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Dear Daddy, I have eaten the beans I grew...

A few weeks ago, I took part in an Apples and Snakes writing workshop led by story teller ‘Sally Pomme Clayton”. The workshop was at the Imperial War Museum and our task was to go through the artefacts on display, choose one item and write something based on it. The steps were to conjure up a character, conjurer up the world of the character and see what comes. We focused on the world of evacuees; kids who were take out of the city of London during the second world war, who stayed in the country side. I found a letter by a girl called Charlotte which simply read: “Dear Daddy, I have eaten the beans I grew, I can tie my shoe laces in a bow. Charlotte”.

We also had to write in the 3rd Person external at first, THEN slip into the 3rd Person internal, which was brilliant. Writing in the 3rd person is typically ‘the voice of god’ which is used a lot in novels, an all seeing, all knowing voice that describes everything and anything. An external 3rd person voice is purely observational, says things as the appear and attempts to hint a emotional depth by which things are focused on. 3rd Persona internal is when the the voice slips into the head of one of the characters and tells you straight up. The interplay between these voices can be quite affecting.

So, this is what I came up with:

The sun is half sunk and slips soundlessly into the room in the way it has done since the summer turned. It brings with it the after rain, damp grass, the watered shell of a beehive and cold stone flowing through the window, past the just-lit lamp, settles comfortably in the kitchen. Charlotte’s sat transfixed on a space just above her pencil tip and the end of the chopping board resting on her lap. The sheet of paper on the board is ruled and waiting for words. Behind, her red coat droops a soft shadow onto her walking boots and the tabby cat purrs greedily rubbing her fur against the buckles.

Mrs Bennet calls from outside startling the cat, “Have you finished yet pumpkin?” Charlotte replies, “almost” and resumes her frown. ‘There are books’ she thinks, ‘rivers that run mayflies and magpies...’ She has watched the fog come in to rest on the house, her dreams aren’t stuffed with smoke anymore and though she tries, her mother’s scent has left her memory. Mrs Bennet calls “I’l be off to milk the goat, when I return we’ll be off to the post office, okay?”

Charlotte lifts the stub of pencil as the dusk light drains away. Mrs Bennet returns, lifts the letter, “Dear Daddy, I have eaten the beans I grew, I can tie my shoe laces in a bow. Charlotte”.

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Inua Goes to Buckingham Palace...

I have one suit. My mother chastises me about this, begs that I purchase another, but I counter argue saying I’ve no place to wear the one I have to; only worn it twice. I have two corduroy blazers that pass for ‘smart/casual’. But when I gotta look fresh, like say I were to meet a queen, it’s what I’d wear, and what I wore to Buckingham palace on the 9th of May 2011. I caught a bus from Peckham High Street, through Victoria to Hyde Park. The irony was not lost on me, I, the son of immigrant parents, going through the chicken strewn streets of South East London - here, where our representative at the House of Parliament feels it necessary to wear kevlar before walking through in broad daylight - from here, to pretty much the heart of British establishment, class structure, colonial history, slave ships, warts and all... I got off at Hyde Park corner and walked down Constitution Hill, lost in my thoughts, nerves surrendered to Mos Def’s familiar voice, half closed eyes, oblivious to the cyclists flashing by till one cursed ‘GET OFF THE CYCLE PATH ASSHOLE’. I turned to retort with something its equal, till checking my footsteps, realised he was right. I was at the traffic lights, crossed the street towards the main gates and waited for KC and YB, friends of mine who too had been invited to the ‘Reception for Young People In the Performing Arts’. Another friend BM was across the road, her mother and aunt who fussing over, making sure her blue dress sat right, that her curtsey was perfect. I crossed over to say Hi, got a text message from KC who’d gone in already. BM and I waved to her folks, showed our invitations at the gates and stepped into the palace grounds.

It was big, grounds covered in reddish gravel crunching beneath our feet. We walked the inside perimeter of to the main entrance, up the red carpeted flight of stairs to the cloakroom/desk and deposited our bags/jackets in return for a rectangular white disk. Mine was numbered 333 and I made a joke to BM about a Nigerian in Buckingham palace and the devil’s digits. We retraced our footsteps turing right and up a wider, red-carpeted set of stairs. As you can imagine, the walls were draped with paintings, classical ones depicting who I took to be old royals in varying poses; everything gold leafed, foliage patterned, chandeliers, royal seals.

At the top, we turned into a row of stands differentiated by letters. I reached the one that held the first letter of my surname. ‘Mr Ellams?’ says he. ‘...er Yeah?’ says I. I believe we spelt your name wrongly? I looked to my invitation card where ‘Inua’ had been spelt ‘Innua’, a commonly made mistake ‘...er yeah?’. ‘Here’s another with the corrected spelling, we apologise for the mistake, keep the card with you at all time and enjoy you visit’. ‘Thanks’. Far end of the huge hall, a large number of suited and gowned folks, wine glasses tinkling, laughter tickling the air. BM and I were directed left and into another room. We grabbed drinks, looking over our shoulders for anyone else we knew. We spotted CB and TA from London’s Southbank centre. Every other face we knew was recognised from television or film doing their best, like us, to look like we fitted in.

Suddenly it was time to meet The Queen. A door I took to be a wall opened, we lined up and began marching towards that famous hand of hers, the one that waves. There were attendants flanking her and Prince Phillip who’d take the card from you, speak your name out loud so she’d say ‘How are you doing’ after, and you’d mutter something in response. I did not bow although my father advised me too, partly cause I feared I might head butt the lady, partly cause I didn’t think it necessary. She wore black gloves, I reached out for her hand trying to squeeze it lightly and she gripped mine with such force, I just about stifled my wince. ‘How do you?’ says The Queen. ‘Fine thank you, its good to meet you’ says I. That was it. We moved on. Through an even more elaborately decorated space, left, right and through to the performance room. It was massive, about 5 times the size of my house and garden. An orchestra in the far end, seats all around and the long rectangular stage in the middle. We sat and had to half-squint to make out other faces in the room. We stood up when The Queen came in, sat after she did then the show began.

It was quite clever actually. Sections of the story of Romeo and Juliet told through different stage arts: Ballet, Musical Theatre, Opera, Street Dance, R’n’B, Hip and Hop - all performed by young people. Good performers, alright music, crap sound and acoustics. At the end, we stood in utter silence for the Queen to leave, and the nervous quiet was broken by Helen Mirren, I imagine the only person who’d dare to, who whispered/spoke to the young performers waiting uncomfortably and statuesque on the stage ‘You were great by the way’. We filed out into another long space for the networking/drinks and little canapés/finger food bit. I made sure I used the loo just so I could say ‘I went to the palace and had a royal flush’. The most surreal moment of it all, was walking past Ellie Golding, who was chatting to Duffy, past Jamie Cullum who was talking to Jools Holland, to reach Speech DeBelle who I knew ages before she won the Mercury Prize. We talked for a few minutes and on the way back, saw Andrew Marr introducing Goldie to the Queen, with Kevin Spacey laughing in the background.

Anyway, they kicked us out at 8pm. KC and I had chosen sofas to sleep on till breakfast the next morning so reluctantly we left, down the stairs, collected our bags/jackets and crunched out towards the main gates. Someone kindly took a photo of us on YB’s phone, the only true evidence of the whole affair. I called my lady KL as soon as I left the palace grounds, and on the bus ride home one question nagged me, What was more expensive? Goldie’s gold teeth or the Queen’s outfit?

Inua x

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The Rap Part #1 Playlist.

Hit play and listen! Breis King EPMD - headbanger Common - Resurrection

Charlie Dark Eric B - Eric B for president Tribe Called Quest- Electric Relaxation

Zena Edwards Grand Master Flash - The Message Queen Latifah - Ladies First

Jacob Sam La Rose The Roots f/ Common - Act Too (Love of My Life) Blackstar f/ Common - Respiration

Joshua Idehen Method Man Feat mary J Blige - All I need Dizzee Rascal - Fix up look Sharp

Musa OKwonga Jay-Z - So Ghettp Nas - The World Is Yours

Nii Ayikwei Parkes Eric B. & Rakim - What's On Mos Def - Ms Fat Booty

Polarbear Aesop Rock - Daylight Pharcyde - Runnin'

Kate WuTang: Triumph Mos Def: New World Water

Gemma Dead Prez - Hip Hop Public Enemy - Rebel without a pause

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The Rap Part #2 Playlist.

Hit play and listen! Jay Bernard // Edan - I see colours 2Pac - Changes

Yemisi Blake // Mos Def - Umi Says Soweto Kinch - Intermission

Richard BLK // Nice & Smooth - Hip Hop Junkies London Possey - How’s Life in London

Malika Booker // Slick Rick & Doug E. Fresh - La Di Da Di A Tribe Called Quest - Scenario

Kayo Chingonyi // Nas - It ain’t hard to tell Jean Grae - Love Song

Hollie McNish Lauryn Hill - Doo Wop Dead Prez - hip hop

Roger Robinson // Freestyle Fellowship ft. Daddy-O - Innercity Boundaries Anti poop Consortium - disorientation

Nikesh Shukla // Respiration by Blackstar Eye Know by De La Soul

Ross Sutherland // Biz Markie - Make the music with your mouth Busta Rhymes - I make everything raw

Belinda K. Zhawi // Slum Village - Get Dis Money Black Star - Respiration

Inua Ellams // Common - The Light Lupe Fiasco - Superstar

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Amsterdam

Edinburgh, 2009, I collect my award and sit back to watch the rest of the show. A lady called Camille O’Sullivan gets on stage and sings a song that floors me, rips my guts out and rises a lump to my throat. The song was written in french originally by Jacques Brel. Jacques' birthday was this week and I got on the tube to find the lyrics. It is pure poetry, the rhythm is tight, the words, the language so precise and powerful: In the port of Amsterdam There's a sailor who sings Of the dreams that he brings From the wide open sea

In the port of Amsterdam There's a sailor who sleeps While the riverbank weeps With the old willow tree

In the port of Amsterdam There's a sailor who dies Full of beer, full of cries In a drunken down fight

And in the port of Amsterdam There's a sailor who's born On a muggy hot morn By the dawn's early light

In the port of Amsterdam Where the sailors all meet There's a sailor who eats Only fishheads and tails

He will show you his teeth That have rotted too soon That can swallow the moon That can haul up the sails

And he yells to the cook With his arms open wide Bring me more fish Put it down by my side

Then he wants so to belch But he's too full to try So he gets up and laughs And he zips up his fly

In the port of Amsterdam You can see sailors dance Paunches bursting their pants Grinding women to paunch

They've forgotten the tune That their whiskey voice croaks Splitting the night with the Roar of their jokes

And they turn and they dance And they laugh and they lust Till the rancid sound of The accordion bursts

Then out to the night With their pride in their pants With the slut that they tow Underneath the street lamps

In the port of Amsterdam There's a sailor who drinks And he drinks and he drinks And he drinks once again

He drinks to the health Of the whores of Amsterdam Who have promised their love To a thousand other men

They've bargained their bodies And their virtue long gone For a few dirty coins And when he can't go on

He plants his nose in the sky And he wipes it up above And he pisses like I cry For an unfaithful love

In the port of Amsterdam In the port of Amsterdam

David Bowie covered the song to great acclaim, did this gentle man did a good job, But here is Camile’s which struck me:

Camille voice does the song justice, it is emotional, strong, she gives it everything... again the voice lifts poetry, combined they are greater than the sum of their parts. And Camille is Irish, yup, we run tings!

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Old Covent Garden Blog #1

Written on 03/04/2010. // His name is Ben.

We haven’t been introduced; I haven’t said ‘Hi’ to the waist-coated, blue blazered, artful dodgerish man smashing a red suitcase to the grounds of the courtyard. He is of the tribe of street performers I will meet over the course of the day. This is my first as Covent Garden’s creative in residence, I have a chesterfieldesq chair parked on the side of the courtyard close to the Royal Opera House. On my right is the rich food market, which to my unbreakfasted self, is both pleasure and pain. Sophie, who I have introduced myself to behind the Laveli stall waves, I make towards her but hear Ben, raw and relentless demanding attention, confidence thick as Covent Garden’s history cracking off his shoulders. ‘This is the home of street theatre’ he declares, ‘Not that that matters to you...’

He starts his act this way - cute, condescending comments at passerbys, ‘This is my mother’, he says gesturing to an older lady, who blushes embarrassed, playfully strikes his arms, but poses for a photograph. Five minutes pass and he has charmed the streaming pedestrian into a small pool of an audience. He spends the next ten setting the props for his performance about the grounds. He asks randomly, ‘Where are you from?’. Answers come thick and fast in varying accents, Spain, Portugal, Oslo, Edinburgh. To the American he asks, ‘You a tourist or have to come to learn the language?’

He then mime’s instructions on how to applaud and leads the gathered audience on a clapping and screaming spree until anyone within earshot is drawn. Finally, Ben begins the show. He juggles pins then knives. After the applause dies, he throws the pins at selected men in the audience asking them to hold up the objects. Keiron from Ireland, Tom from London and one simply called ‘Ipswich’. ‘Ladies and genl’men, for my grand finale, I need three volunteers and as these men have their hands up, give ‘em a round of applause!’

My phone rings, I find a corner for the call and when I return, Tom and Ipswich are on either side of Keiron, and Ben, Ben is standing on Keiron’s shoulder; ‘Stand Still! Keiron! I am speaking English!’. He proceeds to juggle knives. As he berates his ‘volunteers’, Ben asks for money, encourages the audience to be generous, that he does this full time, that this is the most honest way to earn a living, please give what you can. This is the show’s climax, a relatively unimpressive trick, I think.

But in the crowd’s dispersal, in their reach for wallets, as the the walls of the street theatre created by their bodies crumble and disappear, I realise the real trick had little to do with knives or juggle pins. The real trick was the set up: Ben’s ability to pull the child like want for a spectacle out of an audience and make, in a world of iMAX cinemas, death defying stunts and special effects, make the idea of a man throwing and catching things, mean something more.

Wouldn’t it be Laveli? (for Sophie)

I stride purposefully, point at her sign scoffing at its stylised misspelling.

Her impish grin glistens like a young Oliver Twist’s. It’s a French bakery

Sophie says correcting my mistake. Name is combined from his family’s

daughter LA.ura, wife VE.ronica and LI.bor his name. Round the corner

Drury Lane boasts a classic musical. Coupled with tourist feet, a new one

from this cobbled street plays among the Italian cheese, Ethiopian coffee

and other stalls. Hoping for change in a pocket or two, wouldn’t it be Laveli?

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Sticks and Stones

The last 24 hours have been good. I went to Leeds yesterday and read poems to the audience crammed into the upstairs space of a bar called Strawberry. The journey was long, 4 and a half hours of numb bum cheeks and uncomfortable sleeping positions all to arrive in a strange city where I had one friend. His name is Andy and he organised the gig, the show called 'Sticks and Stones'. We go way back. When I first started this work spoken word artists: Polarbear, John Berkavitch, Andy and I, bonded in a field in Glastonbury because we were called the urban poets. We formed a group called ‘The Urbanian Quarter’, did two gigs and essentially disbanded. They were really good gigs. Anywya, Andy told me to wait for him at a certain location, but I turned down the wrong street and stood opposite a car park, under a ventilator that blew warm air onto my cold neck. The air was pumped out of a kitchen, they were making kebabs. Think I inhaled a meal’s weight in aroma waiting there. Andy, pulled up coincidentally and I got into his car, drove to his to drop a few things and went for the show. It was good, I mean, you could hear a mouse fart - the audience was that attentive. A girl whose name I forget, but who had a dutch surname (don’t ask) stood up and read in a quiet, gorgeous, melancholic voice, poems about her grandmother. Another read a moving poem about a mancunian prostitute and another guy read about quitting smoking after seeing a male relative die of cancer. Then It was my turn.

I read for about 30 minutes and made only two mistakes. Quite proud of that. I sold books and at the end was handed a glasses-case full of the takings at the door. Enough for a couple meals, a couple tees, and the journey to and fro. For talking poems, that’s a good nights work I reckon. We rolled back to Andy’s and talked long into the night about Kevin Spacey, Milton Freidman, a cat that can fetch (video evidence) and the Tsunami in Japan.

On the ride back home to London, I sat beside an old man who had travelled the coach journey to Leeds from London and back again 6 times in as many days. He did not believe in TomToms or maps and was trying to learn the route so that when his wife was released from the hospital, he could drive her back home. He did not want to rely on coaches on trains which would not stop if anything went wrong or if she felt nauseous or unwell. So he’d spent a total of 52 hours, memorising the 200 mile journey, so his wife would be comfortable. The man was 67 and used to be a steel worker. Spent 40 years bending iron, probaby as tough as men come. And they say romance in dead ey?

Rubbish.

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