Author: Peter

I'm a retired civil servant in Surrey, UK and long-time blogger. These days I'm spending more time writing stories and doing other creative stuff

Earnest

January 23, 2025



A handbag

Reviews had led me to believe that The Importance of Being Earnest with Ncuti Gatwa at the National Theatre featured so much gay behaviour that the plot was seriously distorted. This was a huge exaggeration. Yes, the subtle gay hints in the text kind of get pointed out with a nudge and a wink: some extra references are put in, and the whole thing is framed with two dances in which the cast camp it up. But the play itself is delivered pretty straight, and actually very well. No-one who loves the play need fear that this version is a travesty.

Casting is obviously colourblind in this case. Lady Bracknell is nevertheless allowed to be West Indian, which is slightly confusing but allows for a performance by Sharon D Clarke which we wouldn’t have wanted to miss.

The cast also add the kind of reactions that could not have featured originally: punching the air, muttering ‘Oh fuck’ and so on. But really none of these little quirks is a problem.

Arguably a bigger difficulty would face any production: the fact that the play is one of the best-known texts in the English language. The audience knows the script almost as well as the actors. We might almost feel like the lady who said Hamlet was a disappointment – it turned out to be just a lot of popular quotes strung together.

Anyway, there is a film of the performance coming out, and I recommend it.

The Silk Road

January 9, 2025

What a wealth of intriguing artefacts at the British Museum’s Silk Road exhibition! The title is slightly misleading: the Silk Road is being used here as a central part and symbol for something wider: namely the far-reaching and complex exchanges of goods, ideas, art and religion that went on during what we used to call the Dark Ages, roughly the latter half of the first millennium. The exhibition is laid out geographically from Japan to Britain (both of which were well beyond the ends of the Silk Road, but as I say, this is broader). Hard to pick out the best, but I loved the cheery ancient Chinese picture of a horse and camel, and the flagon brought back from Syria by an English mercenary who went to fight for the Byzantines.

The geographical layout perhaps sidelines the chronology a bit, so it can feel as if all these artefacts are contemporary, whereas they cover several centuries of change (not that that isn’t very much spelt out within each location). But all these niggles are minor: this has at worst been a fantastic opportunity to show some marvellous things.

January 2025 Competitions

December 19, 2024

Fourteen writing competitions I might enter with deadlines in January.

  • The Letter Review wants up to 5,000 words, and for an entry fee of $20 you can win $5,000 – but you’ll need to get your entry in by 1 January.
  • The Exeter Novel Prize is back, looking for your first 10,000 words plus a synopsis. £20 to enter with a prize of £1,000, but with the same deadline, you’ll need to have it ready quickly.
  • Disquiet offers a free place on its literary programme in Lisbon, with money for airfare and expenses. If you can’t get there, you can opt for $1,000 instead. They want up to 25 pages and will charge $15: you have until 6 January.
  • For the Page Is Printed competition, you only need one side of A4: however, you will be charged £5 for entry to a competition whose top prize is only £100. The deadline is 13 January.
  • The Georgia Review competition has categories for both fiction and non-fiction: the overall winner gets $1,500. I can’t see a specific word limit but in the past it has been 9,000, which should be enough for anyone. Deadline 15 January.
  • The Cai Emmons prize requires a minimum of 150 pages. $25 to enter and a decent $5,000 prize. Enter by 15 January.
  • Bournemouth is back, with a maximum word count of 3,000, an entry fee of £10 and an unexciting prize of £500. Deadline 15 January.
  • With the same deadline, Storybottle will take up to 10,000 words: the entry fee is $15 and the prize $1,000.
  • The Thomas Wolfe fiction prize costs $25 for non-members with a prize of $1,000. 3,000 words maximum. Deadline 30 January.

All the rest have a deadline of 31 January

  • Story Unlikely is free to enter. The word limit is 4,000 for non-members (members are allowed another thousand for some reason) and the first prize is $1,500.
  • The Parracombe Prize (I was shortlisted last year!) looks for a maximum of 2025 words. £5 entry, £150 prize.
  • Askew’s Word on the Lake has a word limit of 2,000, it’s $15 to enter and the prize is $200.
  • Swamp Pink (no idea) wants 25 pages and $20 entry gives you a shot at $2,000 (a bit more like it).
  • Finally the Fiction Factory first chapter competition needs your first 5,000 words plus a synopsis. It’s £18 to enter and the top prize is £500, but short-listed entries get a free appraisal.

If you get somewhere with one of these, do let me know!

Francis Bacon: Human Presence

December 5, 2024

We went to the current exhibition at the National Portrait Gallery. People sometimes see a problem with the NPG’s remit – are they meant to collect paintings by famous artists or of famous people? But this show is unimpeachable, foregrounding an important aspect of a major artist’s work.

Bacon’s work never stopped being figurative, but he smooshes views in a way that combines and gives a sense of observer motion. It seems he often put one person’s head on a body painted from photographs of someone else. There’s also often a sense of horror, with the screaming heads and internal body parts.

The exhibition tellingly brings out his enthusiasm for certain great painters of the past: Velasquez, Rembrandt, Van Gogh, which helps situate an innovative painter within the great tradition.

The Duchess

November 23, 2024

The Duchess, starring Jodie Whittaker, is an updated version of Webster’s The Duchess of Malfi. As in the original, the widowed young Duchess secretly marries her steward and has children by him, leading to violent intervention from her brothers, one of whom is a cardinal. A bloody second act leaves pretty much everyone horribly dead (this is John Webster, after all).

Good performances and a suitably stark setting, but the update doesn’t work well. The Duchess’s seduction of her steward is played for laughs, which makes it hard to accept later on that this is a passion people will die for. The characters are given a sweary, casual, 21st century manner, which makes their Jacobean behaviour puzzling, and undercuts the horror of the later scenes. Are they just mucking about? The audience laughs at lines they are meant to take seriously, as if the whole thing were a parody or a historical sitcom.

It may be that the intended message is that our patriarchal attitudes are still all too much like those of the seventeenth century: but the play sort of demonstrates the opposite. These people actually seem pretty weird and keep doing things for no reason a modern, egalitarian mind can grasp. I think Webster needs a kind of claustrophobia and deep passion to achieve his impact, and neither is present here, unfortunately.

Drawing the Italian Renaissance

November 22, 2024

A remarkable exhibition of Renaissance drawings at the King’s Gallery. It features stunning works by Leonardo, Michaelangelo and Raphael as well as many other artists – in fact I thought the most memorable drawing of all was an amazingly vivid head of St Thomas by Caravaggio (not that one, the less well-known Polidori da Caravaggio, no relation).

It is astonishing what fine shading with chalk, ink and charcoal is achieved in some of these drawings, up to a smooth, perfect modulation that verges on photographic: but others are bold sketches which were only working drawings. Quite a few have the pinpricks which were used to guide copies: a few have the tiny black dots which resulted from blowing fine black powder through these holes.

The gallery provides paper and pencils for you to have a go yourself if you’re brave and/or talented enough. Not me!

December 2024 Competitions

November 20, 2024

Another list of competitions I might consider entering – so no flash, poetry or competitions I’m ineligible for.

  • The Breakwater Review contest has a deadline of 1 December, costs $10 to enter and offers a $1000 prize. Stories up to 4,000 words.
  • The Black Fox looks for up to 5,000 words on the topic ‘Fragments of Time. It costs $12 to enter and the prize is $325. Submit by 1 December.
  • The Leopold Bloom Prize for Innovative Narration, from L’Esprit magazine, wants up to 5,000 words of ‘risk adept narration’ by 2 December. You can pay $10 or $15 for a quick response (within three days)
  • The Witness Literary Awards want you to ‘contextualize the American experience, highlight issues of global concern, grapple with the relationship between the personal and the political (however defined), and/or keenly observe interior/exterior landscapes.’ You’ve got a maximum of 7,000 words to do it in, and it will cost you $8, for a possible $600 prize. You’ve got until 5 December.
  • JuxtaProse will also take up to 7,000 words, and though they charge $18 their prize is $1,000. The deadline is 6 December.
  • You could be recognised as an Anthony Veasna So Scholar in Fiction if your submission, by 11 December, pleases Adroit Journal. You can submit up to three pieces which should total no more than 9,000 words. It costs $15 and the prize is only $200, but still…
  • The Columbia Journal Winter Print looks for stories up to 7,000 words – $15 entry, $500 prize, deadline 12 December.
  • The Masters Review Chapbook contest wants 25-45 pages. It costs $25 to enter and you could win a decent $3000 plus 50 copies of your chapbook. Last year it was 75 copies, but perhaps they have realised that giving away that many is a bit of a challenge, even around Christmas. Enter by 15 December.
  • Fabuly’s competition is refreshingly free. They want 2,000 words on ‘An Unexpected Encounter’, and you could win $500 with online publication of illustrated and audio versions of your work.
  • Globe Soup, that splendidly supportive Facebook community for writers, is running its big competition again – 8,000 words max and £8 to enter (once you’ve paid to enter one of their contests you can join the esoteric community where there are regular free competitions and other good stuff) for a prize of £2,000. Get your entry in by 16 December.

The rest all have deadlines of 31 December, possibly so you can use that nice pen/notebook you got for Christmas.

  • The Lascaux Review will take up to 10,000 words: entry is $15, top prize $1,000
  • Boulevard magazine will take up to 8,000 and charge $18, offering a prize of $1,500.
  • The Danahy Fiction Prize from the Tampa Review costs $20 to enter with a prize of $1,000. Stories up to 5,000 words.
  • Write Time is for the over-sixties only. Only 1,500 words, in recognition of our tired old fingers, and it’s £5 for one story or £10 for three, winning £100 so you can get a little gift for your grandchildren.
  • If you write horror, Killer Shorts want a story up to 6,000 words. It’s $30 to enter and you could win a package of benefits including publication and a mentoring call: but the real draw is a trophy in the form of a skull typewriter – whatever that is.

I hope you find something useful in the list, but please choose your competitions carefully and don’t just enter randomly, as I’m constantly doing. This year I submitted to about half as many as in previous years, but it still amounted to about one entry a week (I don’t write that fast – some stories were entered for multiple contests). Seven of those entries achieved some kind of recognition – one longlisting, four shortlists, one third place and one win. That’s a hit rate of 15%, marginally up on the surprisingly consistent 13% I’ve had in past years.

But the year’s not over yet! Merry Christmas!