Thursday 26 December 2019

Three places in Nottinghamshire

These poems were written at various times, and are so closely attached to places that I posted them on the Places of Poetry map. I make that point now, because the place names don't appear in the poem titles.

The first place is Gringley on the Hill, where I grew up. The poem was written in 2004, for a competition organised, my card index says, by Pedal Power. Several relevant bodies bear that name, and I can't be sure which of them it was.


THE BIKE RHIMES


Imagination? Oh, for me,

with one bound Jack was always free.

When I was ten, I planned a fleet

of home-made go-karts down the street,

no, down the hill, down the A1,

sail-driven, with tin-telephone,

each kart wood-covered, a land-ark.

A good idea that might not work.


Truth is, I was late learning to ride a bike.


For my eighteenth, the choice I had

was typewriter or bike from Mum and Dad:

that's typewriter to exercise

my play-writing fantasies,

or bike, the more since biking skill

for me was six months brand-new still,

with view to riding out thus wheeled

to earn typewriter's cost in field.

I chose the bike, and hoed the weeds,

and typed the plays with the proceeds.

The plays were rubbish, I admit,

but bike -- I've not regretted it.


Truth is, I was late earning.


So now we do our long bike rides,

planned with good-bed-and-breakfast guides,

self and wife (I was late marrying)

and mobile phones, not tins and string.

And is the bike the bound or free?

If not, what should the question be?

With one bound, Jack was out of bounds.

The bike best covers solid grounds.

Let's be smart-kitted, then: the bike

rhimes are round, sound, bound and the like;

the bike through turn by turn of wheel

strengthens the work of getting real.


The second place is Walkeringham, a few miles from Gringley. The poem is one of those I wrote while following Jo Bell's splendid book 52: write a poem a week. Start now. Keep going. It was my response to that book's prompt number 30, for a poem on the theme of friendship.



WALKING


A little out of synch. You'd graduated,

I'd had my year abroad, this was the Christmas

vac of my final year. You visited

us (me, parents and sibs) after some weeks

teaching at an experimental school.

You joked you were a retired schoolmaster. The day

would fade, but we set out that afternoon

walking the three miles I had often walked.

The next village had trains and a closed station.

Beyond the tracks, a lane and the big Trent.

There the lane stopped, matching the other bank.

An ex-ferry. Later, a shared joke had

a girl of nine write to a retired colonel:

lure trendy lefties here with bogus demo,

stand to one side, watch the procession drown.

Was this when you told me you'd introduced

people to your inseparable pet

Gozo, a wodge of folded newspaper?

Walkeringham, the village. The road home

passed a wood on a low hill. You took off

coat and jersey, walked in shirt sleeves. Less light.


The third poem is another 52-driven piece. The book's prompt 33 is for writing about machinery. I responded by reporting a conversation Clare and I had had, riffing on a that shared joke referred to in the poem above. It was a spoof I had self-published in more than one place before. The place -- the scene of the hypothetical mass drowning achieved by the use of a bogus demonstration -- was Walkeringham's Marsh Road. The ex-ferry is Walkerith Ferry, dead under so much water that even Wikipedia's list of River Trent crossings offers no date for when it closed.



UNCLE MARK’S TYPEWRITER

“Dear Colonel Sixty-Biff,


“I refer to your recent letter to the Daily Telegraph.


“I have got a plan to help you to get rid of all the trendy left-wing sociologists in your letter. I have thought the plan up myself, but am doing it on Uncle Mark’s typewriter. About three miles from our house there is a bit where the road comes down to the river and it comes to a dead end. If you say you are having a protest march, all the trendy sociologists will want to come with you, and when you get to the river, you can stand to one side and they will all walk over the edge.


“Best wishes


“Sonia Bingham (age 9)”


That was my spoof, from around 1980.

Here in 2018 we speculated

on Sonia and her now nine-year-old daughter.

We found the variations generating

so fast the film stopped. Of course we started

with the typewriter. Would that be a laptop?

Borrowed now? Or the girl’s phone, or smarter?

Also, we did a spot of calculating:

nine-year-old daughter or grand-daughter?

And would Sonia today, in her forties,

cringe at her childhood project of mass slaughter?

And/or is she the sort of Brexiteer

that studs their talk with calling people traitors?

And reading that eighties Telegraph letter –

her parents’ choice, or seen while visiting

Uncle Mark? The only certainty

was 2018 has no typewriter.

Not even pushbike-versus-car metrics

(car gives six bikes’ worth, takes a cost far greater)

can plea-bargain away the typewriter’s

limiting against e-possibilities.


Past the ex-ferry’s dead end has been much water.



News at the time of blogging is that Places of Poetry -- currently a rich read-only source of poems, a thing to lighten long journeys -- will re-open for posting during a fortnight in the autumn of 2020.  News from me is that my Google Maps list of places in the British Isles with hymn-tunes named after them has borne its first fruit, a poem by me to be sung to the tune and with passing reference to the town in question.  No details at this stage, as I want to preserve the poem's anonymity in case I enter it in competitions.  But Places of Poetry and my list of hymn tune places might well be brought together.

Sunday 10 November 2019

Fluid


FLUID

The riverside
manor we reached by a wet morning's ride.
They lent us towels as we went inside.

The moistened scene 
of 50s children's stories that had been
more in Clare's childhood than mine, the dark green

leaves sheltering 
our locked bikes from the low sky watering
July, most of the trip, even that thing

when the day cleared
briefly, the undrained bike path by a weird
reflection momentarily appeared

swimmer-deep under-sun waterway-blue;
not bike then but canal boat or canoe.



'Fluid' was written in response to a prompt in Jo Bell's book 52: write a poem a week.Start now.  Keep going (Rugby: Nine Arches Press, 2015); the prompt in question was to write a poem about water.

The riverside manor is the old house at Hemingford Grey that was the setting for Lucy Boston's book The children of Green Knowe.  The undrained bike path is the bridleway alongside Cambridgeshire Guided Busway, and the visit is one that wife Clare and I paid to Hemingford Manor by that route in July 2011.

I posted 'Fluid' to the Places of Poetry map in October 2019.  Places of Poetry I strongly recommend to passengers or walkers who are finding a long journey tedious.  Look on PofP and see what poems have been inspired by places you pass through!

Saturday 2 November 2019

Illegal deposits


THE SEARCH

dare spend night condemned flat.  Online I found
no July game of public schoolboys scaling
a tower block's Heras fence, grazed to the ground,
hot on the concrete steps, higher each railing;

no afterwards: not ninepenny rainbow,
not weeping for the darkness in man's heart;
no record of the night -- what aged them so,
a great adventure from or at the start?

No bad deposits made in lack of water,
no newspaper, eerie from being old,
no noises for the night not getting shorter,
no one they met, and nothing they were told.

So probable, this tale, not mine to break.
Do you remember it? What is your take?


UNFESTIVE

The phrase "a lot of food"
means more food in the sentence
"We've laid in a lot of food for Christmas"
than in "He'd spilt a lot of food down his jersey."
Poignant the difference in tense.


A SPURIOUS CRIME

Ears pinch "e-legal", and the users know
libraryspeak's not theirs to understand,
when copyright means something else.  They go
and make do with the beige-flagged contraband.


CURIOUS

Deposit -- deposition -- kings invite
put-down, counter-claim.  Did your sudden flight
involve such terrors?  Had someone had sight
of things you'd done that didn't match your fight?
What came?  Visit, phone, email, small-hours fright?
Still mystery, twelve years on -- day of night.



The above poems are my contributions to Illegal deposits, a small anthology of writing by staff at libraries within Cambridge University and the colleges.  The anthology was the brainchild of Simon Halliday and features cover artwork by Clare Trowell. It includes a contribution by Adam Crothers, whose debut volume Several deer (Carcanet, 2016) won the 2017 Shine/Strong Poetry Award and the 2017 Seamus Heaney Centre Poetry Prize. 

To get your copy of Illegal deposits, contact Simon Halliday on snjh2[at]cam.ac.uk.

Sunday 27 October 2019

Choice of words


CHOICE OF WORDS

Working’ is shorter,
saves syllables, characters.
Working’ as gerund/
participle/adjective
does ‘profession’ plus most things.

Is ‘professional’
training? taking payment? class?
viring between those?
Oh, the viring. Slippery.
Weasel word, professional.

I plan to retire
and be a working poet.
Working works, say I.
Mind, that’s aspirational.
I am not talking class here.



The above poem made it to the 'Highly commended' list in the 2019 Hastings Litfest competition.

I hope to blog more frequently over the next few weeks, having posted several works to the 'Places of poetry' online map and thus made them ineligible for further entry in competitions.  Watch this space.


Wednesday 17 April 2019

Four haiku and a tanka

GLUM HAIKU 

Doubly sad to see
long-buried hatchets dug up
with such clumsy haste.

LIBRARY GRIEF 

Sno-pake whites out "Ice"
in the index to one class
of the Bliss schedule.

LIFE-PROCESSING BUGS 

Wrong ends, touchiness,
perverse mutability,
and amnesia.

MUSICAL ALLUSION 

"Those farewell chords are
from Strauss' Alpine symphony"
 -- your note, twelve years back.

COUNTING BATS

Dusk in the garden;
the house like a photograph
of murders or ghosts.
Dimly grouped amid midges
we murmur, thirty-three, -four...

Today, according to the hashtag, is Haiku Poetry Day.  The haiku above were written in an access of them in the autumn of 1995, and published in Cou-cous 10.  Follow the label for others from the same batch.

The "farewell chords" referred to are the mountain theme of Richard Strauss' Alpine symphony. What I, synaesthetically, see through them is a red sun, probably rising not setting, over a very steep city -- Edinburgh, Bristol, Leeds -- and a small group of people mourning a visionary who has just died. 

Another hashtag tells me today is Bat Appreciation Day.  The tanka 'Counting bats' is of the same vintage as the haiku.  A kinsman had at that time a great enthusiasm for bats, and gathered a number of us in the garden to count them as they flew out from the roof at nightfall.  Murders and ghosts, I'm happy to say, were completely lacking from this event, and their presence in the tanka is excused solely by poetic licence.  Remembered dusk is two spaces for the imagination.