Dior, Maternity Leave and I

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This week I am 37 weeks pregnant and, according to the BabyCentre App, our baby is now the size of a stalk of Swiss Chard.

Swiss Chard! Once again I ask myself, what exactly am I growing in my tummy and what is it with BabyCentre's obsession with vegetables?! Last week it was romaine lettuce, the week before a honeydew melon and not so long ago the baby was the size of an average cantaloupe melon no less. All this talk of fresh legumes quite frankly is not helping with the queasiness.

Ah, yes, nausea. Hello darkness, my old friend. You have returned with a vengeance to torment me and now I am finally, officially On Annual Leave Before Maternity Leave you seem intent on ensuring I take to my bed and weep which prevents me from being in my preferred state - on the move and Getting Sh*t Done. For those who know me, you'll know I'm not a natural relaxer. Slobbing out has never been my thing. Call me crazy, but the concept of a duvet day fills me with dread. I have to be suffering from full-on flu / concussion / hangover or sprawled on a beach lounger with a good book to spend a few hours supine DURING THE DAY. However, the nausea and lethargy is winning this battle, shuffling has replaced power walking and try as I might, I can't go for a stroll for longer than 30 minutes without urgently needing a pee. So, I admit defeat - it's time to put my feet up when the waves of sickness wash over me.

I've made myself a deal though and there is one important clause to this contract. If I'm going to rest up, it will be on my terms. No Reality TV (URGH), idling on Instagram, twitting about on Twitter or, worst of all, faffing on Facebook. It will be didactic and I will be kind to my brain as well as my body. I will gobble up films, books and documentaries that have been lurking about on my viewing list for months, and that are, let’s say, relatively educational from a fashion, film or music perspective. That's fair enough, right?

I'm pleased to report my first venture into this unknown world of Resting has been a resounding success. My inaugural film selection, Dior and I, was extraordinary.

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This beautifully tailored documentary transports the viewer into the illustrious world of the Christian Dior fashion house. Specifically, it provides an insight into the creation of designer Raf Simons' first haute couture collection as new artistic director of Dior womenswear in April 2012.

Directed by Frédéric Tcheng, the behind-the-scenes account allowed me to be a voyeur into this pressurised, sometimes ridiculous but always incredible world of haute couture. The fashion microcosm was waiting with bated breath for Simons’ debut and the documentary perfectly captured the lead up to his first catwalk show - the emotion, dedication, and hard work that went into the making of 54 perfect handmade outfits in only 8 weeks.

It was an absorbing piece of film-making, with the director using words from and images of the iconic Monsieur Dior, which lends an almost spectre-like presence to the film. I really warmed to the hugely creative Belgian designer Simons; he seemed rather bashful to me, calm and intelligent and intensely focused on his craft but always showing great respect for his team of collaborators.

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Justly, the documentary pays homage to the ateliers, the petits mains, who deliver Simons' vision and many of whom have been at the fashion house for years - they are an important part of the brand and its heritage. As Simons reflects in Dior and I, ‘designs change, but not the atelier’. Watching them work their magic is nothing short of enchanting.

What I absolutely loved the most though was the creation of the clothes. Oh, the beautiful, alluring and enchanting vestments and the in-depth profile the documentary gave to their conception and creation with the team working into the night and dealing with the pressure and skills involved in producing fashion art.

The climactic catwalk finale at the end of Dior and I, when Simons’ creations are unleashed to an audience including the Princess of Monaco, Marc Jacobs, Donatella Versace, Marion Cotillard, Alber Elbaz, Stella Tennant, and Riccardo Tisci, is absolutely breathtaking. There is a hugely touching moment when the designer is captured alone on the balcony weeping with nerves just before the show must begin.

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For his Dior debut at 51 avenue d’Iéna, Simons blanketed five rooms with a profusion of blooms from ceiling to floor that had even Anna Wintour impressed.  The clothes were nothing short of spectacular and the collection featured a blend of modern, clean and structured garments with a femininity and elegance that remained respectful and true to Dior.

The strapless gowns with clinched in waists and voluminous tulle sat below the knee at mid calf, a length I absolutely adore. A palette of black, grey, velvety midnight blue and soft pastels contrasted beautifully with the illuminating neon make up.  Trouser suits were simple but oh-so-chic and a striking printed Bucol silk coat and dress was inspired by spray-painted canvases done by Simons’ longtime friend and collaborator Sterling Ruby. Fashion history in the making.

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Simons says ‘I don’t want to suggest in any way I am talented enough to compare myself with Mr Christian Dior…’ but I disagree. 

Dior and I actually moved me to tears. That's not the pregnancy hormones talking, honestly, or the Swiss chard-induced nausea. It was simply my love of fashion and the result of being Christian Dior'd from my head to my toes.

Maybe this resting thing is not so bad after all…

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William Poyer - Born Talented

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Americana music has always appealed to me.

I think it’s the spirit of travel and escapism it evokes and the heady blend of country, folk, R&B and blues amongst others. Discovering artists that brilliantly represent this genre of music always makes me feel gratified and William Poyer is no exception. Thanks to Brixton-based independent label Laid Bare Records, it’s possible to be transported to his evocative world without even leaving the house.

Famous for the Laid Bare Live acoustic gigs, which have attracted a cult following on the London music scene, Laid Bare Records is fast becoming a recognised staple for launching up-and-coming talent and is proud to support quality independent artists - which can only be a good thing.

William is a Welsh-born singer/storywriter who has just returned from a three-year stint in Mexico, departing on a journey of discovery and with the intention of honing a sound unique to him. It's safe to say his mission has been accomplished with the launch of his stunning first single, Fell The Truth at the end of April from the debut album Born Lucky.

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Written during his time in Mexico, Born Lucky is an impressive, seven-track collection of acoustic music that demonstrates a genuine attention to his craft. I love the backstory to the inaugural single Fell The Truth as well as the track itself. A chance read by William about a case involving a criminal found guilty of murder who was acquitted on appeal years later, only to finally admit to the murder on his deathbed, inspired him to write the single.

The track explores the psyche of the man involved and is told from the first-person perspective, and although the case was UK-based, it is deeply inspired by Poyer’s time in North America lending itself well to the Americana theme. Has a whiff of Making a Murderer about it, don’t you think?  The accompanying video is directed by Carlos A. Corona San Pedro.

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I listened to Born Lucky on repeat at least three times over, the sounds and images of driving, melodic Americana running in my head as I wrote this post from the comfort of my house in London, E17 and pretended it was me in that cracking outfit that Paulina Barcelo wears in the video to Two Days Later.

The album makes for a compelling acoustic collection and also demonstrates William's talent for songwriting. Stand out tracks for me include Makings of a Man with a catchy hook that inhabits your mind cheerfully after just one listen (I can cheat, I can steal, I’ve got the Makings of a Man in me) and the brilliantly titled The Liars, The Bitches, The Crooks and The Thieves.

After a successful Album Launch Party and Laid Bare Showcase at Brixton East on 28 April, which sadly I had to miss, I’m hoping to catch William at one of his upcoming  shows:

The Pack & Carriage, Mornington Crescent – 7 May 2016

Century Club, Soho – 12 May 2016

The Sunday Social at Old Queens Head, Angel – 15 May 2016

Nozstock Festival, Herefordshire – 22, 23, 24 July 2016

Born lucky? Born talented.

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Conveying great emotion through its storytelling, the guitar chords transported us to Poyer's world. So much so, the audience wouldn't allow him to say goodbye without asking for one last piece."

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Don Letts at Punk London and a very special trip on the London Eye...

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Punk.London has crashed noisily into London, bringing with it a year of events, gigs, films, talks, exhibits and more. All in celebration of 40 years of punk, the genre-busting cultural phenomenon that allowed a whole generation to speak up without submission.

The capital’s cultural organisations will tell the story of punk through art, design, film, fashion, literature, photography and, of course, music - fantastic.

Fittingly, it's not without controversy; Joe Corré, son of late Sex Pistols manager Malcolm McLaren and Designer and Businesswoman Dame Vivienne Westwood is planning to burn his collection of punk memorabilia, estimated to be worth around £5m, in protest that Punk.London has been backed by The Queen. “The Queen giving 2016, the year of punk, her official blessing is the most frightening thing I’ve ever heard. Talk about alternative and punk culture being appropriated by the mainstream". A true demonstration of anarchy or a bit of a spoilsport? You decide.

One of the many features that intrigues me the most is Don Letts Presents Punk on Film at the BFI on 1 August 2016. Director, DJ and musician Letts will host his curated season of exciting films that highlight the diversity of the punk movement, including the intersections between the Jamaican music scene and punk. Not to be missed.

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Last summer I took a captivating trip on the London Eye to hear him open his mind (and heart) about the iconic Joe Strummer, co-f0under of The Clash, as part of the 32 Londoners series on assignment for RockShot Magazine.

It seemed a good time to revisit my exciting trip...

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I’m ashamed to admit a mild fear of heights. On a supposedly ordinary Tuesday evening, as I gazed up at the gigantic Ferris wheel looming on London’s Southbank, all 135m of it framed by a glorious blue sky, I started to wonder if I had the stomach for it.

I needn’t have worried. Any acrophobic fears evaporated as I hopped on board The Eye just as the capsule doors closed and the sight of the indelible Don Letts came into view. It was clear this was no ordinary Tuesday evening.

I was embarking on a very special rotation for a preview of 32 Londoners, returning following last year’s sell out programme. The prestigious event features 32 talks held in each of the London Eye’s 32 capsules on 32 extraordinary Londoners. This year’s subject is Adopted Londoners, with expert speakers celebrating iconic figures, past and present, who were born outside of the city but came to be associated with it.

With its great history of cultural diversity, London has long been a beacon, attracting the great and the good to its streets. No more fitting a subject than the fascinating Joe Strummer of The Clash, punk rock’s most political vocal outfit, and whose story remains a permanent feature in London’s rich tapestry. Who better to captivate the audience with his story than British musician, DJ and film director Don Letts, born and bred in the city, and a strong influence on the band.

As we orbited, Letts opened his story with references to his Grammy Award winning film The Clash: Westway to the World and Julien Temple’s film Joe Strummer: The Future Is Unwritten. We were introduced to Strummer’s exotic childhood spent in several different countries thanks to his British Diplomat father, a strained relationship with his non-musical parents and feelings of abandonment.

We got a sense of what built Strummer’s character – exposure to multifarious cultures from a young age, the rebellious streak caused by a loss of faith in formal education and subsequent immersion into music and a ruthless desire for reinvention inspired by the sounds of rock and roll and American folk hero Woody Guthrie. Letts asked the captive audience to draw our own conclusions from life-changing events in the musician’s life; like the correlation between the suicide of his National Front supporting older brother and Strummer’s lifelong fight against racism.

London didn’t disappoint with its magnificent views (as standard) and neither did the orator as he gave us a musical history lesson, bringing the lecture to life with vivid imagery. Strummer listening to Big Youth’s Screaming Target (supposedly on acid one Christmas in Wales) and his first proper band the 101ers, so called after the address of the squat they were living in, 101 Walterton Road.

We went back to 1976; the 101ers playing at the Nashville Room, supported by an unknown new band, the Sex Pistols, where Strummer first caught the eye of Mick Jones and Paul Simonon. History in the making right there and then, as they realised Strummer had the makings of a dynamic frontman and was possibly their missing link. We learnt about Strummer’s radical and ruthless move to join The Clash, including cutting off friends, band members and girlfriends and undertaking a legendary 200 plus drummer auditions to find the vehicle that would make him famous.

With an obvious interest in style (his London clothing store Acme Attractions enticed the likes of the Clash, Sex Pistols and Chrissie Hynde in the mid-1970s), Letts remarked how Simonon was responsible for the most part with the look of the Clash which, to his mind, was inseparable from their sound in a very English way; ‘they looked like they sounded, they sounded like they looked and with Mick Jones, Joe had found his McCartney, his Richards’.

Letts had an articulate and thespian delivery; it was impossible not to be enthused as he referred to The Clash as ‘four sticks of dynamite. They looked good, oozed attitude, sounded f*cking awesome and importantly their songs were about stuff’. With songs like White Riot and London’s Burning, their music seemed like the soundtrack for the climate of the times; ‘music of the people, by the people, for the people’.

There was a noticeable twinkle in his eye as he talked about songs that dealt with politics, social injustice, cultural apathy. As The Eye sliced through the London skyline, Letts took us through important milestones in the Clash’s rich history; signing for CBS in January 1977 which the punk rock purists thought signified the death of punk, the eponymous debut studio album for the label which included a cover of Junior Murvin’s Police & Thieves) and the influence behind one of their most enduring songs (White Man) in Hammersmith Palais; written by Strummer after Letts took him to the infamous venue.

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He reminisced about their third album London Calling with lyrics he described as having a ‘musical reportage quality about it’ and their fourth triple album, Sandinista!, which they promoted in 1981 with a historic and exhausting 17-night back to back stint at Bond International Casino in New York. They were supported by Grandmaster Flash and the Furious Five, who the audience welcomed with boos, but Strummer and the band were quick to run out and defend theirs guests. They were way ahead of their game before the explosion of hip hop and rap a few years later.

By 1982, America was under their spell with the release of the last proper Clash album, Combat Rock but when Letts talked about cracks showing in the band’s exterior – drug habits, a relentless work rate, Strummer going into hiding and the eventual disbanding in 1986, he drew from his own personal experiences and appeared genuinely sombre. We heard about the formation of the Mescaleros in the 1990s and releasing Rock Art and the X-Ray Style and Global a Go-Go, and Strummer finding his mojo again by the end of the 20th century; something, Letts noted, he didn’t think he’d ever really seen.

Inevitably, the magic had to end. Strummer’s last stage performance in 2002 was a benefit for the striking fireman, at the Acton Town Hall in London, the show that would also see him play with Mick Jones for the first time in almost 20 years. Sadly, Strummer passed away a few months later with an undiagnosed heart defect at the age of 50. At his funeral, attended by two dozen firemen in full uniform who he had played for earlier that month, a stetson sat on top of the coffin adorned with the words Question Authority. Ask me Anything.

The event was undeniably informative, but it was the way Letts peppered the talk with anecdotes and personal memories delivered with a smile in that rich, distinctive London accent (like when Strummer ran off with his girlfriend) that made it so endearing. He gave us a unique insight into the real Joe; someone who spent all night after gigs talking to anybody that wanted to speak to him with a ‘never ending source of relentless energy that was absolutely infectious’. An interest in what punk rock could be, as opposed to what it was. Someone who was far from perfect but that was OK to Letts; that meant keeping Strummer’s memory alive in a practical and very real way – something to aspire to.

Most powerfully for me was how Letts presented Strummer’s legacy as a constant inspiration. ‘Because he believed in music as a tool for social change, not just a soundtrack to passive consumerism. Because he was living proof that music didn’t just reflect change, it could affect change too’. The audience enthralled, he asked us, to consider ‘…in this cultural climate that feels like punk rock that didn’t happen where are the Joe Strummer’s of today?’

As our very special rotation drew to a close and we touched back down again in 2015, Letts ended his speech with a simple denouement, gazing out at the city surrounding us in all its glory. ‘Strummer, The Don salutes you’.

As do we, Don Letts, as do we. Thanks for the memories.

This feature first appeared on RockShot here.

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How to Build A Girl

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A Caitlin Moran book (any, I’m not fussed) has been on my reading wish-list forever.

Gatwick Airport, back in the hazy summer of 2015. Instead of perusing WHSmith's reading selection fastidiously I flew about recklessly grabbing magazines from the shelves as if I were a contestant on Supermarket Sweep, buying an over-sized bottle of water just to nab a free Telegraph and seizing the first book within reach. Knowing full well I was due in Departures NOW.

"Ah, a Moran!" said my brain, as the bright lemon cover of How to Build a Girl caught my eye. "That'll be a good start". (Swiftly followed by "Argh, where's my sodding boarding pass?!").

Well, what a cracking start to #MissionMoran it proved to be. I chomped through HTBAG in two days flat on holiday, effectively ignoring my husband on the Santorini beach as he splashed about in the sea dejectedly with a snorkel and a sunburnt back. Under the cool shade, I snorted with laughter. Blubbed. Reminisced. Felt exuberant. Wrote a whole blog post about it rather than just a section on My 2015 Media Diet.

Off the bat, I knew this was my kind of book and that Johanna Morrigan was my kind of protagonist. She is inquisitive, imaginative, bright as a button and eager to learn about EVERYTHING on the fringe of her, at times, rather shit life on a Wolverhampton council estate with an unconventional family. When we first meet Johanna she is fourteen and wants to build a new girl. She escapes to London to work in the music press. It is the 1990s.

This is why I loved it.

There are laugh-out-loud bits in abundance. ‘“My life is basically The Bell Jar written by Adrian Mole” remarks Johanna. There are references to Mark Curry and DJ Mike Read of Radio 1 fame which sparked fond memories of being an awkward adolescent and growing up in 80s/90s Britain. Dogs that look like Limahl. Pebble Mill. McDonald’s’ Hamburglar. Family weddings where Star Trekkin’ by the Firm is played. Biscuit tins that emit a piggy snort when a biscuit is taken (“which even my balmy exuberance can't help but interpret as slightly judgemental”). There are way too many funny bits to mention here without ruining your fun, it is swarming with them. The whole book is a funny bit.

Yes, there is bleakness, inequality and the class divide but dealt with in a brilliantly witty way. It’s been said there are semi-autobiographical undertones to HTBAG, reflecting Moran’s own upbringing in a council house in Wolverhampton and a career that started in music journalism, but she is insistent in the Author Note that it is a fictitious work. Desperate to escape the drudgery of daily life and shoplifting black Rimmel eyeliner from the chemist, Johanna’s key goal is to move to London and be hot; fourteen of course being the age when looking hot is everything. She imagines London will be like a very large room and “on walking in, the entire city will go ‘COR! BLIMEY! YOU DON’T GET MANY OF THEM TO THE PAHND! like Sid James”. Back on the chic Greek beach, far far away from London, Sid and cockney accents and surrounded by bronzed, oiled goddesses drinking iced coffee, I laughed my head off.

There are touchingly affecting moments. Johanna’s family are skint, completely and desperately skint. She enters a competition for 'budding young Midlands' poets' to save the family and win a cheque for £250 which also includes the opportunity to read the poem out on Midlands Weekend, watched by pretty much everyone in the West Midlands. With a steely determination, a hugely clever brain and the worry of money hanging over her head, she wins. Moran’s description of Johanna’s TV appearance is lively, poignant and sharply observed but when Johanna sees herself through the camera’s monitor after not really having seen herself before (there are no mirrors at home) she sees an appearance she considers pale, round faced, fat and not beautiful at all and feels her heart break, it is a genuinely moving moment. Eventually, the £250 prize money goes to Johanna’s Dad - £190 to fix the car, £30 on the overdraft and £30 in The Red Lion.

There is heaps of unapologetic sex and masturbation - the latter on page one no less. Upon reviewing How to Be a Woman, Germaine Greer wondered if Moran would regret talking about masturbation so openly, but I applaud her bravery. To the best of my knowledge she is the only person who could include a reference to a googly-eyed draft excluder in a romping, raucous sex scene.

Yet, I was mostly drawn like a magnet to the music references which I soaked up like a sponge. When Johanna decides resolutely to upgrade herself, to build a new girl so as not to be her anymore, she creates an alter-ego named Dolly Wilde (after Oscar Wilde’s niece) and feverishly sets out to "be a self-made woman…to conjure myself, out of every sparkling, fast-moving thing I can see". She discovers records shops (which she observes are "not for womenfolk"), free music magazines, John Peel, NME and Melody Maker in the Central Library, the riot grrrl movement, and so much more and there she has it - her way out. After two years of building Dolly, she bags an interview at Disc & Music Echo and this is where the real fun and discovery begins.

There were so many things I could relate to in sixteen year old Johanna, now as a thirty-seven year old woman, whose version of the Central Library in 2016 is Spotify, Twitter, online magazines and going to gigs and soaking up everything there is to know about old and new music.

Going for an interview as a music journalist in London is exactly what I wanted to be doing when I was a mid to late teenager, possibly a direct result of having read every single issue of Smash Hits magazine religiously before it went out of publication. I was already in the Big Smoke of course, but wearing a Benetton jumper and sporting a crunchy perm. Inspired by the grunge movement I then started wearing clumpy boots and being morose and listening to Nirvana and going to parties with my friends and head banging to impress the boys at our youth club. Then having to have a can of Deep Heat sprayed on my neck the next day to ease the pain of turning my head from side to side.

When Johanna attends her first ever gig as a writer to see The Smashing Pumpkins it is described so gorgeously (only Moran could take the intense, pushing, leading dance of a mosh to be a tradition for the opening song and compare it to ‘Oops Upside Your Head’ at a wedding when everyone rows across the floor), that it evoked memories of me covering my first ever gig for Jazz FM. I was ridiculously excited, terrified, out of my depth, scribbling words into a notebook, drinking copiously. Grinning a lot at strangers.

Selfishly, I also thought it was only me who went to gigs and got slightly angry with everyone else for being into the singer they thought was their special secret. When Joanna attends John Kite’s gig, after striking up a friendship with the boozy, filthy, voluble singer and falling hopelessly in love with him, the description is dreamy and powerful and perfectly evokes the ‘EVERYTHING IS SO UNBELIEVABLY AMAZING AND IMPORTANT’ feeing that dominated my early teens (and hormones). I read this passage at the top of a rock on Ancient Thera, an antique city on the ridge of the Messavouno mountain on Santorini, surrounded by undulating rocks and the twinkling Aegean Sea as we waited for the mini bus in the shade sheltered from the blistering sun. Yet in my head I was in the loud and hot Irish theatre watching John Kite from the sidelines, crying.

So, in summary, HTBAG, made my heart hurt with happiness and at times, despair. Let’s face it, we’ve all been Johanna Morrigan at some point in our life, trying to be someone we’re not and learning painfully but excitingly along the way. Maybe we still are.

It is hard to put into words how enjoyable it is and in fear of sounding too effusive, I’ll leave the clever words to Moran. All I know is this book which moves with such velocity with its humour, intelligence and bang on take on modern feminism made me feel inexplicably, ridiculously happy and light.

Often my regret in not going to university, instead deferring my place at Chichester to study Women's Studies and English Literature and never going, rears its ugly head. Then I recall from an interview that Moran didn’t go to uni and, well, she's a f***king genius so who the heck cares.

Newly added to the Moran wish-list is Moranifesto, which I understand features 'the same old ass-hats'. I can't wait.

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My 2015 media diet

I've put myself on a media diet in 2015.

I'm cutting back on my Facebook intake and devouring books instead.

Here's a bookworm's account of the year.

(Read more about this here)

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1. Caroline Kepnes - YOU (January 2015)

Devoured in a week: reading in bed, on the commute, walking along the pavement. Dark, often shocking and gripping tale of obsession in a modern world. Made me reconsider my tweets and consider whether I detested or sympathised with the main protagonist. Think Kepnes could have gone all out and made Joe even more repulsive. Great Book / Wine Club fodder as I think it'll divide opinion.

It didn't change my life like it changed Bob Dylan's and everyone else's, and at times I experienced travel fatigue and longed to get off the road. Yet, now the journey has ended, just like the protagonists Sal Paradise and Dean Moriarty I'm twitching to get back on it and experience once again Kerouac's richly evocative descriptions of America. Like this: The sun goes down long and red. All the magic names of the valley unrolled - Manteca, Madera, all the rest. Soon it got dusk, a grapy dusk, a purple dusk over tangerine groves and long melon fields; the sun the color of pressed grapes, slashed with burgundy red, the fields the color of love and Spanish mystery.

2. Jack Kerouac - On the Road (February 2015)

It didn't change my life like it changed Bob Dylan's and everyone else's, and at times I experienced travel fatigue and longed to get off the road. Yet now the journey has ended, just like  Sal Paradise and his hero Dean Moriarty, I'm twitching to get back on it and experience once again Kerouac's richly evocative descriptions of America. 'The sun goes down long and red. All the magic names of the valley unrolled - Manteca, Madera, all the rest. Soon it got dusk, a grapy dusk, a purple dusk over tangerine groves and long melon fields; the sun the color of pressed grapes, slashed with burgundy red, the fields the color of love and Spanish mystery'.

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3. Jeanette Winterson - Why Be Happy When You Could Be Normal? (March 2015)

I found Winterson's memoir, an account of two parts, deeply moving. Part one reflects on her adoption, the horrors of her bleak upbringing (including an attempt to exorcise her sexuality after taking up with a second girlfriend) and the solace she found in literature and education ('my mother didn't want books falling into my hands. It never occurred to her that I fell into the books - that I put myself into them for safekeeping'). Part two fast forwards 25 years later where we learn of Winterson's recent relationship end, her breakdown and attempted suicide and the process of finding her birth mother. Hardly a barrel of laughs I hear you say, but she writes with great warmth and humour and an almost Alan Bennett-esque style which peppers the memoirs with very English idioms that had my chuckling out loud on the tube, such as anecdotes about her repressive adoptive mother ('she was one of the first women to have a heated corset. Unfortunately, when it overheated it beeped to warn the user. As the corset was by definition underneath her petticoat dress, apron and coat, there was little she could do to cool down except take off her coat and stand in the yard').  A sad, but hugely enjoyable read that leaves you feeling empathy with all the characters you meet, even the despicable ones.

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4. Kim Gordon - Girl in a Band. A Memoir (March 2015)

I found this book fascinating. Initially, I thought it would give me the opportunity to be, vicariously, what I’d always secretly dreamed of being - a girl in a band.  It provided much more than that; an educational road trip filled with music, art, fashion and feminism. The super intelligent Gordon - bassist, guitarist and vocalist of the alternative rock bank Sonic Youth - begins her memoirs with the end, the painful separation of her marriage to SY guitarist Thurston Moore thanks to the involvement of another woman. What follows is a candid, sometimes painful, but always fascinating account of her California upbringing, her love of art and the unconventional, her formative years and cool NY living and what it really feels like to be a working mum in a band. Impressive references are made to the world of art, music and fashion (Patricia Field’s on Eighth Street in the East Village, her friend Marc Jacobs ) and the book provides some striking photos of the poster girl for indie rock. What I really took away though was that Gordon has a hell of a lot of substance to go with the style.

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5. Roald Dahl - Matilda (April 2015)

A couple of years ago I declared in a Material Whirl blog piece that Matilda was the ultimate role model, aged four. Having re-reading this magical children's classic I’m sticking with my declaration. Although feeling a bit awkward reading a children's book on my daily commute, I soon forgot my shame, lost in Dahl's hilarious, sad and wise tale of a child genius being supressed by her stupid parents. One of the things I adore about this book is the very grown up themes that lurk beneath the surface; the adult jokes, and life lessons that are still relevant. Like the rare advice dished out by the awful Mrs Wormwood - ‘I’m afraid men are not always quite as clever as think they are. You will learn that when you get a bit older’. This is for book lovers (the books list on page 15-16 will put any adult bookworm to shame), farcical comedy lovers (who could forget Bruce Bogtrotter and the cake and the platinum-blond Man), gruesome word lovers (foul carbuncle, poisonous pustule!) and unforgettable character lovers (Mrs Trunchbull, Miss Honey, Eric Ink to name but a few). It took me back to days of innocence, silly words, eating tea at 7pm and being tucked up in bed with a Dahl. A sweet and exciting time. Matilda left a lasting imprint in my mind – the book ultimately celebrates intelligence and good teaching but for me it conjures up a great cluster of emotions just by turning the page. It is a funny, warm and intelligent story which sends out an empowering and brilliant message that it is OK to want to be clever and better and not have to look good, just because you are a girl. So, ghastly grown ups. Try out Matilda yourself. It’s a marvellous medicine to swallow.

You can read my views on Matilda as the ultimate role model, aged four, here.

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6. Virginia Woolf  - To the Lighthouse (May 2015)

I'm ashamed to say, as I hurtle towards the latter end of my third decade, that Lighthouse was my first vintage Woolf. I have other VW novels on my bookshelves, collected over the years and still waiting in line to be read, but I've just never got around to them. Brasher, bolder, newer titles have jostled for my attention and won. That is until the day when I finally felt the pull of the book that Margaret Drabble describes as one that 'transcends time'. The moment had come select To the Lighthouse from the shelf.

At first, I struggled. I found the serene pace a bit too slow, the introspection a little too profound and the lack of action distracting. On the tube, I kept putting it down, skim-reading a few lines, sighing and flicking through the nonsense in the free papers instead which made me feel a bit traitorous. I persevered though, and thank goodness I did

I slowly fell in love with the language ('The lights were rippling and running as if they were drops of silver water held firm in a wind') and with how the most ordinary things - dining, the appearance of water, the seasons - were so exquisitely depicted by Woolf. The novel gives the reader only two days but they are separated by a passage of ten years and structured into three parts. I'll let you read it yourself, but Part II: Time Passes gave me such a strong feeling of absence and loss (and weirdly, déja vu) that my skin prickled.

Arguably, To the Lighthouse could easily get elbowed out of the way by the Gone Girls, The Girl on a Trains, the YOUs of our modern times, as they satisfy our craving for immediate stimulation and a can't-put-it-down fix. Yet, this it is an innovative, beautiful and powerful book and to overlook it and resist it would be a real shame.

It was windy, so that the leaves now and then brushed open a star, and the stars themselves seemed to be shaking and darting light and trying to flash out between the edges of the leaves.

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7. Joël Dicker  – The Truth About the Harry Quebert Affair (June 2015)

‘The Book of the Year’ according to Simon Mayo, Dicker’s novel has been translated into thirty-two languages, sold two million copies in a year and is the winner of French literary prizes. Yet, Sam Leith reviewing for The Guardian sniffly observed: “They see a masterpiece; I see a completely ordinary, amiably cartoonish and well aerated page-turner that does nothing interesting in literary terms at all”. Ouch.

Aerated it might be, but nonetheless I finished it in a week, gulping down the first half on a flight back from Madrid and polishing off the remaining half with no bother a few days later. I first saw the Quebert book advertised on a Tube poster; the striking cover leapt out at me, inlaid with Edward Hopper's dreamy ‘Portrait of Orleans, 1950′. With the shout line “It’s like ‘Twin Peaks’ meets ‘Atonement’ meets ‘In Cold Blood'” from Gaby Wood's The Telegraph review, well, they had me at Twin Peaks.

It was the Peaks parallels that kept me enticed. Small town, quaint setting, dark undertones. Disappearance and lost innocence. It’s 1975, and struggling author Harry Quebert has fallen in love with fifteen-year-old Nola Kellergan. Thirty-three years later, her body is dug up from the grounds of his seaside home along with a manuscript copy of the novel that secured his lasting fame. Quebert is the only suspect. Marcus Goldman – Quebert’s most gifted protégé - heads to New Hampshire to clear his mentor’s name and unearths a whole lot more than he anticipated.

For those who love a delicious murder mystery with no end of twists, turns and plot shifts (in this case, especially during the last one hundred or so pages), are nostalgic for Laura Palmer et al and crave a book that grips you tightly and won’t let go until you’ve read every last word, this is the book for you. If you’re seeking the next literary masterpiece, you may wish to move on but hey, don’t be snooty. Although arguably the ending was a little rushed, the novel is clever, hugely entertaining and thrilling to the end and I felt a little bereft when the last page was turned.

I really liked The Truth About the Harry Quebert Affair. It is crying out for a top-class TV adaption. Netflix, get a shift on will you?

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8. Paula Hawkins  – The Girl on the Train (June 2015)

I bought this book as a holiday gift for my dear Mum a few months back but, and please don't think me a terrible gift-giver, inwardly I was willing her to whip through it quick-smart so she could fling it my way. (Sorry Mum). The Girl on the Train topped The New York Times Fiction Bestsellers of 2015 for 13 consecutive weeks and spent 20 weeks at the top of our own hardback book chart. It was the book everyone was reading. The read of the summer. The new Gone Girl, they said. Well, I had to see what all the fuss was about didn't I.

The synopsis is this: Rachel takes the same commuter train every morning; on the same track, along the same stretch of middle-class suburban homes, stopping at the same signal every day which affords her ample view of the same seemingly perfectly couple taking breakfast on their deck. She even feels like she’s starting to know them, assigning her own names for them. Then during one fateful journey she sees something shocking and now everything has changed. The woman in the couple then goes missing and Rachel becomes inexplicably intertwined in their story. Maybe just a little too intertwined.

The Girl on the Train has a gripping first chapter. I instantly got on board with the familiar concept of travelling on a London train with dappled sunlight coming through the window and peeking into people's houses; wondering, assuming, over-imagining. Hawkins creates an eerie and claustrophobic tale with twists and turns, and I couldn't quite make up my mind if I despised, pitied or supported the main protagonist Rachel whose downward spiral into alcoholism and self-hatred caused by the breakup of her marriage transfers into a dangerous obsession. 

Parts of the story made my skin prickle - 'I've been up for hours. I can't sleep. I haven't slept in days. I hate this, hate insomnia more than anything, just lying there, brain going round, tick, tick, tick, tick. I itch all over. I want to shave my head'. - and I read The Girl on the Train in exactly four days. 

Wait, this isn't me being a big show-off pants about my reading skills but instead testament to Hawkins' great skill as a writer. I lost pockets of time absorbed in the story, often wondering if I'd blacked out like Rachel does. I would read it standing on the tube with one hand hanging onto the rail for dear life and all the way home until reaching the front door which meant I had no choice but to stop. Then at home, I would make any excuse to disappear so I could read some more - 'I'M JUST GETTING SOME MORE HANGERS' I'd fib to my husband as he hung out the washing, then sneak into our bedroom and read what I could in the feasible time it takes to retrieve a bunch of clothes hangers before suspicion is roused.

Wiki tells me that film rights have been acquired. Yay! Emily Blunt is reported to play Rachel. Double Yay! It’s been reported by the author that the film’s setting will not be in England, but the US. Boo!

This is a completely-lose-yourself-in the story kind of novel and I wish I'd saved it for my holiday lounger. The female characters stayed with me for a few days after, as I looked out of the window on my commute, rolled into London and peeked into those houses, wondering, assuming, over-imagining... 

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9. Robert de Board  – Counselling for Toads (July 2015)

Admittedly, 'I'm reading a book about counselling that is a pastiche of Kenneth Grahame's children’s classic The Wind in The Willows' is not your average response to the 'So what are you reading at the moment?,' question. So I wasn't surprised when my sister replied via WhatsApp with ‘Eh? What? Toads?!' and messaged me a flurry of frog emojis to effectively labour the point. 

This book was a bit of a deviation from the other novels that have made up my media diet so far, but it turned out to be a good 'un. Recommended by a friend ages ago, it'd never really been the right time in my life to give Counselling for Toads go. For some reason I’d alway assumed it would be too heavy, a bit too 'self-helpy’ if you catch my drift, but I'm so glad I finally did. I’m interested in counselling and coaching from a professional and personal perspective so it satisfied my curiosity in that respect, but it also helped me to analyse a few feelings of my own.

The premise is this - Toad (of Toad Hall fame) is very depressed and his good friends Rat, Mole and Badger are worried about him. Eventually they encourage him to have counselling (with Heron, natch) and as the reader we’re taken on a psychological adventure, joining Toad in his counselling sessions as he lays his soul bare - through the pain, the self-reflection, the meeting his rebellious child, the development of his emotional intelligence and the turning point where he can begin to move forward. It sounds completely wacky, I know, but this is a clever and engaging book and the tone is so light and whimsical in places that it’s never a chore.

Claire Rayner calls it ‘a joy' and who in their right mind would disagree with Claire. It was a lovely read and I was absorbed from the get go. It cleared my head, helped me to deal with a few niggles of my own that had troubled me for a while and I got to learn tons more about my Parent-, Adult- and Child- ego states which was pretty insightful. When I’d finished it, I felt like I needed a bit of lie down and some time on my own to reflect and mull things over; but I don't think that's a bad thing in this crazy world we live in. 

Although I was looking forward to returning to some fiction once Toad and I were over, Counselling for Toads is a unique and interesting read and a brilliant vehicle for imparting the wisdom of transactional analysis through a light-hearted and humorous tale. 🐸

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10. Jessie Burton - The Miniaturist - (July 2015)

Oh, The Miniaturist. A cover so exquisite, setting and subject matter so unlike anything I usually delve into and the hype so great (sold in 30 countries apparently), by the time the chance to read it was here I'd built it up to such a crescendo that, well, I guess it was inevitable I'd be a little disappointed. 

It was only a tiny disenchantment though, miniature if you’ll pardon the pun, but I’ll come to that in a bit. Here’s a quick synopsis: it’s 1686, in Amsterdam, and the main protagonist 18-year-old Nella Oortman has married a well-heeled merchant named Johannes Brandt. We soon learn the marriage is no more than a convenient arrangement despite the splendour of his household, and his unwelcoming sister Marin, the fascinating but distant servant Otto, the mischievous maid Cornelia and a lack of physical attention from Johannes soon unnerve Nell and make her feel lonely and homesick.  

Then everything changes. Johannes presents her with an unusual wedding gift - an intricate cabinet-sized replica of their home and Nella engages the services of miniaturist to furnish it. Not only is The Miniaturist a brilliant craftswoman, but a prophetic one too - the tiny miniature figures appear to be painting a picture of the future; and there are lots of secrets to tell. It's an enchanting story, with rich, intricate language that weaves a tale of dazzling wealth, oppressive religion and female empowerment in a time of adversity. 

So the mini-disappointment bit  - given the quality throughout, the ending kind of fades and was rather anti-climatic, but hey maybe that’s just me. Absolutely worth a read though. An utterly absorbing and fascinating insight into 17th century Amsterdam, the tiny world of cabinet houses and generally brilliant women.

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11. Caitlin Moran - How to Build a Girl - (August 2015)

I chomped through How to Build a Girl in two days flat while on holiday, effectively ignoring my husband on the Santorini beach as he splashed about in the sea dejectedly with a snorkel and a sunburnt back. Under the cool shade, I snorted with laughter. Blubbed. Reminisced. Felt exuberant.

HTBAG, made my heart hurt with happiness and at times, despair. Let’s face it, we’ve all been Johanna Morrigan at some point in our life, trying to be someone we’re not and learning painfully but excitingly along the way. Maybe we still are.

It is hard to put into words how enjoyable it is and in fear of sounding too effusive, I’ll leave the clever words to Moran. All I know is this book which moves with such velocity with its humour, intelligence and bang-on take on modern feminism made me feel inexplicably, ridiculously happy and light.

I have dedicated a whole blog post to HTBAG - which you can read here.

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12. Tina Seskis - One Step Too Far - (August 2015)

*REVIEW TO FOLLOW*

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13. Stephen King - Mr Mercedes - (August 2015)

*REVIEW TO FOLLOW*

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14. Peter Swanson - The Kind Worth Killing - (September 2015)

*REVIEW TO FOLLOW*

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15. Harry Parker - Anatomy of a Soldier - (October 2015)

Generally speaking, I don’t tend to choose books about conflict, finding them a little too brutal and I can’t deny I had preconceptions when I started Anatomy of a Soldier. These assumptions dissipated by the end of the first chapter – Parker is a terrifically skilled writer, and his portrayal has great empathy and intelligence. Former Rifles Captain Harry Parker was on foot patrol in Afghanistan when he stepped on an IED (improvised explosive device) and lost his left leg. A subsequent infection later claimed his right leg and despite life-changing injuries, extensive operations and having to learn to walk again, he now moves confidently on prosthetics.

His debut novel is a work of fiction, rather than personal memoir, but draws on his own experiences in the conflict zone. It introduces us to Captain Tom Barnes, mostly known as BA5799, who is blown up by an IED while returning from patrol. We learn of the lead up to his injury, the aftermath, the local people and insurgents who planted the bomb and the friends and family that rally around him.

Yet, what makes Anatomy of a Soldier so extraordinary is the way Parker has chosen to narrate it – rather than offering us straightforward characters, instead forty-five inanimate objects provide the novel’s voice. These objects, including surgical equipment, his mother’s handbag and a pair of trainers worn by an insurgent cleverly show us the complexities and barbarity of war.

It’s unusual, I know, but it has to be read to be believed...

I was lucky to attend the London launch of Harry Parker's Anatomy of a Soldier at Goldborough Books in March 2016 - which you can read about here. 

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16. Hanya Yanagihara - A Little Life - (November 2015)

*REVIEW TO FOLLOW*

London Event - Launch of Anatomy of a Soldier

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"It's marvellously told and this way of telling it ... giving the inanimate a voice ... is both engrossing and distancing and I know of nothing quite like it". (Alan Bennett)

Last night I braved the Leicester Square hordes (and swiftly ducked down Cecil Court to elude them), and joined Faber & Faber and Goldsboro Books for the launch of Harry Parker's Anatomy of a Soldier, Goldsboro's March Book of the Month.

Anatomy of a Soldier has gained recognition over the past few weeks, with deservedly glowing reviews, tweets and features on BBC Radio 4 and BBC Breakfast News to name a few. I had been lucky to read a preview at the end of 2015 and was deeply moved by this astonishing novel. I was waiting for it to be Parker’s time and with a US publishing deal and the book being translated into other languages, it looks like that time is now.

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Former Rifles Captain Harry Parker was on foot patrol in Afghanistan when he stepped on an IED (improvised explosive device) and lost his left leg. A subsequent infection later claimed his right leg and despite life-changing injuries, extensive operations and having to learn to walk again, he now moves confidently on prosthetics.

His debut novel is a work of fiction, rather than personal memoir, but draws on his own experiences in the conflict zone. It introduces us to Captain Tom Barnes, mostly known as BA5799, who is blown up by an IED while returning from patrol. We learn of the lead up to his injury, the aftermath, the local people and insurgents who planted the bomb and the friends and family that rally around him.

Yet, what makes Anatomy of a Soldier so extraordinary is the way Parker has chosen to narrate it - rather than offering us straightforward characters, instead forty-five inanimate objects provide the novel’s voice. These objects, including surgical equipment, his mother’s handbag and a pair of trainers worn by an insurgent cleverly show us the complexities and barbarity of war.

It’s unusual, I know, but it has to be read to be believed.

“It is a novel of concentrated ferocity and chilling accomplishments, tense and unflinching but alive to every nuance of feeling" (Hilary Mantel)

Generally speaking, I don’t tend to choose books about conflict, finding them a little too brutal and I can’t deny I had preconceptions when I started Anatomy of a Soldier. These assumptions dissipated by the end of the first chapter - Parker is a terrifically skilled writer, and his portrayal has great empathy and intelligence. Chapters seamlessly switch between the battlefield, the hospitals and treatment rooms, his family home and the pub with great effect.

Undoubtedly, the descriptions of Barnes’ injuries are shocking (‘the green blankets were flat where limbs should have been’) and there are heart-in-mouth moments throughout; exchanges between Barnes and other injured patients, when friends come to visit his family home to share a beer and he falls out of his wheelchair, and England, with its beauty, its tantalising familiarities and normality being so far away - surely none of us can imagine how that feels.

Parker’s depiction of the detonation (recounted by the bomb itself) creates a sad juxtaposition for the reader - the sky a dome of stars as the dry mud about the bomb flexes, cracks down and pushes its metal strips together, creating a circuit that filled its wires. It functions, and all thoughts of glimmering stars are forgotten.

The objects themselves allow you to get close to the action, but at the same time you remain comfortably distant; numbly removed from the horror. At times they sound hostile and dangerous.  The ending genuinely had me in tears. It reminded me that war is senseless - there are no real winners.

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Surrounded by beautifully preserved first editions in Goldsboro’s bookshop, and after being introduced by Faber & Faber Editor Lee Brackstone, Parker spoke a few words of appreciation for those who had helped Anatomy of a Soldier come to life. He seemed visibly moved by the attention.

Afterwards I took the plunge and introduced myself to the author while I could; understandably everyone wanted to snatch a few words with him. I found Parker to be humble and self-deprecating; honestly, if I had even an ounce of his intelligence and modesty and had been able to transform an unthinkable experience into a moving, inspiring and unique novel I'd basically be a massive show off. Anatomy of a Soldier is an extraordinary, imaginative debut that draws on great humanity and heroism, about surviving the unsurvivable.

During his short speech, Parker said ‘I wish the book could talk, not me’. ‘It does’ said a representative from Goldsboro Books and I couldn't agree more.

Read this book, please.

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Anatomy of a Soldier by Harry Parker is out now. (Faber & Faber)

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Oh Highcliffe! (Contemporary Bed and Breakfast, Falmouth)

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Most people who know me (and if you've had a chance to peruse my About Me page) will know I’m a brazen London devotee.

This city courses through my veins. I fall a teeny bit more in love every day in a giddy, pubescent kind of fashion. Oh, the history, the people, the sights, the sounds, the smells (OK, at a push) and the pumping non-stop, 24-hour-accessibility of it all! Swoon. 

But even the most passionate of lovers needs a break every now and then to stop things getting staid. Often I hear myself think 'God, I'm knackered with city life! I need to get off for a bit!’ So, the other weekend me, hubby and bump did just that; we hopped off the revolving London ride and headed to Falmouth on the South coast of Cornwall for a long weekend of salty sea air and much needed R&R. 

After working late the evening before, a 6-hour car journey at first light, an exhaustion of Spotify playlists ('no more Madonna!') and yet another wee break it's safe to say we were a little tightly coiled upon arrival. So arriving at Highcliffe Bed and Breakfast to, genuinely, the warmest welcome I've ever been given was just the tonic. 

Owners Simon and Vanessa and their lovely daughter pulled up outside the guest house at the same time as us; and no matter it was before official checking-in hours or that they were enjoying a family Friday afternoon. We were greeted like habitués rather than too-early strangers. Friendly chat ensued, help with bags dished out and we were gently ushered into the warm sanctuary of their contemporary B&B. Setting the scene for an absolutely incredible weekend. 

I cannot recommend Highcliffe enough and here's why in no apparent order.

Firstly, the bedroom. A long weekend provides an advantageous head start to Saturday and, for me, guilt-free permission to laze about and do exactly what you wouldn't usually do on a Friday. Watch Netflix at 4pm with a hot chocolate (in lieu of wine)? Why the heck not. Ideally you need a great room to do this, like sumptuous Room 8…

Room 8 is a premium super king double delight at the top of the guest house. It is snug but not poky and tastefully decorated with subtle touches of sunny yellow that seared through the cold February rain outside. Stylish and plentiful lighting illuminated all the features and the giant bed with Egyptian cotton linen was so comfortable I fell into a deep slumber each night - completely unheard of in recent weeks. Everything was cleverly thought out - handy bottle opener (woefully unused; I miss PROSECCO *sob*) hot water bottle tucked away in drawer, yellow and grey cashmere blanket casually draped over a chair if it got too chilly (it didn't), generous bathrobes and ample spotlit wardrobe space for people who pack a week's worth of clothes for a weekend.

The sparkling ensuite bathroom hosted a curved, roll top slipper bath and fleecy white towels and was kitted out with Orla Kiely products. I had to be pried out of the powerful shower each time, usually with food as bait (see below). The harbour view from the Velux bathroom window was a joy each morning. Unfortunately we chose to visit Falmouth at the same time as #stormimogen, who raged outside fiercely. It really didn't matter, the hatches were battened down and we were tucked up in a chic bolt hole - Imogen and her tantrums were no bother to us. Besides, we managed to wedge in a Gyllyngvase Beach walk or two over the weekend, as well as a swim and a massage at the local spa, so everything was not lost.

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Secondly, the decor. Highcliffe's guest and dining room are simply gorgeous. The owners, although only ever a buzz away and always conveniently around just when you needed them, live downstairs. With your own key, guests can come and go as you please. Vanessa had previously worked for a well-known glossy interior magazine and Simon held a top role in Media, and this is reflected in the sophisticated and high-standard interior design and well-finished furniture.

There's motion-activated lighting when you're too sleepy to flick a switch and striking modern colour schemes. They've done a great job of ensuring it is personal and welcoming rather than identikit. The guest lounge is beautifully furnished and stocked with back catalogues of fashion (hello, Vogue), travel and lifestyle magazines – for which I am a complete sucker. In my head, Suitcase magazine (a magazine that embraces the eclectic and adventurous appetite of a generation of creatives and entrepreneurs) is a visual representation of my every day life. Sadly, and realistically, it is not. There are lovely little touches; a table with sweets for adults, an honesty tuck box bursting with bars of Green and Black's Chocolate, Tunnocks Teacakes and Tyrrell's Crisps for midnight feasts. The dining room is kitted out with beautiful homeware from Willow and Stone, with a shop just down the road on Arwenack Street.

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Thirdly, the food. There's an age-old saying that when you're preggers you eat for two. That weekend I possibly ate for four. The breakfast is a delicious feast. Think crunchy homemade granola and seeds, thick Greek natural yoghurt, delicious natural cereals, chilled juices. Fresh fruit and hot, buttery toast and a vast choice of condiments (including Vegemite! Streuth! A hangover from my Sydney days and one antipodean habit I've been unable to break, sorry Marmite). Unlimited pots of Cornish Tea's Smuggler's Brew and locally supported coffee. That's before you've tackled the Full English (veggie and non-)or the daily special, which during our stay included garlic-smoked field mushrooms and sautéed spinach with a poached egg on door-stop granary toast. I'm not kidding, I would literally crawl up the stairs to Room 8 on my hands and knees after a 3-course breakfast. I would love to blame the bump and the mild vertical ascent but it wasn't, it was just me being a great big greedy guts. 

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Fourthly, the proprietors. All the fancy pants stuff is marvellous and don't get me wrong, I'm a fan of the glitz. But with style you must have substance and when paying to stay away from home, to be made to feel you're a wanted guest. Simon and Vanessa genuinely want to ensure you have a really, really great stay and pull out all the stops without making it feel forced. Nothing was too much trouble. Their warmth and ebullience also filters through to their breakfast crew who were incredibly friendly and chipper. Simon's encyclopaedic knowledge of Falmouth, it's charming local gems, restaurants and characters was invaluable and everyone spoke so highly of them. The Wheelhouse, Hunkydory Restaurant and Bar and Beerwolf Books were highlights, sadly we didn't make it to Dolly's Tea Room and Wine Bar but this provides a perfectly valid excuse to return.  

Alas, I have one grumble.

Time went way, way too quickly. Being comfortably ensconced at Highcliffe for some inexplicable reason means that time passes at double the normal speed. In a flash, we were on the A39 homeward bound, driving through Storm Imogen and feeling a bit sorry for ourselves. It's back to the grindstone now and Highcliffe is but a distant memory, but every now and then I allow myself to imagine being tucked up in contemporary Room 8 with a cup of Cornish brew, a well-worn Du Maurier and the prospect of both a Highcliffe breakfast and a glorious Falmouth day ahead.

Until next time...

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Laid Bare Live - Winter Rooftop Vibes

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A few weeks back (ARGH, WHERE DID JANUARY GO?) I had the pleasure of spending the night at Century, a members club hidden behind a inconspicuous door on London's Shaftesbury Avenue.

I was there not just to revel in the swish surroundings but specifically for Laid Bare Live, a brilliant live music night offering up the best unsigned musicians, singers and poets this great city has produced and providing a platform for up-and-coming talent to play to the masses. Luckily for the music heads, it's a regular monthly event and I think you should check it out.

Firstly, some history. Laid Bare Live began as an open mic night in 2013 at The Ritzy in BrixtonSouth London organised by the polymathic Rami Radi - a Brixton-based musician, producer and mixer, editor, podcast host and cameraman. Rami was inspired by his time organising music nights at university and participating in open mic nights in London. With drive and passion, in time he developed the event into an acoustic night called Laid Bare Live, sourcing and securing a multifarious group of talented acts along the way.

Laid Bare has been going strong for two years and in January Rami built on its strong foundations with the creation of a record label called Laid Bare Records. The label recently celebrated its first EP release from singer-songwriter Chris Belson, the exquisite Moon Songs, with a sound being compared to Radiohead.

Laid Bare Live now boasts additional residencies at eclectic venues such as Brixton East, Fu Manchu Bar and Hackney Attic. Each show is carefully curated by Rami with quality performances from local artists showcasing their talent.

My first Laid Bare experience was memorable. Century club is beautiful in its own right, boasting four floors including a cocktail lounge, two restaurants, a screening bar and a performance stage but Rami’s decision to host his event up on the covered roof terrace, apparently Soho’s largest, was inspired. 

With exposed brickwork chimneys, a scattering of fairy lights and unbeatable views of London Town in all its glory, when you reach the top you have to stop and take it all in for a minute before even thinking about the bar. It's intimate without being poky and with lanterns emanating a warm wintry glow it creates the perfect setting for great live music. 

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With the quality of musicians on offer, a guest list available at just £3 upon request and THAT venue it’s easy to see why Rami draws a crowd - and a friendly, unpretentious one at that, happily chatting in between acts and grabbing a beer. 

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On the night all the artists and their acoustic sets were brilliant, but it was Daniel Greenwood whose music seemed to stay with me afterwards. He has a lovely Dylan-esque sound, plays the harmonica like a pro, and his cover of Ryan Adams’ Come Pick Me Up had me scrambling around on YouTube to hunt it down.

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The next Laid Bare event is at Century on Thursday 18 February 2016 and will feature Harry Pane (catch him before he plays at Glastonbury this year) William Poyer, Archie Sylvester and Days are Done.  

Doors open at 7pm, don’t be late now…

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