Post archive

Updates and new poems

I haven't abandoned this section here completely, but for the moment, I am concentrating on putting new poems and updated information, of sorts, here at http://blinding-sunlight.blogspot.com/ . It's just a bit easier to update and makes things more coherent, I believe.

Maybe you don't. That is your perogative, of course.

As a basic precis of what I'm up to ... I'm recently back from Europe and thus that is kind of reflected in a lot of my new poems on that blog site. I'm working on my second novel, among other things.

 

Righto

Adam

Gigs that got done

So I've done a couple of readings in the past week...

I performed at the Word Salon as part of the National Young Writer's Festival, which itself was part of the This Is Not Art Festival, in Newcastle, NSW, on the weekend of September 29, 30 etc.

I chose this night to debut my act on guitar. In hindsight, it probably wouldn't have mattered if I'd gone onstage naked and covered in baby oil. A fair crowd was in attendance, and a fair slice of them couldn't have given a flying fuck that I'd driven from Sydney that day and was up there doing my best to perform for their benefit. To be fair, a whack of people were listening, but the pack of c*#&s who couldn't give me the respect to at least shut up ... well ... can you tell I am pissed off at them? The barefoot activists were too busy activating to be bothered listening to me. Maybe I just didn't offer them what they were looking for, cos they were quiet for a few of the other acts ... just not me. Cheers to Sarah Nicholson for booking me for the gig, much appreciated, but it wasn't the sort of stormin' gig I would have liked. Oh, but my guitar sounded good.

The other gig was at the rejuevenated Bardflys night at the Friend in Hand Hotel in Glebe on Tuesday, October 3. Thanks to the mercuial Tug Dumbly and Benito DiFonzo for the invitation to perform. Was a great night actually, with my brother Simon supporting me on a couple of poems on guitar. I was due to reprise my guitar heroics of the previous weekend at this performance, however, the distortion pedal didn't seem to want to come the party. So I was forced to abandon that plan and just wing it, asking Simon to play on another poem and making things up as we went along. As I said, it was top night, with a few big laughs to be had. The regular poetry slam was a bloody classic, with the highlight being well-known Sydney identity and Labor Party historical expert (specialist subject: the Whitlam years) "Crazy Pete" doing a remarkable three-line poem (remarkable because it only went for three lines!) and absolutely slaying the crowd. Excellent poet and friend Jodie Catherine also did a fantastic poem, but I never expect anything less from Jode, a writer who very rarely fails to impress. Not sure who won the actual slam, cos i had to leave right at the end, but it was all in all a very pleasing night. Better than my gig the previous Friday, that's for sure...

Two weeks to Paris...

 

Some pertinent points

Well it's not that there hasn't been any news of late, it's just that I've been your regular slack-arse and haven't updated this page for a while. And don't think I'm going to be exactly doing that now ... no sirree...

The most pertinent point to make is that I have been working on some new stuff. And another point to make is that I have absolutely no "preciousness" about my writing at all. My aim is to get what I feel and therefore write out there in as honest and as unfiltered way as possible. I don't mean I'm going to start doing live stream-of-concsiousness webcasts, but rather I don't want to work my writing into the ground and take the life out of it.

Granted, I do spend time on many different longer bits of writing, but sometimes things come out quickly as good as they are ever going to be. Some may argue this is quite obvious from the work ... they may say it is ill-formed, unstructured and generally poor. To be honest, I don't give a fuck about what those people think. All I care about is if I can connect with someone (just one person), convey a feeling I have (or had) and effectively express my take on the world. It's nice if people enjoy that, which many seem to do.

Whether my poetry meets formal poetic strictures or structures means absolutely diddly-squat to me. The important thing is simply the way it feels... yeah man, chill dude, etc etc...

So that's why I have started posting some new poems on this seperate blog page http://blinding-sunlight.blogspot.com/ ...

And finally, thanks to people who have been posting on my guest book. If you find your way to this page, please leave a comment ... I read all comments and, positive or otherwise, they are always appreciated.

Oh and also, if you have any trouble with the PayPal system of buying a book (which you really shouldn't), please email me and I will sort it out.

cheers and all that.

Adam

Sydney Writers' Festival gig

I've only just recovered ... well kinda. I performed at the launch of Going Down Swinging magazine and CD at the Sydney Writers' Festival on May 27. My god ... what a night. It was totally packed, and the crowd was amazingly responsive.

The event, organised by alicia sometimes, Steve Grimwade and Lisa Greenaway (lovely people, all of 'em), and it went off a damn treat, with Paul McDermott providing a wonderful "official launch speech" to send the audience into proverbial raptures.

I was accompanied by my brother Simon on guitar and old friend Sean Kennedy on keyboards and samples for the gig, and despite it being the first time we had ever played together, it was farken unreal. We did the poems 'This is Sydney', 'Angie Hart' and a version of our Modern Giant tune, 'Heartbeat'. 'Heartbeat' is the track which is on this year's Going Down Swinging spoken word CD.

I haven't mentioned it to the other guys, more an idea that is in my head, but I've decided that I will call that "band" The Aerial Maps. Yes, you just got an exclusive. That's not to take away from our stuff with Modern Giant, but just to distinguish that it was a different "act". Anyway, it's a work in progress.

So, yes, it was a brilliant night and I'd like to thank everyone who attended and was so attentive. In the immortal words of J. Fenech ... "I luv youse all".

'This is Sydney' ... the new single

As many know, I do a lot of spoken word stuff, both live and on record. The majority of my spoken word stuff has been done with my band Modern Giant, which has been a great vehicle for it, consisting of my brother and strong supporter Simon Gibson on drums, Gynia Favot on guitar and vocals, Andy Meehan on guitar and vocals and me on bass (and spoken word ... i can't sing for the life of me).

Anyway, Modern Giant have a new single out soon ... and it's based on my spoken word piece / written poem (as featured in my book Bondi), titled 'This is Sydney'. There is also another of my spoken word-based tracks on there, titled 'New York 54'. So ... here is a general blurb about those tunes, and the release of the new four-track EP on which they are contained (which accompanies a re-release of the debut Modern Giant album, which contains several of my spoken word tracks along with some sublime pop song moments!)

Our recorded stuff is available from Popboomerang Records

Okay ... Modern Giant , The "This Is Sydney" EP

We have just released the "This Is Sydney" EP to radio. This limited edition 4 song EP is available for sale for $5 from www.popboomerang.com and will available free with purchases of the "Satellite Nights." CD . This album will be re-released to retail in July with the "This Is Sydney" EP packaged inside as a bonus disc.

Modern Giant: This Is Sydney

1) This Is Sydney
2) On The Quiet
3) Blues Into Gold
4) New York '54

Here is some info about the songs

This is Sydney (words & music by Modern Giant)
This is a song which celebrates various aspects of life in Sydney, whether that be planes landing metres overhead, the suited workers of the city, or the beaches which are never far away. The main idea behind it was to attempt to put a human face on Sydney, trying to debunk the perception that some people have that Sydney is a faceless city without a human side. The line "the tide is so high you can smell it Annandale" connects with
the fact that greater Sydney really is a coastal and water-based city, with always a surf beach or a river or a creek being not far away.

On the Quiet (words - Modern Giant/Tom Morgan & music by Modern Giant)
Sometimes you go through absolute hell because you are so into a specific member of the opposite sex . and sometimes, no matter what you do, it always seems to be the wrong thing. But then, suddenly that person calls you at 4am, and you turn around and convince yourself that it just might be a goer. Then, the moment you do that, they seem to turn around and leave you hanging. It's a nightmare, and it's the rotten flux of relationships.

New York '54 (words & music by Modern Giant)
This was inspired largely by Springsteen, Kerouac and Tom Waits - three great chroniclers of the myth of the American night. It's a melting pot of ideas inspired by images of waitresses with "Maxwell House eyes and marmalade thighs", the barefoot girls who sat on the hood of Springsteen's Dodge and Kerouac's endless wanderings in the neon-lit night. But we wanted to take some personal ownership of that idea and make the emotion ring true from our Australian point of view.

Blues into Gold (words & music by Modern Giant)
Life is crappy sometimes. You find yourself in a hole, the rent's four weeks overdue, your lover has slept with someone other than you, you've had a car accident, you have no visible or viable career path. But then sometimes it takes just a little click, like an osteopath's spinal correction, and everything suddenly starts to feel better, starts to work....you use those blues and turn 'em into gold "

Press release for me!~

BONDI COMES TO LIFE IN A BRAND NEW BOOK

“Adam Gibson writes from the heart, from the street, about the place that moves him most. Ripper real words that are well worth checking out."

– Peter Garrett, (Midnight Oil)

Bondi is Adam Gibson’s third book of poetry and captures the essence of this iconic Australian beachside suburb.

Dubbed by Sydney radio personality Mike Carlton as "the Bard of Bondi” Adam Gibson is Bondi born and bred. His latest collection of poems reveals his profound relationship with his home suburb, and are imbued with a strong sense of place and turns of phrase that are quintessentially Australian.  They draw on pure, honed images that are resolutely local, images that conjure the sun, the surf, the sand, the sounds of life in Bondi.

The Champion's Bar is still hard Bondi,

It hasn't succumbed to marble walls

And varnished floors.

There's still Maoris and brawls among the pool balls

Bondi features poems of vigour and acute observation, melancholy at times, and intensely personal, wry and optimistic at others. These are raw stories of lives lived on Bondi's streets, of passing seasons, the charting of the juggernaut of change and, at the end of everything, the beach.

And in one of those still-standing sheds

I kissed one of those smoke tasting mouths

And have never forgotten the way I felt

Just as I have never forgotten a single other moment

Of growing up in Bondi.

Adam’s poetry is accessible, funny and affecting, going a long way toward debunking the common myth that poetry has to be complicated to be considered “real poetry”. He talks of aloe vera plants on the back step, of the paling fence of the Australian backyard, about relationships falling apart as a hot dry westerly wind scorches the city, about surfing remote headlands and about driving through the night listening to Midnight Oil.

Adam will be giving audiences a sneak preview of poems from Bondi with a reading at the launch of annual literary magazine featuring fiction, poetry, comics and spoken word, “Going Down Swinging” at the Sydney Writers’ Festival on Saturday 27th May. He will be reading alongside the likes of The Church's Steve Kilbey.

Sydney Writer's Festival, Going Down Swinging launch, Bangarra Theatre, 27/5/06, 7.30pm

For more information on Adam Gibson or to purchase Bondi through his website, visit: http://www.blindingsunlight.com/

Sydney Writer's Festival performance

Just confirmed ///

As outlined below, I am performing at the Sydney Writer's Festival on Saturday, May 27. I will be performing some spoken word at the launch of the 2006 edition of the wonderful literary magazine and spoken word CD, Going Down Swinging.

Also on the bill will be Church legend Steve Kilbey, among others, and it should be a top night. Performing with me on backing music will hopefully be my brother Simon, along with others.

The venue is the Bangarra Mezannine, at the Sydney Theatre Company Wharf, the HQ of the writer's festival. Kick-off is at 7.30pm, and I believe it is free ... though I could be wrong on that point.

So ... 7.30pm, Saturday, May 27, Bangarra Mezzanine, Sydney Theatre Company, The Wharf.

 

'Authentic identity' in writing - my thoughts

As part of the Emerging Writer's Festival held recently in Melbourne (which I attended, obviously), I took part in a panel discussion which asked the question: "How do we establish an authentic identity [in writing] without limiting the stories we can tell? Are we expected to write from a certain voice and is this limiting?"

I actually found it a difficult topic to specifically get my head around ... maybe I was just a bit tired, or that it didn't press my emotional buttons too hard. Not sure. Anyway, there was a good crowd in attendance in the Yarra Room of the Melbourne Town Hall ... and here is a precis of what I had to say on the matter, from my own point of view.

Being asked to do this panel (with fellow writers Jared Thomas, Tom Cho and Meg Mundell, and chaired by Richard Watts) got me thinking about what my own "authentic identity" is...

To lay it bare, a brief "human bio" ... I am an Australian of long-lost Irish-English-Whatever heritage who grew up in the then pretty much blue collar surfing community of Bondi, in Sydney. At that time, the '70s and '80s, Bondi was a fairly rough and tumble world with a degree of "survival of the fittest" about it. Yet conversely it was laced with a sense of community support. Throw into that mix my own discoveries; equal parts Midnight Oil, early punk music, a BA in Kerouac, cold mornings spent checking the surf in flannette shirts, and I end up here now, as formed.

So it is from this standpoint that I come – while I may have worked as a journalist for years or studied writing or been interested in poetry or stayed in Paris and sipped Beaujolais with the best of the 'em, my "identity", my baseline, kinda, is rooted (for want of a better word) in that no-bullshit world I came/come from.

And taking that to my writing, I feel that I am trying to look at my own ordinary Australian world and give as much credence to that as possible, over and above perhaps the credence that many people in Australia seem to so readily give to the stories told of lives elsewhere. New York is not more important to me than Newtown, or, say Northcote, or say anywhere. I feel that this life that I – that we – are living, here, now, is as deserving of recognition…

My point is, the "authentic identity" I feel most comfortable identifying with is my own world. I don't apologise for that or necessarily think it is a bad thing. I like a sense of place, and like to name names I know.

Having said that, of course, I have written from other viewpoints, and experimented with situations which are outside that world. I think you have to do that maybe before you find that authentic voice you are looking for, that voice that you are most at home with at that particular time or the one that feels most authentic. And that's another point – while I believe in and stick to my own personal experience, I really don't think writers should be in any way specifically limited by their own experiences in what they write. People should be free to explore whatever identity, or point of view, they like.

But I guess the point of this whole discussion is to question where there is necessarily a limit on how far you can actually go and can attempts for "authenticity" slip over into appropriation or ANOTHER'S identity. Basically, on who, or what, can we – or can't we – write?

Recently this topic sprung to mind when I was told that a non-indigenous woman whom I vaguely know was writing fiction from the perspective of an indigenous man. I know that's a topic that has raised questions before, and to be honest, my initial reaction to the woman was that it was the wrong thing to do. But is it wrong, outright? Am I wrong to think it was wrong? Could this woman be genuinely in a position to maybe offer some real insight on the topic? Who owns the right to claim ownership of that, or any, story?

Basically, I don't have a specific answer...

So, in a sense I'm playing devil's advocate here, throwing the suggestion out there… and in a sense I perhaps cop out myself from directly challenging that question because I write about a world that I am confident in my knowledge of. So I know if anyone says "that's not right" or "that's bullshit", I can be fairly safe in the knowledge that I can back up everything that I say. But is this just lazy? Perhaps I am just limiting myself by thinking like this … ?

Perhaps … perhaps…

More thoughts about 'poetry as a form of non-fiction'

(A potted history and various thoughts...)

People have, of late, been asking me the question of how my background in journalism may influence my writing in other forms. It's an interesting proposition ... mainly because it's something that I have long simply "felt" rather than consciously been aware of. But thinking about it, I do believe that naturally that stuff has influenced my writing largely because it has heavily influenced my life. I believe the best writing comes from the writer being engaged with the world and their surroundings; the skills of observance and engagement therefore that are used in journalism are equally important for other forms...

Ok, a potted history and some thoughts ... I have worked as a journalist for the past 19 or so years, in Australia and the UK. 

I started out in that area at News Ltd newspapers here in Sydney, getting a job as a copyboy in the newsroom shortly after I left school and was hit with the realisation that writing was, then, the only thing I was remotely interested in doing (apart from surfing!)

A year after that, 1987 I think, I got a cadetship on the old Daily Mirror newspaper and basically what followed was several years of working as a reporter, covering everything from court reporting, to State Parliament, to music writing, to police reporting, where I covered innumerable murders, accidents and cases such as the backpacker killings.

It was somewhere among all that that I began writing my own observations of these and other events happening in my life in the form of what I would eventually call "poetry". In some senses, writing that stuff was a real relief from the daily grind of reporting and the associated stress of "churning out" news copy. I found it gave me a much more fulfilling form of expression and, as time passed, it became a fair bit more than that for me…

It became almost a way for me to deal with the worlds I was seeing, a way for me to personally document my days unfettered by sub-editors or the concerns of the mass of suburban readers. I was also starting to dabble in the idea of writing fiction – a novel – but what I called "poems" at that point were a much easier and faster way of capturing the essence of things.

As time went on, this urge to capture things in that manner just naturally grew and I began to really start to concentrate on that area and began to really look at it as a valid form of expressing myself. I just sort of forged my own path with it, not really following too closely what others were writing … my idea was to not really be bound by convention or what other people thought.

But, in the context of this topic, I guess, I never really saw this stuff as being THAT different from reporting, anyway … and, for me, it still isn't.

In fact, I probably feel that more strongly now than ever … that poetry can be a valid form of expressing, or portraying, if you like, real situations, almost as a form of reportage.

Of course there can perhaps be a  more impressionistic edge to "poetry" than more conventional forms of "non-fiction", but I do believe that poetry can be essentially "true"; that it can spring from real life and talk about real events, whether purely personal events or events of the wider world.

I guess a point I want to make is that I personally believe most good writing springs from an engagement with the world, from the writer's ability to observe their life and surroundings. And taking that a step further, I feel a lot of good writing, whether it be journalism, fiction, poetry or ... whatever... comes from processing those clear things that are observed into the written word.

I'm not saying that all journalists can write poetry or all fiction writers can write journalism, or whatever ... my point simply is that the channel that allows someone to shape their words into a coherent form – any form – on paper is, I believe, essentially the same … although the final form can often be vastly different.

Looking specifically at my own writing, what I've always tried to do is be as clear and concrete as possible – naming names, as it were – while at the same time not limiting myself to NOT attempting to capture an image in an unusual way or say something in a way that is interesting.

On a more "technical" level, I look for rhythm and feel over pure poetry structure or form. In a sense I could easily be regarded as a messy poet, a devotee of doggerel, but quite simply, I don't care … I try to present my experience of the world, and hopefully …. hopefully … people enjoy that!

That is all for now.

UTS presentation/talk

On Monday, April 3, I will be reading some poems and doing a bit of a talk to writing students at the University of Technology, Sydney. I will be talking to students of the non-fiction class about the idea that poetry can actually be a form of "non-fiction".

I believe this is the case; that poetry can be a valid form of expressing, or portraying if you like, real situations, almost as a form of reportage. Of course there is perhaps a more impressionistic edge to "poetry" than more conventional forms of "non-fiction", but I believe that poetry can be essentially "true"; that it can spring from real life.

To that end, I personally believe that all writing springs from the same place ... that whether it be journalism, fiction, poetry or ... graffiti ... the part of the brain we use for processing the things we observe into the written word is one and the same. I'm not saying that all journalists can write poetry or all fiction writers can write journalism, or whatever ... my point simply is that the channel that allows someone to shape their words into a coherant form is, I believe, essentially the same.

Many people would probably argue with this. But they're wrong. And I'm right. This is my website. I rule! Joking. Discuss...

 

I'm going to Melbourne

On the weekend of April 7, 8. 9, I will be going to Melbourne to take part in the National Emerging Writers Festival.

I am more than stoked to be invited to take part in this wonderful and exciting event.

At this stage I believe I am scheduled to take part in a panel discussing the idea of "identity" in writing, looking at how, I'm told, how writers use (or don't) use their own identity - history, background, life - as the frame from which they hang their writing.

For me, I try speak in my own authentic voice, striving not to be anything other than myself and representing the world from which I come. I strongly believe that due validity is often not given to our/my Australian lives, that many in Australia will often look to New York or London  as being more meaningful, valid etc. I could go on about this subject, and I might at a later date.

Story in the Wentworth Courier

There is a good pic and a story on me in the Wentworth Courier newspaper this week. While the story doesn't specifically mention my book "Bondi", it is nevertheless great publicity ... and it has no doubt contributed to the recent substantial boost in sales! Hoo-ray. It means I can eat for the next week. At least.

NB. In the story I am quoted as saying the Bondi of old was "full of heroin junkies, a real hole of a place". While I must have said that (otherwise I wouldn't have been quoted saying it ...) the context was that I was saying it was still a great place to have grown up and lived in, despite that rough edge. Just wanted to mention that.

Story in The Beast magazine

Awesome little Eastern Suburbs magazine, The Beast, has a nice story on myself and the book Bondi in their latest edition. They've also done me the honour of doing a book review.

Fantastic publicity from a refreshing magazine that is really carving a good niche for itself ... great work guys, and thank you.

The publicity has really been a big boost for my book and for this site ... if you're reading this site for the first time - welcome. I appreciate your interest, and once again, humbly suggest a book purchase. ;-)

All major credit cards are accepted on this site. If you have any concerns, please email me.

- Adam

Book sales ... going great guns

Wow ... thanks to everyone who has so far bought copies of my new book, Bondi Poems. There has been a marked upturn in sales, thanks in large part to a mention on Uge Tan's Aquabumps website, and I thank him very much for that. It's very heartening and makes all the effort involved in this whole writing thing feel worthwhile.

The books are currently available through Martin Smith's bookshop in Hall St, Bondi, at the Museum of Sydney's shop, and, of course, via this website. Other bookstores and shops will be stocking it soon. If you are looking to buy a copy but have some extreme aversion to buying online, and can't get to those two locations, it can be ordered via its ISBN at any bookstore. The ISBN (International Standard Book Number) is 192068117-5.

Musuem of Sydney performance

Last night I performed at the Museum of Sydney's "Bondi Night", featuring performers and people from the Bondi community, as an adjunct to their fantastic Bondi exhibition, which is currently showing.

I performed four poems, 'Everyone's Eyes are Always Much Smaller in Real Life', 'Growing Up in Bondi', 'This is Sydney' and 'The Bird'.

Even though I'm pretty used to performing, I was feeling a little apprehensive about this gig, but as it turned out, with the brilliant Cameron Bruce accompanying me on keyboards, it went down an absolute treat. I don't think I could have asked for it to go better. Great crowd reaction, and I sold a heap of books to some very nice people, so all up, nothing at all to complain about.

And with good friends and family in attendance, it all felt very worthwhile. Which was/is nice.

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