Two poetry events on the same evening in Cape Town was a tough call for poetry lovers in the city. While Finuala Dowling read at Kalk Bay Books in the final Off the Wall event of the year (to a large audience, said Hugh Hodge) the launch of Gus Ferguson’s Holding Pattern filled The Book Lounge at its last launch of the year. Visitors came from Holland, Israel and Canada and notable poets in the audience included Karen Press, Antjie Krog and Ingrid de Kok.
Lounger in Chief Mervyn Sloman shared an account of a pharmacist friend of his shop who is disgruntled about the disproportionate number of poetry events they host. The woman, who views endeavours poetic as a waste of time, was upset to discover that the pharmacist that she most respected as a model to her profession was also a poet on the side. “Can we make sure,” asked Sloman, “that any pharmacists in the audience will not see tonight as an attempt to bring their profession into disrepute?”
He said he had the utmost respect and love for the poet. “Everybody who knows Gus, knows how much he has done for South African poetry and how much help he gives other poets. That is reflected in the amazing affection that is present in the room tonight.” He handed over to Imraan Coovadia, who introduced the poet.
Two videos summarize the proceedings:
Video: Imraan Coovadia introduced Gus Ferguson at the launch of Holding Pattern
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Video: Gus Ferguson reads from Holding Pattern
To prove that talent is transported along the gene pool, Gus’ son, Lonesome Dave Ferguson, entertained the crowd with his one-man, mulit-harmonica display of genius. There’s a reason he’s called “Lonesome”. Immediately, before the audience, he mixed a backing sound track, a “holding pattern” of his own. (View a video of Lonesome Dave Ferguson at the Waiting Room.)
The operation of the graphic equalizers on his pedal board resembled the fancy footwork of Barry Smith at the St. George Cathedral organ. Next he improvised a range of percussion sounds using his substantial beat boxing skills to expand the soundscape, looping tracks with his technological wizardry. His raft of harmonicas wove layer upon layer of rich tones for a chordal foundation. Onto this background texture, he sung and played, improvising bluesy melodies on his instruments. One in particular, “the howling wolf” harmonica, gave a throaty poetry that provided an enchantment all of its own.
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