Monthly Archives: May 2016

Meet the Kit de Waal scholar: Stephen Morrison-Burke

This post was contributed by Andrew Youngson, media and publicity officer in Birkbeck External Relations.

During Arts Week, former Birmingham poet laureate Stephen Morrison-Burke, was announced as the inaugural recipient of the Kit de Waal scholarship – a creative writing scholarship specially designed for budding writers who would not otherwise be able to afford a Master’s degree.

Stephen Morrison-Burke

Stephen Morrison-Burke

A few years ago, Stephen’s motivation to write poetry began to give way to a new writing urge: to write prose. The result is his debut novel, The Purple Sun – a semi-biographical tale inspired by his father’s experiences leaving his Jamaican homeland in the 1970s to begin a new life in the UK. This month, Stephen finished the final draft, an 90,000-word manuscript, which follows two-and-a-half years of writing, primarily in the very early mornings. (For the full story, read the news article here)

At the Arts Week event – the Creative Writing Alumni showcase – Stephen offered his thanks for the opportunity to undertake the MA Creative Writing (part-time) programme over the next two years, then delivered a rousing rendition of a poem of his, called Wishlist.

Here, Stephen talks about the scholarship opportunity, and his relationship with writing.

Hi Stephen. Why did you decide to apply for the Kit de Waal scholarship?

“When you are essentially teaching yourself, there’s a lot you don’t learn about the theoretical elements, such as structure, plot, pace and character development, so I thought the opportunity to go through that with professionals in their fields was something I didn’t want to pass up.”

How did you feel when you were interviewed to interview for the scholarship?

“Instantly I was overjoyed. It was a very tough time for me, and it can be pretty lonely writing by yourself. So when I got that through I can’t remember feeling as relieved as that in a long time. It wasn’t necessarily that I thought I could win, it was just more that I saw an opportunity to showcase what I had been working on for so long.

Why did you decide to write a novel?

“I had no intention of writing a novel, that’s the honest truth. It sounds mad, but I just had these gut feelings that wouldn’t go. And when I started to write, I just felt better, like I was finally doing what I was supposed to be doing. I felt relieved. But it’s strange that at the exact same time as I got these feelings, the poetry stopped.

“I had had my busiest month ever in poetry – I had met the Queen, I had travelled round the country, I’d written and performed a poem for Prince William – but come New Years Eve 2013, everything just stopped, and this novel took priority. Since then, I’ve done bits and pieces with poetry, but really I’ve just focused on this novel.”

Stephen Morrison-Burke performing poetry

Stephen Morrison-Burke performing poetry

Poetry vs prose

“Although they are similar, I have to treat them very different. I have to respect the art form of writing novels. Strangely enough, my poetry is mostly storytelling anyway.”

Why do you choose to write at 4am?

“I’m a nightmare. If the sun’s out, I always end up procrastinating looking at my phone or on the internet. If it’s dark, there’s nothing else I can do, so there’s no other choice but to write.”

Do you get writer’s block?

 “I don’t believe in writer’s block. I always believe I can write something, even if it’s nonsense, or just a short poem or something to plug the gap. But the writing is a slog, it’s hard work. There are no two ways about it. I thought it would be easier than it’s been, but I chip away at it one day at a time, one sentence at a time, one word at a time. I just turn up and make sure I’m writing something.”

Why does writing make you feel better?

“I felt like there was a lot I had to say that I wasn’t saying. There was a lot to get off my chest. I’m quite quiet and introverted, so by not getting it out it felt like it was building up. So when I was writing it was cathartic.

“From the things I had learned and experienced living in a tough part of Birmingham, to then boxing for 10 years of my life, to then all this poetry, there was a lot I wanted to say. I just wasn’t saying anything about that, so it was a relief to write it down. I thought I would only write one book and it would all come out in one go, but now that I’ve written one, I feel I could write another ten.”

How has your style developed over time?

“It’s certainly developed. It’s been a mirror of who I am as a person. I started off a little pretentious maybe, trying to impress. And certainly the poetic influence can make you embellish the writing. But the more I went along, and the more I read the likes of Hemingway, Steinbeck and Amy Hempel, the more I realised it can be straight to the point and not too airy fairy. It’s about trying to see things different to how everybody else does, which is why I’m so fascinated with the perspectives of children.”

What can you say about the background to your novel?

“It’s loosely based on a true story – my dad’s. My dad and I have been working on this together since Day One. He’s the one that said ‘you can do something with this, it’s going to be special’. He would always gee me up and gave me the motivation to see it through. It was just me on my computer, and he gave me the motivation to do something.”

(l-r) Kit de Waal, Stephen Morrison-Burke, MA Creative Writing director Julia Bell

(l-r) Kit de Waal, Stephen Morrison-Burke, MA Creative Writing director Julia Bell

The latter half of the book deals with violence. What can you say about that?

“That topic is not something my Dad would go into. That’s where I had to go into my own feelings. This is where I related back to Dostoyevsky’s Crime and Punishment, and started to be creative. It’s not just violence for violence’s sake. I wanted to understand the mind behind violence, and what would drive someone who’s intelligent to turn to that life.”

Does your poetry background influence your prose writing?

“I feel I’m able to draw on it. I focus on the form of novels and sometimes the poetry will come through. For instance sometimes words come out in rhyme. I have to stop myself, but then at times I find it creates a good rhythm to the sentence when two words rhyme. So I would be very careful and selective about how I use poetry. But there is a very thin line between the two, if a line at all. So I let them wrestle between themselves.”

How does it feel when you are in the writing flow?

“Being in the flow is very rare for me, to be honest. I’d compare writing to how I imagine riding rodeo would feel like. You have to hold on as tight as you can until it throws you off, and that’s the end of your day, when you run out of juice. It could be three hours, or one or seven. You just hold on as tight as you can and afterwards you wait for the next day to come round.”

How did you find the interview for the scholarship with Julia Bell and Kit de Waal

“They gave me a lot of encouragement, the fact that I had got that far. On the day I said to them it was great to hear that I was on the right track with my writing. They said it was brilliant, which was actually the first feedback I had had on the writing. I was so happy to hear that.”

What do you want to get out of the MA Creative Writing programme?

“If I’m honest, I came into this wanting to make some kind of living through writing books. But I don’t put any pressure on the course to deliver that for me. My goal is to make a living out of writing and I know the course will help me, to say the least.”

“I really want to contextualise books. When I read them, there’s no context beyond reading the introduction, so for the lecturers to paint a picture of the times the books were written, and to talk about what was going on at social and political levels, will be really useful. As it is right now, I read a book from first chapter to the last, but with little understanding outside of the words I’ve read. So it will be great to sit down with a professional to discuss the whys and hows.”

Find out more

RELAPSE – Identity: Performing Bodies, Crossing Borders

This post was contributed by artists Vasiliki Antonopoulou, Nikolas Kasinos, Dimitrios Michailidis and Penelope Koliopoulou – members of the RELAPSE collective, whose next exhibit ‘Identity’ will run at the Peltz Gallery Birkbeck School of Arts, 43 Gordon Square, from 28 April to 20 May.

RELAPSE - Identity exhibition at the Peltz

RELAPSE – Identity exhibition at the Peltz

On Thursday 19 May, the RELAPSE collective will hold a special event to coincide with its exhibition at the Peltz Gallery.

The evening, which runs as part of Birkbeck Arts Week 2016, will kick off at 6pm in room G01 in the School of Arts with a lecture by Dr Constantinos Phellas (Professor at University of Nicosia, Cyprus). Dr Phellas will address the identity development among ethnic minority lesbians and gay men, specifically Anglo-Cypriot men residing in London.

He will discuss some of the key cultural concepts and relevant historical factors that may shape the development of gay identity among Anglo-Cypriot men and provide accounts of sexual identity experiences provided by second-generation Cypriot gay men living in London to explore how these men negotiate their Cypriot and gay identities.

This first half of the evening will also include a roundtable. As with the collective’s current exhibition at the Peltz, the roundtable will focus on the concept of identity as constructed and performed through social rituals. How is identity embodied? How can its visceral manifestations be explored through art, to question political, social and religious ideologies of sexuality and the body? All will be discussed by attending speakers.

This event will be followed at 7.30pm in the Peltz Gallery itself with a drinks reception for attendees.

About the event:

Performing Bodies, Crossing Borders

  • Thursday 19 May, 6-7.30pm (followed by drinks reception to 9pm)
  • Room G01
  • Lecture by Prof. Constantinos Phellas and roundtable discussion
  • Event is free but booking essential
  • BOOK HERE

Find out more about the exhibit and RELAPSE in the previous Birkbeck blog article. The exhibition was curated by Dr Gabriel Koureas, and was made possible under the auspices of the Minister of Education and Culture of Cyprus, Dr Costas Kadis.

Open Call

Exhibition reviews

The exhibition team are inviting writers to visit our closing reception and submit their reviews.

Please send us your reviews at submissions@relapse-collective.com with the subject ‘reviews’ after the closing of our exhibition (May 19).

Find out more

Molecules that Walk

This post was contributed by Dr Clare Sansom, senior associate lecturer in the Department of Biological Sciences. Dr Sansom attended Dr Anthony Roberts’s lecture during Birkbeck Science Week 2016.

Molecules

The Department of Biological Science’s contribution to Science week 2016 kicked off on 11 April with a lecture by Dr Anthony Roberts, a young Principal Investigator who arrived at Birkbeck in 2014. Anthony received his B.Sc. from Imperial College in London and his Ph.D. from the University of Leeds, and spent four years as a postdoc at Harvard in the USA before moving here to start his own research group as a Sir Henry Dale Fellow of the Wellcome Trust and Royal Society.

Walking molecules and their importance for human health

Anthony began his lecture by explaining that he was going to talk about molecules that have the capacity to produce directed movement – or to ‘walk’ – and their importance for human health. These molecules are all proteins, and the context in which they move is the interior of living cells. Both the proteins he studies, kinesin and dynein, ‘walk’ on a network of highways conceptually not unlike the transport system that we use to move around London. These cellular highways are filaments called microtubules, which, unlike our roads and railway tracks, are able to self-assemble and also to self-destruct.

The ability to move is one of the fundamental properties of life, and scientists and philosophers have been studying it for millennia. Muscles were identified as the organs of movement in antiquity, but it was not until the mid-twentieth century that the molecules involved in muscle contraction could be identified. The Hungarian physiologist Albert Szent-Györgyi discovered the muscle proteins now named actin and myosin using very simple equipment during the Second World War.

These proteins have similarities with kinesin and dynein, although historically they have been easier to study due to their abundance in muscle; actin forms fibrils and the enzyme myosin binds to and ‘walks’ along these filaments. This process, like all movement, requires energy, and this is obtained from the cell’s power source, the small molecule adenosine triphosphate (ATP). The part of the myosin molecule that binds to actin, which is called its head, breaks a phosphate bond in this molecule to liberate energy and power the walking motion; many of these ‘power strokes’ together cause the muscle fibre to contract.

Snapshots

Dr Anthony RobertsIdeally, we would want to watch this, or any other form of molecular motion, in real time, but this is impossible because molecules are far too small: smaller than the wavelength of light, so they cannot be viewed in a light microscope. Studies of molecular structure require techniques like X-ray crystallography and electron microscopy, both of which have been used to study motor molecules.

However, neither of these techniques can do more than generate still images. Movement can only be inferred by taking lots of snapshots of the molecules at different points during the movement cycle, rather like the earliest movies. We have now built up a complete picture of actin and myosin that is detailed enough for the positions of individual atoms to be seen clearly.

Not all movement in nature, however, uses muscles. Single-celled organisms – the ‘animalcules’ observed by pioneer microscopist Antonie van Leeuwenhoek in the 1670s – have directed movement, as do bacteria, and these have neither muscles nor nervous systems. And directed movement also occurs inside cells. A good example of this is the division of replicated DNA between daughter cells during cell division.

The interior of all cells is a viscous mixture, crowded with molecules; it is possible for small molecules to move from one part of a cell to another through diffusion, but this process would be impossibly slow for larger ones. Motor proteins, on the other hand, can carry ‘cargo’ molecules across cells remarkably quickly and efficiently. Motor proteins can traverse a distance of 0.1 mm – the length of a large animal cell – in two minutes, which in terms of lengths per second is approximately three times faster than a car.

Both the motor proteins studied in Anthony’s lab, kinesin and dynein, ‘walk’ along microtubules inside cells. These filaments typically form with one end towards the centre of the cell, and its nucleus, and the other towards the cell periphery, and the motor proteins move in opposite directions: dynein towards the nucleus, and kinesin towards the cell edge.

Any kind of directed movement by molecules is challenging for several reasons. Motor molecules have no equivalent of our nervous systems for controlling movement, and they are far too small to be held on their tracks by gravity; instead, they grip the microtubules using chemical forces. They experience negligible inertia, and are constantly buffeted by other molecules in the cell. It would therefore be catastrophic for the whole of a walking molecule to leave its path at once.

A single leg with two feet

The structure and function of conventional kinesin are now fairly well understood. It consists of two identical protein chains, and each chain has two major domains separated by a short linker. The larger domain of each chain coils together to form a single long stalk; the smaller domain is globular and attaches to the microtubule, so the molecule looks rather like a single leg with two feet. Each of the feet is an enzyme that generates the energy for the motion by breaking down ATP to form ADP and release a phosphate group, and it cycles between ATP-bound, ADP-bound and empty states.

The step between ADP-bound and empty is a bottleneck that can be relieved when the foot attaches to the microtubule in a particular position, ensuring that the whole molecule moves in the correct direction. The trailing foot is released from the microtubule and the cycle begins again once ATP has bound to the front foot, triggering a conformational change in the whole molecule.

The core of kinesin is similar in structure to myosin, suggesting that these two proteins have a common ancestor. The other microtubule-bound motor protein, dynein, has a different origin. Although we still know comparatively little about it, it was actually the first of the microtubule-bound motor proteins to be discovered: this was in the 1960s, when it was found as the protein that generates the force that allows protozoa and sperm cells to swim. Anthony’s group, however, has been studying how it functions inside cells to move ‘cargo’ – often nucleic acids or other proteins – from the edges of the cell towards its interior. It also helps to pull the duplicated genetic material between the two halves of the cell during cell division.

The structure of Dynein

Dynein

Dynein

Dynein is a much larger and more complex molecule than the other motor proteins. Its structure, like those other proteins, has several components: in this case, a stalk, a ring and a tail, with a linker between the stalk and the ring. Much of what we know about this large structure has come from electron microscopy, and more recently X-ray crystallography.

Anthony’s group and others have developed a model in which the main mechanical element is the linker, which bends and straightens to displace the cargo-bound end of the structure along the microtubule in the direction of travel. The image shown here is a still from an animated model of how dynein generates movement, which remains speculative in places and is helping to stimulate new experiments in these areas. It is also incomplete, as it only shows one half of the molecule: we do know that dynein, like kinesin, is a biped, but exactly how its ‘feet’ are coordinated remains at the frontier of our knowledge.

Anthony ended his talk by discussing some actual and potential medical applications of studies of walking molecules. Some commonly used anti-cancer drugs, including taxol, work by stabilising microtubules to prevent motion and therefore stop cancer cells from dividing. Molecules that interact with motor proteins are also being studied as potential treatments for neurodegenerative diseases and for some types of heart disease. One such compound is a myosin activator, omecamtiv mecarbil, which is showing promise as a treatment for heart failure. And we are likely to discover further applications as we learn more about these fascinating walking molecules.

Find out more

Computational Modelling in Structural Biology

This post was contributed by Dr Clare Sansom, senior associate lecturer in the Department of Biological Sciences. Dr Sansom attended Dr Maya Topf’s lecture on Computational Modelling during Birkbeck Science Week 2016.

Brain computer (copyright Marcos Fernandez via Flickr. Image cropped)

Brain computer (copyright Marcos Fernandez via Flickr. Image cropped)

The Wednesday of Birkbeck Science Week – 13 April – was set aside to celebrate women in science, and it included a talk by Maya Topf of the Department of Biological Sciences. Maya, who was educated in Israel and Oxford, came to Birkbeck on an MRC fellowship after a post-doc at UCSF and has rapidly worked up the academic ladder to the position of reader in computational biology. She will be appointed as a full Professor in October this year.

Maya began by explaining that her research involves making models: specifically, three-dimensional models of biological molecules. Models have enabled scientists to make sense of biological processes since Watson and Crick’s double helical model of DNA showed how this molecule could both replicate itself and act as a template for the synthesis of proteins. This model, celebrated in the film Life Story that was shown earlier in Science Week, would not have been possible without the X-ray photographs of DNA fibres obtained by Rosalind Franklin, then working at King’s College.

The purpose of computational modelling

And the main purpose of modelling molecules is the same now as it was in the 1950s: to discover how they function, and specifically how they function in the environment of the cell. We still have no means of observing what protein molecules – the tiny ‘machines’ that drive all cellular processes – look like when they are at work; all we have is models that may be more or less precise. The very first protein structures to be determined were of the oxygen-carrying proteins myoglobin and haemoglobin, and the first of these, published in 1960, were very imprecise: it was possible to see the shape of the chain but no individual atom positions. These, and all early protein structures, were obtained by X-ray crystallography; ten years later the same group used the same technique to determine a structure in which all atoms except hydrogens could be seen.

DNAThese two proteins have now also been studied using two other structural biology techniques, nuclear magnetic resonance and, most recently, electron microscopy. This last technique is best suited for studying large proteins and complexes of many protein chains, and therefore not suitable for studying most forms of haemoglobin, a small, simple protein. Haemoglobin in earthworms, however, functions as a complex of many individual molecules. Electron microscopy gave a low-resolution picture of the overall shape of these molecules, much like those first haemoglobin structures, and a more precise picture was built up by ‘docking’ atomic-resolution X-ray structures of a single haemoglobin molecule into the shape of the fold.

During the last half-century these three techniques have generated structures for a wide range of proteins, leading to insights in many areas of biochemistry: how the body’s catalysts, the enzymes, work; how drugs bind to their receptors; and how a ‘large’ molecular complex, the ribosome, can synthesise all the proteins that a cell needs from RNA templates. The first atomic structures of this ‘molecular machine’ were obtained in the early 2000s and have transformed our view of protein translation since then (see these videos from the Howard Hughes Medical Institute in the US: basic and more advanced versions).

But, as real proteins are too small to be visible with even the best light microscopes, we need to realise that even these experimental structures are models. Each of the three techniques has its own advantages and limitations. X-ray crystallography needs protein crystals, which can be difficult or even impossible to obtain for particular proteins; electron microscopy cannot be used to study small proteins, but NMR works best with these. All three techniques are complex, time-consuming and expensive, and therefore proteins with known structures are greatly outnumbered by those without structures. There are probably about 43,000 known structures of ‘distinctly different’ proteins known compared to over half a million well-characterised protein sequences.

Bridging the sequence-structure gap

Maya explained that much of her group’s work concerns trying to bridge this ‘sequence-structure gap’ by using computers to model unknown protein structures. There are several ways of doing this; if the computers are powerful enough and the molecule is small enough (and the smallest proteins can be) it is possible to generate a model structure ‘from first principles’ using physics. These techniques assume that the molecules are likely to occupy conformations in which their energy is low. The best results simulate protein folding to produce model structures that can be very close to the experimentally-determined ones, but these require an enormous amount of computational power. Less expensive computer modelling methods tend to rely more on experimental data; Maya collaborates with Helen Saibil in Biological Sciences to fit atomic structures of individual proteins to lower-resolution maps of protein complexes that were generated by electron microscopy. Proteins studied in this way include GroEL, a ‘molecular chaperone’ that forms a chamber that isolates unstructured proteins so that they can fold.

Dr Maya Topf

Dr Maya Topf

Another method of modelling protein structures uses evolution, and relies on the fact that there are remarkably few different basic protein structures – each of the 43,000 known protein structures takes up one of only about 1,000 different folds. Just as all birds have the same basic pattern, with two legs and two wings, all proteins with a particular function will usually have a similar fold. It is therefore possible to model the structure of a protein based on one or more of its evolutionary relatives, in a technique called ‘homology modelling’. In some cases, it is possible to produce a usable model from the structure of a related protein from a very different type of organism. It was more than a decade after the publication of the first bacterial ribosome structures before similar structures could be obtained from mammalian ribosomes, but many useful results were obtained during that time by modelling mammalian ribosome sequences using the bacterial structures and low-resolution electron microscopy data.

Maya ended her talk by stressing that structural biology is a science of model-building. It requires experimental data complemented by physics and by evolution, and, almost above all, it requires powerful computers. Generally, the more sources of information can be combined into a model, the nearer the ‘correct’ structure that model will be: and to quote the statistician George Box, ‘all models are wrong, but some are useful’.

Find out more