How does one describe Threadmash? It is sort-of a writing club, where people write and recite pieces, often being encouraged outside their safe places, by ringmaster Rohan Candappa.
But it is not so much about what we do as it is about how it makes those of us who participate in it feel. I probably described that for the first time at the end of the Ogblog piece in which I set out my second threadmash piece:
But the very first threadmash was exactly a year ago. The piece I produced for that inaugural event is set out here and below:
Rohan is not one to let a birthday or anniversary go unmarked…
…nor is he one to miss an opportunity for a party of sorts.
So Threadmash 5 was cunningly scheduled for the first anniversary of Threadmash. Well played, Rohan.
There were several new faces this time, observing the readings and whole-heartedly participating in the party atmosphere. Several of them had “Sh” names, such as Shirani, Shivangi, Shazia and Rowan.
Eight of us wrote pieces to Rohan’s brief this time. Mine is published here:
Terry went first. He wrote a job application letter, to become a taster for Mr Kipling cakes. He used the application as a mechanism to tell us all about is “work experience” as a youngster. It was very amusing and touching in parts.
Jan then read us a letter to a plate of food that she was forced to “study” outside the headmistresses office for the whole afternoon, when five years old, because she had the audacity to abstain from eating the ghastly gunk that was her school dinner. This too was a very funny and touching piece.
Jan’s piece reminded me of a lovely piece of writing I published recently on Ogblog as a guest piece, by cousin Garry Steel, about a similar incident and the “truth and reconciliation” events that occurred decades later:
This was the first of several unexpected, surprising and in some cases downright weird coincidences in the evening’s pieces.
…followed by Chris who wrote a letter to his own testosterone, explaining how their relationship had changed and was likely to continue changing over the decades. Not only funny and engaging, this piece was also moving and quite risky in the level and nature of its confessional humour.
Flo’s piece was the fifth one. A letter, decades later, to a youth with whom she had enjoyed extended correspondence and an unfulfilled dalliance “back in the day”, probably because she was less ready for romance at that time than the young man. As with all of the pieces, there was a mixture of drama and humour; this one especially bittersweet because the mismatch was one of those timing things that so many of us probably, if we put our minds to it, experienced one way or another when we were in the early stages of romance. I probably wasn’t the only man in the room thinking, “crickey, I never, ever put THAT much effort into wooing a girl. Poor chap.”
The strange coincidence in Flo’s piece was that she described the young man, on reflection, as “her troubadour”, which seemed a strange, coincidental echo of my references to William of Aquitaine and his reputation as the first troubadour.
Next up was David Wellbrook, who wrote a very moving letter in the part of a soldier on the front line in WW1, writing home having just killed a man in hand-to-hand combat. David is a very versatile writer. To a greater extent than most of us, he is able to pick up on Rohan’s entreaties to stretch ourselves beyond our safe zones and make that stretch comprehensively.
Strangely, Kay’s letter was to her late Grandfather and talked a great deal about his active service in WW1.This seemed like a particularly coincidental echo, coming immediately after David’s WW1 story and also in relation to mine, which was also a letter to a dead relative of the grandfather generation, albeit “grandfather-in-law” in my case. Kay’s piece was very touching, not least because clearly her grandfather had been unable to communicate feelings very much when Kay knew him and also because it is clear from the letter that Kay feels she might not have communicated with him sufficiently either.
Geraldine’s letter was directed by Rohan to be a letter of resignation, but Geraldine cleverly and delightfully twisted the idea to make it a letter of resignation to her former husband, explaining why she felt she simply had to escape the drudgery of the “American dream, American housewife” role in which she found herself cast as his wife. It was a beautiful piece of writing, full of love combined with a steely determination to explain herself and not to apologise. As with all of the pieces, the letter was probably the right length for such a performance piece but (and because) it said so much while leaving me wanting to know more.
After a short interlude, Rohan took us through a 10 point agenda. Is this is all getting a bit business-like?
The brief for Threadmash Six is to write about an unknown woman named Charlotte Thomas. All we know of her is that Rohan managed to acquire a cheap moleskin-like notebook that had been customised with her name but never collected from the shop. Our job is to write about whosoever this person might be.
It did cross my mind to recycle my Theadmash One story, which is about a youthful dalliance with a young woman who I only ever knew as Fuzz, thus not even knowing her real first name, let alone her second name. She might very well be (or have been) Charlotte Thomas…
…but that would be cheating – I won’t do that. I think I have already decided on my Charlotte Thomas idea – it will be a bit of a stretch but I guess it is meant to be.
There was an awards ceremony, during which Rohan’s Edinburgh nemesis Rowan presented Adrian (in absentia) and Julie “Croissanita” with awards which, given their origins from the same stable as the Charlotte Thomas moleskin-type thing, I suggested should henceforward be known as “Charleys”.
It was a birthday party so of course there was cake…
…and goody bags.
Even the awkward silence was superb.
Then Rohan performed a new piece of his own, a very evocative piece which the agenda claims to be a collaboration with a top musician. But Rohan actually confessed that Brian Eno is…was unaware of the collaboration. I’m hoping Rohan will tell me which ambient piece he used to back up his words, at which point I shall update this piece with the information and possibly (with Rohan’s permission) let Brian Eno know how well he did.
Update: Rohan reports that the piece used was Neroli. You may hear Neroli on-line by clicking here or the embedded thingie below:
Rohan’s new work, about 15 minutes long, is a lyrical, poetic piece named Park.
Rohan was so pumped for his recital that he even felt the need to change for his performance:
Not only was Park a very charming and thought-provoking piece, it was, in a way, the third coincidence on the topic of troubadours. Of course, we will never know whenether the troubadour tradition was one of singing the lyrical poems to tunes or the dramatic recitation of lyrical poems with musical backing…almost certainly a bit of both depending on the piece and the troubadour. In any case it occurred to me that Rohan’s piece was very much of that 800+ years old troubadour tradition.
As always, the very act of gathering and spending an evening with such super people is a huge part of the Threadmash thing. I have known several of the people for just shy of 50 years now, whereas some of us have just met in the last year and about half the people at this anniversary evening were new to the thing. All were great company.
I’ve written too much already. It was a cracking evening. Thanks as always, Rohan.
