THE INKY SHEFFIELD WRITERS NEWSLETTER Spring 2005 No. 33 Spring is bursting through your mattress ______________________________________________________ Inky News International Poetry Series arrives in Sheffield Sheffield Poetry International is an exciting new poetry series featuring leading poets from North America, Australia and Portugal who are being partnered by locally-based writers. Sheffield Poetry International - supported by Arts Council England, Yorkshire - is the brain-child of well known Sheffield based poets Alan Halsey, David Kennedy and Geraldine Monk. The readings, which began in February and are ongoing through to July, will be held at FOB, Church Street, Sheffield city centre (near the Cathedral and the Cutlers' Hall). The season has already featured E.A. Markham, Trevor Joyce, Lisa Robertson and Christine Kennedy - the final three events are: Sat 21st May - Geraldine Monk and, from Portugal, poet John Havelda and fado singer Ligia Roque. Sat 18th June - Martin Corless-Smith, Andy Hirst and US poet Catherine Wagner. Sat 16 July - Chris Jones, David Kennedy and Australian poet Alison Croggon. All readings start at 8.00pm and entry is £3.00 or £1.50 concessions. Sheffield Poetry International's organizers say: "The reading series will be a unique opportunity for Yorkshire audiences to hear and meet poets of international reputation whose readings in England are usually restricted to London and Cambridge." For further details contact Alan Halsey or Geraldine Monk on 0114 2586035 or David Kennedy on 0114 2441202. Off the Shelf Festival of Writing and Reading Sheffield's annual celebration of all things literary returns for its 14th year this Autumn. 2004 was a great success with bigger audiences than ever before and more sold out events than promoters dreamed possible. The festival team aim to provide an exciting and diverse mix of performers and last year's programme included established authors such as Maggie O' Farrell and Hilary Mantel, Australia's foremost poet Les Murray, Manhattan chef Anthony Bourdain, a wealth of events for children and young people, a wide range of writing workshops from first fiction to play writing, a Writers' and Readers' Cafe, a number of community events, local writers talks and launches, literary walks and dinners and some unusual events such as 'Verbiage' - commissioned poetry and harp music performed in the Winter Gardens. Work has just begun on programming Off the Shelf 2005 which will run from the 15th -29th October and the Off the Shelf team would love to hear any ideas or suggestions of authors and poets you'd like to see perform in the city or workshops you'd love to attend or perhaps host. We are also keen to hear from any writers' or readers' groups who'd like to get involved in the festival or showcase their work and Off the Shelf do have a small amount of money to help support local projects. Contact them by phone on 0114 273 4716, email: offtheshelf@sheffield.gov.uk Or by writing to: Off the Shelf Festival of Writing and Reading Central Library Building Surrey Street Sheffield, S1 1XZ Reading Group News The Waterstone's Sunday Reading Group meets once every month, upstairs at the front of the store in Orchard Square. They are always on the look out for new members and for reading suggestions. The meetings start at 2.00pm in the afternoon and everyone is welcome. If you would like more information then either ask in store or telephone: (0114) 2728971 Antics with some Short Stories Following on from the success of the Signposts 'Winter Workshops', in particular the Short Story series led by Linda Lee Welch, there is going to be a reading of work produced by the writers who attended the Short Story workshops. Linda Lee Welch, together with the assistance of Robin Vaughan-Williams, is organizing the reading that will give the writers an opportunity to air their work on Tuesday 12th April at the Spoken Word Antics Upstairs at The Red Deer in Sheffield. The reading will complete the circle as the writers will have the opportunity to read and share their new work in a setting which has been a haven for writers, readers and listeners since the 1960's. The evening's entertainment costs just £1.00 and begins around 7.30 for an official start at 8.00pm. All are welcome to this informal evening of spoken words, in addition to the new short story work there will also be an opportunity to hear some traditional 'story telling, poetry, fairy tales and beautiful lies.' If you're interested in attending then just turn up, if you would like more information then please contact Linda Lee Welch on: Telephone: (0114) 2345487 Email: fishbowl@lindalee.plus.com For information about Antics Tel: (0114) 258 7270 Antics Upstairs @The Red Deer 18 Pitt Street, Sheffield. 2nd Tuesday of each month 8.00pm for 8.30pm start Donation of £1.00 towards future guests So You Want To Get Published? The Central Lending Library has another of its 'Writer's Café' events lined up for Thursday 28th April. This is especially aimed at New Writers and will provide hints and tips for those who are hoping to be published in the future. The evenings proceedings get under way at 6.00 pm when refreshments will be served. At 6.15 pm Daniel Blythe will kick start the event by discussing some of the problems which new writers may encounter as well as inviting people to submit their questions to the group. Tickets, £1.00 from the Central Lending Library, should be purchased in advance. To reserve your place either telephone (0114) 2734726 or pop into the Central Library, Surrey Street, Sheffield. Sticky Bun Writers Challenge You! The Sticky Bun Writers group have changed their regular venue and starting time - from now on they will be meeting at F.O.B. on Church Street (nearly opposite the Cutler's Hall) from 7.30 to 9.30 - still the first Tuesday of the month .... until June. After that, it's in your hands - attend in generous numbers and they will continue; don't turn up and they shall vanish into the air like the Cheshire Cat, leaving only a regretful grin! The next meeting will be on May 3rd when Ian Pople will read from his recent collection An Occasional Lean-To. More details from Jenny King: (0114) 2366225 Writers Aim High / Writer Wanted A group of writers, all time served on Creative Writing courses, are aiming high. They've set their sights on writing, printing and publishing their own book of stories on a theme. The writers have been working together for a number of years based, under different disguises, at the Burton Street Project in Hillsborough. The current WEA course that they are now on will shortly be coming to a close but the writers will continue. They are looking for an established author who would like to guide them through the process of putting their book together. The group are hoping to continue to work from Burton Street and would be able to pay someone who could offer them regular advice on the pathways and pitfalls of their project together with some information on funding or sponsorship, etc. If you think that you may be able to work with this group then please send your details to: Signposts (Burton St. Group) 4th floor Furnival House, 48 Furnival Gate, Sheffield, S1 4QP Please include information of your experience, etc, and how you think that you will be able to help the group. New Books from Local Writers Two new books have just been published by local writers. The first, The Artist of Eikando by Linda Lee Welch published by Virago at £16.99, is set mostly in Kyoto. Junko Bayliss was born and raised in Houston, Texas. Her parents are inexplicably cold and distant towards her. When they die, her aunt hints at something that happened to them during the war, on Okinawa, where they met and married. Junko goes to find out what it was that so shaped their lives, and she gets a lot more than she bargained for. It is a journey that will lead her into dark, hidden secrets and an astonishing story of love and betrayal. The second book is the latest from Danuta Reah (writing as Carla Banks) The Forest of Souls published by HarperCollins at £18.99. A gripping psychological thriller, taking the reader from 21st century Britain to the darkest days of war-torn Eastern Europe. A passion for history had already cost Helen Kovacs her marriage. Now she's paid with her life. Close friend, Faith Lange, is convinced that the murderer is still at large and, only when she begins to retrace Helen's last steps, does she start to uncover hidden research into the nazi occupation of Eastern Europe, the mass graves of the Kurapaty Forest and Faith's own tragic family secrets. Look out for reviews of both books in future editions of The Inky and if you can't wait then go out and treat yourself now! Writing Group for Therapists If you work in the field of therapy, be it as an Art Therapist, Drama Therapist or in any other similar field and would be interested in joining a new group writing to express themselves through drama then Sam Galbraith would like to hear from you. She is interested in starting a new group to explore these ideas and would welcome your thoughts. If you are interested then please send your replies to Sam Galbraith, C/o, Signposts, 4th floor Furnival House, 48 Furnival Gate, Sheffield, S1 4QP. Writing Peace by River Wolton The whole workshop has been unlike any other workshop I have attended and I'm glad I came. A fly-on-the-wall at the Writing Peace workshop: 'These people look uncomplicated. They are quiet, for the most part. They move their pens across the page, without stopping or crossing out, until the bell rings; then they read aloud, no-one says anything, the bell rings, they write again. Occasionally they have a cup of tea, go to the toilet, or stretch their fingers and wiggle their shoulders. How hard can that be?' Writing practice is deceptively simple, but in doing it we meet the truth of our lives. The best bit was when I went where I wanted and not where I was bid and slowly I began to open up. What's true for you right now, as you read this? Have you picked 'The Inky' off the doormat with a sheaf of bills? Are you on a First Line bus with a shopping-bag of leeks? Are you in the library with the latest Sarah Waters under your arm and a hot date to meet? Are you curled up on the sofa with a week's worth of dishes in the sink? As Ted Hughes put it: 'What's writing really about? It's about trying to take fuller possession of the reality of your life.' Writing is no different from life - paradoxical, unjust, infuriating, full of To Do Lists and occasionally warm and glorious. The best part was in the sharing and listening, the hard part was finding the pain. At Writing Peace, I asked the group to remember one thing - relax. When we write quickly, or even slowly, writing often feels like an exam. Our hands, necks, and thoughts get scrunched. We fall into a mindset where there's only two hours left for forty questions, where we're going to be tested and marked, our careers and happiness depend on it, and our loved ones will evict us if we fail. In Writing Practice there is Nowhere To Go. We don't have to be nice, clever, or polite, remember the terms of the Treaty of Versailles, or an original way of describing butterflies. What's the point then? As one participant wrote: The non-evaluative approach is curious. Safer most certainly but it is difficult to arrive at judgements about work done. Writing Practice turns the tables on judgement. It separates the editor from the creator. We need both of them, but usually the former has the upper hand and wields a whip. Loosening its hold helps to push us into taking risks, leaping from our habitual grooves or simply being present. Then later, we can move on to editing with a clear head and an expansive mind. The best bit has been to free myself of the inner critic who stops me altogether and to realise that everyone has that, not just me. I've got a lot of 'control' back if that is what you gain by letting go! University and publishing deadlines aside, the outside world is not too bothered whether we write or not. Even in supportive workshops and courses we can project the fiercest criticism onto the most well-meaning people. For the most part, we have to be our own allies, knowing that in keeping the pen moving we enter a dance with 'Monkey Mind', with Miss Willmott who gave our Julius Caesar essay C Minus, with Mrs Greenland who condemned us as the worst speller in the school, with the man in the first writing workshop we ever went to, who said the first twenty pages were crap but he quite liked the last paragraph. As well as inviting us to relax, Writing Practice asks us to go deeper, to venture outside our comfort-zones, to stop making sense, to be fierce, specific, detailed. We keep going under all circumstances, with effortless effort. (It was) good to be pushed through, no let up, no let out clause. Just do it and keep doing it and eventually you will get through the dross and the jewels will shine through. Writing Peace affirmed the power of showing up with the blank page and jumping in. I saw how passionately we wanted to write, be heard and connect with each other. It is stimulating to do this collectively with others trying to break their own boundaries too, all feeling strong and vulnerable at the same time, but in different ways. By the end of the day, some of us were exhausted and aching, others afraid that they had not done the right thing, others happy and surprised. I feel like I have written a book in one day. If only all creative writing workshops were like this. May we all find the freedom to write, to be honest, to keep on, to keep the pen moving. River Wolton is a student and teacher of Natalie Goldberg's 'Writing Practice'. She can be contacted at: rwolton@phonecoop.coop With thanks to the participants of Writing Peace, whose words (in italics) are quoted with their permission. Further reading: Writing Down The Bones by Natalie Goldberg (Shambhala 1986). If you are interested in a regular Writing Practice group River is setting up a new group which will be based in the Signpost offices. The group will meet once a month on Wednesday evenings between 7.40 pm and 9.40 pm for an initial period of six months. The dates of the 6-month block will be 13 April, 11 May, 8 June, 13 July, 14 Sept, 12 Oct (no August date). There is a charge of £35.00 / £25.00 concessions for the whole series of meetings and as places are limited places must be booked in advance. To book a place please send a cheque for £35 / £25 payable to 'R. Wolton' to: Mary Carr, 53 Bute St, Sheffield S10 1UP. Booking enquiries: tel. 0114 266 8133 or email mary.carr@sheffcol.ac.uk For more information please email River Wolton at: rwolton@phonecoop.coop The Inky Interview Oliver Mantell is the Editor of the bimonthly regional literature newsletter, 'The Yorkshire Word'. 'The Inky' recently had some Yorkshire words with him. How long has 'The Yorkshire Word' been going? The 'Yorkshire Word' first appeared in July last year, managed by Audiences Yorkshire. The publication was previously run by Arts Council England, Yorkshire under the title 'Literature News' and, before that, 'Write Angles'. How did you come to be in Sheffield? I grew up in and around Reading in Berkshire, and after an English degree at Oxford I decided to do a Cultural Policy and Management MA. I picked Sheffield Hallam University because it was a good and practical course and I thought Sheffield would be a refreshing change. It was - I loved it and so have stayed. Coming from south of the Trent, have you experienced the North/South divide? The North and the South are clearly very different, but I've not been made to feel like an outsider: people can usually see past the accent soon enough. That said, it was unsettling to listen to Roy Blackman's powerful and moving 'A Time to be Proud of' (about the 1984/5 Miners' Strike), having grown up during the Eighties in the Home Counties. Was there a particular time when you discovered that literature was going to be something vocational? I was committed to literature from the age of fifteen, when I discovered the intense excitement of creativity through language. But the particular professional route I've taken is more recent, though it followed on directly from that enthusiasm. Which writers do you like, and who are you reading at the moment? My favourite writers are very traditional, such as Chaucer, Shakespeare, Wordsworth, Shelley and Joyce. I also feel strong connections to writers like James, Hesse, Dostoevsky, Eliot (both George and T.S.), MacNiece and Muldoon. The most inspiring books I've read recently include William Hazlitt's 'Selected Essays', 'Burrow' by Manzu Islam, 'Jack and Sal' by Anthony Cropper and 'A Grain of Wheat' by Ngugi wa Thiong'o. I could go on.... Despite all the talking up of 'The Spoken Word' that's been going on, does poetry really work off the page? Yes, it does (or can), but if writers are going to be read they ought to make an effort to read well. My usual preference is for words on the page. But live literature events can provide an energising complementary, or alternative experience. There are some writers I find weak on the page, but very thought provoking and affecting live. Are you, or do you aspire to be, a writer yourself? Yes: a poet. Although I don't think it's a status to 'aspire to' - you write things or you don't, so you are or you aren't. That said, sometimes it feels like you're only a poet when you're actually writing a poem. Interview by Dave Sissons Thanks to Oliver Mantell Competition Mike Haywood Poetry & Prose Competition 2005 Judged by David Harmer and run by Rotherham Arts this competition is open to anyone resident in South Yorkshire, North Nottinghamshire or North Derbyshire. There are two categories: Poetry and Short Stories and the winner in each category will receive a prize of £75.00 with two runners-up each receiving £50.00. An anthology of winning and commended stories and poems will also be produced. The closing date for entries must reach the competition administrator by 31st May 2005 and the entry fee is £1.00 per story or poem. For copies of entry forms together with general rules contact: Graham Rippon, 19 Godric Drive, Brinsworth, Rotherham, South Yorkshire. S60 5AN Competitions Galore! Carole Baldock's Competitions Bulletin With prize money up to £100,000 in each issue and costing only £2.50 per copy, the Competitions Bulletin has to be one of the bargains of the creative writing world. The bulletin is the only magazine of its kind, listing current UK writing competitions and providing essential and up-to-date information for entrants and organisers. Containing 50+ competitions for poetry, around 40 for short stories plus anthologies, novels, playwriting and non-fiction the bulletin is packed with opportunities. It also highlights competitions to encourage young writers and includes an increasing number of opportunities from abroad. Overseas contests often welcome UK entrants so this is yet another way for writers to distribute their work and possibly get published. The Competition Bulletin is produced bi-monthly, the next issue will be out in May, and costs £2.50 per issue. It is possible to subscribe to as many issues as you wish. To subscribe please send your details to: Carole Baldock Competition Bulletin (SP) 17 Greenhow Avenue, West Kirby, Wirril, CH48 5EL Telephone: (0151) 625 1446 Email: carolebaldock@hotmail.com As an introduction to another of our 'occasional features' Carole Baldock will feature, together with Matt Clegg, in our first 'Wordburst' feature where two people with very different opinions face head on to fight for their corner. There's probably no right or wrong but it'll be fun watching the sweat splash the page as opinions jostle for position. We are always happy to receive feedback so this may be your opportunity to agree or disagree or perhaps you would like to suggest a subject for a future 'Wordburst' feature. If you would, then please contact us at the usual address, details on the back page. WORDBURST! Carole Baldock For Competitions Matt Clegg Against Competitions Carole Baldock Carole lives in West Kirkby, The Wirral and runs the 'Competitions Bulletin'. As well as being a poet she has also published a number of books on writing and education and has had her work included in many magazines. Competitions? Why waste time, energy and good work when you are up against hundreds, maybe thousands of others? Much better idea to submit something to a magazine. Well, the odds there, I'm afraid, are just as high - many Editors receive around 1000 submissions a month. Every month. What competition receives anywhere near that amount? OK, there is a level playing field in that if around 50% of entries are disqualified, editors must reject the same number of submissions. Probably more since space in a magazine is as limited as prizes and commendations in competitions. Then there's the problem of having work tied up for weeks on end, though competition organisers usually state when results are due; and certainly have the advantage over editors, with not entering into correspondence. Small wonder sometimes that editors do not show anywhere near as much consideration, and are likely to hang on to your writing for ages before it finally puts in an appearance. Assuming they deign to answer the original letter in less than six months. Record so far, I am told (and no, it wasn't me): 4 years. But at least magazines do not rip you off, even when reduced to appealing for support, i.e. readers putting their money where their mouth is and coughing up subs. There are some dodgy competitions around, on a par with Vanity Press, where winning authors appear in a dubious looking anthology alongside millions of others, and pay a whopping amount for the privilege. But competitions do have one hefty advantage over magazines. Well, two: fame and fortune. Publication rarely earns the average writer the kudos that a big prize brings, nor quite as much publicity. Even rarer, any kind of monetary remuneration for being published. No, of course you are not in it for the money; most writers cling grimly to the daytime job, and winning a prestigious award is not a cast iron guarantee of success. It just helps quite a lot. Perhaps it is more useful to dwell on things competitions and magazines have in common. For a start, there are probably around the same possibilities each year, maybe 4-500 at a guess, though obviously not all will be suitable for every individual. Then you have the role of the Editor, i.e. to act as judge. Which means win some, lose some, and all writers, and I do mean all, have to deal with rejection. And that brings us to the most important thing, wherever you are submitting work: the vital necessity of reading and inwardly digesting and strictly adhering to - the rules. Guidelines, as far as Editors are concerned; ignore them and you never will get into a magazine's good books. Oh, the thrill of popping something into the post-box, completely convinced it's a winner, competition or magazine! But rules is rules, and unless you stick to them, you may just as well chuck said envelope straight into the bin. Thanks to Carole Baldock Part 2 Matt Clegg Against Competitions Matt Clegg Matthew lives in Sheffield and works in Nottingham as the Literature Officer for The Arts Council - East Midlands. Matthew is also a poet and has had a collection of his work published as well as being featured in many anthologies. Poetry competitions are almost as popular with poets as the National Lottery is with Jo Public. Firstly, they appear to be wonderfully democratic. Josephine Blarney-Bloggs can enter on a level playing field with Sean O'Brien, providing she includes her entry fee. We British love the idea of little competitions and anyone struggling to make a reputation for themselves on the long and lonely road to a first poetry collection will want to win a competition or two to bolster the CV. Anyone working in literature development whose budget is limited will be aware of how straightforward it is to set up a competition in order to find 'the best new poets'. Set the rules, advertise it, pay a couple of 'best old poets' to judge it and wait for the entries to come flooding in. Everyone's happy. Not me, though. I'm not saying I'm bitterly unhappy. I'm just going to say that I'm not excited about the idea of another poetry competition for reasons that feel quite rational to me and not merely sour grapes. Firstly, I'm not convinced they are that democratic. The idea that 1000 people pay money so three people can benefit does not embody the spirit of democracy to me. Ok, so let's say they provide an opportunity for the cream to rise to the surface and we all could benefit from getting a mouthful of that cream. Well, what we often seem to get is not cream, but skimmed, pasteurised milk. The poem that 4 people disliked the least rather than the one that anyone really loved. Please, can some wise old pro put me in my place for saying that panel decisions tend towards compromise? And does that cash prize actually do anything for the winner as a poet? Ok, the money will come in handy, but does it get the poet or, more importantly, the poem a wider audience? Often not. The poem is long forgotten when poet is still citing the prize for the blurb of their next 'new writer' appearance at their local festival. No, wouldn't all this money be better channelled into the journals so that poets could get decent rates for the poems they sell and the poems could get readers? Oh, but poetry competitions are all about writing and winning aren't they? Who wants to actually read anyone else's work? Please try this for an experiment at home. Take 'The Intimations Ode', 'Ode to a Nightingale' and 'Ode to the West Wind'. Now, try ranking them in order of greatness for the Best Romantic Ode Competition. Daft, isn't it? Yes, it's one thing to try and separate bad poems from good poems, but saying why one good (never mind great) poem is better than another breeds more bad habits that good, if you ask me. But then I went to school at a funny time when the good boys and girls were told that art wasn't a competition. Anyway, the poems listed above would probably be disqualified on the ground of being too long. Personally, I think there are too many neat, lyric poems under 40 lines in the world right now. No, I take that back. I'm being glib and making broad sweeping statements about something huge and profoundly subjective. It must be all this talk of poetry competitions. Thanks to Matthew Clegg LISTINGS OF LIVE EVENTS In April / May 2005 April Sunday 10th April Waterstone's Sunday Reading Group The reading selection will be "Reading Lolita in Tehran - Azar Nafisi Waterstone's Bookshop, Orchard Square. Free. 2.00 pm start. Tel: 0114 2728 971 Tuesday 12th April Antics Upstairs @ The Red Deer Informal evening of spoken words - story telling, poetry, fairy tales and beautiful lies. The Red Deer, 18 Pitt Street, Sheffield. 8.00 for 9.00 start. Tel: 0114 258 7270 Wednesday 13th April *New* Writing Practice Group New writing group led by River Wolton. Signposts Office, 48 Furnival Gate, Sheffield. 7.40 - 9.40 pm To book or for more details: Tel: 0114 266 8133 Thursday 14 April Open Space Thomas Leeb will be performing in a special concert for Open Space (http://open-space.org.uk/news/) Coffee Revolution, Sheffield University Students' Union 7.30pm. £4 on the door Tuesday 19th April Burngreave Open Mic Session Singers, rappers, storytellers, comedians & musicians The Furnival, Verdon Street, Burngreave . Free 6.30 - 8.30 Tel : 0114 221 1892 v.turner@sheffieldartsed.org.uk ___ In May Tuesday 3rd May The Sticky Bun Writers Club Poet Ian Pople will read from his recent collection "An Occasional Lean-To." F.O.B., Church Street. Free. 7.30 pm start. 0114 2366 225 Sunday 8th May Waterstone's Sunday Reading Group Please telephone for details Waterstone's Bookshop, Orchard Square. Free. 2.00 pm start. Tel: 0114 2728 971 Monday 9th May Burngreave Open Mic Session Singers, rappers, storytellers, comedians & musicians The Furnival, Burngreave 6.30 - 8.30 Tel: 0114 221 1892 v.turner@sheffieldartsed.org.uk Tuesday 10th May Antics Upstairs @ The Red Deer Informal evening of spoken words - story telling, poetry, fairy tales and beautiful lies. The Red Deer, 18 Pitt Street, Sheffield. 8.00 for 9.00 start. Tel: 0114 258 7270 Wednesday 11th May Writing Practice Group New writing group led by River Wolton. Signposts Office, 48 Furnival Gate, Sheffield. 7.40 - 9.40 pm To book or for more details: Tel: 0114 266 8133 __ In June Tuesday 7th June The Sticky Bun Writers Club Elizabeth Barrett & Ann Atkinson -present a special Staple Magazine event F.O.B., Church Street. Free. 7.30 pm start. 0114 2366 225 Wednesday 8th June Writing Practice Group New writing group led by River Wolton. Signposts Office, 48 Furnival Gate, Sheffield. 7.40 - 9.40 pm To book or for more details: Tel: 0114 266 8133 If you have any events that you would like us to promote via the Inky listings then please email the details to: signposts@lineone.net or post the details to the Signposts address. SHEFFIELD WRITERS RESOURCE CENTRE For information and advice Wednesdays 5pm - 7.30pm The Main Lending Library Surrey St, Sheffield, S1 For more info - 0114 2734711 (Sheffield Central Library) To be included on The Inky's Listings - Phone 0114 2634787 Email: signposts@lineone.net The Inky acknowledges support from: _________________________________________________________ The Inky is put together by Matt Black & Geoff Briggs The Inky is a Signposts Project. www.signpostsonline.org Please send contributions for the next issue to: The Inky SIGNPOSTS 4th Floor Furnival House, 48 Furnival Gate, Sheffield, S1 4QP, UK Phone Geoff on 0114 2634787 or email Signposts@lineone.net