StAnza International Poetry Festival
The Undercroft, St John’s House, St Andrews
9th March 2019
The Undercroft is an intimate, arched, windowed cellar room belonging to the School of History at the University of St Andrews. It is almost too intimate for a mic’dpresentation, but being long and narrow it is not intimate enough to do without. Thereon hangs a problem: microphone technique is not something that everyone has, and a simple operational slip can cause something unwanted to obtrude.
So I’m sorry to start on a negative note – please bear with me. As Laura Accerboni recited her work purely in Italian, she was partnered by a man who alternated with translations into English of each poem. He sat while she recited, and vice versa; the lack of space meant that they had to shuffle round each other to get to the lectern, and whilst Laura recited from memory, her English reader referred to a script, spoke with his head down, approached the microphone too closely, and treated us to a series of plosive, overdriven consonants. Added to that, his script was organised in such a way that on several occasions he had to turn over his corner-stapled A4 sheets in the middle of a poem. Interruption of speech. Rustle, rustle. All this could have been avoided with a tiny bit more planning. He and Laura could have both stood, either side of the lectern, approaching and retreating as necessary; he could have had a better-organised, less unwieldy script. That would have added the little bit of polish that had worn off Laura’s half of the event.
Did it matter much? Well, to be honest, not when one considers the poetry. Laura’s wont is to stand immobile, arms by her side, and almost declaim her work, the listener, to whom it is xenoglossy, being made aware of the aural qualities of the Italian language. Each line of poetry seemed to take a single breath, and there was a rise-and-fall there, regardless of enjambment. As I listened, I recalled how Swiss French has this kind of rise-and-fall, and wondered if what I heard was some characteristic of the spoken Italian in the same country. As my own knowledge of Italian is very sketchy, I found myself listening as though to Baroque music – Scarlatti or Pergolesi – and reflecting how much Basil Bunting would have approved of that! The lack of movement of limb or feature in Laura’s presentation meant that every syllable was crystalline, and that aspect of her half of the event was utterly captivating.
One thing the English translations certainly did do was reveal the sometimes startling imagery behind the musicality. Otherwise who would have guessed, for instance, that “Yesterday all the tallest boys / made their enemies starve / and quickly gathered up their toys. / They showed their mothers / the order / and discipline of the dead.”
The matter of translation is something both poets at this event shared. Katherine Sowerby – we learned from the chairman’s introduction – had recently taken part in poetry translation projects in Pakistan and Latvia. Katherine, right at the beginning of her half, signaled her intention to read twelve poems. It was that structured. There was to be no looking across at the chairman to check how long there was to go, no fitting in a couple of short ones at the end. Twelve were scheduled and twelve is what we got. The result was that this session of ‘Border Crossings’ had a ‘short-and-sharp’ feel to it, the whole event lasting little more than half an hour. Although her delivery was not as straight-ahead as Laura Accerboni’s, although there was animation in her face and voice, there was a non-nonsense feel to the presentation. Title, poem. Title, poem. Title, poem…
House However, her most recent collection, from which she selected part of her presentation, consists of sixty-two prose poems. If, as another contemporary Scottish poet said, poetry is whatever prose wouldn’t dare say, where does that leave ‘prose poetry’? in Katherine’s case it leaves it in a place where (yes!) short-and-sharp images can be strung together, teasing us with their apparent lack of relevance to each other but, true to the concept of gestalt, making up a whole that is other than the sum of their parts. Sometimes, despite this, there is deliberate repetition (“You want to reach us. You want to reach us. You want to reach us. You want us. You want us. You want.”), often there isn’t (“The creak of a chair. Our lit-up faces,” or “Mountains cut in half. I wear a shirt from that day. You told me the cost. You asked me questions about my microwave.”). The answer is, therefore, is that prose poetry can indeed fulfill the same function as any other kind of poetry, move us out of our comfort zone in which we expect step and step, cause and effect, day and night.
All of which leaves me wanting to read Katherine’s three-novellas-in-one-cover, The Spit, the Sound and the Nest, to find out what in her poetics feeds into her fiction. Poets can make the most startling storytellers, and a story would add yet another dimension to what I was able to experience today.
StAnza International Poetry Festival
The Supper Room, The Town Hall, St Andrews
I am ashamed to say that it totally passed me by that Friday was International Women’s Day until I was on the train home. There, I’ve got that confession out of the way, so there is no danger of my falling for the temptation of claiming I came to see these two poets as some kind of celebration or act of solidarity. Nope, I just had poetry on my mind. I had just come from a free lunch at the ‘Poetry Café’, and hearing Nadine Aisha Jassat start off by remarking that she had her “Fisher and Donaldson stash” offstage right made me hope that this wasn’t going to be the “pudding session” of the day. Don’t worry – it wasn’t.
However, wherever I go at StAnza synchronicity seems to keep step with me, and today was no exception. Nadine’s first poem was about her grandmother, who has Alzheimer’s, and whom she refers to as a “time traveller” because of the shifts in time and place that seem to go on in her mind, according to the narrative of her one-sided conversation. Of course I too am a time traveller as I write this review, having just written a review of an event from Saturday the 9th, in which the topic of dementia also came to the fore. Review-writing can be approached phenomenologically, let me tell you… oh… Let Me Tell Youis the title of Nadine’s debut collection, damn this synchronicity thing! As for her grandmother, Nadine says that her time travelling is by turns moving and hilarious, because you can never be quite sure what you are going to get.
I can see the “moving” part of it without any problem; to watch an elder’s memory loosen like a piece of fine, paterned cloth having threads tugged from it must be especially poignant for someone with as many threads to her heritage as Nadine has. Her voice is Yorkshire, her family story is full of other people’s journeys to where she is. Her own journey includes, expressed in a poem – “Hopscotch” – all the words that men have said to her on the street. There is only one up-side of the latter circumstance, and that is the poem itself, its anger presented so gently in a simple reading, used as a reason to create. If you want to hear it in full menace mode, then I suggest the following short film by Roxana Vilk, which is based on the poem.
Mary Jean Chan is a poet and an academic living in London, though originally from Hong Kong. I love the way she delivers her poetry, which is with composure and utter clarity. It’s not surprising to note that when she was a young adult she was a fencer, nor is it surprising to find out, in the context of border crossings, that her discipline was European – she handled an épée – rather than Chinese. Given the subtlety and directness of her poetry, the simplicity of the choice between a straight and pistol grip seems entirely in keeping…
Here I stop and stand apart for a moment. There is a challenge to ‘Border Crossings’, and it is this: how much attention do we give to the ethnicity, or the actual mix of heritages, that the poets bring with them? There are those of us, I suppose, who try to keep this uppermost in their minds, and others whose priority is to try to let the words, the actual poetry, take them. What, on that sliding scale, is appropriate? Each poet – every poet fulfilling a ‘Border Crossing’ role at StAnza – has crossed, or even ‘transgressed’, some of the fault lines that we, humanity, have opened up for ourselves. They have made a conscious journey, taken a step across a metaphorical meridian, made a choice to say this-and-that in such-and-such a way not necessarily their own, or perhaps have brought something very much their own and set it down in the context of a Scottish poetry festival. Take Mary Jean Chan, for example, whose latest collection is called ‘Flèche’. She has already crossed from Cantonese to English; now that French word, a homophone for ‘flesh’, crosses yet another border, punning as it goes. The blurb for her book puts it like this: “This cross-linguistic pun presents the queer, non-white body as both vulnerable and weaponised, and evokes the difficulties of reconciling one’s need for safety alongside the desire to shed one’s protective armour in order to fully embrace the world.” In French, ‘flèche’ means ‘arrow’, and it is also a method of attack in the discipline of épée.
Over her vulnerable flesh, “my skin is yellow,” she says in one poem, and in doing so she takes on directly one of our fault lines – the biological fiction of race and skin colour, of which we have made so big a deal, so great a burden for ourselves. And then in the next she cites fencing: “As a teenager […] the closest thing I knew to desire.” It is a sudden and surprising launch of an image, direct, as I said before, to find a fighting sport, a combat between two people, made cognate with sex and with sexuality, the homosociality of the young women’s group suddenly given a tension that wasn’t there before as they change between one uniform and another.
This is brilliant stuff, and no mistake. At the end I wanted to shake both poets’ hands, I wanted to cross that border between listener and… something else. In the end I only managed a brief passing comment about Yorkshire to Nadine, but I did shake Mary Jean’s. I took hold of a hand that had both held an épée and penned poetry, and I left the Town Hall buzzing, and ready for a cup of normal tea… that sounds like normality… and which, in my case, means Earl Grey.
A rising star in the world of words, 2019 sees Ben Norris make his debut appearance at StAnza Poetry Festival…
Hello Ben, so where are you from & where are you at at, geographically speaking?
I’m from Nottingham. I currently live in London but I’m back in Notts more and more these days, as I’ve just started working more closely with the Playhouse there, and with Nottinghamshire Libraries as their poet-in-residence, which is lovely.
When did you realise you were a poet?
I started to dabble in sixth form (in secret of course – the shame!), but it was when I got to university that I really knew I had the bug. I went to university in Birmingham, which has an incredibly vital poetry and spoken-word scene both on campus and in the city as a whole, so it was really fecund ground to develop as a writer and performer. It’s impossible to overstate what an impact that place, and those people, had on me.
You’ve won the national poetry slam TWICE. How did you pull that off & did you have to write a whole new set for the second event?
Poetry slams in this country are a bit like boxing titles, in that there can be several champions at once, because there are quite a few different events! My two national titles came from two different slams (the UK All-Stars in 2013 and the BBC Slam in 2017), and because they were 4 years apart, thankfully I had written some new poems in that time, yes!
I ran to the bay
hard and long-spined
like someone was watching
a keen blade
through the beetroot streets
of a new place
hit the rails at the end of the fishing pier
did my best Titanic
eyes shut arms wide the figurehead
at the prow of the city
remembered my granddad
his sleepwalk down
to the sea one night
How he loosened a boat from the bayside
eased like the too-tight knot of a tie
from its moorings
rowed out into
a patient dawn his craft a finger
lightly pressed on the creaseless shirt
of the water
I imagined him coming to oddly calm
his hydrophobia a distant second to his reason
smiling the smile my mum sometimes says I have
noticing his raincoat buttoned perfectly
over his long johns and night vest
realising how little choice he had
to resurface there
I sucked back the Severn salt
drug for an inland man
tipped a wide-brimmed windswept smile downstream
gazed out towards Weston-super-Mare
ten miles to the south east
Latin America just a little beyond it
if I’d my father’s wrist for skimming stones
if I’d my mother’s hope
I thought and felt
my anchor fall
What does Ben Norris like to do when he’s not being, well, poetic?
I was a very keen long-distance runner when I was in my teens, and over the last year or so I’ve found myself getting back into that, which has been great. It’s not just a fitness thing for me, but a mindfulness practice too. So an ideal Sunday would probably involve at least 14 miles of gallivanting through some muddy fields!
Can you tell us about The Hitchhiker’s Guide to the Family?
It was my debut show, a one-man performance about me and my dad. I hitchhiked to everywhere he ever lived when he was growing up (he was born in Brixton and every time he moved house he moved north, and roughly in line with the M1, so that provided a convenient geographical structure!). I started in Nottingham and hitchhiked south, going backwards through his life. I wanted to learn more about his past in the hope I would get to know him better in the present. I hoped to discover some cataclysmic event that explained away our differences (me the millennial who, I thought, was good at opening up, and he the typically taciturn male baby-boomer), but I quickly realised the irony of my going on this hugely convoluted journey rather than just ringing him up and asking him about his childhood(!), so the show became a lot more about me and my own reservations, and masculinity in general, and all the hang-ups that remain. It went to the Edinburgh Fringe in 2015 where it won the IdeasTap Underbelly Award before touring the UK and then Australia.
How did you find yourself a part of the international institution that is The Archers, & how is it all going?
I was invited to audition, I believe, on the recommendation of my radio teacher at my old drama school, and was lucky enough to be offered the job. Relatively normal process really! It’s going well; everyone there is so lovely, they’ve made me feel very welcome, and it’s a real honour to be part of such an institution.
As a writer yourself, do you get to tweak the script?
Not really, and I wouldn’t really want to either, because I know how annoying it is when other people mess with your work! Occasionally if we need to lose a bit of time on an episode we might suggest small cuts but the director leads on that. Those who know their characters better than me might feel a bit more qualified to tweak things (if they’ve been playing them for several decades!) but I’m still getting to know Ben Archer…
Which poets inspired you, both old skool & of today?
There are so many, far too numerous to list. But these people have all been hugely influential to me, some of whom are friends, some of whom are long dead. Some aren’t even really ‘poets’ by popular consensus, but I think their writing could easily be classified as such.
Bohdan Piasecki, Liz Berry, Caroline Bird, Claudia Rankine,
Richard Scott, Sean Colletti, Sharon Olds, Andrew McMillan,
Dizraeli, Loyle Carner, Joni Mitchell, Anthony Anaxagorou,
Melissa Lozada-Oliva, Jo Bell, Helen Mort, Maria Ferguson,
Geoff Hattersley, Sylvia Plath … I mean, I could go on, but I shouldn’t…
When do you know you have just composed a decent poem?
When you finish it and feel a sense of relief, having purged something, or captured something that you feared might elude you. If you’ve done justice to the idea that inspired you to start writing. Even if it’s shifted as you wrote it. The hypothetical poem in your head will always be better before it exists than once it’s written, but a good poem is one that is closest to the hypothetical ‘perfect’ poem that inspired the actual poem into life. If you finish it and still feel an itch that hasn’t been scratched, or if you immediately want to start hacking it up, then it probably isn’t great.
This year you have a pamphlet of poems forthcoming from Verve Poetry Press, can we see a couple?
It’s difficult for children to pinpoint the exact moment they realise that
nothing lasts forever, but rather it slides into view, like the silver wink
of the sea as the family Astra rounds the bend of a Lincolnshire hill
Of course I wasn’t to know
as Jason Leathen and I
pretended at playing snooker
on a full size table
as dad shuffled Clare and me
round the go-kart track
if only to get our money’s worth
as grey day turned to grey night
and the adults all drank
and nobody thought to lament
the fact that the mums and dads
of Netherfield Colts FC (under 15s)
couldn’t afford to go abroad
as our static caravan
chicken nugget weekend
trundled on like
a 70s fairground ride
that no one found exciting even then
as Butlins spluttered into Monday
of course I wasn’t to know
that you were setting yourself on fire
letting yourself love him
for the first time
You probably had brunch
probably held hands
with February lips
like a torn calendar
I wasn’t to know
that one day this would find itself
in a happy poem
What is it about performing your poetry you love the most?
The relationship with the audience. The fact you’re all in a room together, you’ve all agreed that that’s a nice way to spend your time. The mutual vulnerability and investment involved is genuinely beautiful. As much as I love performing on radio or to camera, nothing compares to the experience of live performance.
You are about to perform at this year’s StAnza. What are your former experiences of the Festival?
It’s my first time there!
What have you got in store for us?
Because I have a pamphlet coming out, and I had a pretty seismic 2018 personally speaking, there are a lot of new poems I’m looking to give a first read to at StAnza.
What will you be doing for the rest of 2019?
Writing more, both poetry and theatre. I’m looking to further develop a new show about long-distance running, inspired by my teenage obsession with it. I’d also like to go on holiday. Maybe. Probably not.
The StAnza Slam / Sat 9th March
With MC Ben Norris
The Byre Theatre, Abbey Street, Auditorium
THE MUMBLE TEAM
Are taking their annual Festive Break
SEE YOU ALL IN THE SPRING !!
Leith Walk, Edinburgh
Not only does Max Scratchmann possess the most deliciously suave of names, but he also loves to present the poetry-lovers of Edinburgh something different, something theatrical, something cool. His Halloween special, therefore, drew in poets from across Scotland to interject & connect with the continuous tartan thread that is Jennifer Ewan & her band.
The prominent theme, of course, was the frighteners, but I found the evening less fearing & more full of fun, for the performers were all of the highest level. So, half of the time we were being regaled by the band – alongside Jennifer on guitar & vocals were Kim Tebble on accordion & Simon Fildes on bass; all were clad in black & their music swarmed into the ears of the healthy & ever-appreciative, sometimes-even-dancing audience, like bison reaching a prairie water-hole. We were given a steady stream of well-chosen numbers; of Jennifer’s own creations & also covers, when numbers such as Bessie Smith’s ‘Take me to the Electric Chair‘ sounded amazing with a Scottish burr.
As for the poets, there were five of them, who did cheeky wee floor spots in between the ballads on both sides of the interval. Our host Max’s first poem defined Edinburgh as a ‘city of murder ballads‘ & we were off. A lot of the material was freshly written for the night – Molly McLachlan admitted to composing hers in Leith Weatherspoons earlier that day; not that you could tell – it flowed with elegant mastery. She, & the other poets – the shamanic Stella Birrell, the regal & dramatic Nicoletta Wylde, our beloved Max of course, & the rapid-tongued Scott TheRedman Redmond – presented some of the highest standard & absolute quintessence of performance poetry a la 2018 – when the post-modern polemical story-chaunt is all.
I’m not dying I’m transcending… & if I transcend you’ll transcend with me
With half of the audience & all the performers making an effort aesthetically, & webbing & branches hanging off the walls of the venue, a genuine Tam O Shanter like vibe was gothically invoked. Thus setting & content were perfectly matched, upon which occasions good times are guaranteed, a tradition which Murder Ballads perpetuated with ease. A fluid, fascinating, & above all entertaining night’s entertainment.
Edinburgh International Book Festival
Baillie Gifford Main Theatre
Carol Ann Duffy doesn’t smile much, one never knows how to take her. So when it was announced at the beginning of the event that there would be no question-and-answer session at the end, and that the poets who were taking to the stage had asked us not to tweet during the performance, there was that kind of hush you get when everyone wonders whether this was going to be a po-faced afternoon. As it turned out, there was no need to worry at all, because it was a sheer delight from beginning to end, so much so that the hour went by in what seemed to be the proverbial twinkling of an eye.
Carol Ann has an ongoing policy of seeking out relatively unknown, emerging poets and championing them. The presentation today included two of her latest protégés, Mark Pajak and Keith Hutson. Neither of them had ever appeared in a Book Festival event before – Mark said he had been here as a punter – and when I asked them afterwards how it felt now it was all over, they both testified to the adrenalin still working. You wouldn’t have known that they were anything other than totally relaxed from how they came across in front of the audience; this isn’t really all that surprising, as they had both given readings before, that much is obvious.
Mark Pajak is a Liverpudlian. He has a careful, lilting delivery which – he won’t thank me for this – reminds me a lot of Roger McGough. I know, such comparisons are inevitable whenever a poet from Liverpool appears. In Mark’s case there is something about the timbre of his voice and in the questioning inflection at the end of lines that evokes this. It is a style of delivery that captures and holds the attention, however, and it makes an audience hang on his every word. There is a lot of humour in his work, and a lot of tenderness. His account, a love poem if you will, of a stupid prank that he and the best friend of his childhood and youth carried out, and how it led on to the rest of their lives was… all right, I’ll say it… one of the most wonderful expressions of friendship since Edward Elgar wrote ‘Nimrod’. Over the top – moi? I’m being honest here, it was a Scouse David-and-Jonathan thing.
Keith Hutson was either born in Lancashire and lives in Yorkshire, or vice-versa. Anyhow, the Roses cricket matches must be hell for him! In contrast to Mark, Keith delivers his poetry and the intervening patter with a broad if imperfect grin. One tooth is missing. “You should see the other poet. All I said was don’t give up the day job!” His speciality is the celebration of bygone stars and meteors of the music hall and variety. His subjects ranged from an impresario who, after a walk-out by his whole cast, performed solo on stage every character in the story of Dick Turpin, to bandleader Ivy Benson and the resentment directed her as an outstanding female in a male world, to railway-obsessed, RADA-trained (hah!) Reginald Gardiner. I think Keith was tickled when, afterwards, I said “Reginald Gardiner – that’s the ‘biddly-dee, biddly-dah’ man, right?” Readers, that’ll only mean something to my generation, people who remember ‘Uncle Mac’ on the radio on Saturday mornings!
Carol Ann bracketed the event. She flagged up the humour of the event by opening with her short poem about encountering a gorilla at Berlin Zoo; they stare each other out, the gorilla’s gaze barely concealing rage – “with a day’s more evolution, it could even be President.” Okay, well-judged there, she took a chance that a certain politician currently prominent on the world stage is not popular in his ancestral country and it paid off. Her finishing poem was a sestina. Carol Ann can do this, she can bend old poetic forms to her will. This sestina depended on the repetition of six words (of course): arseholes, gatekeepers, chancers, tossers, bullshitters, and patriots. In passing, I wonder if, when she first wrote that poem, she speculated beforehand which of those six words spellcheck was going to reject, and whether she experimented just to see whether her computer would accept the American spelling of ‘arsehole’. Anyway, that’s hardly relevant, because her sestina wove those words and several homophones round themselves like the patterning on a Fair Isle jumper. I confess that I have never been her greatest fan, but reviewing a reading by her and, as is necessary in a good review, leaving my prejudices outside, I can say that I now see precisely why she was awarded the Laureate. Applause.
Overall, this was a splendid event to start of my personal tour of duty at Charlotte Square – thank you, Book Festival – but as always it felt much too short. I know, that can’t be helped.
Edinburgh International Book Festival
If any of you are for some bizarre reason unaware of who Rose McGowan is at this stage then its time to be introduced. McGowan was until recently mainly known as an actor, appearing in independent movies but also toying with the majors in films such as “Scream” and the successful TV show “Charmed”. All that changed though last year though when she became a Hollywood whistle-blower with regards to the sexual abuse prevalent in the film industry. Her courage in doing this helped to bring down Harvey Weinstein, one of Hollywood’s biggest players as well as encouraging other women to come forward with their own experiences kick-starting the ‘#MeToo movement’. But you knew all that already – unless that is you’ve been hiding under a rock for the last year. What you might not be aware of is that McGowan is now also an author and was here at the book festival to promote her autobiography, “Brave”. It was clear from the start of the interview that Afua Hirsch herself is something of a fan so I was concerned this was going to be a rather fawning affair – the acolyte stroking the ego of the glamorous movie star. Yet from the very beginning it was apparent that McGowan was not that kind of actor. Giving us a reading from the introduction to her book it became clear that her journey from Hollywood starlet to social justice warrior was complex and owed much to the harsh lessons of her early life.
McGowan described how her upbringing in a religious cult, “The Children of God” led her to have direct early experiences in the abuse of power which she feels is also so prevalent in Hollywood. She described how she feels the use of trigger words, punishments and similar cult techniques are used not only in Hollywood but also in the politics of Trump. In fact it was Trump’s election that encouraged her to contact the press to break her story early ( she was already writing the book). Sick of seeing the rise of sexism and racism his presidency seemed to foster she felt it was the right time to speak out. McGowan mentioned almost casually that when she was attacked by Weinstein she told people right away but was ignored or dismissed. Feeling voiceless she essentially just ploughed on with her work trying to distance herself from the culture of Hollywood whilst remaining working within it, an experience she described as being “a lonely road”.
Whilst working on her book and when she started to talk openly about her experiences she began to be hacked, stalked and spied on, an experience which has in part led her to selling her Hollywood home and living out of a suitcase. As she describes it “Hollywood acts like the mafia to protect its own’. This did not silence her however but merely encouraged her in the belief that she was doing the right thing. This steely resolve is clearly at the core of her as is a sharp self-aware intelligence which is critical of her own previous inability to see the warning signs of threat and danger in her early days in the industry. A former teenage runaway with ‘street smarts’ she could only put it down to being overwhelmed by the oily charm of ‘people who were not my people’. McGowan acknowledged that the last year has been tough on her and that “the stress of it almost snapped me’ but that it was fantastic that so many people were now coming forward to tell their own stories. When questioned if she had any inkling as to how big this would become she said that she didn’t think about it at all, that she just needed to act in order to as she put it “make it impossible to look away”.
The roots of the abuse she feels run very deep indeed and she described the serial abuse of aspiring starlets in the 1920’s as being not the casting couch but “the rape couch”. She described how she has been forced to look back over some of her early sexual experiences within Tinseltown in a new light as the molestations that they really were. Far from being merely an issue within the industry she feels that if women look back over their own lives they too will recognise this.
McGowan expressed her feeling that Hollywood holds a ‘fucked up mirror’ for all of us to gaze within and shows us a distorted image of the world which is damaging to both men and women alike. She feels that it is important for all of us to be self aware and critical of the culture we live within and be conscious that “what you have consumed from birth has formed you”. She feels that the images of women in much Hollywood product have a toxic effect on self identity and self esteem saying that “the men who thought they owned me think they own you too” This could all risk sounding a little hypocritical coming from an actor involved in the movie making machine itself but in fairness to McGowan she has remained mainly in independent cinema and been canny about her choices ( ‘Charmed’ being the longest running female led show in network history). She also is quick to point out how difficult this is admitting to loving ‘classic movies’ herself.
McGowan sees herself as essentially an optimistic person, and believes that Trump is in a sense an enabler of the kind of radicalism she espouses. She has no fear of offending and admits that to an extent it has cost her a more conventional creative career but believes that “being well behaved was not working in our favour”. By the end of the talk I was a fully paid up member of the Rose Army and would have happily taken the Queen’s shilling to do battle on her behalf. She was an eloquent, passionate and bracingly honest speaker who’s courage in speaking out against one of the most rich and powerful industries in the world has given us all encouragement to challenge corruption where we find it. Long may she reign.