On Reading and Writing Together


I never saw a moor,
I never saw the sea,
Yet I know how the heather looks
And what a wave must be.

Emily Dickinson

We’re all writers. Take a moment and think about the writing you do each day — a caption for your Instagram photo, a text to a friend, a work e-mail. See, you’re already writing to tell stories, build relationships, and plan your future.

Expressive writing helps you channel what you already know how to do. You have permission to discard the rules, play with words, and discover new and powerful insights through its imaginative process. And it’s good for you, like yoga for your mind. In fact, a robust body of peer-reviewed research proves it (benefits like enhancing mood and improving physical health, setting life goals, reducing PTSD symptoms, easing stress, and sparking creativity). 

And what better way to spark our writing than reading poetry out loud together?  First we hear it – its tempo, rhythm and cadences; then we see it – its images in the mind’s eye; finally we sense its possible meanings – metaphors full of delicious ambiguity. We don’t need to come to any conclusions as long as something stirs within us.

Whatever we discover through our reading and writing, sharing it with others is to engage, to connect, to be heard, and to hear.  We loiter in the gaps as well.  There’s no perfect communication, but as we linger in each other’s metaphors, in the meaning we make between the words, we share connection. This sharing makes us feel better. We know we are not alone.

Alison Cable is a facilitator at the London Literary Salon, she is currently leading a series of Writing for Wellbeing studies, including Trees and Us beginning on 26 April.

What do Greek philosophers from 400 BCE have to say to us in the 21st Century?

“Can you tell me, Socrates—is being good something you can be taught? Or does it come with practice rather than being teachable? Or is it something that doesn’t come with practice or learning; does it just come to people naturally? “

– from Plato’s Meno

The good news is that Plato’s dialogues are both accessible and enjoyable to a modern audience, particularly when read as part of a group! They are intricately crafted, dramatic philosophical works and the Meno is an excellent place to begin.

In its opening line, the dialogue gets right to the heart of a matter that could hardly be more relevant today. The title speaker, Meno, asks Socrates whether being ‘good’ (a term sometimes translated as ‘virtue’ or ‘excellence’) is a thing that can be taught. Far from being able to answer, Socrates tells Meno that he has no idea of what virtue even is, and nor does anyone else he’s ever met. As they try to find a solid definition of virtue, Socrates and Meno find themselves confronted by some of philosophy’s most basic and profound questions: what can we know, how can we know it, how can we teach, how can we learn? All of which remain as relevant to contemporary life as to the ancient world.

The Meno offers a multifaceted view of Socrates, Plato’s teacher and philosophical protagonist—at times thoughtful, playful, humble, flirtatious, ironic, and slightly abrasive. To this is added an intriguing demonstration of the Pythagorean Theorem by an untutored slave boy, and a brief encounter with an Athenian politician who will later bring Socrates to trial on charges that will lead to his death.

The Meno offers a classic demonstration of Plato’s chosen philosophical format, the dramatic dialogue, in which the drama is sometimes just as important as the participant’ words and ideas. Our Beginner’s Guide to Plato study starts on 28 February.

Dramatic writing workshop: what and why?

Many Salon participants enjoy writing as well as reading. In response, we have been developing a programme of creative writing studies, most recently with Alison Cable’s Writing for Wellbeing series. The primary aim is not necessarily to prepare for publication, but to develop and enjoy a writing practice as part of self-development.

Now we are offering an opportunity to experiment with dramatic writing which, with its emphasis on structure, character and dialogue, is a way of telling stories that can feed into all kinds of literary creativity and appreciation.

Award-winning writer Jeremy Kamps, Professor of Dramatic Writing at New York University and a Guest Professor for the Pratt Institute writing department, explains the design of his eight-week study:

Our workshop will focus on the craft, process and art of dramatic story. You will write either a film short or a ten minute play (your choice), and our time together will include craft study, story de-construction, rumination on process and voice. Or, in other words, how your story meets and moves the world.

We will engage in peer review using the writer-centred Liz Lerman feedback protocol and there will be an emphasis on the idea that “writing is rewriting” (with its attendant joy and pain). The workshop is not about good or bad, but about how you tell the story you want to tell and why it needs to be told, while also providing some tools and ideas to consider along the way. Professional actors will join us for the culminating reading of our work. 

Click here for more information and booking details.

ULYSSES centenary!

Toby reading to crowds gathered outside Shakespeare and Company in Paris,
100 years to the day since the first publication of Ulysses

Founder and Director of the London Literary Salon, Toby Brothers, is in Paris today to celebrate the centenary of publication of Ulysses. Scandalous in 1922, the book – widely acclaimed as a work of genius – remains controversial a century later!

Expect more news of Joyceans en fête in Paris on Toby’s return.

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