The Writer’s Imagination

I have it on good authority from the artist – my aunt – that my baggy shorts were the closest thing I had to a skirt, the rubber bands on my wrist were my bracelets, and the socks were my asskicking boots. Yes, in my mind I was – and still am – She-Ra: Princess of Power…


That’s the kind of imagination you need as a writer and as a performer. And then you need to surround yourself with supportive people like my aunt, who will confirm to you that you’re absolutely bossing it.

Happy, Creative New Year, bitches!


“You have a window on our world no one else will EVER have” – Jeff Bollow…

Undoubtedly the key to our continued survival as a species is the human imagination, something which we need to prioritise in our education system, our economy and ourselves. Enjoy this wonderful talk exploring the subject…

Good News! More publications on their way. Stay tuned for more! Follow the links below to read FRAKKNUCKLE teasers…

– To read ‘The Hong Lim Suite’, click below:

– To read ‘The Sun Rising’, click below:

– To read ‘Swapping Kaia’, click below:


NEW RELEASE! You can read ‘Swapping Kaia’ from my upcoming collection FRAKKNUCKLE at


‘Swapping Kaia’ can be read in The Lake‘s March issue. Please follow the link below, and stay tuned for more:

The Poet must fight like The Slayer…

To publish any work is to go into battle. Battle with all the nay-sayers and the people that would gladly smack your work down. You have to fight for the existence of your work in a way that most of humanity will never understand. This means day after day after day, each bloody and heartbreaking step. And the fight never ends.

You also have to be in control of your work. Like The Slayer, every word like her every action must be planned, must be part of a strategy. One wrong move, one miscalculation and the fight can be over.

The poet must trust her instincts, just as The Slayer must. If her instincts tell her to go in a certain direction then she must. The battle cannot be won if fought on her opponent’s terms.

And just like The Slayer, the poet’s victories will probably never be acknowledged by the world as most of them happen in those small battles that nobody sees. But it is her calling that she must fight the fight without hope of reward. Humanity depends on her.

Why do we still listen to Björk? Easy…

Fans have watched Björk explore and experiment with electronics, orchestras, Inuit choirs, films… They’ve seen her work to create new musical instruments using gravity to produce sound, develop the world’s first album app and shock conservative America by laying an egg on the Academy Awards red carpet. Perceptive visitors to the incomparable shores of Iceland have noticed her blend of technology, classical tradition and viscerally emotional singing style evoked and reflected in the urban and natural landscapes and the visionary engineering accomplishments of her native country, her literal storytelling infused with the written history of the nation. And for those who have heard of her but don’t know much of her work, they remember the shocked glee of her one cover version hit, ‘It’s Oh So Quiet’. So why do we still listen to Björk? Easy… Because whether you see her as kooky, eccentric, visionary or unfathomable, she’s never predictable and she never fails to interrupt the inertia of mainstream music.

The early leaking of Björk’s latest set, Vulnicura, is perhaps the most fortuitous event in her career since the day she met Nellee Hooper. The reason being that it has forced her name back to its rightful place at the forefront of the music press, and back to the upper reaches of her commercial power. But is it just about the buzz? Fuck, no. Björk, like all great artists, doesn’t just team up with a new set of hot shit producers to make something new and in conformity with current mass tastes. Her body of work has created a huge lexicon of sounds, styles, subject matters and emotions that show up in one piece of work, are absent in others, and resurface again re-envisaged when they become relevant to the artist once more. There’s nothing wrong in writers having words that and sounds that best express certain experiences. They only get boring if they’re used all the time. This is a trap Björk has never fallen into, even if she has created themes and sonic landscapes that she’s returned to and taken to the next stage of their development. It is this, the reference to, and departure from all the work and exploration that has come before in her journey as a solo artist that makes Vulnicura so unique: simply, it’s all Björk, past, present and exciting future.

Vulnicura contains risk-taking elements of Debut, Post, Homogenic, Vespertine, Medúlla, Volta and Biophilia. Not suitable for those with genius-allergies.