaces, a tiny silver spoonful stirred into loose tea for those with gold in their back pocket. I do not even remember the texture of it, our taste buds coated now only with slimy sweeteners. After the first Sugar Tax, Gran always brought the conversation back to her high school history lessons, learning about the Tudors using sugar to brush their teeth to exhibit their wealth to the peasants below them. And here we are, first the penny-farthing, now sugar to show your societal status: surely this is regression?

Every other photo is contaminated with the white specks, piled higher and higher in ratio to money. I realise then that my tea, green and grassy, is still full beside me. Taking a gulp, without my eyes averting from the conveyer-belt of scrolling photos, I swill the liquid spiked with fake sweetness between my teeth. The Sugar Tax really did make the rich sweet.

Thursday, 1 February 2018

Artificial Review: Artificial is Real

When you think of robots, machines and AIs, the first assumptions are mechanics designed to assist humans, without the complexity of emotions attached. However, Artificial challenges the Alexa mind-set, with a production that contains much more feeling than many with an all-human cast.

Artificial, written by Luke Culloty, centres around the seemingly laborious life of Dom, a therapist of robotics, who installs AI devices into homes, after assessing what programme will best fit a family’s needs. (Think extravagant babysitter to assist parents who are always working, or mediator for rowing couples.) However, as the play continues, we see that although Dom’s life seems to be just about machines, he desires a real relationship: preferably the one that he lost, leaving him in limbo. His guide, Kurtus, the AI, is his assistance and confidant, in the complex relationships that he finds himself in.

Official poster for Artificial

Last week, I travelled in alone to see Artificial, so as I sat in my solitary seat, in the snug, black-walled stage that is situated upstairs in the Hen and Chicken’s Theatre and Pub, I had a chance to (I tried to avoid the clichés but here it comes) take in the scene presented to me: a singular white, rectangular box was placed in the middle of the shallow stage. This was to be a great grounding point for the production, with each scene using it as either a bed for Dom to mope and contemplate; shelving to accentuate the breach of personal space one particular customer infiltrated; a family sofa, perfectly designed for observation. With each scene change, the lights dimmed and the actors soundlessly moved the objects, ready for the next scene. I have not seen that many plays, let alone those that are small-scale like Artificial, but I felt that the slick movements also aided the storyline: all our lives flow and ebb into one another. And, in Artificial, this is all helped by artificial intelligence.

At first, I found the voice of Dom’s AI, Kurtus, quite jarring: it was not the monotonous, robotic drone that we assume, but human voices, with inflects and tone and sense of humour. However, after getting over the non-robot-robot voice, I actually preferred them: there was something so natural to hear a machine giving advice with a comforting tone. (I hope this does not spoil it but) I admired the use of light up bulbs to represent each AI, with a haphazardly scrawled smiley-face on Dom’s Kurtus, which made his sassiness all the more amusing.

However, what really made this play unique is the raw and true feeling that was not only delicately cultivated in the acting, but also in the writing and the music. In fact, on two occasions I had to attempt steady, silent breathing to prevent tears welling in my eyes: ‘Nothing’, a song ‘composed’ by Kurtus (original score by Issy Matheson), as two characters decide their fate together; and the finale, as another composed piece draws to a close, and the message of Artificial is concluded: we must live in the present, and use feeling and connectivity to get there.

As I briskly walked to the train station and began to write this review on said train, bounding back down the Metropolitan Line, I was trying to think of a captivating way to finish off this review. And, I think a simple thanks is in order: thank you firstly to Luke Culloty, who wrote and I believe created Artificial, as well as with the actors and crew, bringing out an absolutely beautiful piece that I wish more people could witness. There was unexpected comedy, which added a well-needed contrast to the more poignant moments, equipped with timeless music, which much like Eva, I hope I can acquire a copy. One of the great strengths in the writing was the ability to teach morals, without being propped up with clichés: I understood the idea of creating your own destiny, not dwelling on the past (or crying over spilt milk), living life to the fullest without it ever being explicitly shoved into my face. And, it was all the more clever using AIs, the one design that is supposed to carry no emotions at all. The realistic acting also carried out the storyline: I really believed in Dom’s heartache and the unexpected worries of Kurtus, as well as the idea that these AIs, with their individual humours and voices could be pushing aside our Alexa’s. And finally, a thank you to Matt, the voice of Kurtus, who is not only a good friend but a great actor. Your sass levels were the highest I have ever seen them (and that is saying something) and I wish you and the rest of the cast the best of luck in the next play you do.