Late Summer Update | National Book Prize & Encore

A couple of updates while I hack away at yet more deadlines while trying to squeeze in creative work, as per this, earlier, mini-essay on the travails of cramming in too much work out of necessity, but against the interests of what we can very loosely call ‘the soul’.

While the summer continues its sweaty churn without wanting to give us any respite — though thankfully, our sojourn in Helsinki seems to have spared us the worst of it — a couple of happy developments have snuck their way into the pigeon-hole of life, much like the rare but welcome evening breeze that sometimes visits us during these meterologically trying times.

Here they are.

Awguri, Giovanni Bonello is up for the National Book Prize!

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For all its deadline-based hardship, this past year has also come with a number of fun commissions. Perhaps chief of them was being asked to contribute to Awguri, Giovanni Bonello — a festschrift in honour of Judge Giovanni Bonello turning eighty, and which was made up of a collection of historical fiction inspired by Bonello’s own forays into micro-history.

It was a sandbox I got lucky with, as my corner turned out to be a delightfully sordid and sensational one. Caterina Vitale was my subject — an ‘industrial prostitute’ who took over her husband’s pharmaceutical business soon after his death, and who is said to have used her erotic advances as a way to extract handy information from well-placed Knights of the Order of St John.

So of course, I went to town with it and turned it into a vampire story. ‘Bellicam machinam vulgo petart appellatam’ — not the snappiest of titles, I must admit — was great fun to write, especially since the subject matter gave me license to employ a highfalutin’ literary style that apes the Gothic tradition in more ways than one.

Complemented by sharp-and-pretty illustrations from Marisa Attard, the bilingual collection is a solid representation of where Maltese writing is right now. The eclectic roll-call of writers, summoned to respond to intriguing prompts, also suggests that more of such anthologies may be a good way forward for the local publishing scene.

I think we just may have a shot at this prize.

Editing Encore Magazine!

Encore

Another exciting development is the news that, as of its 11th issue, I will be serving as editor for Encore Magazine — a quarterly publication dealing with arts and culture on the Maltese Islands.

While having served as the Culture Editor for MaltaToday for some years now — a post that I will continue to occupy week-in, week-out, I hasted to add — I also look forward to building on what Encore’s previous editor — my dear friend Veronica Stivala — established with the previous ten issues of the beautifully designed and put together magazine.

One of the main things I’m looking forward to with this particular project is being able to get out of the weekly grind when planning and writing articles. I’ve already been contributing to Encore for a few months now, and already the one-month deadline to pen a piece which, partly by dint of its quarterly publishing schedule, does not require one to be limited by micro-topical happenings, was something of a relief.

Coupled with always maintaining an international perspective on things — while always using the Maltese scene as a starting point — I hope we can continue to give the local cultural scene a good dose of ‘slow journalism’.

Because acceleration is the last thing we need right now.

 

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Coming Home | The battles to be fought

We’re finally packing for our trip back down to Malta, which will cap off a hugely eventful summer that was stressful and ecstatic in equal measure, for reasons that should be more or less obvious to anyone who has graciously inhabited the orbit of Virginia and myself during this heady time.

Though many of my new friends and family — yes, that includes V. and my in-laws — will view Malta through their own subjective lens, the place remains a home for me.

A home, with some complications.

I grew up there, but I was not born there. There’s an “arm’s length” quality to both my own perceptions of Malta and also, perhaps, how its other, “more native” inhabitants — including those closest and dearest to me — view my positioning as a latter-day Maltese citizen.

It’s a place that’s defined by waves of foreigners. It’s a place defined by its ability to serve, to coddle, to indulge fantasies. These fantasies could be fey and harmless — the dreams of spending time on a sun-kissed, sea-rimmed and historically layered island are an appeal in and of themselves — and also quite literally concrete.

 

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It’s the latter that’s dirtying my impressions of the island like a splotch of expanding ink as I think about heading back after a month’s absence. And it’s come to a point when resisting the concertisation of the island by developers needs to become part and parcel of one’s daily routine if any change to the malignant status quo is going to occur. And even if such resistance leads to nothing in the long run, I still want to put myself out there in whatever way I can — as luck would have it, a mix of absurdism and stoicism has become my MO since my late teens, so I can just about stomach the thought of my actions leading to nothing much in the long game as long as I feel their conviction in the short term.

A studio in Rabat is a great thing to have

A studio in Rabat is a great thing to have

Because for better or worse, I am marked by this island, and being of a nostalgic disposition anyway, I feel the wedges of these marks press all the deeper once we’re abroad. It’s not an exaggeration to say that thinking about the streets of Valletta and Rabat, about my routine walks along the Sliema coastline, and even far less idyllic walks around this overdeveloped rock, are images that drop like lead in my heart and mind — that remind me of just how indelible my connection to this island is.

I’ve spent this summer around Rome and Helsinki — two cities whose beauty is far more varied, expansive, even more efficient if such an adjective is appropriate — but neither of them have the cruel power Malta has over me (at least, not yet). The environs of Rome are becoming like a second home to me — a ‘new family’ connection that I’m grateful for — and the rugged beauty of the city-proper and the (often verdant) variety of the surrounding parts are like a tonic to me, after the scrunched, yellow and small — and shrinking — stretch of Malta.

And in some ways, Helsinki, with its geometric lines, its traffic-free streets and its efficient public transport system felt almost like a parody of all that I thirst for in Malta: so refreshing was it to be in a place where you’re not gutted by heat and humidity, and where public spaces were just that. (V., in fact, describes it as utterly science-fictional).

But Malta is where the significant experiences of my life happened, and this is something that cannot be replicated even in the places that would otherwise fit far more comfortably with my ‘lifestyle’. Perhaps it was growing up in Malta as an immigrant that made me appreciate its contours even more — and I’ve detailed some of the psychological ins and outs of what having/not having a Maltese passport really means in an article last year — so that I’ve never taken my connection to Malta for granted.

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And ironically, it’s the ability to travel more that has cemented this connection, not dampened it. Perhaps carelessly, when I was actually growing up in Malta I’d assumed that I would move away eventually. Applying the same crass-economic logic that many of those who actually settle into Malta operate under — the relative low cost of living, good climate, tax breaks, etc — I’d instinctively assumed that living in Malta would mean selling myself short, and that the real opportunities lay elsewhere.

In other words, I was letting the specifics of the island slip by in favour of abstract notions of what constitutes happiness: a larger place where you’re more likely to meet like-minded people and secure jobs and other opportunities that would not have been possible in Malta.

But as the years went by, and as life events continued to teach me to appreciate the granularity of life over any broad brush strokes, I began to cherish the specifics of Malta. I began to appreciate how all those streets I’ve walked up and down are actually inside of me, in a way that I couldn’t possibly say about any other country I’ve visited (even my native Serbia… but that’s a whole other blog post right there).

Now, I want to head back home to our flat in Marsaskala, release the cat from her carrier bag and take in the sea view. Maybe even go out for an ice-cream by the promenade (it won’t be as good as the one in Rome, but…). Now, I actually appreciate the memory of walking down from the utterly nondescript suburb of San Gwann to what is now my father’s apartment in Sliema after a long shift at the paper. Now, those dingy, potholed streets — which morph from industrial estate to government housing to beautiful 18th century follies in the blink of an eye — are no longer bitter images of fatigue and routine. They’re memories of a real life’s trajectory — valuable because, not despite of the fact that they’re routine.

The rock is cooler than you

The rock is cooler than you

Now, I look forward to visiting my father at the same Sliema apartment, sipping his trademark Turkish coffee (the one true family tradition whose baton I’ve grasped firmly with both hands) and chatting. To the noise of construction outside, no doubt. But also to the healthy bustle of the various photographers and other helpers that populate (and animate) his studio.

This is why I don’t want the specifics of Malta to be washed out by an overdevelopment drive. This is why I want us to be able to breathe in the little of the island that’s still left. Developers will always speak of doing their utmost to strike a ‘balance’ — as if this is already a concession, an act of charity on their part. But what they don’t understand is that things have been thrown off balance already, for a very long time. Building ‘sustainably’ is no longer possible. The island is too small, and too much of it has been eaten up.

It is with an always-complex cocktail of emotions swirling in my head that I will land back in Malta tonight; to the air that I’ve described as “milkshake thick” in TWO. What I know for certain is that I will make a concerted effort to meet the people I love more often than I have over the past few months. And that, hopefully, they will all join me in the fight to preserve what’s left… in whatever way each of us deems fit.

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Summer

I never look forward to the Maltese summer. It’s both a popular and unpopular statement, or stance to take — depending on the level of commitment and intensity involved. Many will jeer at me for being a party-pooper, for missing the wood for the trees and even — which is both fair and unfair — for being ungrateful: other countries don’t get to enjoy this much sunshine, and neither to they have our abundance of easily-accessible beaches to dive into when it all gets a bit much.

I’ve come to understand the other’s position a bit more now that I’ve recalibrated my life in a way that suits me better; i.e., now that I am a remote-working freelancer and am at least spared the morning (and equally punishing, evening) commute to work on crammed buses whose air-conditioning is either malfunctioning or too strong: strong enough to give your body a system shock that will doubtless lead to a nasty summer cold as soon as you step out of the vehicle.

Yes, summer is in many respects a beautiful time of year — a culmination of all that we look forward to in our leisure time here: the ability to go for a swim in the sea that is readily available and abundant for us, and the ability to enjoy balmy summer evenings with friends — be it at an open-air event of some kind, or a rooftop barbecue…

But in other ways, it’s a time of year that grinds everything down. Makes it soupy, ugly. Leisure-time in summer is great — or at least, lends the impression of being postcard-perfect great — but the daily routine still remains (we’re not in schooltime-Kansas anymore) and work is compromised by the stifling heat. The heat that signals to you that you should, above all, seek shelter and rest.

But of course, the system we all operate under does not allow for that. But it should. There is something beautiful in the notion of us meeting summer the way it demands to be met. For us to let the heat consume us and — to use a phrase beloved by self-help gurus/websites — to ‘listen to our bodies’ and do what it will.

In the way that it short-circuits human efficiency, summer is a reminder to us to remain humble, because we are at the mercy of the elements — the heat being the most predominant element in Malta. Where the milder climes allow themselves to be shoved aside to facilitate our attempts at economic survival, ingenuity and the comfortable pursuit of our ambitions at our own pace, summer forces all that to grind to a halt.

Summer demands worship. But we are continually barred from simply prostrating ourselves.

iGaming island

Malta is an iGaming island. Everyone works in iGaming, and those who don’t are the drifters on the wayside, the detritus that remains after the steel ship has ripped the land to little flakes and established itself as the new citadel from whence all the riches shall flow, henceforth.

They are affable though, these iGaming people. They pay well and treat their staff well. They give out menus to their new employees – even the Maltese ones. And the Scandinavians that run these companies – most of them will, inevitably, be Scandinavian – are not like the ‘bad’ foreigners that come here.

No, they’re not like the Africans who take our jobs, or the Eastern Europeans who cause trouble. No, they are affable and kind and – strikingly, unignorably – good-looking. The latter part is important. One of my (Maltese) friends said recently – half-mockingly, half-exasperatingly (for he was married) – that he is now working in an office with “five or six solid pieces of ass”.

They are trendy, too. The men with their hipster beards and the women as attractive as we’d just said. They are bohemians, but they’re clever bohemians. No slaving away in the shadows on obscure creative work for them.

Instead, they will funnel any impulse for creativity they have into promoting colourful, fun digital slot games. Games whose inspiration may come from any quarter of civilization. Hollywood or fairy tale. Myth, or history – inevitably, there’s a game about El Dorado, and the psychotic colonial leader Pizarro is interpreted as an endearing, bumbling cartoon fool.

The iGaming people know that they are engaging in an elaborate dance of money for all to see. Their hosts know it too. The euphemism of ‘gaming’ to say ‘gambling’ is the first trot, then come the colourful games – like we said – and then comes the increase in rent. Yes, the iGaming people can afford to come to Malta because it is their own El Dorado, and one with very little dangerous wildlife to machete through. Parking and traffic will be a problem, of course, but this is why we’ve created offices for them in the most sensitive, easily reachable places.

After the election – after nasty rumours spread by ‘traitors’ began to percolate – the Prime Minister himself paid a visit to the steel ship in the hopes of tamping down any fears about Malta’s uprightness and viability that the iGaming people may have had. The ramp from the steel ship descended, and the plump, ginger Prime Minister flashed a trademark smile that hid away and fear or hesitation. This was a man ready to do business, now as ever.

This was a man who could calm the choppiest of waters – or so his smile signaled. The hand that greeted him betrayed no such over affections and affectations, but what the people then saw was a photo opportunity that will warm their hearts and reassure them that, all will remain as it was. Normality will prevail. The rents will keep rising and construction will blot the land but apart from that, normality will prevail.

The picture showed the Prime Minister in the inner recess of the steel ship. This was a world onto its own. The citadel had, of course, its own trendy cafe. Brown walls and hanging lights and a bar whose white lick of paint appeared to be perpetually fresh, as if a crafty young employee – a marketing executive by profession, a carpenter by passion – would extricate himself from his desk every now and then and funnel his skills into ensuring the bar looks fresh and ‘genuine’ at every turn.

The Prime Minister is smiling, with a cup of tea or coffee in his right hand. He is looking to the left, not facing his interlocutor.

Not facing the leader of the iGaming people, into whose mothership he was just allowed. A man as young as our very own Prime Minister, but who – despite his Nordic provenance – does not have a ginger beard like our Prime Minister. The Prime Minister, who is not used to holding cups of tea or coffee with his fingers but who would prefer to clutch Styrofoam cups or large mugs and take long, generous glups.

But he’ll make an exception this once. As will we all.

February Updates #3 | Awguri, Giovanni Bonello; Toni Erdmann; Brikkuni & Unintended

Yep, I had said February was a wonderfully busy month for me, and it’s proven to be so right until the end.

Awguri, Giovanni Bonello launch

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First off the ground is the most recent — the launch of Awguri, Giovanni Bonello at Palazzo Pereira in Valletta, which I’ve spoken about earlier and which was commemorated at a very posh — but otherwise very pleasant — party organised by Merlin Publishers and the other ‘conspirators’ involved in this festschrift for Judge Giovanni Bonello, who turned 80 last year and who apart from a distinguished legal career, penned his own micro-histories which Merlin cherry-picked through and passed on to ten selected authors.

Judge Bonello was nice enough to say — in a moving speech at the event — that we lent an extra dimension to his otherwise “two-dimensional” figures; but all I’ll say is that I certainly had great fun with my story ‘Bellicam machinam vulgo petart appelatum’, which allowed me to meld the history of an already-sensational character — Caterina Vitale — with Gothic pastiche. Being encouraged to channel the likes of Frankenstein and Dracula into something of my own certainly felt like opening a fount that was dying to be opened; as was being able to indulge in an ornate, baroque literary style (whose convoluted sentences proved to be something of a challenge to read out loud during the launch party, however!)

Click here to read more about the book 

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Toni Erdmann | Film Review

Peter Simonischek and Sandra Hüller play a distant-but-constricting father-daughter pair in Maren Ade’s critically acclaimed comedy Toni Erdmann

Peter Simonischek and Sandra Hüller play a distant-but-constricting father-daughter pair in Maren Ade’s critically acclaimed comedy Toni Erdmann

“Growing tired of their distant relationship following yet another whirlwind visit from his go-getting daughter, Winifred decides to pay a surprise visit to [his daughter] Ines in Bucharest. When his plan for enforced bonding fails, Winifred changes tack – and persona – by adopting a wig and fake teeth and introducing himself as ‘Toni Erdmann’ to Ines’ friends and colleagues… while a horrified Ines looks on as her father threatens to compromise her professional and social standing.

“While this sounds superficially amusing and perhaps even creepy, what in fact develops is a touching study in second chances. For Winifred, this is something of a last-ditch effort to make up for any mistakes he may have made while raising Ines – his bumbling nature throughout suggests there may have been many – while Ines is suddenly given a chance to inject some humanity in her ambition-driven, corporate existence.

“Ade’s deceptively loose directorial style leaves plenty of room for the excellent performances by Simonischek and Hüller to shine through, building the film at a humane pace that ensures its emotional peaks feel entirely earned, and not forced into place by a script aiming for formulaic pressure points.”

Click here to read the full review

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Rub Al Khali by Brikkuni | Album Review

Brikkuni debuting songs from Rub Al Khali during a concert at the Manoel Theatre in October 2015 (Photo: Chris Vella)

Brikkuni debuting songs from Rub Al Khali during a concert at the Manoel Theatre in October 2015 (Photo: Chris Vella)

“Because [Brikkuni frontman Mario Vella’s] expressions of anger and disillusionment, harsh and inflected with dark humour as they sometimes are, always come from a place of earnest emotion. Vella’s not one for protective irony or tongue-in-cheek games: his political, social and critical observations are always made plain for all to see – something that holds true for both his oft-legendary Facebook posts and the content of Brikkuni’s songs in and of themselves.

“And with Rub Al Khali he has taken his earnest approach into what is arguably the most vulnerable place imaginable. Brikkuni’s third album is a concept album, of sorts. A concept album about the dissolution of a ten-year relationship. Yeah.”

Click here to read the full review

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Unintended | Theatre Review

Close shave… too close: Mariele Zammit and Stephen Mintoff. (Photo: by Christine Joan Muscat Azzopardi)

Close shave… too close: Mariele Zammit and Stephen Mintoff. (Photo: by Christine Joan Muscat Azzopardi)

“But ironically, for all the hard-ons it seeks to inspire in our beleaguered protagonist, the second half of the play is remarkably limp as far as narrative drive is concerned. After poor Jamie is drugged and drugged over and over again and seduced into having aggressive – though it must be said, not entirely unsatisfying – sex with Diana, the play abandons its previously established vein of cheeky black humour and simmering tension in favour of a terminal descent into tired ‘torture porn’ territory.

“That Buckle is a fan of the in-yer-face theatre genre will surprise absolutely nobody – at least, not those who have followed the trajectory of Unifaun Theatre with even a fleeting sideways glance over its admirable run – and let’s face it, we all knew Unintended was heading towards a gory climax of some kind. But the problem is neither that the violence and degradation on display are ‘too much’, and neither, really, that this was a predictable move for the debut play by Unifaun’s founder and producer. The issue is one of simple story structure.”

Click here to read the full review 

February Updates #2 | iBOy, RIMA, You Are What You Buy & the latest in Mibdul (again)

Some updates from my ‘day job’ desk-adventures. Happy to report that February is turning out to be quite the productive and creatively satisfying month. Click here to read the previous update. 

Questioning consumption | You Are What You Buy

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It was interesting to hear what Kristina Borg had to say about her project You Are What You Buy, which takes an interdisciplinary approach to assessing the implications of shopping at the supermarket.

“One of the principal themes of this project is consumption – what and how we consume. This does not solely refer to food consumption; one can also consume movies, literature and more. However, in order to reach and engage with a wider audience I felt it was necessary to work in, with and around a place of consumption that is more universal and common for all. Let’s face it, whether it’s done weekly or monthly, whether we like it or not, the supermarket remains one of the places we visit the most because […] it caters for our concerns about sustenance and comfort.”

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Kristina Borg

“An interdisciplinary approach definitely brings together different perspectives and different experiences and […] it could be a way forward for the local art scene to show and prove its relevance to one’s wellbeing. I think it is useless to complain that the arts and culture are not given their due importance if as artists we are not ready to open up to dialogue, exchange and distance ourselves from the luxury that one might associate with the arts. Talking about experience instead of a product might be what the local art scene needs. 

Click here to read the full interview

Fixing the moment | Mohamed Keita and Mario Badagliacca 

The migrants living at the Belgrade Waterfront are using the beams of abandoned tracks (or tires or rubbish) against the temperatures below zero degrees and to produce hot water. Photo by Mario Badagliacca

The migrants living at the Belgrade Waterfront are using the beams of abandoned tracks (or tires or rubbish) against the temperatures below zero degrees and to produce hot water. Photo by Mario Badagliacca

Ahead of their participation at the RIMA Photography Workshops, I got a chance to delve into the dynamics of migration — particularly the problematic way in which migratory flows are portrayed through mainstream political discourse and the media — with Sicilian photographer Mario Badagliacca, who tapped into his experience of documenting the realities of migration — most recently in my own native Belgrade — as well as Ivorian photographer Mohamed Keita, who took a self-taught route to photography after traversing Africa to reach Italy.

The power of photography is to fix the moment. Psychologically speaking, there’s a difference between perceiving a ‘fixed’ image and a ‘moving’ image (as in a video, for example). The ‘fixed’ image constrains us to reflect on it in a different way. In my case, I want the images to serve as a spur for further questions – to be curious about the stories I’m telling. I don’t want to give answers, but raise more questions. – Mario Badagliacca

Photography by Mohamed Keita

Photography by Mohamed Keita

Click here to read the full interview

Film Review | iBoy — Netflix takes the info wars to the gritty streets

Screams of the city: Tom (Bill Milner) finds himself plugged into London’s mobile network after being attacked by thugs in this formulaic but serviceable offering from Netflix

Screams of the city: Tom (Bill Milner) finds himself plugged into London’s mobile network after being attacked by thugs in this formulaic but serviceable offering from Netflix

I had fun watching the ‘Netflix Original’ iBoy — not a groundbreaking movie by any means, but certainly a fun way to spend an evening in the company of Young Adult urban sci-fi that slots into formula with a satisfying click.

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Love interest: Maisie Williams

“iBoy is yet another example of British cinema being able to strip down genre stories to their essentials and deliver up a product that, while hardly brimming with originality, still manages to create a satisfying piece of escapist entertainment. From Get Carter (1971) down to Kingsman (2014), the Brits sometimes manage to upend their Stateside counterparts by just cutting to the chase of what works without the need to inflate their budgets with unnecessary star power and special effects, while also toning down on any sentimentality and drama at script stage.”

Click here to read the full review

Patreon essay | MIBDUL & ‘that uncomfortable swerve’

MIBDUL & that uncomfortable swerve

Not exactly a ‘day job’ entry — though I wish it were — this month’s Patreon essay for our MIBDUL crowdfunding platform was all about me panicking over not having enough space to write out the story as I was planning it, and needing to make some drastic changes to accommodate this new reality.

“The thing about the detailed outlining of issues – and the rough thumbnailing of the pages in particular – is that, unlike the planning stage [in my journal], I approach them largely by instinct. This is the time when you have to feel your story in your gut, because you need to put yourself in the position of the reader, who will be feeling out the story in direct beats instead of painstakingly – and digressively – planned out notebook excursions. (To say nothing, of course, of the fact that the story needs to look good on the page – that the artwork needs the necessary room to breathe).”

Please consider donating to our Patreon page to access this essay and more

February Updates: Shakespeare, historical fiction & the latest in MIBDUL

It’s not February yet but it will be soon enough, and in these times of uncertainty and stress I figured it wouldn’t be so bad to start listing (and celebrating) some of things I’m excited about for the near future.

First up, though — something from the very recent past. 

MIBDUL: latest process video from Inez Kristina

Done for our $10+ Patrons, I’m really loving this fully narrated process video from Inez, detailing how she goes about structuring a page in general, and page 10 of MIBDUL’s first issue in particular.

Of course it would be thrilling for me to see my words come to life as pictures at any stage, but seeing the page at such an early, raw stage has its own particular pleasures. For one thing, it’s good to see that, raw as the sketches are at this stage, Inez has a firm grip of both the geography of the spaces and the overall mood of the characters.

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This certainly goes a long way to put me at ease as the writer of MIBDUL — knowing that the script will be rendered in a way that is both faithful and impressive in its own right — but it’s also heartening to discover that Inez understands the vibe of MIBDUL in a very intimate way. Successful communication is the key to all collaboration, and I think we’re riding a good wave here.

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It’s also interesting to hear Inez speak about how her approach to the pages has changed of late; namely that instead of painstakingly rendering each page one by one, she’s decided to start sketching out several pages all at once, so as to get a better sense of how the storytelling should flow without getting bogged down by details and drained by the process too early.

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Funnily enough, it mirrors my own turn with the writing of late: for similar reasons — to speed up the process in a way that matches the flow of the story — I’ve decided to go ‘Marvel method’ on the latter half of scriptwriting process; partly because dialogue is the most challenging part of it all for me, and partly because I think seeing the page laid out by Inez will inspire me to write dialogue that is both succinct and relevant to the flow of the story.

Please consider following our Patreon journey — it would mean a lot to us. Really. 

Awguri, Giovanni Bonello: Gothic pastiche for an illustrious judge

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Like MIBDUL, my contribution to the bi-lingual historical fiction volume Awguri, Giovanni Bonello — to be launched at some point in February in honour of the same judge’s 80th birthday — is yet another collaboration with Merlin Publishers, who have been a pleasure to work with ever since they oversaw the publication of my debut novel, TWO.

To say that this was a fun commission would be a massive understatement. Basically, the judge being honoured by this volume — the poshest birthday present imaginable, am I right? — was also something of an historian, and the personages he wrote about were ‘assigned’ to each of us writers to spin a fictional yarn out of. And I will forever be grateful to Merlin’s head honcho Chris Gruppetta for giving me what is possibly the most sensational and salacious character of the lot: Caterina Vitale, a Renaissance-era “industrial prostitute”, torturer of slaves and — paradoxically — beloved patron of the Carmelite Order.

Of course, I went to town with this one. High on the then still-ongoing Penny Dreadful — and hammering out the short story to the haunting and dulcet tones of that show’s soundtrack by the inimitable Abel Korzeniowski — I liberally crafted something that is both a pastiche of Mary Shelley’s Frankenstein and Bram Stoker’s Dracula, all set against the backdrop of a Malta fresh from the Great Siege.

I’m looking forward to getting my mitts on this gorgeous-looking book — designed by Pierre Portelli with illustrations by Marisa Gatt — if only because I look forward to checking out how my fellow TOC-mates tackled the raw material of Bonello’s historical output.

The Bard at the Bar: Debating Shakespeare

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On February 8 at 19:00, I will be moderating a panel discussion on whether the works of William Shakespeare are relevant to the Maltese theatre scene — and Malta at large — and if so, how to make them feel more accessible and vital to the widest possible audiences.

The brainchild of actor, director and journalist Philip Leone-Ganado of WhatsTheirNames Theatre, the debate will, significantly, take place at The Pub in Archbishop Street, Valletta, aka the place where Oliver Reed keeled over and died after consuming an obscene amount of alcohol while on a break from filming Gladiator back in 1999.

More recently, the venue has accommodated the very first edition of ‘Shakespeare at the Pub’ — a production of the Two Gentlemen of Verona directed by Ganado himself last year — and another one is in the offing for 2017.

Two Gentlemen of Verona at The Pub, Valletta (WhatsTheirNames Theatre, March 2016). Photo by Jacob Sammut

Two Gentlemen of Verona at The Pub, Valletta (WhatsTheirNames Theatre, March 2016). Photo by Jacob Sammut

The lively, unpretentious and game production certainly felt to me like a step in the right direction as far as making Shakespeare more vibrant and relevant was concerned, so I think the Pub is as good a place as any to keep that inspired momentum going with a good discussion.

And it should certainly make for a satisfying debate, given that apart from Ganado himself, the panel will be composed by James Corby (Head of Department of English at the University of Malta and hence offering some academic weight to the proceedings), Polly March (director of the upcoming MADC Shakespeare summer production — the ritualised and established intake of Shakespeare for the island) and Sean Buhagiar, head of the newly-established Teatru Malta and someone deeply concerned with nudging the local theatrical scene out of its usual comfort zones.

So do come along to hear us talk. And feel free to shout your questions and comments over a pint, or ten. Just don’t crank it up to Oliver Reed levels, please.

Swords v Cthulhu read-a-thon #15 | Carlos Orsi

As outlined in an earlier post, in the coming weeks I will be dedicating an entry to each story in the new anthology Swords v Cthulhu, edited by Molly Tanzer and Jesse Bullington and published by Stone Skin Press. My reviewing method will be peppered with the cultural associations that each of these stories inspire. These will be presented with no excuse, apology or editorial justification.

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The Argonaut by Carlos Orsi

In their introduction to the anthology, Tanzer and Bulllington described Brazilian author Carlos Orsi’s contribution as ‘Errol Flynn Goes To Hell’, and it’s a tantalizingly accurate description of what goes on in this ghoulish swashbuckler of a tale.

But the real hook of the story for me was the fact that this takes place on a Maltese vessel in what we can assume is roughly the Golden Age of piracy — and given that the Order of the Knight of St John had no qualms about sponsoring corsairs during their soujourn on the island, Orsi’s choice of setting and conceit is as apt as they come.

Nevertheless, the naval politics of the 17th century and their corresponding geo-historical context only matter up to a (sword) point in this fast-moving tale, whose key qualities lie in its cinematic scope and pace. Orsi conjures up some great images, but more importantly, he makes sure that things are constantly in motion. Stylistically, this is the polar opposite of Lovecraft, whose trembling paranoia inspires gloriously knotted prose that slowly but surely unravels a terrified but richly imaginative mind.

Bill Nighy as Davy Jones in the Pirates of the Caribbean film franchise

Bill Nighy as Davy Jones in the Pirates of the Caribbean film franchise

One would be tempted to throw Pirates of the Caribbean as an easy reference point for this tale on an unfortunate seaman charged with rescuing the husband of a Christian virgin aboard the aformentioned Maltese ship — which is assailed by shoggoths (subordinate figures in Lovecraft’s bestiary). Davey Jones would be the obvious figure that comes to mind once the bewitched sailors turn monstrous.

But Orsi’s prose — down to its rapid-fire style — actually recalls a more significant forebear: the work of Tim Powers. After all, On Stranger Tides was not just yet another (and ultimately disappointing) installment in the Pirates of the Caribbean saga. It was actually the book that started it all: inspiring not just the theme park ride that in turn gave way to PoC film franchise, but also that other piece of piratical pop culture lore — the Monkey Island video game series.

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And Orsi’s story, with its no-nonsense protagonist and equally no-nonsense approach to storytelling and style, channels Powers’s ability to grip the reader and keep them there. The supernatural is a by-the-by inconvenience here, but a real one nonetheless; much in the same way as Blackbeard’s meddling with the dark arts is a key obstacle for our protagonists in On Stranger Tides.

Whereas the other story in the anthology to channel pirates does so with added lyrical and surrealist gusto, Orsi’s tale provides some classic thrills.

Read previous: Natania Barron

Fleaing

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Flea market, Birgu, Malta (2013)

“The flea market ethos, like many countercultural values, paid its respects to a modernist notion of prelapsarian authenticity. In an age of plastic, authentic material value could only be located in the “real” textures of the preindustrial past, along with traces of the “real” labor that once went into fashioning clothes and objects. By sporting a while range of peasant-identified, romantic proletarian, and exotic non-Western styles, students and other initiates of the counterculture were confronting the guardians (and the workaday prisoners) of commodity culture with the symbols of a spent historical mode of production, or else one that was  “Asiatic” and thus “underdeveloped.” By doing so, they singled their complete disaffiliation from the semiotic codes of contemporary cultural power. In donning gypsy and denim, however, they were also taunting the current aspirations of those social groups for whom such clothes called up a long history of poverty, oppression and social exclusion. And in their maverick Orientalism, they romanticized other cultures by plundering their stereotypes.” – Andrew Ross

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Read previous: BODYING
Read related: Flea markets and hypogeums

Turning Malta into an airport

There is something morbidly fascinating about Coruscant - the seat of the Galactic Empire in the Star Wars movies. But do we really want something like this to overtake our 'real' world?

There is something morbidly fascinating about Coruscant – the seat of the Galactic Empire in the Star Wars movies. But do we really want something like this to overtake our ‘real’ world?

The decision to transfer the land at Zonqor Point to Sadeen further proves that Muscat’s government is intent on turning Malta into, essentially, one big airport.

The social and cultural wellbeing of local life – in all its forms – will become further and further sidelined, in the interest of turning Malta into little more than a platform, a jumping on and off point for financially powerful international players able to pump money, but little else, back into the island.

Obviously, Muscat’s aggressive neo-liberal philosophy is an easy ‘sell’ in every sense of the word.

It’s easy because capitalism is the primary motor of the world right now, and so many will either be swayed immediately, or convinced to look the other way, when there’s an immediate inrush of money to be made.

One meme that has circulated ever since the Zonqor/ODZ debacle first started raging, was the old chestnut about the environment being a ‘middle class’ concern – something that only the bourgeois presumably had the luxury to cry over when others would welcome any boost to their pockets.

But Malta isn’t a poor country. Those proposing some kind of stark division between the haves and have-nots, particularly on vague – read: false – ‘cultural’ grounds are misguided in every sense of the word. Malta ‘needs’ this project like it needs a bullet to its – limestone – head.

Also, saying that the previous government did exactly the same thing as some kind of excuse to make the current mistakes seem better in comparison, is also deceptive and false.

If anything, it is precisely BECAUSE the previous government operated on the same principles that the need to safeguard our environment is becoming all the more urgent.

Supporting the ‘American’ University makes you neither a champion of successful government hustling for cash, and it certainly doesn’t make you a champion of the supposedly impoverished underclass that stands to gain from this toxic land-grab.

All it makes you is a supporter of the status quo.

A status quo that would sooner have Malta as an extension of the Malta International Airport.

Paved to ‘perfection’, with artificial outlets providing transitory needs for transitory people.

Of course, right after Muscat and co. have demolished all that is unique and attractive about the Maltese islands, the supposed economic excitement this is meant to engender will gradually fade away.

But of course, who will care at that point? The locals will be dulled into submission by promises of more money, or will have moved away in disgust. And Muscat’s decisions will have insulated him from any further unpleasantness or hurt.

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I’m writing this while I eagerly await a screening of Star Wars: The Force Awakens in a beautiful Parisian cinema. On the one hand, the impulse of looking forward to a cash-boosted blockbuster – the legacy of which is actually directly wended to the financial behemoth of the blockbuster as we know it – appears to be in direct opposition to the sentiment expressed above.

But as with all things, it’s down to how you process them individually.

Various thoughts and feelings jostle within us at any given time.

The influence of Star Wars on how I viewed storytelling will always have an influence on anything that I do. As will my indignation – and yes, sense of powerlessness – at something like the Zonqor tragedy.

I’m hoping that something productive comes out of this alchemy, very soon. And with the help of some truly inspired friends and collaborators.