Tuesday, 4 April 2017

Darcus Howe (1943-2017): The Mighty Lion & His Legacy

A trailblazing activist, writer and broadcaster is remembered by Madeline Heneghan
All at Writing on the Wall are sad to hear of the unexpected death of activist, journalist and broadcaster Darcus Howe. Darcus was a guest of the Festival over several years and it was a great privilege to get to know personally a man who was a political hero from my teenage years. 

Darcus delivered one of the Festival’s most successful and memorable ‘Rebel Rants’. In it he examined the persistence of racism, despite gains made by Britain’s black communities in the period following the case of Stephen Lawrence, the teenager murdered by Nazis in South East London in 1993. For all the massive national campaign in response to that outrage and to the police’s failure to act against the killers, and the very critical Macpherson Report that was eventually produced, his case was that institutional racism still plagued the police force and wider society.
He charted the return of police stop and search tactics, the drift of young black men into violence in the absence of opportunities, the increasing hostility towards immigrants and the rise of Islamophobia. This summed up the man. He was angry and defiant, but also enthusiastically analytical.
Veteran Anti-Racist
Darcus’ lived experiences as a veteran anti-racist campaigner made him the perfect community militant; from his arrest in defence of the Mangrove café in Notting Hill in 1970, his leadership of the 20,000 Black People's March that followed the murder of 13 young people in a racist arson attack in New Cross in 1981, to his explanation of the anger felt by young black people expressed in the 2011 inner city disturbances.
But he was also a sharp political thinker, mentored from an early age by his uncle the great Trinidadian Marxist CLR James. Whether speaking for The Race Today collective, writing his columns in The Voice and The New Statesman or fronting up ground-breaking TV shows like the Bandung File and later White Tribe, he communicated his militant ideas to millions.  Nobody would agree with everything he said, but he was always insightful and always fiercely passionate.
His 2011 appearance on BBC commenting on the riots was a recent reminder of the man's defiant spirit. The BBC had to apologise after he took apart a hostile presenter. Again and again he stood firm against official intimidation and racism, and he was throughout his life a stalwart defender of black and working class youth.
In 1969 Darcus was central to events around the Mangrove café in Notting Hill which culminated in a much-celebrated victory for the black power movement over the police. Following repeated police drug raids on the Mangrove café, a centre of black community organising (in which nothing was ever found) the community protested. During clashes with the police nine people including Darcus were arrested and charged with rioting and affray.  After a high-profile campaign and a vigorous political defence, The Mangrove Nine were acquitted.  There is a famous picture from that time of Darcus addressing a demo before it moved off. 
In 2010 at the funeral of Frank Crichlow, also one the Mangrove Nine and lifelong activist, Darcus, not long recovered from prostate cancer, climbed up on a car and addressed the mourners from the same corner in Notting Hill.
Flair
Throughout his life he defended the community with fearless passion. He was there when thousands beat the Nazi National Front off the streets of Lewisham in 1977, and promptly became a supporter of the Anti-Nazi League, which emerged from that victory.  As well as being an inspirational speaker he was clearly a great organiser, playing a key role in the huge Black People’s March that followed the New Cross arson attack in 1981.
Darcus loved to be with his community and after the events that we were involved in together in Liverpool and Birmingham we sat late into the night chatting, reminiscing and challenging those that had attended.
In the words of his friend the dub poet Linton Kwesi Johnson, he was a ‘Mighty Lion’. He will be terribly missed but the most important thing is that his legacy is carried forward. We need his combination of fighting spirit, inquiring mind, implacable will and organising flair now more than ever.

Tuesday, 21 March 2017

#Revolution with John Rees

John Rees is a political writer, activist and broadcaster for publications including Counterfire. He has also written  The Leveller Revolution, revolutionaries who grew out of the battlefields of the Civil War in 1642. Join John who will be at Revolution! with author China Miéville and cartoonist Kate Evans. 


What does revolution mean to you?
Well I think it means that there is a total transformation in society when oppression and exploitation which has marked and defaced a society are bought to an end, that’s there’s a complete transformation in the democratic structure of society and in the social and economic order so that people control their own lives, not just once every five years at the ballot box but they control their working environment, they control their environmental condition of their society, that they have complete democratic control over their lives.

Do you think there is a still a need for revolution in today’s world?
Yes, I do because I support every partial movement for a change, any improvement, any reform that working people can get, I’m definitely in the fight to get that. But I don’t think an amount of small pieced changes can transform society completely because they are taken away when they are achieved so I think there’s a still a need for a movement to transform society as a whole. All that we have just lived through in 2010 and 2011 were the great international waves of revolution in the Arab worlds. I still think it’s a political reality and a political necessity in the modern world.

What was the important thing in your opinion that you have protested for or against?
The largest demonstration that I was part of was the national demonstration in London on 15th February 2003 against the Iraq War which was the biggest demonstration in British political history that was part of a global movement – the biggest ever globally co-ordinated series of demonstrations in history. I think that was a very important issue. I think those protests had long term effects in terms of changing the political culture and attitudes in this country towards war intervention so I think that was very important. I was also a participant in the Egyptian revolution of 2011. I was in Tahrir Square for nine out of the eighteen days that bought down the Mubarak regime. I was working with people in Egypt for many years before that revolution broke out so that was a very important experience in modern revolution that I was part of.


What were the experiences like being part of a protest?
Over the years I was involved in the Solidarity movement with the miners and the anti-poll tax campaign and as I’ve said with the Egyptian revolution and with the Anti-War movement and what binds them all together is ordinary people organising themselves and begin to use that organisation to try and change society. Even before they have achieved anything, there is a sense of liberation and potential power. Most of the time in society, people spend their time in an atomised condition – they live at home with families and go to work, they do what they are told to do when they are told to do it in the time they are meant to do it. They get paid what they are told they are going to paid at the end of the day. Then they have to pay what they are told they are going to pay to buy back the things they have produced. It’s a dis-empowering experience. When they are left on their own it’s an oppressive experience. When the organised collective is acting together it is a liberating experience. I would say that from the smallest kind through to the Egyptian revolution that sensation is there – obviously the bigger the movement, the stronger and the more powerful it is. I would say that is the thread that runs through it all.

Is there any advice you would give to young people who feel dis-empowered by today’s political world?
Get organised. The system wants you to feel disempowered. It wants you to feel atomised and unable to change things. That’s how it continues. Don’t give into that situation. There is an antidote to that feeling which is collective organisation. Working people don’t have money, they don’t have guns, they don’t have political power, they don’t have control of the media but we do have numbers and we do have organisation and even the numbers aren’t any good unless we don’t have organisation and that is the lesson of generations of radicals. So if you aren’t in a union, get in a union, it is the basic defence mechanism for working people. If you aren’t part of a campaign to change something, then you should join one. If you aren’t in a political organisation you should join one because that is the way in which change happens. There is no other effective way for working people to make a difference in the world around them.


Thank you so much for your time. Looking forward to see you talk further on these topics on 3rd May.

Get your tickets here  for Revolution on 3rd May! 

Friday, 10 March 2017

A Conversation with Kate Evans

Join the radical discussion on 3rd May, along with authors John Rees and China Miéville.
Check out our other events here for #WoWFest17

Kate Evans is an artist, cartoonist, writer, activist and a mother. We sat down with her on International Woman's Day to discuss her recent book, Red Rosa: A Graphic Biography of Rosa Luxemburg and her other works.
Kate: I prefer phone interviews ‘cause email interviews actually take longer, cause there’s a big long load of questions and 45 minutes later you’re still typing. But this is good because I can tidy my studio at the same time.

Describe a day in the life of Kate Evans, artist, cartoonist, writer, activist and mother.
[Laughs] I don’t know where the activism comes in on a daily basis.

Does it come through your art?
I try and be in touch with actual activism, like at the moment we’re planning the construction of some secret surprise for when Trump comes to town, an art based secret surprise, nothing too subversive. But, to be honest, mainly life revolves around the school run.

Oh really?
Well that’s how the day revolves: getting the kids to school; getting the kids from school. It doesn’t seem very activist-y anymore, much more suburban housewife really.

I love that though. It really inspires me how you’re able to create your own art and have a family life as well.
I always had assumed that the point you have children you stop doing your own thing or be your own thing. I am in a partnership with someone who is – I don’t think the word should be supportive when it’s their kids too. I am in an equal partnership with someone else, that obviously makes it more possible for me.
I do have to remember that I am creating actual human beings who will be future members of the society, active in their own way and so that in itself is a creative and important act. Actually, I’ve learnt a hell of a lot more about politics and about conflict resolution and about co-operation as a parent than back in the days when I lived in a tree.

That’s so great to hear.
Only by learning it the hard way, because everything I did was wrong.

How do you mean?
Childhood discipline and how we relate to and support mothers with new babies is a hugely political issue and it’s one that polarises people in quite predictable ways. Most aspects of your life you can apply a Marxian/Hegelian Dialectic and I’m hoping for a huge leap forward, a synthesis, in the way that we support mothers and babies and we can get around some of the particularly boring parenting lifestyle divisions and find new way of supporting mums to be able to support the new generation.

Is that why you decided to create a choose-your-own-adventure book for pregnancy and motherhood?
Yes! I’m talking about attachment parenting. My first book, The Food of Love, is one that explains how to make breastfeeding work but more than that, it explains that it’s hard because there’s more than one way of parenting right. People are stuck in this “my way is good, your way is bad” dualism and I was trying to overcome that by writing something that is genuinely non-judgemental and supportive, but at the same time promoting attachment parenting and people having responsive parenting with their children. Those two are not always the same thing because not every child will respond the same way.

Bump: How to Make, Grow and Birth a Baby is specifically around pregnancy and birth, so I was
trying to explore all the different, unexplored areas of pregnancy like the way it makes you feel, how pregnancy isn’t at all the way women are told it is, the ambiguity people make have about being pregnant. Mine is the only book on the market that mentions that you may not be happy to get pregnant, which is a fundamental part of people’s experience. It’s just stunning that it’s not in there, that you can’t have a pregnancy book that even mentions abortion or miscarriage in a meaningful way.
The politics in Bump are about interventions in births and about how few of them are evidence based or supported and that’s shocking. It was a real eye-opener. I didn’t know at the point I started the research that there is so much evidence that is so unequivocal for things like continuous foetal monitoring, which doesn’t improve the outcome for mothers and babies so why is it being done? That’s quite stunning really, the medicalisation of birth.
I was speaking to someone yesterday and she said that at the point she gave birth, in the stirrups and partly anaesthetised, she said she remembered her mother’s story of her birth and she thought “how have I ended up in the same situation as my mother did?” Now I’m not saying an assisted birth was not right for that baby, but it’s the fact that she didn’t feel like it’s a decision she’d arrived at. She didn’t feel empowered in that situation. It’s only becoming for political with the privatisation of the NHS which is shutting down independent midwives.

I think that’s heartbreaking. The privatisation of the NHS affects everyone: pregnant women, the young, the elderly.
You don’t know what you’ve got ‘til it’s gone.

Exactly. WoW Fest’s first event is a Mayday parade and rally through the streets of Liverpool protesting the fact that there has been cuts and there are so many services that have been axed. What was the most important thing you have protested about in your opinion?
That’s an interesting question. Oh god, it’s been a while. I didn’t even make it to the NHS march at the weekend, it’s that bad. I suppose my involvement in Climate Camp which was a while ago, we’re talking 10 years ago, but anything that covers climate change which is really at the heart of the issue.
There are a lot of ways of being active. Every time you make connections, create community and get involved on a local level, you’re also changing the world as well as when you’re hanging banners and throwing yourself in front of bulldozers. Everything I’ve ever got arrested for or shouted on the streets for is still happening. I’m now at a point in my life where I can say “well, I told them not to do that 20 years ago, but did they listen?”

Do you think there’s still need to protest?
Hang on. Let’s look out the window and have a look at the storms and the droughts and floods. The world hasn’t got any better in my adult lifetime. The same issues are still at the forefront, only more so. We’re seeing more inequality of wealth. Recently I was involved with refugees and that’s super important. I don’t know why I thought I hadn’t been involved with any activism recently. I took a trip to The Jungle and wrote a cartoon book about it. It’s quite a big thing. Now I’m trying to get involved with refugee support within the UK because that’s so important and a lot more compatible with raising a family at the same time.

I read Threads, the cartoon you did about The Jungle that you published through crowdfunding.
That’s the first blog post. I crowdfunded a print run of 15,000 copies of that: 12,000 went out to be sold for refugee support, but I don’t know what happened to the other 3,000 copies. I must still have a box of them upstairs. Hopefully, that will have raised up to £24,000 for refugee action, but I have no way of knowing. That’s up to 70% off. I went back to The Jungle two more times after that, then I came back and wrote a book – well, it kind of wrote itself – and I got a book deal and I spend from March, exactly a year ago, to New Year’s Eve at my desk drawing. I finished that book and it’s going to be printed next week. That’s going to be out on 3rd June.

Did you find that experience harrowing in any way?
Massively! It was extremely traumatising. But it’s not you it’s happening to, it’s the individuals and the families that you meet. Their stuck in this horrendous situation and you can’t do the one thing which they actually require, which is to get them over to the UK so they can be reunited with their relatives, or to start their life in the way they want to with their perfectly valid asylum claim because they’ve been working for the British army and that’s why they were targeted in the first place. You can’t do the thing that they need so you feel so helpless.
That’s the one good thing about doing the comics, is that you come back and someone asks what it was like and you can’t begin to tell them because you’ve witnessed these people going through the emotional mangle and coming out the other side. But by drawing the comic you can make it accessible and believable. It’s like when someone makes a film about it, or that series of refugees filming their own journeys which was very moving and personal, but I couldn’t go over to the Jungle and make a film. That would be intrusive and unpleasant.
I can reconstruct my own memories. There was a point where we were filming the British Border Police assaulting this young lad, dragging him off at the ferry port in Dunkirk, and they made me delete the images off my phone. But that’s okay, because I have another way of capturing those images, they can’t delete it off my eyeballs. You can make me delete the photos but the images are still going to get out there.

Last question, our theme for this year is revolution so what does revolution means to you?
In my work on Rosa Luxemburg and the representations I was making of the German revolution, there is the classic socialist ideal of “we rise, we seize power, and we get massively confused and betrayed by our own side.” I got a new appreciation of socialism through working on it because I haven’t ever realised the scale and the ambition of the socialist project and that was an eye-opener and enlivening that people did as much as they did.
Luxemburg had an interesting take on revolution and how fundamentally democratic she was about it. She said “history is not making things easy for us. A bourgeois revolution could simply overthrow the official power and replace it with a couple of new men. We must work from the bottom to the top. We can only come to power with the clear and explicit will of the great majority of the politarian masses. Who knows how long that will take?”
I love her. She wasn’t about dictatorship or freedom of the press or any of that. She would have been appalled with what happened in the name of revolution, Stalin and all of that. I think the key to creating social change is creating community and probably, to go back to the midwifery, the key to that is continuity of care. What I would like to see is the social structure in society which changed the way our housing is supplied create genuine communities and change the way care is provided and schooling is delivered so that we actually get to know people, and get to know them well. If that were to happen, I think we’d have a much more resilient society. That would be the revolution I would like to see. Obviously no one is President of the World yet, so we haven’t been able to put this into practice, but I think it’s a clearer, more positive and more achievable idea than the idea that we kick out the rich people, the poor people become rich and it’s all okay. That’s my idea of revolution and it means I can start it in the school playground.

Check out our other events here for #WoWFest17 

Tuesday, 7 March 2017

"What I learnt at Writing on the Wall" - Chloe

Taken during Chloe's (right) first week, taken with Rachael (left), one of our interns. 

Hello,                                                                                                                                                 
My name is Chloe, I am from Hillside High School, I am in Year 10 and I am doing my work experience at Writing on the Wall. I had chosen this place myself however I had asked my school to help me get the details. I have chosen to do my work experience here because I was thinking about wanting to be a script writer when I am older.  I was thinking of becoming a script writer when I am older because I like to write different types of stories and role plays.

I am interested going to college, studying media or photography and just work on my skills. After college, I want to go to university or even a media or photography school. I like the thought of being a photographer (if I don’t end up wanting to become a writer), because I like to take pictures and then work on the photo, add more detail and filters to make it look better. I wanted to try and get an experience from Writing on the Wall to show me what it is like in a writing company and see if it’s still one of my ideas for what I would like to do when I am older.

During my work experience I had to read through the Pulp Idol on the Writing on the Wall website so then I could write an email to Waterstones in Liverpool. I had to check if they have Pulp Idol First 2017 and If they had any interests/sales also mentioned about we would have liked to help promote the book. 

Another thing I had to do at my time at Writing on the Wall was work on a project with Liverpool Mental Health Consortium: ‘Finding Some Way through A City of Mind’. Firstly, I had to read through the material then create a tweet of an advertising soundscape and asking if anyone wanted to listen to it.


Overall my time at Writing on the Wall has been good, I now have experience working in an office. I have also seen how the staff organise their work and create different events.

Monday, 6 March 2017

Lucy's #Revolution



Lucy, one of our interns at Writing on the Wall, discusses what revolution means to her. 

Revolution to me is unity. It’s millions of people across the globe taking to the streets to fight for our rights. It’s speaking out and adding to the conversation about politics, our environment and health. It’s not sitting back and saying “little old me isn’t going to change anything.”

The Women’s March in January 2017 is a perfect example. It’s so inspirational to see streets across the globe covered in strong, independent women (and men!) of every colour, shape, religion, age, sexuality and socioeconomic status, who once again said “enough is enough.”

There has never been a greater time for a revolution, saying “Don’t worry about it, it’ll all be fine” just doesn’t cut it anymore when parliamentary action is causing hurt, anger and possibly danger to those across the country.

Right now at the height of a divided world, the society I hope for feels like a million miles away.  However, we must continue to speak out on what we believe in and use our voices to fight for the rights of those unrepresented individuals who do not have the capacity to do so for themselves. 

Take a look at our #Revolution

Thursday, 2 March 2017

Ten Years on the Parish, George Garrett



For World Book Day I’m celebrating a book that will finally see the light of day eighty-one years since it was first written, written by someone I’ve been fascinated by since discovering his work and setting up the project to protect and preserve his legacy. Ten Years On The Parish, by George Garrett will be published on the 1st May 2017 by Liverpool University Press, following Writing on the Wall’s four year George Garrett Archive project, which has collected, collated and preserved Garrett’s work for future readers, which began after two suitcases of his memorabilia, including original writing, was presented to us by his family.
Garrett was an extraordinary figure, one of the giants of Liverpool’s literary, cultural and radical history. Yet his legacy up until a few years ago was almost forgotten. Given his radical outlook and activities, as well as the high quality of his literary output, it’s prescient at this time of political and social turmoil that we will be bringing out his autobiography, and coordinating a series of events to continue to revive and celebrate his legacy.
       Garrett was born in Seacombe in 1896, but grew up among the slum, dockland areas of Park Road, just a stone’s throw away from where Writing on the Wall’s office is based in Toxteth. At the age of seventeen he stowed away on a tramp ship and ran away to sea. What followed was an adventure worthy of any ‘boy’s own story’; a year tramping round Argentina; signing up as a stoker in the engine rooms of ships at the beginning of WW1; torpedoed twice, captured by the Germans, held prisoner of war and interned in Argentina, from where escaped to return to sea to serve throughout the war. He married Grace in 1918 (their marriage lasted until his death 1966 and they had seven sons), then spent a year unemployed before going to America because there was work and better pay on their ships. Whilst in America he took part in the big strikes around the White Star liner The Baltic, but returned to Liverpool because he couldn’t get Grace through customs. Between 1921 and 1922 he led the unemployed struggle of ex-servicemen who couldn’t find work, which included massive demonstrations that brought Liverpool city centre to a standstill, and resulted in his arrest after the Walker Art Gallery riots, which were precipitated by an attack on horseback by the local police. In 1922 he led the Liverpool contingent of the First Hunger March to London. Garrett was one of the speakers at the mass demonstration in Trafalgar Square. ‘We don’t want to come here and…’ he said. And although the Tory Party leader Bonar Law refused to meet them, the march and the movement extracted reforms and led to the creation of a universal benefits system, which meant parity across the country rather than the locally decided payouts of the ‘Parish Councils’.
In 1923 Garrett returned to America and stayed there until he left under threat of deportation in 1926. During his second spell in New York, working part-time to fund himself as a writer, he wrote two plays to add to the one he had completed in Liverpool, and was in contact with Eugene O’Neill’s Province Town Playhouse. While there is now evidence of his plays being performed, he roomed with jobbing actors and devoted his time to writing. His plays are well-worked, completed manuscripts; working manuscripts he used to send his plays to theatres to read.
But in 1926 the cry, as the country headed towards the great crash of 1929, was ‘jobs for Americans’ (sound familiar?), and he returned home again, his dream of emigrating to America shattered. Upon his return to Liverpool he found there weren’t enough jobs to go around, and so here begins his ‘Ten Years On The Parish’; ten years in which he had little more than five months work, when he and Grace sold even the children’s bedding to survive, and there were often ‘crazy thoughts of murder and suicide’.
But Garrett, although often starving, and fretting for his wife and children, kept himself active and optimistic. He documented the period in sharp reportage and short stories, which were published alongside WH Auden and Stephen Spender, and in 1936 was a founder member of Merseyside Left Theatre, which still exists today as Unity Theatre. He wrote and co-wrote plays and scenes, acted as part of the troupe or in one-man shows across the region.
The Second World War brought relief – an irony as others have pointed out, with Garrett recalled to serve the country that wouldn’t feed him. He signed on the ships again, and then served out the rest of the war as a watchman on the Bootle Docks, one of the major targets at the height of the blitz.
Still busy, though less publicly active following the war, he maintained his involvement with Unity Theatre until the late 1950s, and continued his fight as part of the Seaman’s Vigilance Committee to reform his beloved National Union of Seamen.
He died at the age of seventy, not long after speaking at the first official national seamen’s strike in 1966.
Ten Years On The Parish, and the accompanying letters between Garrett and his editor John Lehmann should be taught on Liverpool school curriculums. There is little better that gives a clear history of working class people in the early parts of the twentieth century. Garrett doesn’t deal with misty eyed ‘poor but happy’ tales of poverty; his is an honest, often humorous eye-level account of what it’s actually like for those living on the bottom line. The difference here is Garrett’s persistent attempts to combat, undermine, and particularly through his advocacy on behalf of others in the same boat, or often worse of than him, push back against a system he understood to be cruel and unfair.
Like any writer, Garrett mined some of his own ‘real-life’ material in Ten Years On The Parish and used it creatively. The Hunger March and Liverpool 1921-22 were both published separately as reportage, and his short story The Pianist is based on events recounted in his autobiography. But it is as a complete work that Ten years On The Parish comes alive.
Encouraged by George Orwell and his editor John Lehmann to write his autobiography, the ‘fashion’ of the day was the lives of the unemployed, and Garrett wanted to write something that really showed the reality of what it was like living ‘on the parish’. Therefore he either skims over or leaves out entirely some of the areas unique to him alone, particularly the time he spent in America. As frustrating as this is for our research, it doesn’t take away from On The Parish itself; it leave us hungry for more, and myself and the other editors Tony Wailey and Andrew Davies have taken the time in the introductions to On The Parish and the letters between Garrett and Lehmann to fill in as much as we could about Garrett’s time in America and how that influenced his outlook on life generally.
Garrett Garrett lived a life like few others; although Liverpool was home to thousands of seamen, and some too who wrote about their lives and about the experiences of being unemployed, Garrett’s uniqueness lies in the combination of his talents, experiences, interests and activities; a syndicalist and lifelong member of the American Industrial Workers of the World, which preached unity rather than the sectarianism of the popular Communist Party, a writer, dramatist, actor, stoker, activist, advocate, and almost universally respected within the trades union and political movement, and much loved husband, father and grandfather.
There is much in Garrett’s life and work that tells us about the stifling, demoralising effect upon the individual of unemployment, and subsequently the effect upon society; while writing Ten Years On The Parish Garrett was also touring the region with Merseyside Left Theatre with their plays about the Spanish Civil War and the dangers of fascism spreading across Europe. They chalked walls with the warning, ‘Madrid Today – Merseyside Tomorrow’. How right they were. Garrett could teach us a lot; the lessons are all ours to learn.

Mike Morris, Co-Director Writing on the Wall.

Ten Years On The Parish, the Life and Letters of George Garrett, will be published by Liverpool University press on Monday 1st May. The book will be launched as part of a Mayday Parade in Liverpool, and available form all bookshops and online outlets.


Tuesday, 28 June 2016

Mental Health & Me is back!


Writing on the Wall and the Liverpool Mental Health Consortium are proud to announce that Mental Health and Me is back for the third year running with 2016 bringing a fresh new twist to this ground breaking writing competition. Faces, Places and Spaces is the theme for 2016. The competition is open to anyone who has an experience or interest in mental health, whether this is based on a true story or entirely fictionalised. If you have an interest in mental health and you’d like an opportunity to become a published writer, this is your chance!
 
Competition Deadline: 5pm, 1st September 2016