Homage to Charles Tomlinson

tearsinthefence's avatarTears in the Fence

I

Winter Encounters

House and hollow; village and valley-side:
The ceaseless pairings, the interchange
In which the properties are constant
Resumes its winter starkness. The hedges’ barbs
Are bared. Lengthened shadows
Intersecting, the fields seem parcelled smaller
As if by hedgerow within hedgerow. Meshed
Into neighbourhood by such shifting ties,
The house reposes, squarely upon its acre
Yet with softened angles, the responsive stone
Changeful beneath the changing light:
There is a riding-forth, a voyage impending
In this ruffled air, where all moves
Towards encounter. Inanimate or human,
The distinction fails in these brisk exchanges—
Say, merely, that the roof greets the cloud,
Or by the wall, sheltering its knot of talkers,
Encounter enacts itself in the conversation
On customary subjects, where the mind
May lean at ease, weighing the prospect
Of another’s presence. Rain
And the probability of rain, tares
And their progress through a field of wheat—
These…

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Amy Hollowell’s Here We Are (Presses Universitaires De Rouen Et Du Havre, 2015)

Amy Hollowell’s Here We Are (Presses Universitaires De Rouen Et Du Havre, 2015)

tearsinthefence's avatarTears in the Fence

Amy Hollowell’s 131 page poem, divided into many parts of varying lengths and fragmentation with titles in normal, bold and italics, employs rhythm and repetition, without juxtaposition, in a spirit of continuous venture.

I’m thinking that a poem could go on forever like a nap under / a vine
….
I’m thinking that it could be a burning with weekday thoughts / of hot elsewheres

Grounded in Zen Buddhist meditation and journalism for the International Herald Tribune, Amy Hollowell’s long poem is an exploration of what it is to be alive in the present. The multitudinous nature of the self, under pressure and implicitly alienated from the world is here construed as a narrative with a necessary imperative to focus upon what is not said as much as what is said. Hollowell sees the private and personal as ever present in the public and impersonal and seeks to bear…

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Lesley Quayle – Old Moley

Judi Sutherland's avatarThe Stare's Nest

Old Moley
 
Old Moley-man, three coats, two waistcoats,
jumpers, vests layered back to a museum
of skin, festering, bagged up in ruined corduroy,
his boots, one grey, one brown, both soles
curled under dirt-scarred, nomad’s toes –
he dances in the park. With eyes closed,
struts his stuff and promenades,
a waltz, a quickstep, cuts some rug
and rock ‘n’ rolls, his jive and twist
compelling flies, semibreves around his head –
his stench tolls through the wooded square.
He stumbles, stops, dry as a broken bottle,
soul drained, a desert of old dreams,
new sorrows, sits on a bench, his breath
a toxic smog, until the sun demists the view.
He rests, forlorn as torn up letters
fretting on the breeze. Passers-by tune out 
when he thunders godless hymns,
his mouth a caved in hovel, humming,
whistling when he can’t remember words.
He’s entertaining strangers for odd coins

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DAY ONE HUNDRED AND ONE – Daljit Nagra

azjackson's avatarnew boots and pantisocracies

Ghazal

is the Human Rights Act in the desert Inshallah
are Freedom of Speech and Equal Ops
curlews in the crazy desert Inshallah

repetition of treasures in the Congo
repetition of bobble heads across poppy valleys

does the Kaaba glow on the road to Raqqa Inshallah
what swollen pass must these sandals tread
for the scar of Jerusalem Inshallah

repetition of warriors on the Screen of Thrills repetition
where I’m swung in love with a gun aboard my back

who has taken my house and eats my bread Inshallah
who takes the pen from the head so its flesh
harden to a vessel of God in muezzin cry Inshallah

repetition of robots in the sky repetition of babies blown
like dolls in a market repetition of fresh torn martyrs

why are my daughters in the desert O Inshallah
for the theft of the word where one man’s Allah
is beheaded…

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Graham Burchell and Kate

Rebecca Gethin's avatarRebecca Gethin

The new Featured Writer is Graham Burchell whose third collection, Kate, has just been published by Indigo Dreams.  Being a member of one of Graham’s poetry groups I have  seen some of these poems grow and coalesce over time which has been a great honour and very instructive.  Extraordinary to see how a collection comes together.  I can tell you that in this book Graham has moved up yet another gear or even three as his turn of phrase and compression startles and astonishes the reader at every turn.  I can feel a gasp coming on each time I start reading just the two poems he sent me.

Written in Kate’s voice the poems follow the complexities and conflicts of modern life as seen through her eyes –  a fictional child of dysfunctional parents. You might say, ‘she never stood a chance’. When life becomes too strange to be bearable, Kate retreats like Lewis Carroll’s ‘Alice’ into her own fantasy world…

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Since you ask most days I can’t remember…

Abegail's avatarAbegail Morley

In a strange way, I am very much looking forward to the poems for World Suicide Prevention Day, something close to my heart. I have a stellar selection from poets kind enough to send their poems to me, and even though it is a grave subject I really feel we should mark it in some way. I have been bowled over by the poems and messages and am really honoured to share them with you in September.

I suddenly find myself at a poetic busy time. Coming up shortly is my poem at The Globe as part of The Voice and the Echo series running this summer. For those of you who haven’t quite caught up with it, they’re running a programme from 29th August to 9th September where contemporary poets have the chance to be inspired by, and respond, to other poets’ work, to “bring both the traditional canon…

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Gordon Lish’s Cess: A Spokening (OR Books, 2015)

Gordon Lish’s Cess: A Spokening (OR Books, 2015)

tearsinthefence's avatarTears in the Fence

In contrast to Alexandra Psaropoulou’s All The Stars, which I wrote about yesterday, Gordon Lish’s book, rich in language play, employs a loquacious first person narrative in two extended notes before and after a list of select vocabulary. It is implied that the narrator is loosely based on the author self, although this is more of a ploy to draw the reader more closely into the narrative world with its frequent call to check the factual details of the narrative online.

The first note delineates the biographical details of his mother and her sisters, Jewish immigrants from Austria, based in New York, and his own situation at Mills public high school, at Millbrae, California. Finding himself without a job and having to support a wife and three children he wrote to his winsome Aunt Adele asking for work not dissimilar to hers. Apparently, in 1963, Lish was refused tenure…

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