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Brickwork: A Biography of the Arches
Nightclub, theatre, creative hub, party place, and one of the most important venues in Scotland, Britain and Europe: for almost 25 years, The Arches was the beating heart of Glasgow. In 1991, former punk-turned-theatre director Andy Arnold walked into the disused red brick Victorian railway arches underneath Glasgow's Central Station and immediately saw the potential of the space. Not even he could have imagined its future, as simultaneously one of the biggest and most famous nightclubs in the world and a major player on the European theatre scene. Until its closure following a drug-related death in 2015, The Arches carved its own, indefinable path, playing a vital role in the lives of many Scottish artists along the way. Some of those stars of the future began their careers taking tickets, hanging coats and serving drinks there. For the first time, the people who made the venue get to tell their story. Piecing together accounts from directors, DJs, performers, clubbers, artists, bar tenders, actors, audiences and staff, Brickwork writes the biography of a space that was always more than its bricks and mortar.
The Herald Diary 2022/23
It was a year that careered out of control, with the natives of Scotland feeling like passengers in a souped-up dodgem car being driven by a crackpot clown without a valid driving licence. Luckily The Herald's Diary column was able to cover the toppling of Boris Johnson, the triumphs of Liz Truss, a huge green-hued shindig and a bat-like creature fighting crime on the streets of Glasgow. All before the outpouring of Royal grief in September when we said goodbye to the Queen and came to terms with "God Save the King". Away from the monarchy, there was the surreal story of a woolly mammoth who might one day play for Scotland, a knight in armour visiting an Edinburgh pub, a cow patiently waiting for a train, Santa climbing a statue and an emu loose in Livingston. And the year also saw a mysterious entity called . . . the Platty Jubes? This cockamamie compilation presents all sorts of shenanigans to round off a year like no other. All with that patented Diary twist.
Too Young, Too Loud, Too Different
One of the Evening Standard's Best Non-fiction 2021. 'We knew that black and brown bodies, working class voices, women's voices, did not have a space where they could be heard - and so this writing collective was a necessary and political act' In the early years of the new millennium, poets Malika Booker and Roger Robinson saw the need for a space for writers outside of the establishment to grow, improve, discuss and learn. One Friday night, Malika offered her Brixton kitchen table as a meeting place. And so Malika's Poetry Kitchen was born. 'Kitchen', as it became known, has ushered in a new generation of voices, launching some of the most exciting writers, books and initiatives in British poetry in the past twenty years. Today, Kitchen is a thriving writers' collective, with a wealth of talented poets and branches in Chicago and India. Too Young, Too Loud, Too Different is a celebration of Kitchen's legacy, an appreciation of its foundational spirit and a rallying cry for all writers to dream the future. The collection features breathtaking new poems by Warsan Shire, Inua Ellams, Kayo Chingonyi, Dean Atta, Roger Robinson, Malika Booker among many others.
Scabby Queen
‘Gripping and moving. A literary triumph’ Nicola Sturgeon ‘A humane and searching story’ Ian Rankin ‘Kirstin Innes is aiming high, writing for readers in the early days of a better nation’ A.L. Kennedy A NEW STATESMAN BOOK OF THE YEAR • A SCOTSMAN BOOK OF THE YEAR
The Club on the Edge of Town
A deeply moving memoir of how one theatre company, Slung Low, fed their local community during the Covid pandemic of 2020. This is the vivid story of the cost of trying to do good in a divided world.
Breaking Into Song: Why You Shouldn't Hate Musicals
People rarely say they hate books, or television, or films. But they often say they hate musicals. Moreover everyone seems to have a fixed idea of exactly what a musical is; what it sounds like, looks like, or is about. Why is the collision and integration of music, song and storytelling so polarising and why have we allowed a form so full of possibility to become so repetitive and restrictive? Through a series of essays Breaking Into Song asks what audiences can do to stay open minded and what creatives can do to make new musicals better. Examining both sides of the divide, Adam Lenson asks how those who both love and hate musicals can further expand the possibilities of this widely misunderstood medium.
Unreal City
With a property portfolio consisting of a beach hut in Essex, and a career as evanescent as it is unprofitable, the narrator of 'Unreal city' is a flaneur fallen on hard times, a creative bewildered by the slick speed of the digital age, watching as the sculptors and painters and bon viveurs begin to slip away and the advertising hipsters take over old stomping grounds. From the nights in old Soho, where an anonymous green door was the gateway to a decadently dingy paradise, to the days amid the shabby post-industrial elegance of Hackney's canalside warehouses, this is a nostalgic love song to the drifters, the artists, the glamorous misfits, the degenerate waifs and the barmaid-enchantresses of the capital's backstreets and shadowy corners.
David Garrick
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