Here’s the first film in a new series I’m making for the Southbank Centre called BOOK CLUB – inviting writers, artists and performers to share the books which matter to them.
First to take us on a tour of his extensive book shelves is the novelist and screenwriter William Boyd.
In William Boyd’s Book Clubthe author talks us through some of the ‘over 10,000’ books that occupy the shelves of his London home, from the miniscule Victorian Thumb Dictionary, to the more contemporary novels of David Szalay and Evie Wyld.
The event explored British landscapes, both urban and rural, through a collection of sounds, words and film and included a panel discussion chaired by the Guardian’s Madeline Bunting. On the panel were writer Rachel Lichtenstein, T.S. Eliot prizewinning poet Alice Oswald and Professor of Literature at the University of Essex, Marina Warner. The event set out to explore how writers, filmmakers and artists explore and capture the essence of British landscapes within their work – and the different approaches they take to achieve their art. You can read a lovely write up of the event by Cherly Tipp here.
To begin the event, I composed several sound pieces, which were to accompany and compliment live readings from both Alice Oswald and Rachel Lichtenstein. These pieces were designed to augment the imagery evoked within the readings and provide a powerful listening experience through the combination of spoken word and abstract sound. The pieces were mixed live under the readings, which brought an element of performance to the soundwork – something which I’d not really explored before in the context of listening events. This also introduced some lovely moments of serendipity, as abstract sounds from the compositions aligned themselves with the words of the readers.
Listening to the landscape
In darkness, Alice opened the event with a powerful reading of her piece ‘Sea Poem’, which was followed by a piece composed from an old recording of Ted Hughes, reading his piece ‘Wild Rock’ (listen below):
After this came ‘A Whitechapel Walk’ from Rachel Lichtenstein, which introduced the sounds of moden Whitechapel into the auditorium. This was then followed by the second and final reading by Alice, who finished off with a her piece ‘Epileptic’ a piece which brought with it the sounds of night, fluttering wings and the distant tide.
You can hear the live recording from the event here:
The tracklist is as follows:
Alice Oswald – ‘Sea Poem’
Ted Hughes – ‘Wild Rock’
Rachel Lichtenstein – ‘A Whitechapel Walk’
Alice Oswald – ‘Epileptic’
To close the event I’d composed a final soundscape which blended elements of both the rural and urban landscape, moving from the noise of the country into that of the city. With this piece I wanted to demonstrate noise as a feature of both the rural and urban soundscapes and so pulled out elements of both. This piece features a modified version of a previous work, ‘The Dustbin Man Cometh’ – which was produced for an In The Dark listening event back in March.
In addition to the event are a series of podcasts over at the Guardian which continue the themes of landscape literature, dedicating an episode each to the works of Alice and Rachel. You can also view the short film ‘Notes on Orford Ness’ which was screened at the event here, an aurally rich portrait of this unusual location, featuring extracts from writer Robert Macfarlane’s newly commissioned work, Untrue Island.