The 2017 Berlin Writing Prize

With a theme like “Home is Elsewhere”, it is no wonder that we wanted to get involved in the 2017 Berlin Writing Prize, presented by our good friends The Reader Berlin, The Circus Hotel and SAND Journal. The prize is a month-long writer’s residency in our home city, where “the winning writer will have undisturbed time to observe, explore and write in one of the world’s most inspiring cities.”

The closing date for submissions is 31 July 2017, the competition is open to published and unpublished writers resident anywhere in the world, and the judges include, award-winning author Irenosen Okojie, author and creative director Michael Salu, SAND editor Florian Duijsens, Katrin Schönig from The Circus Hotel and our very own editor in chief Paul Scraton. The competition is for prose writing (fiction and non-fiction) and there is a maximum word length of 3000 words.

For all the various bits and pieces you need to know about submitting your entry to the 2017 Berlin Writing Prize, please head on over to the competition page on The Reader’s website. There you will find the submissions guidelines, details of the prizes and biographies of the judges.

We’re really excited to read what comes in and to celebrate fresh, original writing and emerging writing talent.
 

MAP6 Collective - The Milton Keynes Project

Postcards from Milton Keynes by Richard Chivers

We are really pleased to introduce the latest project from the MAP6 photography collective. MAP6 was established in 2011 and each year creates a body of work around a central theme or geographical location. Working together on the group project, the result is both individually diverse and yet unified by the joint project theme and the shared curiosity within the collective for exploring the complex relationships between people and place.

In 2017, having previously worked on The Moscow Project, The Home Project and The Lithuanian Project, the collective have turned their shared attention to Milton Keynes, to coincide with the city's 50th birthday and in order to capture its geography, people, structure and architecture. Milton Keynes was born out of a visionary plan - a garden city planned around a rigid grid; a low green lush place, planned for the car and with self-contained neighbourhoods at its core.

MK Millenials by Heather Shuker

The Milton Keynes Project aims to ask the essential questions about whether or not Milton Keynes was a success, how Milton Keynes is understood now by those who live there, and whether or not an artificially developed new town can have a genuine culture. Themes within the project and explored through the photographs include portraits of those who live and work in Milton Keynes, the relationship between the car and the landscape, and a celebration of the ambiguous, original and visionary architecture to be found there.

We have very pleased to be able to share some of the images from the project here on the Elsewhere blog, and you can find out more about The Milton Keynes Project and the other work of the MAP6 Collective on their website.

Postcard from... Bingley Five Rise Locks

IMAGE: Paul Scraton

By Paul Scraton:

We walked up the Leeds and Liverpool Canal from Bingley town centre, past old factories and the quay where barges would once have been loaded and unloaded. The towpath was busy; Easter weekend and the walkers, runners and cyclists were out in full force. When the canal network was built, its function was transport and the aim was making money. What it is now is a reminder and a resource, a web crisscrossing the country that at once offers us a stroll through some of the country’s most beautiful scenery while charting the rise and fall of industry, and how water was replaced by rail and road.

I grew up a few hundred metres from the Leeds and Liverpool Canal, in West Lancashire on the other side of the great divide from Bingley. The canal was an ever-present in my childhood and teenage years, a place of walks and birthday bike-rides, the place where we snuck our first cans of beer and then – later – our first legal pints in a pub by the locks. There was a mill in our village. Now it has been turned into apartments. Where the bridge crossed the canal on my way to school there has been a new development since I left home, a cobbled courtyard surrounded by cafes and restaurants, galleries and other craft businesses. The 21st century industry on the banks of the Leeds and Liverpool Canal.

At Bingley Five Rise Locks we arrived as a barge had just entered the first of the locks. The lock keeper had come down from the office and was making the initial steps of opening and closing the various parts of the five-step system. In less than a hundred metres, the barge would rise nearly twenty – the steepest canal ‘staircase’ in the British canal network and a marvel of engineering. When the Bingley Five Rise locks opened in the 1770s, almost thirty thousand people came to celebrate. It was the 18th century shuttle launch, a technological wonder, and in all those years since there has been no real need to substantially alter the locks system. It just works.

We stayed to watch the barge make its progress, ever upwards, until it had reached the top of the locks. Later, I learned a word that seemed almost too good to be true. A gongoozler is someone who enjoys watching activity on the canals, born out of a derogatory term canal-workers used for those who stood idle while they worked up a sweat. The lock keeper at Bingley Five Rise did not look like he needed any help, so we let him get on with it. On either side of the canal, the gongoozlers stood and watched. We joined the club. 

Poetry: Zenith, by Shirley Jones-Luke

Image: Katrin Schönig

Ancient mariners were guided by a celestial sphere
they revered it like worshipers of a false idol
that's why many ships were swallowed by angry seas
sailors' cries of help silenced by waves of torment
wreckage of their lost lives scavenged by the villagers

A mast holds up the roof of my cottage on a neighboring beach
like a sundial its shadow moves with the passing sun
I use fabric from the sails of old ships to block the rays
splotchy patterns decorate the sundial's form
at night, silhouettes of palm trees are shadow puppets

Morning brings more storm-battered treasures
a ship's wheel entangled in seaweed, a broken
rudder wedged between two alabaster boulders,
a cannon torn in half floats in the water, 
I see the wealth in the sand

Hurricanes are common in the area, when
clouds turn black, destruction is on the horizon,
the villagers hunker down in caves on the
side of the mountain, I pack up my few
possessions - clothing, my journal and a picture of you

There are no ships at sea, the sailors
have learned the ocean's lesson, gulls glide
on electrified air, squawking their disapproval,
I make a note in my journal to collect feathers
once the storm has passed

The sky cracks open, rain comes down
like a butcher's knife, cutting into the island
the gulls are gone, nestled in their own
shelters, the villagers pray, casting wide eyes
at the sky, I think about you

In the morning, the sun brightens the damage
huts have lost their roofs, my cottage was knocked
off its foundation and leans to the side, the gulls
feast on dead crabs washed ashore, the villagers search
for what remains and I search for remnants of you

Shirley Jones-Luke is a poet and a writer.  Ms. Luke lives and works in Boston, Massachusetts. She has an MA in English and an MFA in Creative Writing.  Shirley was a 2016 Watering Hole Poetry Fellow. Her work has been published by Adelaide, Damfino, Deluge and ENUF.
 

Neon

IMAGE: Jeanette Farrell

By Jeanette Farrell:

Come spring time everybody migrates towards the park; it’s as if the humble daffodil emits an ultrasonic soundwave and suddenly there we all are, an entire borough marching in unison towards our gated hill all filled with colour and squealing and light. We are boisterously reclaiming our place in a city whose tightly woven streets can deaden the clatter of our chat and so, the park, come Spring-time, this is our release. 

Brockwell Park reveals itself on a slope with its grand house perched on top. Surrounded on all sides by a densely compacted population in one of the biggest metropolises – everybody is there and there isn’t a continent unrepresented in multiplicity. Cities absorb people by portioning us off into offices and houses and pubs and buses and so out there in our urban meadow, that’s where we mingle. There’s the skate park and the lido, quaint markers of the athletic desires we presuppose is our reason for being there; that we’ll run and stretch and swim, dipping in and out of the ever confounding combination of Brixton’s noise. But most of us are content with the prospect of lying down on the grass. 

There is a comforting familiarity to Brockwell Park, an unsophisticated elegance of ritual through which we make it our own year after year once the grey recedes. Here, the idea of public space is at its most civic; we walk around as if it were an extension of our own home, knowing its pockets and its shade. 

While basking in this kind of outdoor domesticity we feel content that everything has its place and pace. The sky will change throughout the day and we will retreat beneath the trees in a pantomime of weather, watching the rain beneath sheltering branches. Nurseries will empty and the park will fill up. School children will linger/rabble-rouse eating chicken and chips, tumbling into each other from gate to gate and watchful locals will sit on drift wood taking it all in. There will be dogs and there will be roller bladers, there will be cans of lager and weed in the air.  And then all of a sudden this spell of the expected is broken with the shrill warble of the neon green parakeet and we look up to stare at this glamorous interloper. 

We’re not really meant to have these beautiful birds around here and yet they thrive, roosting in tall trees and causing ruckus with that noise they make. There are lots of theories to account for their presence; that a couple absconded from Ealing Studios and populated the landscape; that a gang of them escaped from an open container at Heathrow airport; that an aviary collapsed during a storm; that the original pair belonged to David Bowie, or to Jimi Hendrix. They are a mad dash of colour amongst the rich green of this cloistered pocket of south London. They’re not gentle and serene like this dream of spring time and routine, they are flying fluorescent chaos. Apparently there are thousands of them about, an anomaly in an otherwise textbook geography but the first time they’re encountered they’re like a mirage – ‘a parakeet, that couldn’t be!’

Now when they’re spotted, or heard, rather it’s like welcoming an eccentric old friend. Thank goodness for the parakeets, we think.  A gentle nudge to remind us that anything is possible, that this world, regimented and predictable though it is, is unbelievable too. 

Jeanette Farrell is a writer based in London. 

Postcard from... the Rakotzbrücke

IMAGE: Katrin Schönig

By Paul Scraton:

The basalt columns reach out from the sandy soil to create perfect hiding places for the mystical creatures of the forest as they move down to the water’s edge. The stones tumble into the gloomy lake, as if to provide a landing stage for the creatures lurking in the depths. And the bridge curls in an arch from one bank to the other, its reflection in the lake creating a perfect circle. 

This is, surely, the devil’s work.

In this corner of Germany, close to the Polish border, the Rakotzbrücke has also been long known as the ‘Devil’s Bridge’, but in reality the structure, along with the basalt columns and the other rock formations that stand at the water are the work of very human hands. The bridge is at the heart of the Azalea and Rhododendron Park in Kromlau, Gablenz; a landscaped garden created in the 19th century by the local landowner along ‘English’ lines. With the end of the Second World War the park became property of the local community, and since 1948 it has been protected as a nature reserve.

But despite the fact that you know this structure was created by mortal hands, and despite the queue of photographers at the head of the lake, looking for the perfect angle to capture the perfect circle, it still has a strange impact when you approach it through the woods. It could be the stage set for some fantastical film or HBO series. It could be the nocturnal playground for all manner of beings. And it is not hard to imagine it as a playground for those mystical creatures of the forest, even if they themselves have no idea how it got there.
 

Train

IMAGE: Sam Eadington

By Sam Eadington:

England is best seen from the train. The rolling landscapes of the patchwork quilt; the sheep, the horses, the cows, the deer; the noble oaks, winding streams, drystone walls and disciplined hedges. They’re all a part of it. There are the sprawling suburbs of bad brick banter, saloon-skinned culs-de-sac snakes of mini-mansions less than a yard apart, but importantly detached. That sense of independence, of possession, it matters, and transcends the shuddering windows to the carpeted isle where it blooms into righteous indignation with every incident of seat reservation noncompliance. It’s from the train you see England’s character exposed, its emotions raw, its real metal. Metal fences, metal wire, metal buildings, metal thieves; responsible for your delays. You are apologised to for the inconvenience this may have caused to your journey. You are apologised to again and again. Sorry, I nearly touched you. Sorry, can I just squeeze past. Sorry, this is my stop. Hopefully not a ‘Parkway’ stop, though. The new boys in town. Or more accurately the new boys out of town, where you’re guaranteed either a massive car park or a power station. Although, on second thoughts, perhaps not so unfitting for the dystopia Turner foresaw; hissing water falls, cooled, onto a concrete floor from a concrete tower, that train doesn’t stop at this station, just forces you behind the yellow line, a contemporary rendition of what was once called sublime. 

You’re back on the train flying through paintings. All those hedges, how blurry; impressionist. Then a tree shoots into focus stretching its arms into the sky still half asleep. Then more hedges, not blurry anymore. Sharp and predatory, judging by the huddle of deflated footballs gathered at their feet. Yet more hedges, but these ones looking fresh after a perpendicular swivel and slide between the stretched out gardens. So many trampolines, but nobody bouncing. There are lovely big windows but all the curtains are closed as if I might see something of you I shouldn’t, then see you again in town and tell you what I saw. There are tiny little windows on brand new houses, half glass, half white plastic frame, not even big enough to poke your head out for a smoke. 

Another station, another WHSmith, another poster about something Jesus said. Must be true, I’ve seen the same thing in Cheltenham, Doncaster, Swindon and Crewe. Corroborated evidence; not worth a thing anymore. The trolley rattles closer with its nervous disposition and although I’m not at all hungry I want to eat. Was this not the point of crisps? A bag of prawn cocktail, I can’t get those abroad. With an hour to go I fill my ears with noise I can choose. Pulp. I turn the volume right up and damage my ears so I don’t have to hear the businessman and his vacuous words. I pity the person on the other end of the line. I close my eyes and let Jarvis take me back in time.

Sam Eadington is a freelance writer, architecture student, and co-founder of design studio Estudio ESSE. Twitter: @SamEArch. Website: estudioesse.com
 

From the hills above Frigiliana, Andalusia

IMAGE: Marcel Krueger

By Marcel Krueger:

I guess it was worth it, schlepping my overweight, 39-year old body up the hill. I had set out early in the morning and walked through the valley of the Higueron river, with the white houses of Frigiliana disappearing to my left and the Chillar ridge rising up to my right. Then I huffed and puffed up the 400-meter hill, and now sit on a stone on top of the ridge, with the brown and green flanks of the Sierra de Enmedio rising into the blue sky, early bees are busy around me in the morning sunshine, and across the Mediterranean I can see Africa through the haze. But as this is the Anthropocene, there is also the surf of the nearby coastal motorway soundtracking it all.

Before I make my way down the hill and to breakfast again, I wonder what a Castilian foot soldier might have thought, when stomping through the same hills hunting for Moriscos, descendants of Muslims under Castilian rule who were in rebellion in the 16th century. Probably the same thing foot soldiers have thought from the Crusades to Auschwitz: 'The man paid me for it, so best get over with it'. 

Elsewhere No.05: Submissions Deadline on Friday

IMAGE: Julia Stone

For all you writers and visual artists out there, just a quick reminder that our deadline for submissions for Elsewhere No.05 – to be published in June 2017 – is this coming Friday on the 31 March. 

For the first time, along with our general theme of place, we are having a theme for the issue: TRANSITION, and the only guidelines are that completed pieces should be linked to both the idea of transition and place. 

With regards to length, most pieces we publish will be between 1000 and 5000 words. We also remain interested in photography, illustration and other visual arts projects related to the theme of place. Please remember that, unfortunately, we cannot continue to pay contributors to Elsewhere. We have long had this as our aim, but the project as it is right now cannot sustain it.

If you have something you would like us to consider, please write to Paul at: paul@elsewhere-journal.com

If you are interested in writing for the blog, you can find more information on our general submissions page.

Morning in St. Mary's Churchyard, Whitby

IMAGE: Laura Harker

By Laura Harker:

8.45am in St. Mary’s churchyard. A jogger runs laps around the graves as I try not to lose Polaroid exposures to the wind. There are probably more bodies under my feet than are awake in the town right now on this cold December morning. A rare tranquil moment for the churchyard which, during the height of summer, is bombarded with crowds of tourists and goths. I forgot Whitby takes its time to wake up in the winter. As I ran from the train station through town and up the 199 steps to the clifftop abbey – trying to beat the sunrise – the only people stirring were a handful of delivery men on Baxtergate, the closest thing to a high street in the town. The few low-season tourists tucked up in their guest house four-posters wouldn’t be out for another couple of hours.

Whitby’s streets are riddled with ghosts, none of whom I wanted to bump into. Exes, former friends and old work colleagues. These old ties require more effort to fall back into the previous nuances each relationship had, and any conversations between us now inhabit a strange space between strained small-talk and stale in-jokes. The longer I’m away from the town, the more these ties fade, and the streets of Whitby are increasingly haunted with passing faces that stimulate only a haze in my memory. I felt more at ease facing the graveyard and its ghosts.

The film I’d used in my polaroid camera was out of date by a couple of years, and so the results were washed out and over-exposed. A grainy abbey silhouette; a white Royal Hotel behind the unmistakable arch of the whalebone arch; blotchy patterns on grey speckled sand. Barely-there images to match my barely-there ties to town. A strong wind whipped up over the lip of the cliff, I flipped up my collar and descended back down into town, head down, quick step, running from the ghosts.

Laura Harker is a freelance writer based in North Yorkshire. She blogs at northquarters.com