Month: March 2018

Where all the ladders start (3)… borrowing voices

 

I was planning to celebrate another poet’s work today; indeed, I meant to write a review, but I’m distracted and excited by the fact that I’m off to read at Ó Bhéal’s in Cork tomorrow, wondering what the weather will do, praying this incipient cold will stay incipient till I get my reading done…in a word, nervous.

So I’ll post something already half-written, which is probably the last of this mini-sequence about where poems seem to come from, and what persuades them to turn up. I’m conscious that Julie Mellor is doing a similar thing on her blog, and I’m reading it with real interest. Because while my posts are essentially about ‘what poems are about’ hers are about how they might be generated through structured playing with language. They’re not alternative ways of thinking about writing or approaching it. They sit happily  side by side; they’re neither exclusive nor exhaustive…go and see what she’s up to. If you have time, come back and see the rest of this. Here we go.

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You may or may not remember this. Michael Parkinson was reputedly incandescent afterwards and swore that ‘that **** will never work again’. What’s definite is that Rod Hull built a career out of flustering, embarrassing and attacking people by proxy. It wasn’t Rod Hull being offensive and anti-social; it was Emu, the archetypal imaginary friend who stole the cakes, dropped the dishes, tracked mud in the kitchen. An alter ego absolves you of responsibility; wearing a mask allows you to say things you wouldn’t normally dream of saying for fear of reprisal. It can also let you say things which aren’t offensive to others but which you feel afraid to confront; it frees you to speak your own uncomfortable truths. I supposes it reaches its apotheosis in drama .. especially, for me, in Shakespeare who can inhabit the characters of those like Edmund or Iago who give you access to dark places. Maskwearing, ventriloquial poetry, dramatic monologue. It doesn’t have to be dark, of course. You can choose your personae. I’m thinking of a recent guest on the cobweb, Sue Vickerman, whose alter ego,  Suki the Life Model, has a whole collection under her belt. T S Eliot borrowed Prufrock and Tiresias. Your persona can be anything you choose, benign, cuddly, sinister,amoral.

What’s certain is that, whether you like it or not,  they’ll not just give you access to imagined different ways of thinking, but also reveal yourself to yourself in ways that can surprise you. What I do know is that, for me, trying on the personalities and voices of real and imagined characters..painters, angels, gods, Lucifer (three times), and so on…is liberating. Trying the voices of women characters is also challengingly educative. I’ve managed to one poem that an exclusively female group believed was written by a women. When it works, you know you’re getting somewhere.

Two years ago I was on a residential course toured by Kim Moore and Steve Ely.  Part of what Steve asked us to do was to try on ‘transgressive voices’, and he gave us unnerving examples of personalities we could try exploring. Like the prophet Samuel. Tyndale’s translation of the Old Testament softens no edges, if you want to contemplate Samuel’s hewing Hagag to bloody bits in front of the assembled tribes. Not an easy man to like, Samuel. Anyway, having being softened up, we were invited to choose our own villain/anti-hero. Anyone. Later on I tried out Myra Hindley and Harold Shipman, but the first to come to mind was Richard the Third, of whom the goodmen of York recorded on hearing the news of Richard’s death at Bosworth :

        this day was our good King Richard most greviously murdered and slain.

Here’s the first step…the notes I made, listening to Steve

Richard 2

It’s pretty obvious where my sympathies tend to lie…with the subversive, the Mephistophelian; the ones who in general are good with words, and have a dark humour. I’ve picked this example, because we didn’t go from the prompt direct to the draft. There was a gap of time..I can’t remember how long, but certainly a coffee break..and then an intensive bit of work producing this

richard 1

I was intrigued when I went back to the notebook to see that though I was sure I wanted to try on Richard’s voice, I didn’t know where to start.What was the pivot, the core moment. Maybe something had percolated from that musing about Browning’s Duke. If someone’s talking they need to be somewhere and somewhen, and they need a reason to be talking. Who are they talking to? And I suddenly thought that this would be before his last battle, that everyone would have abandoned him except the boy who might have brought him food and who would be too afraid to run away with the others. And I thought that Richard has every right to be distracted and autocratic, but it turns out that my Richard is the one I learned from Josephine Tey’s The daughter of time..that lovely revisionist history that starts from the portrait of Richard that shows an intelligent and sensitive man. My Richard understands fear imaginatively, and he knows this boy is frightened. He might be abrupt, offhand, gruff, but he knows this boy has stayed with him, and he’s both concerned and grateful. At which point, of course, I should learn something of my own tendency to be sentimental. But I’m just happy to have found a place where Richard can convincingly stand. I’m also happy to find that he has a Yorkshire accent that I can use to displace the Lawrence Olivier stuff even while I plunder what I remember from his longer speeches. It’s got no shape yet, but it’s got substance..in the sense of things happening. It’ll do, for now. And so it sat for a couple of weeks, and then I tried it on screen, tinkered with it, took stuff out, put stuff in, worked on the blank verse, took stuff out. What surprised me was the end. I never expected that. I just know I like reading it out. Here’s the finished thing.

Richard before Bosworth

 

Boy. There’s no need for you to stay. I can fettle

all this gear. The rest have all fucked off.

Go if you’ve a mind. There’s no one’ll blame you.

I shan’t. The priest made his excuses. The ingrate

greasy sod. But I tell you this. By God,

I stand here your rightful and anointed king.

Blessed by three suns rising in the smoking frost

the day that Edward died and the Lord did grant

to us the field. Bustle then. Make yourself useful.

Buckle on this shoulder brace. Pull this strap tight.

Don’t look surprised. What did you expect?

A hump like a fucking minotaur? One wasted

leg, a lurching gait; not quite the monster, am I?

Never killed a man I wasn’t looking in the eye.

That bastard Richmond and his traitor’s lies…

bottled spider that bitch Margaret calls me.

Listen. Your age I was riding chargers.

Those slick-tongued pretty boys. I’ll tell you what.

I’ll not burn in hell for that fat whoreson, Clarence.

Drowned in a butt of malmsey? The fuck he did.

Drank himself to death, god rot him. I had

their women? Course I did. And so would you.

The Lady Anne? O yes. Spat  right in my face.

She did. I gave it time. Forget that tale

About me and her husband’s coffin.

I waited for a day or two. Don’t look like that.

A sweet armful, Anne. Said I made her laugh.

More ways than one to skin a cat. Do I see ghosts?

Round every corner, boy. Kill enough, and so will you.

Don’t think I lose a fucking minute’s sleep.

All my family butchered. I can’t smell blood these days.

Right. You’ve done a grand job with these greaves.

Light a candle for me if I don’t come back.

Get yourself to York and light it there.

Give me my sword. By God’s grace I am

England’s king. So. Let us go to it. Pray for me.

 

[from Much Possessed. smith|doorstop 2016]

 

 

See you next week…with a proper poet.

 

 

A praise poem (for Emma Gonzales) : John Duffy

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Praise poem

Emma Gonzalez,

I wish I had never heard of you,

I wish I had never seen you

wiping tears from your eyes

as you stood on the platform

and spoke for the people,

for the young people who died,

for the young people who survived,

for all the people who know

that what comes out of the barrel

of a gun is inadequacy and

envy and smoke and hating

people as beautiful as you,

Emma Gonzalez, you

with your words that shame

the traders in death and lift

sad friends, miserable families,

bewildered children, and all of us

across your country and the planet

who stand amazed at the power

of your voice,  Emma Gonzalez,

your angry laugh,

your daring your president

to become a man, to own up

to his blood money in deep

pockets, I wish I had never seen you

rooted on the stage, defiant,

your head like a wonderful marine’s,

Emma Gonzalez, cropped short

and meaning business, meaning

to clean up big business,

meaning justice, meaning a scattering

of vendors’ tables: your tongue scourging

the ones who trade in carnage

and the ones who watched

the gunman swagger, the gunman

pose, the gunman possessed

by misery, by smoke, by nothing

of any worth.  You have given us

hope, Emma Gonzalez,

by your courage and your words.

What a sister, what a friend,

Emma Gonzalez, what a daughter!

emma 2

Emma Gonzales’ speech – extracts

Every single person up here today, all these people should be home grieving. But instead we are up here standing together because if all our government and President can do is send thoughts and prayers, then it’s time for victims to be the change that we need to see. Since the time of the Founding Fathers and since they added the Second Amendment to the Constitution, our guns have developed at a rate that leaves me dizzy. The guns have changed but our laws have not.

We certainly do not understand why it should be harder to make plans with friends on weekends than to buy an automatic or semi-automatic weapon.

I read something very powerful to me today. It was from the point of view of a teacher. And I quote: When adults tell me I have the right to own a gun, all I can hear is my right to own a gun outweighs your student’s right to live. All I hear is mine, mine, mine, mine.

When we’ve had our say with the government — and maybe the adults have gotten used to saying ‘it is what it is,’ but if us students have learned anything, it’s that if you don’t study, you will fail. And in this case if you actively do nothing, people continually end up dead, so it’s time to start doing something.

We are going to be the kids you read about in textbooks. Not because we’re going to be another statistic about mass shooting in America, but because, just as David said, we are going to be the last mass shooting. Just like Tinker v. Des Moines, we are going to change the law. That’s going to be Marjory Stoneman Douglas in that textbook and it’s going to be due to the tireless effort of the school board, the faculty members, the family members and most of all the students. The students who are dead, the students still in the hospital, the student now suffering PTSD, the students who had panic attacks during the vigil because the helicopters would not leave us alone, hovering over the school for 24 hours a day.

If the President wants to come up to me and tell me to my face that it was a terrible tragedy and how it should never have happened and maintain telling us how nothing is going to be done about it, I’m going to happily ask him how much money he received from the National Rifle Association.

You want to know something? It doesn’t matter, because I already know. Thirty million dollars. And divided by the number of gunshot victims in the United States in the one and one-half months in 2018 alone, that comes out to being $5,800. Is that how much these people are worth to you, Trump? If you don’t do anything to prevent this from continuing to occur, that number of gunshot victims will go up and the number that they are worth will go down. And we will be worthless to you.

To every politician who is taking donations from the NRA, shame on you.

They say no laws could have prevented the hundreds of senseless tragedies that have occurred. We call BS. That us kids don’t know what we’re talking about, that we’re too young to understand how the government works. We call BS.

 

John Duffy’s poetry

Glamourie. [Calder Valley Poetry 2016] £7.00

The edge of seeing.  [The High Window 2017] £10.00

 

 

 

Where all the ladders start (2)

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Just back from five days at a writing retreat at Garsdale Head, about eight miles up the valley from Hawes.

It felt strange, last Monday, to be driving past the Ribblehead viaduct, all the moors streaked with snow that lies longer in the lea of the gritstone walls that march straight up big hills, for no purpose other than enclosure, the marking of boundary and ownership. Deeper drifted snow in hollows and ghylls; curling snow cornices on the edges of landslip. I drove past the turn to Dentdale, and realised with a kind of lurch that years ago, on my first hiking holiday, I’d walked from Dent youth hostel straight over the moor top to Oughtershaw and Langstrothdale, down into Buckden and then to Kettlewell. The lurch came from seeing how big the moors are, how far. I didn’t know better then. I just did it without thinking. Last Monday, I knew I’d never do anything like it again. I’d be too timid, too anxious, and in any case my legs wouldn’t let me. It’s an uncomfortable feeling, that sense of inability, and if you let it in, it makes you feel as though there are lots of other things you can’t do any more. Like writing anything you’d want to read again.

I think that diffuse draining of confidence leaked into the workshop tasks, which all seemed to become reflective, introspective, all about ‘I’ and ‘me’. You lug a lot of baggage into workshops. Or at least I do. Often it’s useful baggage, stuff you’ve just read or done, that lets you come at the moment obliquely. A simple example would be the way you can approach your own inner life via the narratives of myth or folk tale, via ventriloquism, hiding inside another imagined self or persona. This last week has been about finding no hiding place, and being unsure of the way language can let you speak truly about the unadorned experience. I think that’s at least part of what Yeats meant about the foul rag and bone shop of the heart. I firmly believe that it was just what I needed. Whether I liked it or not was neither here nor there. When I’m asked what I expect from a writing workshop I say, blithely, that I want to be shifted out of my comfort zone. I wasn’t disappointed. Thank you, Kim Moore.

I wanted to say all that before sharing one of those poems that seem to come without worry or effort, because sometimes I forget to say thanks for their turning up. Of course, they don’t come out of nowhere. It’s nice to acknowledge a debt to those who make a place to start. Here’s a task that came at the very end of a Poetry Business writing day. Task 7. One of Ann Sansom’s six line specials, with four or five minutes and no more to finish your morning on a high.

for true naming

How does it work? The instruction is to write a succession of lines, and each of the lines must contain one of the prompt words or ideas. A hero, a time word, some sort of headgear, something to do with a church, a free choice line and the name of a county. Any of those could be a trigger, but it happened that I’d been reading, and rereading Robert Macfarlane’s Landmarks. I’d earmarked several things. One was his writing about the Finnish Kalavela, and the hero Vainamoinen who the legend credits with winning the gift of fire for mankind. The other wonderful core idea is that of the naming of places, and of landscapes, that the world is en-chanted into being by knowing and saying its True Names.

What else comes along, what baggage? For me, the quest of Ged in Ursula le Guin’s Wizard of Earthsea. The end of Ged’s quest is to understand that he can only know his true self by naming it with his true name. Names are the core of magic. The journeys of the innocent heroes and heroines of folk tale are important too….journeys through dark forest, over mountain passes, on the edges of dark seas. Elemental places, much like the snow-streaked dark moors or the coast of Northumbria; Dunstanburgh and the Farnes where the mythic is just about to break in like hail. And there it is, a workshop prompt that lights a fuse for a fire you’ve been building without really thinking why. Without Macfarlane, that line ‘for the true naming of the world’ wouldn’t have jumped on the page to introduce a list of everything you might need. I should write a praise-song for lists and listing, and their seductive forward-pushing rhythms. Here’s the finished version.

For the true naming of the world

 

For the true naming of the world

you need one who will recognise a fish

that has swallowed a star

that fell through the vaults of the air;

one who wears a helmet or bears a sword

forged in the heart of mountains,

from metals whose names no man ever knew,

to bear a name that can not be forgot,

a name to fit in a verse to be sung at a feast;

 

you need one to be sent on a quest

through silent forests, stony wastes,

to a bony church and a hillside that opens

to a way that he’ll walk through all the ages,

to come dumb and dazzled to the seashore

under huge lucid skies, into the wind,

to build monasteries, to illuminate gospels;

to speak to otters, spear the sea like a gannet,

to be one with wind and with seals.

 

Then stones and flowers might come

to know themselves. Day’s-eye, comfrey,

coltsfoot, mallow, vetch, stonecrop, feverfew.

Hornblende, granite, wolfram, flint and gneiss;

valleys might come know their depths,

and becks and burns to know the purposes of rain,

and the ways of the clough and the gorge

under blood moons, hare moons, the moon

when horns are broken. Then.

 

Almost everything in this is borrowed. I’m pretty sure the ‘hillside that opens’ is from William Mayne’s Earthfasts, set in Arkengathdale. I imagined the kind of hillside that loomed over the house I stayed in last week. This oneIMG_2612

the lucid skies are the astonishing skies of the Northumberland coast; the founder of monasteries is Cuthbert, the gospels are from Lindisfarne; Cuthbert spoke with otters and seals, but the imagining of it is from Robert Westall’s The Wind Eye. The naming of flowers is from Macfarlane, and the Native American names for the moons of different seasons are from Dee Brown.

Sometimes it’s even less complicated. Sometimes you seem to be given something that comes pretty well fully-formed. In this case a sort of retelling of a parable from Bede. More Northumbria, but in my mind, it happens in Whitby. It seemed to have its own urgent rhythm.In the meantime

and the finished version, which just seemed to know its own linebreaks

In the meantime

 

because that’s how it is, the sparrow

flying into the meadhall, bewildered

by smoke-reek, gusts of beer-breath,

out of the wild dark and into the half-

light of embers, sweat, the steam

of fermenting rushes, and maybe

a harp and an epic that means nothing

in a language it doesn’t know, this sparrow,

frantic to be out there, and maybe

it perches on a tarry roof beam, catches

a wingtip, comes up against thatch

like a moth on a curtain, and it beats

its wings, it beats its wings, it tastes

a wind with the scent of rain, the thin

smell of snow, of stars, and somehow

it’s out into the turbulence of everywhere,

and who knows what happens next.

 

So there we are. Every time you think you have nothing to say, or it all seems too hard and miserable, say a little prayer for the ones you were given free, like a blessing.

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[Both poems come from Much possessed .  smith|doorstop 2016.

Available  via The Poetry Business, or from me direct. See  My books  at the top of the page]

Where all the ladders start [1]

junk shop 1

I’ve just been trawling Google for ‘rag and bone shops’. Fascinatingly, nearly everything that shows up seems to be about faux-antique shops in pleasant places. Post-modern yuppie emporia for Grand Designs and interior decorator addicts. Almost certainly expensive and probably pretentious. Not what I was looking for, by a long chalk.

And why? Partly it was the realisation that the first bits of poetry that hit me in the solar plexus rather than in the intellect were Yeats’.

This is no country for old men.

An old man’s eagle mind. 

And this

“Players and painted stage took all my love
And not those things that they were emblems of.
III
Those masterful images because complete
Grew in pure mind but out of what began?
A mound of refuse or the sweepings of a street,
Old kettles, old bottles, and a broken can,
Old iron, old bones, old rags, that raving slut
Who keeps the till. Now that my ladder’s gone
I must lie down where all the ladders start
In the foul rag and bone shop of the heart.”
The circus animals’ desertion caught me off guard, and bypassed the usual Prac. Crit. sieve that A levels and University equipped me with. I didn’t ‘understand’ it in any analytic way. It felt true and important. It still does. I hear Yeats asking ‘who was I kidding?’, telling himself he’s lost his way, needs to get back to basics. And the reality of the ‘basics’ felt shocking to me, then. I supposed then that he meant to embrace ‘realism’…which was fashionable enough in the 60s if you meant ‘kitchen sink’. Whatever that was. I knew about rag and bone men; they were familiar enough down our street in the 1940’s and 50’s. As was their cry. Ra’bones!.any kind of old rags! God knows how worn out things had to be before you’d think of throwing them away, but somehow, someone could make a living out of them. And after all, I lived in the Heavy Woollen District where things like blankets and overcoat material were spun and woven from recycled rags…which was called ‘shoddy’. My dad spun yarn from shoddy for 50 years.
junk shop 3
I didn’t consciously think through whatever layers of meaning were implied by that ‘foul rag and bone shop’. I had a diffuse sense that he meant that truth didn’t reside in the myths of Oisin, or Cuchalain, that he’d been distracting himself from the real stuff, whatever that was. I didn’t stop to think that this stuff was worn out from life and use and carried its musty histories in its warp and weft. It’s a lot later that I came to see how the foul rag and bone shop of unconsidered memory is where poems that are (or seem to be) the real deal can come from.
I’ve been reading Julie Mellor’s poetry blog recently…she’s been reflecting on the processes of breaking out of a default way of drafting and composing by using randomising devices like cut-ups…just to see what happens. Other writers’ ways of working fascinate me. It reminds me of the pleasure to be had from watching actors, or listening to musicians in rehearsal (as opposed to in concert or performance). You can follow what she’s been doing via this link. Well worth it.
https//:juliemellorpoetsite.wordpress.com/
At which point I thought I might revisit poems that had seemed to come unbidden,  yet seemed to be important, and to think about what was involved. At the risk of the whole business seeming a self-advertising ego trip, I thought that I’d like to have a look at poems I’ve written that have got ‘out there’ and done well for themselves, and to wonder how it happened. Today I’m going back to a poem called ‘Julie‘
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It starts in a Jane Draycott workshop. Among the many tasks was one that I tend to distrust…where you’re given an image at random and invited to respond to it in one way or another. This one is from those nice boxes of Postcards from Penguin. 100 postcards using covers of vintage Penguin books.
And I have to say, I couldn’t see what could possibly be done with it. I feel that way when I look at it now. Somehow you need to bypass the rational/analytic bit of the brain, and especially the bit that worries about ‘writing poems’,here’s the notebook scrawl from 2013:
julie 1julie 2
One of the reasons I keep all my workshop scribbles in bound books, and why I number the pages, is that I can revisit where things start, and remind my self what kind of trigger was involved. It’s why I write down what the workshop tutor says about the task. What did Jane say? You have to learn to search for or listen for the point of arrest. That intrigues me still, as does one of her phrases about the ignition point of a poem. I’ve come to conflate this with Clive James’ the moment that draws you in. It might be a word or a phrase, or a rhythm or a sensory memory. For me it’s almost always a visual image that may initially be diffuse and unfocussed, but it’ll be one that may snag and nag.
And then she went on to say:
the point will be be …what this is not, what this might be,  where this isn’t. 
It was the last bit that stuck I think. Flames. If not here, then where? I used to live between Redcar and Saltburn, and in the night there would be the flares of the ironworks up the coast, and sometimes the stacks of Wilton ICI ‘flaring off’. That’s where these flames would be. I’d recently had a reunion with Andy Blackford who I’d not seen in over 30 years. He has a house in Staithes, where the inland skyline is dominated by Boulby potash mine. It has a tall chimney. It doesn’t flare, but somehow it got conflated with those of ICI. A rag and bone shop of half-remembered stuff.

 

Staithes is a fishing village; the lovely fishing boats, the cobles that are descendants of Viking boats, sit tilted on the mud of the river at low tide, and suddenly I’m making a link with Whitby, where what mattered right then was my partner’s cousin Julie, mortally ill but defying the consultants by living on beyond the allotment they’d settled on. Just like that, she becomes the centre of the poem, the landscapes initially incidental, and then starting to take on a resonance that’s not just geographical. None of this has been intentional. I didn’t set out to write a poem about Julie. I didn’t set out with any purpose at all. On the other hand, it seemed essential that I saw her in her place in Whitby’s Old Town, low-ceilinged and bursting with stuff. Nutty and magical. Photos don’t do it justice, but here’s a flavour. Every single object has a complicated personal history. A wonderful ‘rag and bone shop’ if you like.

 

 

The way it fixed itself in the five minutes or so of first drafting was the house becoming a sort of theatre, or maybe an iconostasis for  you perched like a wire bird/ up on your kitchen top. but I think the poem takes off in a way that was new to me when I focus on Julie rather than the anecdotal details. I’d never written a line like this

Your eyes grow bright in your dead woman’s face

Basically, I’d never written directly and honestly about someone I knew…it’s the kind of thing I avoided because there was always the terrifying possibility that the someone would read it and deny that it was true. It’s a real blocker, the fear of embarrassment, for me at least. But it’s what I think I started to learn about the rag-and-bone-shop of the heart. The shops I knew. But the heart was dangerous territory. There’s a huge release in writing a line like that, feeling it directly..if you’ve not done it before. A leap. But it puts the flames in their proper place, and at this point, the poem expands outwards into everywhere.  Julie died a couple of months later and never got to read what I’d written. I know I’m glad I wrote it. Here’s the finished poem. Not a lot has changed, has it. Sometimes you’re awarded that kind of moment…but it doesn’t come out of nowhere. All the material, all the images were already hanging about, uncurated, all in a jumble, like the junk shop. What they needed was the catalyst. The nudge was the postcard, but the catalyst was ‘the heart’ , I think.

Julie

According to the specialists you died six months ago

and I like sitting with you, proving there’s an afterlife

as we roll cigarettes, you perched like a wire bird

up on your kitchen top beside the angel

that I made for you before I knew you weren’t alive.

 

Your fridge’s crusted like a wreck, with magnets

and pictures of BobDylan, and you show me

that programme that Patti Smith had signed for you

not knowing you’d been applauding from the Underworld.

 

You make me laugh each time you tell the phone

it can get stuffed because it’s your mad mother

who will not believe that you’re not with us any more.

 

Your eyes grow bright in your dead woman’s face,

then sink, then glow like cigarettes, like the ironworks

up the coast, or the small lights on the cobles

tied up and tilted on the mud; like the strange flares

from the stack high up on Boulby Cliff, where the shaft

goes down a whole dark mile of ammonites, and heads off

far away beneath the weight of oil rigs, and sunken ships,

and shoals of cod, and all the grey North sea.

 

 

It was a special poem for me in so many ways, not least that it won The Plough Poetry Competition in 2013. Andrew Motion picked it, and talked about that ‘expanding out’ of the last lines. Still, for me, it stays a poem from the rag-and-bone-shop that turns out not to be foul, after all.

Depending on the reaction, I’ll write some more posts about poems that have been significant for me, and how they came about. What I’d really like would be to share other poets’ stories. If you’re interested let me know via

john.foggin@outlook.com

Ideally, it would involve you still having the original drafts and a clear memory of the where and when and who of the process. But let’s just see, shall we.

Thanks for reading. I’m off on a writing week tomorrow, so there may be no post next Sunday. It’ll be as it’s meant to be.