Sunday, July 21, 2013

Highlands and Islands Short Story Association

Competition Details

We hold an Annual Short Story Competition with a First Prize of £400, Second & Third Prizes of £50, and several Highly Commended places, all of whose stories will be placed on the website.
  • Closing date each year: 31st July
  • Maximum Word Count: 2,500
  • Entry Fee: £5 per story or 3 stories for £12
  • The theme is open, with no link to Scotland needed by either entrant or theme
  • We enjoy both conventional and unusual story lines, and positively encourage the latter
Please do not put your name on the story itself, but include a contact sheet with:
  • Name, contact details and story title
All entries should be single-sided & double-spaced, sent either as a word.doc or pdf attachment to:

If sending hard copy, please use paperclips and not staples & post to:

20 Lochslin Place, Balintore, Easter Ross, Scotland IV20 1UP

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Sunday, July 14, 2013

Russian Literature Not Lost in Translation

By John Freedman

Franklin D. Reeve's translations of Russian drama were published in various collections in the 1960s.
John Freedman
Franklin D. Reeve's translations of Russian drama were published in various collections in the 1960s.
This week I am thinking about translation. More specifically I am thinking about those translators who were there for me — and several generations of people like me — when I became interested in Russian literature last century.

The topic arose in my mind because I learned a few days ago that Franklin D. Reeve had died at the age of 84. He died June 28, but the news didn't spread until an obituary appeared in the New York Times on July 7.

Read more:
The Moscow Times 

Thursday, July 11, 2013

Rada: We are not one-dimensional and neither is art

Jasmina Tacheva Talks with Actress, Photographer and Singer Rada
Photo: Dobrin Marchev
Hello, Rada! What have you been up to lately? I know your new single, “Anonymous in New York” came out just a few days ago, could you tell us more about this project?
Yes. My new song is the latest and biggest step in a music journey I started a little over a year ago. I’ve been calling this journey an experiment all along because I had no idea what would become of it or where it would take me. I just wanted to make music. I didn’t know any musicians and on top of it, I am not a trained musician. So, I felt like I was reaching for something that’s impossible, but the ideas and desire were in me, and I decided to follow them. This song is where I am today in my experiment which I’ve called “Subject To Change.”

  • Listen to “Anonymous in New York”

  • Bulgarian author Zachary Karabashliev, among others, praised the song, what do you think created this stellar reception?
    Zachary is somebody I admire for his artistic achievements, and he is one of the first people who heard the song. When he wrote me with his reaction, I was very happy. I can’t speak for him and say what it is that touched him in the song. Maybe it’s the music, maybe it’s the lyrics, maybe it’s the voice; but something spoke to him, and he responded, and I am thankful for that.
    What inspired you to write the song? I would describe it as a deep-penetrating ballad in which both the lyrics and the melody tell the story of the unique New York experience. What has this experience been like for you so far?
    Penetrating? I like that, I would have never thought of it. The experience has been wild because the city is wild. You can read about it in my “lab” in more detail.
    In my world and in the song, New York is a living, breathing “thing.” It’s more than just a city. New York is a “man,” and I am married to him. I am excited by the other men he introduces me to! And one of them, a really remarkable artist, wanted to know all my personal business right after we had met. Which irritated the crap out of me. And this was the initial impulse to begin writing this song more than a year ago. But since then, it has changed tremendously, and the story I’m telling is a love one; a love for one man unfolding in New York.
    Is there going to be a video for the song?
    I just met with someone last night who has an idea for one and wants to work together, so we’ll see. I would like to have one, but I’ll also need a way to fund it. So, I have some figuring out to do as I’m working independently, and it can get tough. I need all the help I can get.
    Tell us about your other music projects…
    They are exciting, ambitious and in progress. I can’t really say too much at the moment as it’s all still very experimental. I feel very good about the creative collaborations I’ve had so far, and I hope they’ll expand and continue to reach new levels.
    You are a truly versatile artist – what else inspires you besides music, and what is “Rada’s Lab”?
    Life and people. That’s what really inspires me to write a story, sing a song, take a photograph. Sometimes it’s a sad story, a funny photograph, a silly song. It just depends on the moment, and how it impacts me. I want to create something from that moment. Something that will stay. It starts with an internal impulse, then I start dreaming about it in my so-called “lab.”
    Which happens to be my bedroom; a quiet and calm place where my dreams begin or perhaps come out. When I take my creations outside of that the whole world becomes my “lab.” Of course these days I have to have one online too, so Rada’s Lab as you know it is just that: an online glimpse of my world of endless experiments. I know it can sound strange, but everyone has a “lab” even if they haven’t realized it or called it that.
    Photo: Dobrin Marchev
    What are “Subject to Change” and “Social Idea Exchange”?
    I spoke about the first earlier. “Social Idea Exchange” is a series of live informal gatherings around town I’m hosting. I just feel like it’s so important to meet people face to face and offline. Even in today’s world where almost everyone lives online, the power of a personal connection is unbeatable. No question about it. I’ve met some incredible people at these meet-ups, and this is where I’ve met my best collaborators so far. The gatherings are quite relaxed and open to people of all backgrounds not just artists. In the end everything is connected, and we need to learn from each other. It’s all about the idea exchange and helping each other grow our ideas.
    What kind of imagery can we see in “Momenti Photography”?
    A limited selection of primarily portraiture photography because that’s what I love the most.
    When did you first start developing an interest in photography and what does your path in it look like?
    I didn’t know I had an interest in photography until I took a class in college with a very strict teacher, Fernando LaRosa. It was perhaps a year or two after I had come to the U.S., so it was a very lonely time for me in an unknown and foreign world. Photography became something special to me. Much more than painting for example which just doesn’t captivate me in the same way as a process.
    I loved the time spent in the dark room developing film and making prints… But most importantly, I loved that I had found a way to express myself during a time that emotionally was quite difficult. After my classes with Fernando I continued to develop on my own, and I pick up the camera mostly when I need to. It’s one of my best friends.
    Will we be able to see another solo exhibition like “People and Mannequins” soon?
    That would be a dream come true but right now music has totally taken over me. I have a vision of my photographs making it as an aspect in a big concert one day but when and if this will happen remains to be seen. I am wishing for it, it’s a part of the experiment.
    You are both a photographer and a model. How does posing for the camera differ from clicking the shutter?
    I’ve never thought of myself as a model, but in the rare occasions when I work with another photographer, this is what I am to him or her. Whether I am in front of or behind the camera, I have one goal: to create or capture an honest moment. That can make me feel vulnerable and exposed more so when I am in front of the camera.
    You are also an actress. Have you been working on any theatre projects lately?
    No, but I think of my songs as theater in a way; they are my short musical stories.
    Since you are involved in so many and different ways of artistic expression, I’d like to ask you – do you think we can still talk about clear lines between the various arts or should the performer of today try to embrace as many of them as possible?
    Every performer has their own individual philosophy and outlook. I feel enriched by art forms of various kinds, and I learn from all of them. I think that they spill over in my work, so there are no lines for me and everything will blend together even more.
    I’ve heard people say that my photographs are theatrical, that my lyrics are theatrical or cinematic, that I sound like different people on different recordings, and I am sure it’s all true. It just comes out that way because of my influences. I have a lot in me I can show; we all do. We are not one-dimensional and neither is art, and I am interested in exploring multiple dimensions.
    Photo: Dobrin Marchev
    What does your summer schedule look like?
    I am working on my next song and once I record the vocal I am going on vacation and totally unplugging from the electronic and online world. Back to nature. We need to listen to it – the Earth’s and our own internal universe.
    This interview first appeared on Public Republic.

    Tuesday, July 2, 2013

    Frieze London 2013: Projects Announced

    From Frieze London
    Frieze Projects is a programme of artists’ commissions realised annually at Frieze London. This year Frieze Projects has a new curator, Nicola Lees, who has devised a programme that focuses on interactions between play, governance, sovereignty and how these exchanges can be brought to light through participatory contemporary art practices.

    This year Frieze Projects includes seven specially commissioned projects as well as the Emdash Award, which each year enables an emerging artist working outside the UK to present a new work at Frieze London. Commissioned by Frieze Foundation, Frieze Projects is supported by the Emdash Foundation.

    The artists commissioned to make site-specific work for Frieze Projects 2013 are: Andreas Angelidakis, Gerry Bibby, Rivane Neuenschwander, Ken Okiishi, Angelo Plessas, Lili Reynaud-Dewar and Josef Strau. The 2013 Emdash Award recipient is Pilvi Takala.

    In 2013 one of the commissioned projects will be an architectural structure by Andreas Angelidakis. Constructed within the fair, Angelidakis’ bespoke design will provide a platform for the other six projects and will be divided into two sections: a front stage space and a back stage space. Each artist will install their work in an area back stage, which will remain accessible for the duration of the fair. Five of the commissioned artists will use the front stage space in turn: each day a different artist will present a participatory performance, which will keep the space constantly active throughout the open hours of the fair.

    Nicola Lees said: ‘I am excited by the direction of this year’s Projects. Our approach has been to engage the public with a very playful and performative programme. We have been able to achieve an ambitious series of commissions thanks to longstanding as well as new national and international partnerships.’

    Andrea Dibelius, founder of the Emdash Foundation said: ‘The Emdash Foundation is proud to continue to support Frieze Projects for the third year. It is the aim of the foundation to foster creative alliances and provide a site for reflection and new and dynamic practices to emerge. The participatory platform provided by this year’s Frieze Projects is the perfect place for this.’
    Frieze Projects presents newly commissioned artworks by international artists. Offered as an opportunity to work in a unique context, the artists commissioned by Frieze Foundation use Frieze London as a site to realise ambitious ideas in an exceptional environment.

    Frieze London takes place from the 17–20 October 2013. In 2013, Frieze London is sponsored by Deutsche Bank for the tenth consecutive year.


    Visit Frieze London in October and take part in the contemporary art event of the year.
    In addition to being able to see and buy art by over 1,000 of the world’s leading artists, visitors can experience Frieze Projects, the fair’s unique and critically acclaimed programme of artist commissions and Frieze Talks, a prestigious programme of debates, panel discussions and keynote lectures.

    Frieze London is designed by architects Carmody Groarke and housed in a bespoke structure in Regent’s Park. Located in the heart of London, it is within easy walking distance of the city’s West End.


    In order to ensure the best experience for all visitors, tickets are limited. Advance booking is strongly recommended.
    Visit both Frieze London and Frieze Masters on the same day and benefit from our special combined ticket.

    Additional Information

    We ask that all medium to large bags as well as coats be left at the cloakroom inside the fair. This also includes large photographic equipment unless pre-arranged with the Press Office.
    Please bear in mind that the fair is also an event for galleries to conduct business. Please be aware of any behaviour that may disturb galleries or other visitors.
    Visitors may not touch any works of art, consume food or beverages in the corridors, or run in any spaces.
    Groups (+10) must not exceed 20 visitors and students under 18 years old must be accompanied by a teacher at all times.
    To request additional print material such as flyers and programmes:


    Frieze London is fully accessible to people with reduced mobility.
    Wheelchair users’ companions visit free of charge.
    To book, please call 0871 230 3452 (UK) (calls cost 10p/min from a BT landline plus standard network charges), +44 (0)115 993 4484 (INT).
    For more information on visiting the park please visit Direct Enquiries.
    Guide dogs welcome.

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