When she spoke, her words seemed to be coming from another time and place, as if she was shouting to be heard from a distant room, and we strained our ears, desperate to catch every syllable. She spoke of the sea and in my eyes she swam with the colours of the sunset and her voice rippled across the room, splashing intimately against our ears. I sat enraptured in the semi-darkness…
– Written on the train, Sat 21 May, 2011
I’ve spent months trying to put Candy Royalle on a page and I have to admit – it has been harder than I thought. This strikes me as odd, because I don’t usually write like this. When I’m inspired, the writing usually comes in torrents and my fingers own the keyboard, almost as if they know what to say before my brain registers the thought.
And I have written about her – reams, actually. Disjointed paragraphs in that book and the other, even on my phone – all over the place really. Tackling a hundred different ideas and sensations that never really came together into one cohesive thought process. So here’s take number umpteen.
“I will her to want it all”, Candy admits from the stage, half singing, half speaking, staring directly into the collective gaze of her audience.
I drink in the tone of her voice, the sensuousness of her language and try to close my mouth, aware of the cameras deftly roving the crowd at intervals. I don’t want to be caught on screen with my jaw unhinged, but quite truthfully, that is how I feel on this late week night, sitting in this cosy pub enclosure together with a handful of people, watching this otherworldly poetess speak about love, sex, anger and politics.
This is the second time I’m seeing Candy Royalle on the stage.
The first was at a more public gathering, at the Sydney Writer’s Festival. I had seen her speak that same morning with a group of other poets, writers and artists who were using their work to inspire positive social change – a talk I enjoyed enough to want to know more about each of the speakers. So when I saw that most of them were performing that evening at a session of performance poetry, I thought ‘why not’. I had never seen performance poetry before and while I had a sneaking suspicion that I would find it pretentious or silly or downright depressing or all of the above, nevertheless, I figured there should be a first time for everything and decided to go along.
I’m not sure what gave me that first negative impression of performance poetry. I am a lover of language and I enjoy poetry even though it’s not usually part of my typical reading list. For whatever reason though, I had this picture in my head of self-proclaimed ‘poets’ standing on a dim stage with bits of paper in their hands, monologuing at length about their tortured feelings and depressing experiences, beating at their breasts while we sat in the audience trying to stifle our yawns.
So yes. The first time I saw Candy Royalle on the stage, I went with the eyes, ears and mind of a skeptic.
The poets who performed before her pleasantly surprised me – I marveled at their clever witticisms and wordplay and laughed at their impressions. I was enjoying myself. Candy was one of the last to perform. She had already intrigued me that morning – from her appearance, to her direct introduction of herself as a queer Arab woman, to the gentle huskiness of her voice, to her opinions on revolution and social change, to an excerpt of one of her poems that she had briefly performed. Continue reading She Is Fire: Poetry and Candy Royalle