Fox & Bloodhound

Fox & Bloodhound

Every now and then there’s a poetry blog post that stops you in your tracks. One that lets you access the excitement, the awe if you like, of being inhabited by a poem as you write it, and then inhabits its readers.Thanks for this, Helen Mort

Freefall

On Friday last week, I was lucky enough to be part of an event at Leeds University to celebrate the remarkable life and career of poet Ken Smith who died in 2003. A new volume of his Collected Poems have been published by Bloodaxe. I’m sharing a piece written for ‘Stand’ magazine about Ken’s influence on my own poetry.

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Fox and Bloodhound

fox

As a teenager falling in love with poetry, I thought of Fox as the bold, definite creature that slunk into Ted Hughes’ poem ‘The Thought Fox’ with a ‘hot stink’, printing the page in its wake. Fox was smouldering, certain and momentary. Brought up on books like Hawk Roosting, I could imagine no other kind of poetic animal. When I eventually wrote my own poem ‘Fox Miles’, it seemed almost sacrilegious to have created a personal version of this archetype, a creature who ran beside me…

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Guilt chests, a sideways look and a polished gem:Pauline Yarwood

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Ah yes…the guilt chest. I have a chronic habit, driven by thoughtlessness and good intentions, of spontaneously offering to do things without thinking through the consequences. Amongst other things, this means that I currently have a backlog of things to do that keep me awake at night or wake me up feeling uneasy.

Sometimes they’re things that I decide on the spur of the moment will be A Good Idea. Which explains why there are six 1920s dining chairs in the garage which are halfway through being refurbished to go on eBay. They’ve been halfway done for about four months. However, since they’ve sat gathering dust in the garage loft for about two years, it doesn’t matter to anyone but me when they get done.

And then there are the jobs that come under the heading of Promises To Keep (and miles to go before I sleep). Currently they include critiquing draft collections that friends have sent me, a review of a significant book about Ted Hughes that I started on in July, of which I’ve written and scrapped four drafts, because I’m terrified of being wrong; a review for the cobweb of a beautiful collection by someone I love; two polished gems on the stocks and two more coming in….and then there are the unwritten poems, and the one that has to be sorted out in time for tomorrow night’s workshop in Huddersfield.

I keep putting them off, and do displacement things. And to be fair, some of these are things I love doing. Like reading at Gill Lambert’s Shaken in Sheeptown poetry night in Skipton on Thursday night. I got to be a guest poet with the wonderful Clare Shaw. Who wouldn’t jump at that! And the Puzzle Poets last Monday, where guest poet Emma Storr was a revelation. Two more readings coming upon in the next ten days, and then there’s that Kim Moore reading in Hebden Bridge as well. It’s too easy to defer and procrastinate when you’re doing the things that come easy.  But sooner or later, you knuckle down, and do what needs doing. With the curious result that when you do it you can’t understand why you didn’t do it sooner. So in the last two days I’ve bitten the bullet, written an application I was dreading, written a careful critique of a bunch of poems and sent it off; last Sunday I finally got round once more to the real business of sharing the work of ‘polished gems’. Next week I’ll write that review, feedback on a collection and write a long post about a new collection. There. That’s out there in public. No way back. Phew.

So after much delay I’m delighted to welcome today’s guest poet and polished gem, Pauline Yarwood. Pauline is a poet and ceramic artist living in Cumbria.    In 2013 she was mentored by Judy Brown (a Polished gem in April 2017)  at the Wordsworth Trust, and collaborated with artist Kate Bentley to write a short series of poems for her exhibition Skyline.   She is co-director, with Kim Moore, of the Kendal Poetry Festival,  and runs Kendal Brewery Poets (which was where I met her and invited her to be a guest) .Her first pamphlet  Image Junkie  was published by Wayleave in 2017.

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But, of course, she can introduce herself. Here she is.

“I was born in Cumbria, brought up in Manchester. I’m notoriously bad at sending stuff out – I always find an excuse. (me too, Pauline. me too) . I’ve been published by Fire Crane (Mick North from New Writing Cumbria (which doesn’t exist any more) Mick was the first person to publish my poems which was a huge encouragement).  The Interpreter’s House and The North. Most recently I have two poems in the new book of Cumbrian poets:  This Place I Know  (published in Oct. 2018) by Handstand Press).

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I had mixed feelings about poetry at school.   I hated Walter de la Mare and especially William Henry Davies’ ‘Leisure’ – the ‘if we have no time to stand and stare’ one.Loved the sentiment, hated the poem! Strangely, like lots of other kids of the time, I loved Coleridge’s Rime of the Ancient Mariner and Tennyson’s The Lotus Eaters.

I was dreading having to get to grips with poetry when doing my teacher training, thinking that it was too difficult and I wouldn’t understand it. But, I was wrong. It was Gerard Manley Hopkins that set me off with Inversnaid, and that last line about wilderness, obviously playing into my attraction to the Ancient Mariner and The Lotus Eaters. Then Louis MacNeice and Dylan Thomas drew me right in, and when I discovered that there were political/apocalyptic poems – Alan Brownjohn’s To See the Rabbit,Edwin Brock’s Five Ways to Kill a Man, Norman Nicholson’s Windscale, Peter Porter’s Your Attention Please and Edwin Muir’s The Horses, I was drawn in for ever.

I used those poems regularly when teaching, and the kids loved them too.  Gradually, women poets moved into sight – Maya Angelou, Alice Walker, Stevie Smith, Plath, Duffy and I discovered a whole new kind of writing.Along the way I became a potter, too, and taught ceramics in an Oxfordshire comprehensive for a while .I did an MA in Women’s Studies at Lancaster in 1998 – my dissertation was on gendered subjectivity in the art of the four contemporary women artists.

I followed some literature seminars also and gradually began to think about the process of writing and I included a short series of self-reflective poems in my dissertation.They really came out of no-where, apart from how difficult it is to write, but I was completely hooked by this time, and have written poetry ever since.”

I don’t know about you, but I really recognise and respond to the seeming randomness of this, the accidents that bring some of us to poetry and eventually find us writing poems. Which is, ultimately what this Sunday post routine is about. Oh. Yes. A sideways look. What’s that about? Sometimes I stick a post title in the drafts and then forget why it seemed a good idea at the time. I suppose it came from a phrase in the first poem that’s coming shortly.

the slippery-slidey look you almost saw,

One of those things that just stick, and seemed to me to catch a quality that I like in Pauline’s writing. A sideways look can be suspicious. It can be cautious or secretive. It’s the quality of noticing that seems to come with a withheld comment. And it also suggests to me the things accidentally seen, that come without the filter of expectation, as though seen for the first time. Think of walking through a city street and suddenly seeing your reflection in a shop window, that elderly/dishevelled/comic/clumsy/ill-dressed you who can’t possibly be you, that isn’t you looking as you imagine you’re seen, but as you actually are in that split second. The you a dark watcher would see, and withhold judgement, but be thinking it anyway. A sideways look sees something on the periphery, and brings it to the centre.

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Being Eight

I wanted out of childhood,

away from unexplained asides,

the slippery-slidey look you almost saw,

the put that lip away you, now.

 

It seemed to me that film stars had it sussed,

always smiling satisfied, grown-up smiles.

I wondered how they did it, how they fixed that grin.

My plan was to look like that, and so I thought

 

if I wedged my pillows high behind me,

tightened the sheet over the blanket,

sat bolt upright, hands good-girl folded,

and fell asleep with a smile as wide as the sea

 

then my smile would last forever,

fixed in perpetuity.

You can take that look off your face

But, no, I can’t.  I can’t.

 

I like the sure-footedness of this poem, its clarity, the iambic ease of it. It never misses a beat. And I especially like the ambiguity…or do I mean ambivalence? I like the observation of the way that children find adults puzzling, hard to read, but suspecting that somehow they have spotted a transgression that was never intended in a look you almost saw. The strategy of sitting bolt upright with a fixed smile that will ‘stay’ and make a film star of you is beautifully surprising, and I love the doubleness of the italicised ending, which may declare a ruefulness or a defiance. Maybe that I can’t is really an I can’t, because it isn’t in me. Nailed it.

The next poem comes into the category of the image seen on the edge of vision that turns into something much more serious; an awareness that what we don’t notice is maybe something we really should. That shift (signalled by the ruptured centre which reminds us that the centre cannot hold) from the web to the fell to the alienated young of the streets is an admonition that we owe it to ourselves to notice things. Which is, I suppose, what poetry is ultimately for.

Across the door frame                                                                                                                                                                              

caught by slantwise sun

a rainbow cobweb stretched from

corner to corner

a single thread holding

the ruptured centre

 

up on the fell

the mewing of a young buzzard

and the sound of a single gun shot

 

in our cities the young,

restless.

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Pauline Yarwood’s poems never seem to stand still, constantly change the viewpoint and the landscape. Here we are in the cosmetics dept of Harvey Nicks, being judged against standards no one has troubled to explain, pitched back into the sideways looks of childhood.

Applying lipstick in Harvey Nicks

 The doorman is stone-faced and mirthless,

eyes me up and down,

sees that I don’t look like I flash the cash,

but lets me through, straight into cosmetics.

 

Try red I say, and climb onto a high stool.

I feel childlike, as though someone

is going to put a plaster on my knee

or pour gripe water into my mouth,

but the sleek assistant selects a lipstick,

twists the barrel and fills a brush with ruby red.

 

Part your lips.

 

I hold my mouth unnaturally open,

and she outlines the edges,

intimate and invasive as an unwanted kiss.

She outlines, fills in, blots.

 

Smile, she says, hands me a mirror,

I’m nervous, expecting transformation,

but not this:

The Joker looks back,

the grotesque killer-clown who leaves his victims

with a permanent post-mortem grin.

 

I decide to go back to the doorman,

give him something to smile about.

 

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Revenge being a dish best served cold, you wouldn’t want to be that doorman, top hat or no. Well, would you? And finally there’s a poem that  teachers everywhere will respond to. You hear that note again…the sense that one way or another we’re being judged, tested.

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Demonstration

 

It takes some courage to cone

a lump of clay with sixteen year olds.

You know and they know,

or guess if they don’t,

how your hands feel against the clay,

the initial give, the softness of the gradual rise,

the flow of movement, the firming,

the forming of something different.

 

They stand in a close group,

two at the back hold hands,

some touch shoulders

they’re eager, ready,

there’s a strange intimacy.

 

The class heart-throb shifts,

folds his arms, grins,  

done this before, Miss?

 

I worked with a young art teacher who said that the problem with throwing pots is that, if your thinking runs that way, a pot can only be either a phallus or a vagina. Which pretty well sums up the preoccupations of savvy 16 year old boys. I imagine that, as with the Harvey Nicks doorman, the poet gave the class heart-throb something to smile about. This poem certainly made me smile.

So there we are. How Pauline Yarwood manages to teach, throw pots and co-organise the Kendall Poetry Festival and write poems of this quality is a wonder. Thank you, Pauline, for being this Sunday’s guest. Please come again.

Image Junkie : Wayleave Press [2017] £5.00

This place I know: Kerry Darbishire, Kim Moore and Liz Nuttal [ed]

Handstand Press [2018] £10.00

 

Centenary

 

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100 years since the end of WW1. My granddad, Alfred, was a sergeant in the Kings Own Yorkshire Life Infantry. He joined as a territorial some years before the war, working as a journeyman housepainter. For some time, on Armistice day I’ve posted a poem I wrote for him, and also for my grandma, Ethel.  I never knew her.

Everyone dutifully remembers the men who died in uniform, and that is right and proper. I wish we would publicly remember their wives and mothers, the ones left behind to bring up big families; there was no social security for them. They were left to fend, and those working class women often struggled to make ends meet. They often had big families. Alfred never saw active service. He wanted to, but instead of going off with the lads he called his comrades, he he was admitted to hospital and died in 2016 of Hodgkinson’s lymphoma.

Ethel managed to bring up my mum, my two aunts and my uncle. She gradually grew profoundly deaf. The isolation fed depression and in the 1930s she took her own life. Remember the women left behind. Remember them.

Alfred

 

There he is. Grinning and unsoldierly,

the despair of the RSM. The joker in the trench.

Except, I’ve no way of knowing if he ever was.

 

Ypres and Mons and Passchendale

meant no more to him than Chapel hymn tune names –

O dass ich tausand zungen haite.  Armageddon.

 

But all the same, a bit of a lad. No more than a lad,

father of four, and husband of (I think)

a small girl, left all alone to scrat and fend.

 

My grandma, Ethel, who went deaf, who sat

with her head in the swelling horn

of the wind-up gramophone.

 

Listened to the scratchy tinnitus

of brittle shellac  records until

they hissed like the sea on a shingly shore.

 

Who drowned herself, a poor Ophelia,

in the beck that ran hot from dyehouses,

than ran blue and plum and crimson red.

 

Who died (I think) wreathed in bindweed,

those wide white silky flowers,

and the pink of balsam, sour as a sink

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Normal service resumed: a polished gem revisited – Tom Weir

Before I start, an apology to all the folk who responded in one way and another to my post about young male suicides. It certainly touched a nerve. I hoped to write to all of them individually, but I just ran out of time and opportunity. So here’s a thank you to all who shared your stories. I was moved and touched by all of them. Thank you.

And now it feels good to be back in a routine. When I started this business of writing a Sunday post it was because I wanted to share my enthusiasm for poets I’d recently read or heard…particularly those who you may not have heard of, poets who were just starting out, poets who hadn’t been published, or not much published. Undiscovered gems. That’s becoming more difficult given just how many poetry blogs there are around and (what seems to me) the phenomenal increase in the publication of pamphlets and chapbooks and first collections. Which is, by any measure, A Good Thing. Hence the series of posts of ‘gems revisited’. And here we are with one I’m very happy to be writing.

Stacey's knee

I’m often looking for a slightly left field introduction to a guest poet. Today’s is is slightly daft. It’s just that the first time I saw Tom Weir read on an open mic  I was struck by the fact that he stands very still…or almost. He does something with his right knee that I’d seen before in a performer who also works in bubble of concentration. The aunt of Justin Townes Earle. The sister of Steve Earle. It’s Stacey Earle who performs with her partner Mark Stuart. If you get the chance, go and see her. See what she does with her knee. I’m sure she doesn’t know she’s doing it. There you are. Told you it was daft.

With that out of the way, please give a big cobweb welcome to today’s guest, Tom Weir,who I first met at a reading by Kim Moore and Helen Mort at the excellent Chemic Tavern in Leeds ( by the way; one thing that’s striking about the Tavern is that they let the customers bring in fish suppers from the nearby chip shop; poetry readings among the smell of fish and chips! And compered by the excellent Mark Connors. Another of the young ones…and also a runner.) Tom did a couple of poems on the open mic. and I was bowled over by his delivery (as well as his knee). Dry. Almost deadpan. Ironic. Funny. Even more bowled over when he told me he’d been at Kim’s launch of ‘The art of falling‘ in Leeds, and had liked my reading. We did a bookswap on the spot…his lovely collection ‘All that falling’  for my chapbook Larach. I got a bargain there that I still feel guilty about.

The poem that really stuck in my mind on that evening was one that stays and stays, two years on, the poem that told me that Tom Weir’s the real deal.

Day Trippin’ for Thomas

‘I’d ride horses if they’d let me’— Will Oldham

We talked all morning about the horse
that, if we’re honest, none of us actually knew existed

but it seemed worth it just to get you into the car,
to stop shouting. We mentioned it so often

you began to repeat it from your child-seat
like a mantra, and you’ll never know the relief,

having arrived and not been able to see a stable,
having stalled you with an ice-cream which you wore

like a glove as it melted over your hand,
of finding the woman who showed us where

the horse rides took place, where you waited
so quietly in line, where I stood and watched

as you approached the man with a five pound note
scrunched up in your tiny hand. You spent

the rest of the day repeating the words too little
like a radio breaking bad news every hour on the hour.

We took you down to the lake and watched
you throw stones at the water, watched clouds fall apart

and mend as rowing boats left the harbour and you
sat still, refusing to join another queue.

 

What I like so much about this poem is its clear-eyed objectivity. It could so easily have been sentimental. Instead it’s close to heart-breaking. I love the way the anxieties of adults and small children are equally weighted, as are their disappointments, and the guilt of parents for which there is no atonement, and for which nothing can be done. Everything is managed through images that are utterly memorable and true….the way the parents make a mantra for the child that’s replaced by the mantra of ‘too little’ , like a radio breaking bad news every hour on the hour; the ice cream

which you wore / like a glove as it melted over your hand,

the clouds falling apart and mending, as reflections do, quite indifferent. I can imagine this poem being endlessly anthologised. I think it should be. Tom Weir’s poetry will do that to you, catch you aslant, unawares, tip you into a world where things like love and joy and security are fragile at best, where we are vulnerable. He makes me think of Larkin’s line that ‘what will survive of us is love’, although Tom Weir’s poetry is more unequivocal than Larkin’s on that. Every time I read it I see that quality of Tom’s poetry, the way you see a scene through a glass that suddenly shifts or cracks and refracts the significance of the moment into a different dimension that memorises itself as you hear it.

Of his debut pamphlet  Christopher James wrote:

Tom Weir is an exciting new voice; candid and assured, with enough in the way of light and shadow to fully intrigue. The cover of his pamphlet, The Outsiderpublished by the ever-excellent Templar Poetry, is a statement of intent with its arresting image of a barnacled man staring out to sea. It has the ghostliness of an Anthony Gormley. If the figure is looking to foreign lands, then it is well chosen. Weir’s poems range from corners of English fields to hotel rooms in Hanoi and the psycho dramas that play out are as dramatic and finely judged as the language chosen to tell them.

It’s a real pleasure to welcome him back, just as he’s launching his new collection.

Tom’s poetry has been Highly Commended in both The Forward Prize and The National Poetry Competition and he was the winner of the 2017/18 Magma Editor’s Choice Prize. His first full collection All That Fallingwas brought out by Templar in 2015 and his second collection, Ruin, for which he is grateful to the Arts Council for the writing time to complete, was published in September this year. Poems from his latest collection have appeared in Strix, The North, Poetry Saltzburg and The Scores, among others.

Away from poetry he is an avid follower of AFC Wimbledon and awaits the call to become their first ever poet laureate so he can quit his job as a primary school teacher. So much so one of his poems in Ruin is centred around a dire 0-0 away at Darlington which he hopes will act as a calling card to its many members.

What I’m sure about is that the new poems he’s sent me will act as a calling card to any of you who haven’t encountered his work before. And here they are.

Tom Weir 2

 

Magic

You used to say there was magic in these stairs—

pistons turning, hammers getting to work,

 

springs being fixed onto the wings of birds.

I used to tiptoe because, under my feet,

 

there were clouds about to burst

and one night I dreamt I stamped so hard

 

rain fell and buried the village like Pompeii.

I still remember the step that kept

 

all the loose bits of storm, the one where trams

and buses went to be repaired

 

and the one that held curfews like ice about to break.

You used to say if we opened them up

 

we’d see men throwing wood onto the sun,

find out where waterfalls began,

 

but this chill has nothing to do with water.

Why did you never tell me about the one

 

that hid black ice? Or this one that sinks

under me now like a landmine, leaves me frozen

 

while everyone else carries on up to your room

to say goodbye and I cannot move?

 

Part of the magic of this poem, for me, is the way it understands how children imagine, how they are formed by chance encounters and stories whose tellers never imagined the impact they might have, and how our childhood is carried in us, and how we can be startled back into it, and in some ways become as powerless as a child. The framing narrative is kept implicit..you used to say …. these stairs …everyone else…..your room. The detail is kept for the stories of each tread, the fabulous tales told to a child who will never forget them. And then there’s the power of the image of one rooted to the foot of a staircase and its narrowing closed off perspective. I love the way poem pivots on that one line . why did you never tell me?  In its control and contained love and grief it does everything I want in a poem. Lovely.

Tom Weir 4

 

Swings

 

I do it because I want to know how waterfalls feel,

to remember the way our old Fiat Strada used to slow

 

as it clawed up hills no factory worker in Milan

had prepared it for.

 

I do it because I want to think of that Catherine wheel

freeing itself in that field outside Church Stretton

 

down the road from your parents’ old house,

because I want to see it again,

 

cartwheeling like a 1980’s Soviet gymnast,

towards the crowd of farmers in checked shirts

 

and wellies and kids so puffed up with clothes

I wanted to take them to an edge of something

 

and push them off, watch them bounce around

so for once I could imagine the world was made

 

for soft landings. I do it for the moment of stillness

at both ends, because the sudden release

 

reminds me of the crabbers in Whitby,

their woven boxes slapping onto the cold sea.

 

I do it because I want to smell your perfume

mixed with salt-water, feel the warmth of the sun

 

that burned in the smokery where I bought kippers

and had them sent to London in a sheet of brown paper

 

with your address scrawled in felt-tip pen.

I do it because, when I fall, my breath hangs on the air

 

like the fog above the chimneys on the edge of the M16.

I do it because I like the uncertainty of it,

 

the way my movement is held in their chains—

how they shake when they should remain completely still.

 

Proustian swings, these, aren’t they? It’s the first line that hauls you in, the image or imagined sensation of things on the cusp of changing, the stilled nanosecond between one state and another, that held breath. And after that a succession of crafted two-liners that sustain the moments that draw you in and stick like burrs. The moment before we leave our breath hanging in the air as we fall away from it, for instance. And I think that the next poem actually says exactly what I’m clumsily trying to pin down.

The Art of Standing Still

The Argentinian striker Batistuta had it,

and so did Zidane, and the Bulgarian midfielder

Hristo Stoichkov and, depending who

you speak to, even Gazza for a while.

 

It’s not movement, it’s knowing how not to move—

when to gently apply the brakes, root to the spot,

opt out of the chaos and wait

so by the time they notice it’s too late—

 

the coin-clatter of ball striking net,

the keeper looking round, the defenders

scattered like stunned cattle on the ground.

I should have known you’d have it too—

 

a lifetime of small clues, how you always

had a feel for things that couldn’t be felt,

how you could sense rain before the sky,

how like the sea you could absorb

 

your grandson’s lightning bolt of rage.

Even now I cannot recall the exact moment

you stopped, left the rest of us flailing

while you stayed still—

 

your spirit wheeling away, arm held aloft,

index finger pointing to the gods.

 

I wonder if the you who stopped, who stayed still, whose spirit is wheeling away is the you  that made a flight ion stairs magical.  Surely it is. There’s a lot of celebration of fathers and of (I think) grandparents in the new collection, and we’ll finish with one of them.

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Fathers

The size of them

the roughness of their skin

the thrill of their words

that don’t come as often

or as easily

the way they know so little

about the subtle art

of holding hands

whether the palms

should remain flat

if the fingers should intertwine

how they know every pressure point

in your body

how they know about graft

how you can count

the number of baths

they’ve had on one hand

the way they slope off

in company

find most comfort

in unoccupied rooms

how theirs is the only place

at the table that never changes

how they never sit down

at the bar

how their pranks

are a kind of currency

how no matter the price of the thing

they always have the exact change.

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Exact. That’s the word. Thank you, Tom Weir for sharing your poems. I guess that a lot more folk will be wanting to buy them, so here’s the detail.

The Outsider [Templar Poetry 2014] £5.00

All that falling [Templar Poetry 2015] £10.00

Ruin [Templar Poetry 2018] £10.00

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And if you live anywhere within reach of Leeds you can hear him read on November 18th, 3.30-5.30 at Wharf Chambers, Wharf Street, Leeds LS2 7EQ. Watch out for the knee.