Surprising Sexualities in Medieval Culture: Hermaphrodites, Sodomites and Others

In this talk Dr. Anthony Bale will introduce some of the perspectives on human sexuality we find in medieval sources. He will consider how the Medieval Ages fit into the conventional history of sexual identity through the kinds of medieval sources we have.

When: Wednesday 7th December 2011
Where: Birkbeck, University of London, Malet Street, Room G15 London
Time:   19.00

Dr. Anthony Bale teaches on the BA English, MA Medieval Literature and supervises doctoral students working on medieval topics at Birkbeck.
He'll be organising the Research Network: Remembered Places and Invented Traditions in 2012

The BLC is recommended by The London Magazine!

http://thelondonmagazine.org/events/not-to-be-missed-what-makes-larkin-happy/

What Makes Larkin Happy?

What: What Makes Larkin Happy?
When: Thursday 3rd November 2011 at 19.00
Where: The Blue Posts, 28 Rupert Street, London W1D 6DJ


This is the first of a series of monthly events being organised by the Birkbeck Literature Club.



‘He told his readers difficult truths about their lives – love will fade, chances will be missed, death will surely come – but he did so in a way which was oddly consoling in its honesty.’ – Andrew Motion 

‘Man hands on misery to man.

 It deepens like a coastal shelf.

Get out as early as you can,

 And don’t have any kids yourself.’ – Philip Larkin (1922-1985)

Three Larkin enthusiasts attempt to do the impossible: seek the positivity that they are sure is buried somewhere deep within the poetry of Philip Larkin. Based on a selection of his work they attempt to find out what, if anything, made Philip Larkin happy. Featuring readings of the poems by actors, a short biographical overview and close readings from Larkin fans this is an evening of appreciation of Larkin’s work for both the initiated and uninitiated Larkin reader.

Photos of the evening:

The speakers: Tony, Alex and Catalina

                                     

The Crowd:

Josh, Morrall and Tom Moores reading out the poems

The crowd and Tom Moores reading out the poems

The speakers

A review of Peter and No Comment at Shaw theatre 11 - 19th August 2011

As though religion and philosophy were not enough to explore in one play, George Hull’s Peter was a fascinating attempt to explore not only religion, philosophy, friendship, rivalry between older and younger brothers but also politics. One could argue that all this is too ambitious to get in one play. However, Hull’s carefully planned plot seems to pay off. The first half of the play was absolutely magnificent as it had the audience on a hook. We all had an itch to know who Peter was, as we heard glorified stories about him and a pure resentment from Daniel, the younger brother. The whole plot was unravelling with the younger brother’s resentment of the older and friendship with Sam Hafez as Saul. The audience do not get to see Peter until the other half of the play; this way building suspense.

Having a religious family as a central point, was a strong ground to explore various themes. We grow up believing (or not) in God, for example, because parents raise their children in which they become like them, for example Peter who is like them and Daniel, who is not. In the play each character has a role to represent or juxtapose certain themes. For example, having a character as Mr. Freeman played by David Dawkins, created a healthy counter point to religion by introducing politics and humour simultaneously. A character of Daniel, played by Neil McReynolds, was juxtaposition to religion as he declares he is not interested in it. Therefore, he is a rebellious son in the family and Peter is a ‘good’ son in the family, which is a typical family situation, a good and a bad son. Neil gave a fantastic performance of Daniel. In fact, Neil created a believable character full of confusion of sexuality, questions of religion and of friendship. I could not say that Stan Colomb as Peter was as good as Neil. Stan appeared to be more full of himself instead of convincing the audience of his character, Peter. I did not believe a word Stan as Peter said in the play. A scene where Peter was telling his dream to his younger brother Daniel was the most boring part of the play. The reason it was boring was because Stan was more interested in how he looked rather than what he said. When he made his entrance on the stage it was deeply disappointing as he was supposed to be a humble character, who does not believe in possessions, materialistic value nor looks. However, Peter wore make-up which was inappropriate for the part. Even though he was wearing biblical clothes, he was walking around the stage giving dirty looks. Giving an impression he is the most beautiful man in the world instead of performing a true character of Peter. It was simply disappointing to see this actor ruining the suspense built that was introduced to the audience earlier in the play.


However, the parents of Peter and Daniel, the mother in the play, played by Josie Bloom as Sandra and the father Michael Kenneth Steward as Simon gave an invaluable performance in the play. They were absolutely fantastic! Josie, Michael and David were probably the most outstanding actors in the play simply because they were the most believable characters.


One detail that really did not make any sense to some was the nurse/ghosts. Throughout the play we have weird looking nurse/ghosts walking around the stage. Why? They didn’t add anything to the play at all. I could possibly go with the idea that they signify the illness of Sandra but why then did they play as parts of the kitchen- holding bowls and glasses at the beginning of the play? In addition, some scenes in the play were far too short and it seemed completely unnecessary to the story as were the nurse/ghosts. I understand that some scenes or messages may have some sentimental value to the writer George Hull or director Amalia Kontesi but if a scene is too short and it does not add much to the play it really should not be there.


Certainly, the first half of the play is much better than the second. I think we all get a feeling that George Hull has so much to say. However, sometimes less is more. Certainly, everyone can find various angles of the story that applies to them directly. Some actors give their all and produce and an amazing performance, which we all should experience. Hull’s plot at times made the audience laugh and they were completely hooked. By saying so, the play has an intellectual content and fascinating diverse conversations of war, religion, friendship, love and much more. Overall, it is a fantastic play and I highly recommend seeing it.


What I do not recommend seeing is No Comment! I do not know where to start with telling you how bad it was. First of all, the stage looked a mess. If the whole action of the play is supposed to be on a roof then why is there so much mess up there? It is a roof!!! The play starts with a prime minister’s daughter desiring to commit a suicide by jumping off the roof. A police man is going to stop her doing this. As the police man is trying to find out the reasons for her being so upset, the audience gets flashbacks of Emma’s past played by Zoe Schellenberg, as she starts telling her life story. While the audience see Emma’s past all of the mess is in the way for the other actors in other scenes, isn’t that appalling? One truly revolting bit in the play is Emma flashing her knickers on the stage. If it is a cold night as they were acting it to be, why then take the clothes off?! I do not go to see someone’s knickers nor what size breast they have on the stage, I see it in London streets everyday. I did not find any of the acting that good either. Another scene of Emma’s flashback wanting to be a dancer – it would all be an excellent scene if the dancing was any good – but it was very disappointing. I do not know what the director’s of this play Amalia Kontesi and Hannah Rees were thinking. Anyhow, the effort was there but the knickers, bad acting and a messy stage are not the way to go.

Catch Peter and No Comment at the Shaw Theatre, 100-110 Euston Road, until August 19th. No Comment is at 6.30pm and Peter is at 9.00pm.

An exclusive preview of George Hull's "PETER"

Birkbeck Literature Club  is proud to present an exclusive preview of the extracts from“PETER” and “NO COMMENT.” 

Time: Thursday 28 July, 19:00 - 22:00
Place: Milfords, 1 Milford Lane, Holborn, WC2R 3LL
Admission: Free

Programme:

19:15    “PETER”  

19:30    “NO COMMENT”

19:45     Break

20:00     “PETER”  continued

20:15     Questions & Answers

20:40     Drinks

ABOUT “PETER”

George Hull’s viscerally intense new play, presented by Anatrope Theatre, explores sibling rivalry, awakening sexuality and the supernatural.

Do you believe in miracles?

Only a miracle can save Daniel’s mother. Miracles are his brother Peter’s speciality. Can Daniel expose Peter as a fraud, and set himself free, without betraying terminally-ill Sandra?

Against the backdrop of the liberation of Iraq, Peter takes an open-minded look at the transformative powers of religious inspiration – the hope it can sow, the havoc it can wreak.

At two sold-out previews of Peter this March, audience-members described it as ‘powerful’, ‘very moving’, ‘frightening’ and ‘extremely funny’.

ABOUT “NO COMMENT”

Emma is powerful. Emma is rich. Emma is successful. And Emma wants to kill herself.

When a police officer stops her and convinces her to open up to him, a story of passions, betrayals and absence begins and both participants get more than what they bargained for.

"No Comment" is an original play with comic and dramatic elements that explores human nature to its limits. With a direct script, minimal set, original music, intense physicality and the use of short films as flashbacks, Amalia Kontesi's play is a refreshing and intimate theatrical experience which makes the audience feel fully involved.

Book Destruction event

Please come to this great all day event on Saturday April 16th 2011. For further details please visit www.sas.ac.uk/events or email Gill Partington g.partington@bbk.ac.uk or Adam Smyth adam.smyth@bbk.ac.uk



Daniel Defoe's Zombies 8th April 19.00 - 22.00

Photos from the zombie event

Peter Jones giving his talk

Amy Cutler giving her talk

Q&A

Q&A with Jennifer Cooke, Amy Cutler and Peter Jones

Rob asking questions

Peter Jones answering questions

Amy Cutler and Peter Jones answering questions

'Everything You Wanted To Know About Zombies But Were Too Afraid To Ask Daniel Defoe', the third event in the series by the Birkbeck Literature Club including presentations by PASSENGERFILMS.

Venue: The Centre for Creative Collaboration, 16 Acton Street, London
Time: Friday 8th April, 7pm

Please come as plague victim, zombie, anointed one…etc. This is a nonfunded, free event, so you may want to bring your own wine or a donation towards it.

Feeling distempered? Not sure if it’s the plague or a zombie virus? Come along to this then…

Zombies are defined not simply by being dead, but by being the moving dead – as in recent TV series ‘The Walking Dead’ in which they are simply nicknamed ‘walkers’. This event connects the radical aspects of zombie mobility with its literary heritage in Daniel Defoe’s Journal of the Plague Year (1722).


Often when geographers talk about zombie films they use the word ‘meatspace’. The concept of the zombie mob – like the flash mob, or the slum – reminds us of the corporeality of cities, and that they are filled by bodies (and that those bodies also create the city).
Amy Cutler will explore this using Defoe’s text, a plan of London, and clips from contemporary zombie films.
Peter Jones will talk about the plague-ridden Milan of Alessandro Manzoni’s novel The Betrothed (1827) and its connections with zombie outbreak.
Josh Morrall will perform readings from the texts, accompanying clips from films, and James DC will be present to answer questions about and take suggestions for his coming radio show about zombies on Resonance FM.

Bio's:
Amy Cutler is a researcher at Royal Holloway, University of London, completing an interdisciplinary PhD between the English department and the Cultural Geography department. Although her research is on contemporary landscape poetry, she teaches classes in film interpretation on the ‘Geographies of Mobility’ course, and has also recently launched a monthly film society, PASSENGERFILMS, ‘the carcrash of cinema and geography’ (www.passengerfilms.wordpress.com).

Peter Jones is a PhD researcher in English at Queen Mary, University of London, studying ‘abject streets’ and the urban gothic in literary representations of the Victorian street market.

The Contemporary Fiction

All sessions to be held at Birkbeck School of Arts, 43 Gordon Square. For more information email:
contemporaryfictionseminar@gmail.com

T.S. Eliot event

Friday 25th February 2011

The second event of the BLC was on T.S. Eliot. A rehearsed actors reading of his poems. The actors Josh Morrall and Tom Moores with the speaker Steven Quencey-Jones, a PhD student at Queen Mary made a perfect T.S. Eliot evening. Please see a video which is a part of Sweeney Agonistes.

This video is not the best quality but I hope you can hear and see the idea behind it. It's Josh Morrall and Tom Moores reading T.S. Eliot Sweeney Agonistes on Friday 25th February 2011.

 The actors Josh Morrall, Tom Moores and the speaker Quin

 The actors Josh Morrall and Tom Moores

 

 Q&A with Quin and the actors

The crowd at the event in both photos

19.00 - 22.00

at Milfords

1 Milford Lane

WC2R 3LL

Reading of a selection of T. S. Eliot's verse

Steven Quincey-Jones is a PhD student at Queen Mary, University of London. His thesis considers the impact of religious pluralism on poetry and systems of belief in Britain in the period 1910-1940. He is currently writing a chapter on the role of anthropology and the study of 'primitive religion' in T. S. Eliot's Criterion. This summer he is presenting a paper on Ezra Pound’s mystical theory of poetry, the ‘Doctrine of the Image’, at the Ezra Pound International Conference, London. He lives in Stoke Newington with his cat, Emmylou Harris.

Tom Moores having recently graduated from a Masters in Shakespeare Studies, currently spends his time busily enjoying his favoured stereotype, the struggling actor. Having appeared in a number of plays, short films and ads - which he would be very surprised to find anyone had seen - he will soon be playing a lead role in Max Frisch's 'The Fireraisers' at The Baron's Court Theatre from 8th-27th March (which he hopes at least some of you will see... please?)

Josh Morrall is a graduate of King's College London where he studied English Literature and Cinema Cultures. During that time, he managed to avoid coming into contact with the poetry of T.S. Eliot, and as such, is pleased to have been part of tonight's readings. He is currently writing a play about the state of contemporary literary criticism and will be appearing in the Anatrope Theatre production of George Hull's 'Peter' in late March.

T. S. Eliot

Thomas Stearns Eliot (September 26, 1888 – January 4, 1965) was an American-born English poet, playwright, and literary critic, arguably the most important English-language poet of the 20th century. The poem that made his name, The Love Song of J. Alfred Prufrock started in 1910 and published in Chicago in 1915—is regarded as a masterpiece of the modernist movement. He followed this with what have become some of the best-known poems in the English language, including The Waste Land (1922),The Hollow Men (1925), Ash Wednesday (1930), and Four Quartets (1945). He is also known for his seven plays, particularly Murder in the Cathedral (1935). He was awarded the Nobel Prize in Literature in 1948.

Born in St. Louis, Missouri, Eliot went east for college and was educated at Harvard. After graduation, he studied philosophy at the Sorbonne for a year, then won a scholarship to Oxford in 1914. He became a British citizen at the age of 39. Eliot renounced his citizenship to the United States and said: "My mind may be American but my heart is British". (Hall, Donald The Art of Poetry No.1 The Paris Review, Issue 21 Spring-Summer 1959)