If I do not choose my words carefully, I may make it sound as if Matt Abbott’s “Chelping” events at The Leeds Library represent a clique. They do not. They are welcoming, inclusive, and open to all, regardless of your previous experience of poetry.
But, for me, personally, these events often have a lot of familiarity.
The headliner was the eminent Helen Mort, a poet, performer, and academic. When Helen Mort was in residence at the University of Leeds, she ran a project called ‘Leads to Leeds’, in which poets were paired, to write a poetic conversation consisting of four pieces from each contributor. I was selected for this project and, by coincidence, the poet I was paired with was Matthew Hedley Stoppard, the support act for this performance. I have performed at the same venue, on the same day, as Helen Mort (The School Room, Haworth). I have performed on the same stage, in the same line-up, as Matthew Hedley Stoppard.
The open mic at this event was of mixed quality, which is exactly what open mic should be. I did not write down the contributor’s names, but the woman who went on first was excellent, and I would pay to hear her, again.
For the rest, it suffices to say that it was engaging and varied, and Death To All Preambles. The four most important words in contemporary spoken word performance are: Get On With It.
Matthew Hedley Stoppard certainly got on with it. I love his work. Despite existing in the wrong decade (1950s? 1930?) MHS is an absolutely contemporary poet whose irritating self-deprecation does not get in the way of the cutting edge of his insight. His long titles have a kind of Half Man Half Biscuit quality. They are another way he demonstrates his mastery of the words he is using.
His performance was an unforgettable experience, and not just for the poems he recited. For a start, he is the only performer I have ever seen who got more nervous as he went on. It takes a certain kind of genius to do that. Yes, MHS. Genius. You.
Matt Abbott showed his skill as an organiser and compere by booking MHS on the same bill as Helen Mort, because the kind of verbal skill was matched, as were some of the geographical references.
Both MHS and Helen Mort have learnt a basic lesson about performance poetry: have a visual image to project. (I have one: I call it ‘The world’s worst children’s entertainer’.) MHS’s is Kingsley Amis’s Jim Dixon, re-booted. Helen Mort’s is biker jacket, pixie hair, blah-di-blah. I am not qualified as a fashion correspondent, but I have seen Debbie Harry, and Helen Mort reminds me of her, not in any kind of physical resemblance, but in the clarity and immediacy of the image.
Helen Mort’s performance left me wondering how to go away and completely re-think my approach to poetry. I probably can’t, but this performance certainly gave me things to think about. That is why I go to spoken word events (ones that I am not performing in): to be stretched.
Helen Mort’s commentary on how long it was going to be before her train to Sheffield only added to the experience. Poetry is a living thing. Poetry is about whether you are going to get home.