The Queen’s Safety


My story The Queen’s Safety was read at Liars’ League last week.

For those of you not in the audience, you can read, listen or watch the story (performed by Greg Page) on the Liars’ League site soon, but in the meantime, the video is on YouTube.

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.Cent Magazine


copyright Cherry Potts 2013

copyright Cherry Potts 2013

I’ve just heard! .Cent Magazine are going to publish my flash fiction, Is Nothing, in their Cornucopia edition under the Harvest theme. I’ll post a link when it’s live.

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Performing Live – update


Brixton BookJam has moved to 8th July due to a double booking at the venue. Everything else is as previously mentioned.

I will be reading and running workshops at Towersey Festival (Near Thame, Oxfordshire) over August Bank Holiday weekend with Spread the Word, no more details yet but will know more in a week or so.

Pictures from last week’s Misty Moon event (all pictures courtesy of White Windmill Photography.)

Promoting Lovers’ Lies:Cherry Potts misty Moon 1 copyright John Gaffen Cherry Potts Misty Moon 2 Copyright John Gaffen Cherry Potts Misty Moon 3 copyright John GaffenSigning Stations

Reading from Mosaic of Air

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Performing live at a venue near you??


Opportunities to hear my work live!

mosaic glyphI’ll be reading from The Bone Box from Mosaic of Air at the Arachne Press Weird Lies Preview this Sunday 9th June 6-9 at Misty Moon Gallery,

and then next Tuesday, 11th June 7pm, my story The Queen’s Safety is being read at Liars’ League as part of their Kings & Queens theme night.

bbj-july1st-a6-front copyAnd then I’m reading at Brixton Book Jam on Monday 1st July, some time after 7.30 not sure what yet, possibly Leaving.

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Keats Festival 2013 opens


Today is the first full day of the Keats Festival, which is held at Keats House, Keats Grove, Hampstead. I spent yesterday evening at the launch event, listening to the poetry of Jay Bernard (Demon’s in Hell go on strike, in the most visceral meaty bit of poetry I’ve heard in a long time, very striking.) John Hegley (last year’s poet in residence – Keats fencing with sticks of celery, acrostics on the word LEAF from local school children – with audience participation; and a c&w song for Keats’ brother George) and Jo Shapcott (this year’s poet in residence – glorious bees inhabiting a life in extraordinary ways, and an incidental treatise on the use of the word Darkling).

Music of the Camden Young Singers led by Ros Savournin (very young, very together in all senses, brilliantly focused and bright sound. Great songs, particularly the song in praise of earthworms with bassoon accompaniment,  from a poem by Harry Martinson.  The only false note (for me) was Keith Waithe a Guianan flute player, who had a backing track instead of the rest of his band (Macusi). I’m not a fan of backing tracks, although he made some interesting noises when I could hear him.

The nibbles were excellent, the wine good and the company charming. A grand night out, well done all at Keats House.

Until Sunday week, Keats House will be full of writing, poetry, prose and performance, and talks and calligraphy and a bit of silliness here and there. You can join me for a writing workshop on Saturday morning, 10.30-1.30 and Arachne Press authors Bobbie Darbyshire and Tania Hershman, together with actors Will Everett (reading for me) and Kim Scopes (reading for Tom McKay) at 3pm the same day for readings of stories from Lovers’ Lies and our forthcoming anthology Weird Lies.

© Cherry Potts 2013

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Old notebooks


On the shelf above my desk, and in the bottom left-hand drawer are old notebooks, some have a few pages left to use, others are full: with the detritus of writing.  Several friends and I have this ongoing thing of buying each other notebooks – writers can never have too many notebooks, although I do sometimes wonder – I am still looking for the one that has the start of what I think of as the ‘Alhambra story’.

Some notebooks have had pages ripped out – train times, phone numbers, dead ends – some are too precious to tear, and have pages scored through – tasks completed, stories transferred to the computer…

Sometimes the writing is from the back of the notebook, sometimes it is scrawled across a page diagonally. There is pencil, and felt tip and biro and proper ink, in black-blue-green-purple.

An example: Spiral bound, pink hardboard covers decorated with cartoon pigs (shh, it;s what’s inside that counts), lots of pages missing.

From the front: email addresses for publishers, a note to call the doctor, some ancient notes from work.

Some angry comments about kettle drums while I waited for someone who was late for a meeting, a doodled eye and design for a kelim, and the ambiguous now forgotten meaning of: collaboration/ child solider/ gangs/ invisibility. – must write that at some point, whatever it was.

A to do list, all crossed through.

More crossings out.

A different version of a story now complete.

Notes from workshops and seminars (multiple colours, more doodles).

Some calculations – something to do with computers because there are gigabytes mentioned, phone numbers for bookshops in Bristol and Bath.

Embryonic notes for converting a story to an opera, still to do.

From the back and consequently upside-down, in pencil,  the start of a story about a string trio hired for a corporate party. If I’d had any sense I wouldn’t have taken up the cello…

The keywords for a writing exercise: fat woman, dainty eating, heartbreak, secret, far to go.

Notes for a newsletter not yet done, thick black lines around in a futile attempt to attract my attention – sometimes it feels like the notebook is yelling at me, you’ve not done this yet!

and a plaintive question – where is the Alhambra story?

© Cherry Potts 2013

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Chorus Festival – South Bank


vocal chords at chorusHere are is a video clip and a photo of Vocal Chords doing their thing at the festival,- we were by the Mandela statue on Sunday at 1.

We also sang in the opening event.

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A and I went to two workshops – Sea Shanties on Saturday , and on Sunday Rounds & Catches with the magnificent Mary King.

The festival continues today with a last chance to catch Ms King as this is the last event she is involved in at the South Bank. Mary will be much missed!

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Notes from a Permanent Exhibition


More (and the last for the time being, until I find time to go again) from my National Gallery series, but not so much about angels.

The National has two Filippino Lippi Virgin & Child paintings, one with St John as a child, 1480 the other with Saints Jerome and Dominic 1485: in each she looks washed out and exhausted, her head at exactly the same level of bowed, only her nose is slightly different, the nostrils flare more with St John, as though she is attempting to keep up appearances for the child-saint.

On the subject of children:

The Master of Osservanza Birth of the Virgin circa 1440

Aside from a newborn baby able to stand, over which we will draw a veil, in the left hand panel we have St Jerome being informed by a child that he has a daughter.  Nothing of the kind. If you look closely, Jerome is telling the boy he has a baby sister, and he is not at all pleased.

A veer away from the religious subjects to Cosimo Tura’s thoroughly modern Muse. This girl has attitude: her dress is incompletely laced, her legs wide, her fist on her thigh. her well-plucked eyebrows raised in contempt she sits on a throne bedecked (it is the only word) with golden dolphins with ruby eyes, a shell above her head. she wears flock and carries a branch of fruiting cherry tree. She looks like she’s escaped for a dungeons & dragons role play programme – a Lara Croft for the 15th Century.

overheard by an altarpiece:

Mother: Nearly done, sweetheart.

Just pre-adolescent daughter: How many more sections are there?

Mother: Sixty-six.

Stop counting and enjoy.

© Cherry Potts 2013

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Chorus


This weekend I’m singing. OK I know, I sing all the time, but this is in public, and at the South Bank Centre. The magnificent Chorus festival, a fixture for several years now over the May Bank Holiday, is on from Saturday to Monday, with warm-ups, rehearsals, workshops and performances.

chorusYOU can join in! Download the sheet music for the three songs for the opening session, come along to a rehearsal on Saturday at 11 or 12, and sing your head off at 1pm.

This is also your last opportunity to work with the glorious Mary King at the South Bank because she’s leaving!!!! She’s leading some warm ups and a workshop of Elizabethan catches (I love a good catch). So come along and take the opportunity to say goodbye.

There are performances throughout the day and you can catch us, in our new guise of Vocal Chords, on the Mandela Stage, Festival Terrace, at 1pm on Sunday. Our friends Trade Winds are also performing, on Saturday, at 2:30, same place.

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On the side of the Angels, Part 8: Memling


Another in a series of observations of early medieval paintings in the National Gallery London, an endless source of inspiration and amusement. Intended to show how I find stories in a painting, not my opinion of the subject matter nor its creator. Nothing replaces seeing the real thing!

Virgins and Children, with Donors and Angels

(Readers of this blog may know I have a bit of a thing for Memling.)

The ‘dead’ dragon curled like a whippet at the feet of St George is about to take a nip out of the back of the Donor’s knee. George has had to whip the Donor’s hat off at the last minute.  You can imagine the conversation in the studio

But Herr Memling, it is my best hat it cost me a month’s income.

Indeed Sir, but would you truly wear it when you bend your knee to the King of Heaven?

Compromise, in the hands of the artist, and in this case, St George.

The child beats time to the angel’s lute, and crumples  a leaf of his mother’s book; the old man leaves the garden.

She wears the same dress, sits in the same seat, is backed by the same material, holds the same child – but each virgin is her own self captured in that moment in time, not slavishly copied from the last.

The finished edge of the cloth that makes the cover of the cushion the child sits upon – a Flemish weaver’s eye for cloth, from a German.

The Donne Triptych

St John looks as though he expects the lamb to do tricks and it has disappointed him.

Come on Larry, he says, count to five for the baby!

The child waves delightedly at Mr Donne. One angel smirks as it plays the organ, the other offers the child an apple. St Catherine looks severe, impatient with  Mr Donne who seems unaware the child is there.

Look, she says, these tickets cost me a martyrdom, you could at least engage.

Barbara hikes her tower up to perform a momentary illusion in the surrounding landscape and places a solicitous hand on Mrs Donne’s shoulder.

Never mind, she says, he’s a fool, but I’ll look out for you and the girl.

The evangelist isn’t sure his magic trick with the snake in the cup is going to come off.  In the distance a waterwheel turns, and a cow grazes.

© Cherry Potts 2013

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