The Name of Cameron. A Poem by Sara L Russell

What will they say of you in future times?
Were they duped by your duplicity
or did you fall on your double-edged sword?
Was the devil we knew any better than the unknown?

The future has a way of arriving early.
Are you ready now, for what it yet may bring?
Will you be knighted, or, benighted and beleaguered,
Fall fallow by the wayside of your ways?

Will the name of Cameron carry on,
Whatever else is lost or left behind?
Will David slay the apocolyptic giant of global warming,
yet terminate the service of National Health?

Was it wealth, or a poverty of emotional maturity
that led to such flotations and privatisations?
what sensations did you feel, did you reach referendum,
did you feel the earth move?

We never saw your manifesto made manifest.
We, the voters who voted not for you,
yet saw you rise, anticipate your fall.
Do promises count as any kind of plan?

And the future is arriving post-haste,
like a present waiting to be unwrapped.
Elections have a way of arriving early.
We are ready, with a big sharp X.

Sara Russel latest

 
Sara Louise Russell, aka PinkyAndrexa, is a UK poet and poetry ezine editor, specialising particularly in sonnets, lyric-style poetry and occasionally writing in more modern styles. She founded Poetry Life & Times and edited it from 1998 to 2006, when she handed it over to Robin Ouzman Hislop and Amparo Arrospide; Robin now runs it as Editor from Poetry Life & Times. She is currently founder and Editor of the daily paper.li journal, Poetry Lifetimes ; which is a sister publication to Poetry Life & Times. Her poems and sonnets have been published in many paper and online publications including Sonnetto Poesia, Mindful of Poetry and Autumn Leaves a monthly Poetry ezine from the late Sondra Ball. Her sonnets also currently appear in the recently published anthology of sonnets Phoenix Rising from the Ashes. She is also one of the first poets ever to be published on multimedia CD ROMs, published by Kedco Studios Inc.; the first one being “Pinky’s Little Book of Shadows”, which was featured by the UK’s national newspaper The Daily Mirror, in October 1999. (Picture link for Mirror article)Angel Fire
 
 
 
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Dad – A Eulogy. A Poem by Allison Grayhurst

“My life was my peace, now,
in the moment of my release.”

    ***

Under here in the dark
deepest dream, the cold
loss, unbearable change,
I cry out blood. I have no
overcoat, no more protection.
It is now a different light I seek,
an alchemized marrow in my bones.
Do I sing, for death is peace,
and death is the edge that slices
the tongue in two, that drains the cup
of every drink? Home – I have lost
the essential tie. I have lived with a bond
so beautiful, now broken by fate and the blue-turning
cheek. How will I know my own grief,
the shattering that eclipses all but faith?
In the newspaper turning, I smell
your hairspray, I hear your boisterous voice.
I clasp in my hands the raw fire of nevermore.
Stand close to my mirror,
and help me breathe in and out,
help me take into my own
your generous heart.

    ***

I knelt before his photograph
on the casket and we talked
of gratitude and goodbyes. I saw
compassion’s light, there, in
his dark tremendous eyes.
I felt the tearing off of seven layers of skin.
I held my hands together. Faith,
where is your shield? Your cradle
to rest my shattered spine? Each cell
is reformed by his departure. I am left
in the winter wind without clothing
or a protective tree.

    ***

Cut, the thin clouds
cut a pathway within
where loss is deep as God.
My fingers move like trains
back and forth. Ashes in an urn. Graveyard green
flavoured by tears. I whisper to him when on the gravel road.
I see him beyond the fence, in the coming
December snows. I need him like before,
when hearing children talk, when waiting
for a terrible moment to pass. He formed a giving spirit,
rooted in integrity. Angels come and go,
hovering in my pocket books and on highways
I never cross. They touch the seagulls’
outgoing breath, they write his name
on Scarborough cliffs. I will not mourn
with unholy regrets, nor would I change
the tension in his nerves.

    ***

In closets, memories pile,
their scents and wooden colours
for years at rest in unchanged
shadowed hovels. I find myself
in unfamiliar rooms, emptied
of hope and the driven smile.
I find the walls pulsing, and the floor,
a bruised body I have cried for.
In years, this hot blood of loss
will thin and this tumour of unbuffered
pain will shrink and mend. In years, I will
see his picture and spend a Christmas under a pink sun.
November winds will wrap me in
a sweet and grateful slumber.

    ***

Hammered by a kaleidoscope of memories,
through the grand “if” and the willy-nilly
confines of love. Rifts in the pavement
I walk on today, still stunned by the enormous
and the unchangeable, still frightened of my thoughts
that go into the hard void, into the unfocused
stare and the image of him lying there,
no longer. Up & down craters beyond
this century’s grasp, beyond the books
I’ve read and anguish before encountered.
He answers me in my head, wakes me at 2 am.
He protects me still, though his arms have bent
to the cold, unforgiving ash.

    ***

Appleseeds I’ll never bury.
Evergreens lean towards the greying sky.
He is there like a shadow on my back, there
in the wheat-coloured grass.
He is over the city factories,
his face resides on graffiti walls.
And on telephone wires I see him sit
with the starlings, smell him in the scent
of evening rain. I hear his stories from
the beautiful lips of children. I think
I’ll see him tomorrow again, know his
paternal warmth, the way his smile lifted
the corners of his mouth.
Time is drifting into the homes of strangers,
as death strides beside every dream
living, defiled or lost.
He surrounds me like the sounds of a streetcar
running, and I am running, struggling
to stop, lay down and to be reborn.

    ***

Ocean-cold and wooed by the tongues
of snakes. Miracles abound,
but still grief gnaws a pathway
through my torso. Trees are singing
of the flames I sleep in and the empty
days toss me to and fro, from heavy tears
to rage. How without him in the huge,
unpredictable world? How without his loud
and open gifts? Landscapes where centres break
and colours are no more. I touch the crocodile
tooth, the boiling point of all my bones.
So alone, coupled with the uncertain dark.
 
 
I miss his brown fiery eyes and how
he lived, pampering the hearts of others.
I miss him like I would my very skin, like the shell its yolk,
and the eyes, their vision – Where
is the cure? Where is the farewell
from this gruesome spell? The shock
still rivets in me. Crows spin through the clouds.
Death has been unleashed like the first feel of pain.
 
 
Believe me, you have reached me. Believe me,
this enemy won’t win. I will stand tall for you.
I will hold your hand until morning.

    ***

Pale in the December sky,
the sun is but an insect’s dream.
I leap from cabooses onto the icy tracks.
There are people in the playground,
happy that Christmas is near. There are
buildings with stained-glass windows,
reminding me of the aloneness we each are
bound to endure. Now my father, I wake to find
you hour upon hour at night. I talk to you
in half-conscious streams. In the afternoon,
I break down. Crows sit on my porch,
then follow me through the peopled-street
where I swear your shoes have travelled, once
in a bachelor’s dream. And mother is all
sliced-up inside. Days and days we spend
looking at old photos, trying to dispel
her sorrow and devouring regrets.
My husband holds me like the best
of friends do. He carries me over
 
 
these desert fires. I want to tell you
how good was your influence, how soft
my aching eyes. I want to know you again
after I die, like you were in this life –
my strong, my steadfast guide.

    ***

Old factory fields in mid-December’s light.
Vacant barns and rows of suburban homes.
You pushed me on the swing
and gave me courage to dive.
Sunsets in Spain and the sounds
of the typewriter at 4 am are now part
of my muscles and nerves – you are in me
like a fledgling in its nest or the drive
behind my every restless year. You knew
how the great dream fell, how rage can find
the form of forgiveness, and the bridge
between our two stubborn intensities.
You were my ally in the social sphere, my
guardian in the tower, my place of safety
and self-belief. You held me near
when the curtain opened, and my childhood
fastened to a ravenous storm.

    ***

I live in a room of brown-papered walls,
TV screens and empty teacups. I want
to give up like the hand that lets go
of the cliff or the orphaned boy
left on the streets alone. I’m trying
to keep my head steady, but no abstractions
 
 
relieve me, only pins and needles in my brain
and the intestinal twist that has found
its way within like a permanent companion.
People call, but only this empty dread
makes its bed in my heart.
 
 
I know it is over – the special way we needed
one another. I know I must take the road
to lead me on, past the dried flowers
and 1 pm breakdowns. Shakespeare at
the dinner table and omelettes in the
afternoons – I won’t forget a single
kindness, the way you prayed
on that darkest day in my adolescent life.
Ceilings crack overhead. I knife
a million strangers. I curse the cars
going by and the cockroach on the kitchen
floor. There are no distractions from death.
There are no soothing things to do –
but to wait behind this cold and sealed door.

    ***

The cloven hoof of
this and that blood’s pardon.
I feel the acorn hit,
the crossing of the Nile.
I feel like an Indian summer,
and all the sweat pouring into
the brass cup of mortal knowing.
Time, in time no love is broken,
not the pound pound pound of his
nature, not the be-all of his voice.
I will never hear that voice again,
 
 
not his loud centre ringing, his
male pride, gentle in the sun.
I will never carry his water again,
or tell him – I thank God
for you. For you and your quickened
energy, for the artery of your moral
gestures that gave with ‘yes & no’,
with ‘wrong & right’, the seed
of my shelter and the over-fair justice
I believed in all my childhood life.
I thank God for your walking sound,
how the room rebounded with your
surely presence, and the smile on
your eccentric face, there, when we talked
of a grandchild. I thank God for the breathing space
you gave, and the will to live out my tale.
I thank God for the hemisphere you made
and the beautiful passions you instilled
in my heart. I thank God for you –
my weight, the reason I write
my song.

    ***

If today the closed eye
takes me to where I’ve never
been before, if I meet my father
in the mirror or in a five & dime store,
would this pressure drain like the letting
of blood, would these horror-stricken
days mean nothing now but a bitter
tossed-away cup? If he moved through
a dream saying – Do not be afraid.
Do not let your mind fracture or your lips
 
 
turn blue – would I know him like
last month or meet him with raw wonder, anew?

    The rings around my fingers.
    The friends I cannot keep.
    ***

A month crushed
in the vortex of a python’s circle.
Stale breath filling my atmosphere,
and hope is but soft warm sand
beneath the feet, is a season that
never fades, is not what my hands
can trace. I long for mornings
all to myself, to hear his voice
once more on the phone. But rocking chairs
and crossword puzzles rest vacant as
2 am streets. And birthday cakes are past
like an old person’s dreams. He returns
again at night, alive for one more week.
Rain pours onto my teeth and
nutshells are gathered by the winter’s
black and brindle squirrels.

    ***

With grace I may be replenished.
This dull anguish may be replaced
with starlight in my belly. Or with the
million winds of God’s miraculous justice,
I may return to a little one the goodness
he gave, be offered the chance to feel
the kick, to know no stronger responsibility.
The same as he (with his stoic suffering
 
 
and gregarious generosity) plucked the weeds
from my journey’s path and made me see
with moral clarity the fault of all but love –
so maybe I can be for one what he was for me.
Maybe soon my turn will come.

    ***

Before I knew my own face
in the reflection, I saw
sparrows rolling in the sand
and wished my heart open as the underpass
cars travel through. Before I knew of death
and its yellow-green smile. I offered
caramel-coated apples and chocolate bars
to placate it. But now I stand
beside its smelly aftermath. I feel
its wrenching voice fill my solitude,
and all the mad children of this and
other worlds echo their hell beneath
my many scarves and sweaters, touching
me nude with their growing black hole.
And soon I am just darkness with no size,
no boundaries or vision of outside. Soon
I am embittered by friendships I thought
I had, and mountains of rage churn like
spoilt food in my belly. I am sad too, like
the willow tree in my Montreal backyard.
Sad like my father when his mother died,
and his orphan cry lied sealed inside
like a voiceless fear. Because now he
 
 
is gone and things I often waited for
will never pass. No “Owl & The Pussycat”
for my children’s ears, no more pride in
his sideways smile, or trips to India
or English moors. He will never know
my children’s names.

    ***

Pigeons flock through the fog,
high above the park benches and lamp posts.
Guilt has no shore, but is an endless
sea where jellyfish and stingrays
make their nests and the dolphin
is no more. Our talks by the fireside
will never be again, or his drifting
to sleep on the couch in the winter’s
after-midnight air. On Christmas eve,
all my memories are soaked into
the tree’s red and blue lights. And Grandma
is gone, as well as the dog beside me.
But worst is the emptiness of his vanishing,
is the click click inside my throat
and the razor-burn on my knees. Kneel and pray,
for life is nothing but this and that thing done,
is the touching of two hearts
and the softening of brittle ways, is to keep
the soul’s challenge forefront, then to sing
around the merry table of relatives and friends,
as if immune to bitter unbelief and fear
that drives the nail inward. He is
on the windowsill looking in,
reminding me that long ago
 
 
our once colliding spirits
made the greatest of amends.

    ***

Waves of snow outside the window,
moving like pure isolation, cleansing all
with its cold fury. Last night
I hugged him in a short farewell in my head,
in the blue fog of a dream. And waking
I found peace in January calling. Outside
a city hawk circled, blessing me and mine
with its instinct so talon-strong and
close to God. Families I never knew
have opened my heart. Barnyards and lithe trees,
stretch toward the silver sun. I miss him
at the dinner table and when the wine is served,
when all the things of hopes and wonders
implode within. Into the scent of dried rose petals
death dives with mad glee. Water-towers
cut a hole through eternity. The wrinkled word
I cannot speak. The keepsakes (like hot wax
pouring onto my belly) cause a redness
that releases my broken-heart’s moan. And hanging,
– my flesh, my guilt, my grief –
now and forever merged, undeniably atoned.

    ***

Allison Grayhurst picture
 
Bio:
 

    Allison Grayhurst is a full member of the

League of Canadian Poets. She has over 450 poems published in more than 225 international journals and anthologies. Her book Somewhere Falling was published by Beach Holme Publishers in 1995. Since then she has published eleven other books of poetry and six collections with Edge Unlimited Publishing. Prior to the publication of Somewhere Falling she had a poetry book published, Common Dream, and four chapbooks published by The Plowman. Her poetry chapbook The River is Blind was published by Ottawa publisher above/ground press in December 2012. More recently, her e-chapbook Surrogate Dharma was published by Kind of a Hurricane Press, Barometric Pressures Author Series in October 2014. She lives in Toronto with her family. She also sculpts, working with clay; www.allisongrayhurst.com
 

    Some of places my work has appeared in include

Parabola (summer 2012); Literary Orphans; Blue Fifth Review; The American Aesthetic; South Florida Arts Journal; Gris-Gris; The Muse – An International Journal of Poetry, Storm Cellar, New Binary Press Anthology; The Brooklyn Voice; Straylight Literary Magazine; The Milo Review; Foliate Oak Literary Magazine; The Antigonish Review; Dalhousie Review; The New Quarterly; Wascana Review; Poetry Nottingham International; The Cape Rock; Ayris; Journal of Contemporary Anglo-Scandinavian Poetry; The Toronto Quarterly; Fogged Clarity, Boston Poetry Magazine; Decanto; White Wall Review.

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Venefic Kiss. A Poem by Jim Dunlap

GHOST WALKS 6 -10. A Poem by Christopher Barnes.

 
 
 
GHOST WALKS 6

…Marilyn Monroe’s eyed up as a Stalinist,
Wheel-cog in a pack.
The vogue Manhattan telephone book
Roll calls her as homie.
We’ve sussed from Mrs. Nosey Parker,
Whose quirks aren’t blown open,
The whack, damn all, or skimpy oddments…

*

Friends parting at Battlesden House.
The hot-bricks poltergeist of a double-faced Steward,
Tumbles pails,
Amends for his red-handedness –
Peddling watered milk,
A conscience twinge unaging.

 
 
 

GHOST WALKS 7

… (Won’t blab) sightsaw Marilyn Monroe, 5pm,
In rents at Hilton’s Hotel Continental
Scheduled by Arthur Miller’s union dues hang-outs.
Xerox to Director, Federal Bureau of Investigation.
Our man in the dusk
Is on the Special Correspondent’s List…

*

Rosata, the cold-shouldered nun,
Kneads her offsprung paunch,
Scowling to a curfewed heart-throb.
Underlinen seethes, late-moon ashy.
On a shoe-snow midnight
Candle-flames reduce.
In Chicksands, the buried
Nor insects sleep.

 
 
 

GHOST WALKS 8

…A subordinate out-of-ordered Marilyn Monroe’s
Dial-up risk, death warranting her.
His faults are relentless.
Jitters creep in dime-a-dozen shoes.
He’s a foreboding in a cinema,
Row 14, pull his coat.
Tinsel Town’s wayward one
Is a sheer daydream…

*

Daisies and ripe wood flinch.
A whirlblast makes faces at Pegsdon Farm,
Spiriting timbre from Knocking Knell.
Our Majesty stoops in the barrow’s relics,
Thudding the gewgaw coffer to be let out.

 
 
 

GHOST WALKS 9

…Marilyn Monroe’s love mis-match,
Arthur Miller, safeguarded the Party’s tactic.
Vetoed all split hairs.
Dusted off Communism, absorbing, casting about.
Foreshadows penmanship and life.
Head shakes to decry
Or labour these points…

*

A tread overruns Bury Hill.
Smog purges nightfall.
Moon-sweats bead a hell-born witch
Immersing the prayer-house,
To stonewall mortality.
Unveiling, we tame the phantom’s coach.

 
 
 

GHOST WALKS 10

…Marilyn Monroe, shadowed to Mexico,
Away-daying with intimate coteries,
The American Communist Group –
A moveable soiree, dance partners, FBI undercovers,
Revelling in sun, afterplay, firewater
And well-read confabs…

*

Above soil our tender aged
Haven’t the stomach to go
By the ustrinum,
Overstrung into unfathomed night.
On unseamed freeholds
Side-lining Ashwell Street
The casualty list gabble.
From earthenware relics
Bust possessing disputes.

 
 
 
Christopher Barnes
Some bio details…

 
 
 
Christopher Barnes
 
 
 
In 1998 I won a Northern Arts writers award. In July 200 I read at Waterstones bookshop to promote the anthology ‘Titles Are Bitches’. Christmas 2001 I debuted at Newcastle’s famous Morden Tower doing a reading of my poems. Each year I read for Proudwords lesbian and gay writing festival and I partook in workshops. 2005 saw the publication of my collection LOVEBITES published by Chanticleer Press, 6/1 Jamaica Mews, Edinburgh.

On Saturday 16Th August 2003 I read at the Edinburgh Festival as a Per Verse poet at LGBT Centre, Broughton St.

I also have a BBC web-page www.bbc.co.uk/tyne/gay.2004/05/section_28.shtml andwww.bbc.co.uk/tyne/videonation/stories/gay_history.shtml (if first site does not work click on SECTION 28 on second site.

Christmas 2001 The Northern Cultural Skills Partnership sponsored me to be mentored by Andy Croft in conjunction with New Writing North. I made a radio programme for Web FM community radio about my writing group. October-November 2005, I entered a poem/visual image into the art exhibition The Art Cafe Project, his piece Post-Mark was shown in Betty’s Newcastle. This event was sponsored by Pride On The Tyne. I made a digital film with artists Kate Sweeney and Julie Ballands at a film making workshop called Out Of The Picture which was shown at the festival party for Proudwords, it contains my poem The Old Heave-Ho. I worked on a collaborative art and literature project called How Gay Are Your Genes, facilitated by Lisa Mathews (poet) which exhibited at The Hatton Gallery, Newcastle University, including a film piece by the artist Predrag Pajdic in which I read my poem On Brenkley St. The event was funded by The Policy, Ethics and Life Sciences Research Institute, Bio-science Centre at Newcastle’s Centre for Life. I was involved in the Five Arts Cities poetry postcard event which exhibited at The Seven Stories children’s literature building. In May I had 2006 a solo art/poetry exhibition at The People’s Theatre why not take a look at their website ptag.org.uk/whats_on/gallery/recent_exhbitions.htm

The South Bank Centre in London recorded my poem “The Holiday I Never Had”, I can be heard reading it on www.poetrymagazines.org.uk/magazine/record.asp?id=18456

REVIEWS: I have written poetry reviews for Poetry Scotland and Jacket Magazine and in August 2007 I made a film called ‘A Blank Screen, 60 seconds, 1 shot’ for Queerbeats Festival at The Star & Shadow Cinema Newcastle, reviewing a poem…see www.myspace.com/queerbeatsfestival On September 4 2010, I read at the Callander Poetry Weekend hosted by Poetry Scotland. I have also written Art Criticism for Peel and Combustus Magazines. I was involved in The Creative Engagement In Research Programme Research Constellation exhibitions of writing and photography which showed in London (march 13 2012) and Edinburgh (july 4 2013) see
www.researchconstellation.co.uk/ . I co-edit the poetry magazine Interpoetry www.interpoetry.com/
.

 
 
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No Strings Attached. A Poem by Aparna Pathak

 
“Give me a break!”
It says often.
 
It’s already tough to stand on same place
for years, fixed by trashy threads
 
that keeps on digging the soil
beneath, more day after day;
and call it strengthening.
 
Just hover around
as decorations and possessions
without being attached.
 
Twigs are overloaded.
Dont suck.
 
Feel free to roam around but
come back , when in evenings
folks pass by appreciating affluence.
 
 
111111
 
 

Bio:
Aparna Pathak belongs to Delhi, India. Graduate in English (Honors) and post graduate in public relations , her poems have been published in more than 30 print anthologies, online publications and also various literaty magazines like twice in “Reflections”, and Negative Suck, Rolling Thunder Press, and blue Cygnus. One of her poem has been awarded the commendation of ” Highly Commended ” in the Poem of the Year Category of the Destiny Poets’ International Community of Poets ICOP Awards 2012. Her own book of poetry, “silent flute ” was published in January 2014.

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Stoning the Witch. A Poem by Miriam C Jacobs

 
 

Come get your things before I put them out

in the rain, you want to say, your face

in the mirror white enough to frighten milk.

But every time you touch the phone your capillaries shrivel.

Last night the witch almost got away

clutching your daughter, sliver of silver, white-armed,

honeybird tattoo.

It’s too late, anymore, for latches or key codes.

You strike him to stone with a glass of hurled milk,

poke the shards, grown doughy

with so much water, through a grate under the street,

but they cling to your wet fingers like resin.

You have to shake them, shake them loose.

Now, perhaps he’ll rise severally from the sewer,

tear through the countryside with his brothers, stomp villagers.

Your shilly-shallying carries off everyone.

You clasp the phone, tell him: Don’t lie.

Your skin pricks in the super-heated air.

Her lips are white.

She’s so gullible.

Jacobs recent head
 
MIRIAM C. JACOBS is a alumnus of the University of Chicago and teaches college writing, literature and humanities. Jacobs is the editor of Eyedrum Periodically, the art/literature journal of Eyedrum Art & Music Gallery, Atlanta. Her poetry has appeared in Jewish Literary Journal, The East Coast Literary Review, Record Magazine, The Camel Saloon, Bluestem: the Art and Literary Journal of Eastern Illinois University, The King’s English, and Oklahoma Today, among other publications. Her chapbook of poetry, The Naked Prince, was published by Fort!/Da? Books in September 2013.

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Poetry Life and Times – An Interview With Marie Marshall – Poet

Poetry Life and Times – An Interview With Marie Marshall – Poet

by Robin Ouzman Hislop Editor of Poetry Life and Times

Bio – Marie Marshall (3rd person)

MM is a middle-aged Anglo-Scottish author, poet, and editor, who says little about herself, preferring to let her writing speak. She has had three novels published, two of which are for the young adult / older children readerships. Both of her collections of poetry are currently in publication. Naked in the Sea (2010) in its 2nd imprint, is available in e-book form direct from publishers P’kaboo and in Kindle version on Amazon; the 1st imprint may still be available in print, if you enquire at Masque Publishing of Littlehampton. I am not a fish, nominated for the 2013 T S Eliot Prize, may be bought direct from publishers Oversteps Books. Marie has had well over two hundred poems published in magazines, anthologies, etc., but has not submitted anything since 2013. The most unusual places in which her poetry has appeared are on the wall of a café in Wales, pinned to trees in Scottish woodland, and etched into an African drum in New Orleans Museum of Art.

Robin. Hi Marie, welcome aboard PLT, we’re so glad you agreed to do this interview.

    Marie. It’s kind of you to invite me.

Robin. I first became aware of your work as a poet, when I discovered you were a Co-Editor of Richard Vallance’s Anthology of Sonnets, The Phoenix Rising from the Ashes. It’s going back a bit but how did that come about?

    Marie. Richard and I go back further than that. Somewhere in 2007 or 2008 I submitted some sonnets to Sonnetto Poesia, the magazine that Richard edited. At the time I was eating, breathing, dreaming in iambic pentameter, using the sonnet form to sharpen up the technical power of my writing. Anyhow, Richard was so enthusiastic about my sonnets that I believe he included some in an issue of the magazine without running them by the other members of the editorial team. Not long after that he asked me to become an associate editor of Sonnetto Poesia, and shortly after that an associate editor of Canadian Zen Haiku. I served in that capacity for about three or four years until Richard decided to retire.

    The Phoenix Rising from the Ashes was Richard’s ‘swan song’, and in fact the amount of hard work he put into it was unbelievable. I was amongst those drafted in as part of the editorial team, and as such didn’t do much more than anyone else on the team. Somehow I fell into the role of reining in some of the hyperbole in the introductory text to the anthology, rewriting much of it, and at the end Richard wanted to reward me by raising my status to something like co-Editor. However, I hadn’t done nearly enough work to justify that, so we settled on ‘Deputy Editor’ – I made the proviso that I would only accept that title if everyone else on the team agreed. I don’t think anyone objected.

    I’m proud of the anthology – I made sure that copes were lodged at the Scottish Poetry Library and the National Library of Scotland, both in Edinburgh. It’s good. It’s not perfect, but it’s good.

Robin. Ah, yes, I remember Sonnetto Poesia and Canadian Zen Haiku. I monitored the latter for some years on line and enjoyed working with Richard in my contribution of the Spanish chapter to that anthology. In fact, we’ve published a Sonnet of yours from that anthology here at PLT, Closing Time at Laugharne. Pronounced ‘larn’ to rhyme with yarn, that boozy Celt at the Boathouse, I loved the imagery.

    Marie. I’m glad I’m a poet and can get away with calling someone a boozy Celt.

Robin. You’re not only an editor of your own online poetry periodical (thezenspace.wordpress.com) but a translator, novelist, essayist, and poet; would you give the reader a little background to these activities.

    Marie. First off, I don’t erect any significant ‘Chinese walls’ between them. I write, I deal in words, end of. Perhaps the editorship of the zen space is the odd one out, a little anyway, because there I’m dealing with other people’s words, not my own. It all started when I sent in a haibun to an e-zine that specialised in such things. I got an email back from the editor in which he expressed a wish to publish my submission, but he wanted to tinker with the words. Now, normally that’s an acceptable prerogative of an editor, but in the case of something as in-the-moment as a haibun, I resisted. He got shirty. I asked him if he knew of the principle of mono no aware, and of the origin of haiku and such like in Zen. He said no he didn’t, and in any case all of a sudden he wasn’t going to publish my stuff after all. Well, having exposed his ignorance, I decided to start my own haiku e-quarterly. You might think I would be bound to seed it with my own work, but in fact I don’t. Leaving aside the buzz of reading through people’s work and putting a quarterly Showcase together, the main selfish reason I keep it going is so that I can still hang out a virtual shingle saying ‘Editor’.

    Translating is a very, very minor string to my bow. I have a reasonable knowledge of French. I have translated a little of Gérard de Nerval and Claude Joseph Rouget de Lisle. I have written some parallel poems in English and French, English and Scots, and even had a shot at translating something from Welsh. My main influence was the late Vera Rich, who seemed to appreciate my skill as a poet. We worked a little together, and she passed on to me her principles of reproducing not only sense, register, voice, and so on, but the actual metric structure of the original. I can tell you that’s not an easy skill, but Vera had it in spades! Just before she died, she had passed her first draft of her translation of Ivan Franko’s Death of Cain over to me to read through and comment on. I had made a list of queries and suggestions for her when I learned of her death. Her first draft is blogged somewhere, but I have been wanting to put together a re-edited version for some time – I had questions for her about her choices of words in some places, when compared to other versions and to the original words in Ukrainian, but of course these will never be answered now. Anyhow, her influence is very strong for me, even though I do so very little translation.

Robin. I remember very well reading the translation, it seems to me a pity you’ve buried it from publication over a comparatively small detail, when a few footnotes would have sufficed and who knows perhaps get an answer from that, but sorry to interrupt.

    Marie. No, the questions I had for her were much more than one ‘comparatively small’ detail. And in any case, Vera herself still had to check with her academic source in the Ukraine, but passed away before she could do so. I may do something public with it in May 2016, which is the centenary of Ivan Franko’s death, but anything I might do would be entirely without authorisation. We’ll see.

    Anyhow, I’m intrigued that you call me an essayist. I suppose that we’re all essayists these days, given the universality of the blog, and I do put the occasional essay on the blog section of my web site. I have touched on aspects of English grammar, taxonomy, whether ‘modern literature’ exists, art graffiti, and I have written reviews. So maybe I’m an essayist of sorts.

    I don’t know what to say about my being a novelist and a poet. These are the most obvious of my activities, so perhaps they need the least saying about them! I’m actually best known in Scotland as a writer of macabre short stories, but that’s another thing entirely.

Robin. Now comes the star pin question, take it or leave it: as you are a bit of a mystery – don’t get me wrong, I think it’s cool a writer shrouds herself in a bit of mystery – but you did start writing very late in life, and with incredible success from the start, which is unusual. What started that?

    Marie. There are a number of questions hiding in there! Two at least. I’ll deal with the last one first – what started me writing? You’re right, of course, I started writing when I was already in my late forties. One day I was reading stuff on a web site – I have absolutely no recollection why, or how I came to be on that page – that was touting itself as ‘erotic writing’. Short stories. Most of them were dire, just an excuse to ‘talk dirty’, any plot in them was simply a set-up for a graphic sex-scene, nothing there that one could dignify with the term ‘literary merit’. I said to myself “I could do better than that!” and so I got on my keyboard and did just that. My principle was that the story should carry sex, be sexy, rather than be an excuse for sex. It worked, it worked well, but before long the story took over from the erotic content, and – bingo! – I found out I was a mainstream author.

    Now, why do I have this shroud of mystery about me? The answer is, I’m afraid, rather prosaic. I have a number of psychological problems which make me severely agoraphobic, almost a recluse. I am painfully shy about speaking in public, about being the centre of attention, about being photographed, and so on. So making a virtue out of a necessity, I have turned this into a mystique, made it a selling point, made it an essentially part of Marie Marshall the author and the product.

Robin. Despite your other pursuits, it seems to me you feature mostly as a poet. So let me jump in at the deep end with you with a question framed in two parts: What are the qualities you think are needed to give birth to a poet; and how does the theme of any poem develop in your mind?

    Marie. Neither of these is particularly simple to answer. I could say this: that the essential quality needed in a poet is an almost total disregard for what everyone else says poetry is. Along with that, a total disregard for the sanctity of language. Of course that won’t do for most people, they’ll find it an unsatisfactory answer; but to me, unless you have something like these essentials in your nature, you will write poetry that is clearly dictated by the rules, by the form – and don’t forget that ‘free verse’ is a form too – rather than letting the form carry what you want to say.

    Usually what comes to me initially is a handful of words, a way of describing something – a sight, a sound, a feeling – that is distinctive. I remember them, or write them down, and then I see what grows around them. Sometimes this only results in a few lines. At other times it develops into an extended theme, with recurring tropes in a whole series of poems. Sometimes I write about something that is obsessing me; I think my ‘Veronica Franco’ poems are like that.

    I think the only reason I’m best known as a poet is because I have set myself the task of writing something vaguely poetical, if only a fragment, every day. In fact, as I said before, I don’t really draw a distinction between writing poetry and writing anything else. In fact one prominent review of my first novel, Lupa, makes a point of saying that it is no surprise to learn that I’m a poet, as my prose is ‘full of passion and rhythm’

Robin. I’d like to ask you more questions about the Veronica Franco poems, but I’ll return to that later. Nowadays, perhaps because of the media and population increase in the world, more poetry is being written than ever before and fame cannot be again what it was. Do you think the poet and poetry in general play any particular role in the modern world, can they influence the course of events, for example. I call to mind WH Auden, who did much to diminish the myth of poetry, insomuch he claimed just that, the creations of the poet could not really influence the course of affairs in the world’s history. So perhaps the trend in modern poetry is just towards stylistics rather than any realistic view of crisis in the human condition.

    Marie. Still, if we poets all jumped up and down at the same time, we could tumble the castles of the powerful.

    Let’s face it, Robin, there is more of everything out there these days. It’s the world we live in. I am currently preparing an essay on ‘cultural appropriation’ in which I say “the walls are down”. Maybe you’re right, maybe Auden is right. But on the other hand, look at poetry after Auden. Dylan Thomas devised a poetic radio drama that became as popular as any work of literature; Allen Ginsberg delivered a slap to America’s face with ‘Howl’; Bob Dylan’s songs caught the imagination of a generation; Gil Scott-Heron was in the vanguard of Black Consciousness; John Cooper-Clarke’s sarky piss-takes on petty-bourgeois life, sink estates, and trends, are now household stuff… What I’m saying is that poets can still emerge. How far that emergence can be an influence I don’t know. Maybe Bob Dylan’s major influence was not on his own 1960s generation, but on the conservative backlash and consolidation! We live in a time where power has a grip of steel, and perhaps it would take more than a poet to break that grip now; but should that happen, there will be another Rouget de Lisle to provide the stirring accompaniment, of that I’m sure.

    As for stylistics, let me ask you whether what I’m doing is merely stylistics. Another question – do you believe that poetry should deal exclusively with the human condition? Is that what poetry is for?

Robin. I’m saying that stylistics is a trend asked for in contemporary poetry and given priority over context. I mean by concerning the crisis of the human condition that nowadays more than ever the nature of consciousness, existence and reality is more enigmatic than before and should be given a context or at least an emergent voiced image, if that’s what poetry can do.

    Marie. Asked for by whom and given priority by whom, I wonder. I also wonder whether I’m the right person to ask about the general human condition etc.. What I write is deeply personal, even the inconsequential bits of froth I write are personal, so if I have a perspective on the human condition it is based right here, in the experience of being me. Right here is also where I explore consciousness, existence, and reality. Things outside me have an existence of their own that does not depend on how I see them. I quarrel with the notion of rationality, with the notion that we are rational beings, because when we exercise this ‘rationality’ we perceive things – let’s say the laws of the universe – as being just so, not because that’s the way they are, but because that’s who we are. They’re not just filtered through our physical senses, but they’re filtered through our human-ness.

Robin. Again, I appreciate your comments about spontaneous use and growth of language in the development of poetics, but do you think linguistic theory has any bearing on poetics? There’s been a trend in contemporary philosophy to make linguistics central to inquiry and some poets adhere to such theorists as muse to their work in language, famously, Chomsky, Derrida, Wittgenstein etc., Do you have any special views on the relationship of linguistics to poetics either for or against?

    Marie. Linguists study how language is used. Poets use it.

Robin. But I would say they implicate a world view that the poet who follows derives from. Perhaps also what I’m getting at is language itself, put basically, some thinkers hold language is central to the mind, whilst others hold that it fades.

    Marie. It doesn’t fade. It slips through your fingers.

Robin. To take up the question of translation in poetry, apart from your very modest comments on your own work in the area, I’d be interested to hear your views. Say, despite the fact that the translator is using and deriving directly from the text of another’s work, she nevertheless brings to it something the other didn’t put into it. To quote a well known example of Robert Lowell’s translation of the work originally attributed to Sappho and then to Catullus “The one who stands before you” in which he claimed the translation was his own poem. What is your opinion about translation in poetics in particular?

    Marie. I think I stand with Barthes on the whole issue of creative process. It extends beyond the work of the originator right to the final reader (in the case of poetry). Thus the work of the translator is undeniably creative in its own right, yes; but I feel we have to give credit to a translator for her aim, which is to convey as much of the original as she can, given that the work is being filtered through a whole different cultural medium, if you see what I mean.

Robin. Context depends entirely on the reader?

    Marie. Let me speak from experience for a minute or two. When I translated de Nerval’s ‘El Desdichado’, for example – and I can tell you it wasn’t easy! – I had several things in mind. I was very familiar with the poem, but mainly because when I was little my family had a record of Donald Swann’s quirky version set to music. I loved it, although I didn’t really begin to understand it until I had learned French. Even then so much of the poem, with its classical references and so on, is highly symbolical. I guess to really know what it’s all about, it would be necessary to go back and live in de Nerval’s head. That’s impossible, of course, so what I had to do – or so it felt to me – was to try to give, as near as I could, the same imagery rendered as directly as possible into English, and let it remain as arcane to readers as the original did to me. I also wanted to attempt to use a comparable structure or rhythm and rhyme, or assonance or slant rhyme where I couldn’t wrestle a direct rhyme into submission, to stay as close as possible there too. Actually, to be honest, I had the rhythm and stresses of Donald Swann’s musical version in my head, and I think he (and I) mugged the metre in a couple of places, but so what! I’ll give it to you here. Caveat – I don’t hold this out as a great work of art or scholarship, and I know that other translators (Richard, for example, who is a better scholar of French than I am) disagree with my treatment.

    Oh, by the way, one thing that has always struck me is the affinity of some of de Nerval’s imagery with the Marseilles Tarot. Just chucking that fact in apropos nothing.

    I am the man of shade, bereaved, inconsolate,
    The Prince of Aquitaine, with my keep overthrown;
    My only star is dead, and my zodiac’d lute
    Blazoned now anew with black Melancholy’s sun.

    In the night of the tomb, you who granted me peace,
    Give me back Pausilippe, the Italian brine,
    The flower that brought such joy to my heart, shorn of ease,
    Or the rose-arch’s column enwrapped with grapevine.

    Am I Love or Sun-god? Lousignan or Biron?
    My temples reddened still by kisses from the Queen,
    Here by the Siren’s sea-cave pool I had a dream…

    As a conqueror twice, I have crossed Acheron,
    Modulating in turn, on the Orphean lyre,
    All the sighs of the Saint, and the elf-maiden’s cry!

    So what am I doing here, bearing in mind my aim? Is this as much, or even more, my own creativity as de Nerval’s? And here’s another question for you – where is the poetry actually happening in any case? Let me draw an analogy: Marcel Duchamp seemingly withdrew from art and spent his days becoming a chess master, but all the time he was working on the masterpiece Étants donnés, which was only put on display after his death, and which you look at like a peep show – where was or is is the art happening?

Robin. Now you’re asking me, I thought I was asking you, to be frank I think the translation and the original poem are two poems and two poets and the reader has to live with it. Are there any writers, artists, poets in particular who have influenced your development as a poet and if so, how and why?

    Marie. That isn’t as easy a question as it seems. I almost wish I had never read any poetry, so that I could be sure my own poems were totally fresh and original. However, I can’t live in a vacuum, so I can’t write in a vacuum.

    I don’t think I can name any one other poet in that way. However, if I identify with any artistic movement, I would say it is twentieth-century expressionism.

Robin. Well life doesn’t originate in a vacuum, that’s for sure, though some would disagree. Lets return the Veronica Franco poems, which you describe as your obsession and which we’ve been honoured to feature at PLT with more to come, I trust. I’m intrigued about the relationship with Wooden Mary and her devoted adoration, nay, veneration for the beautiful, brilliant, audacious and defiant (in her period) 16th century Italian courtesan to the nobility, Veronica Franco. Herself a poet in her own right, insomuch as she did actually exist and isn’t just a fictional character. It seems to me that Veronica Franco is not only the epitome of femininity in Wooden Mary’s desires, but an oracle, a muse in fact. And the object is the concept of beauty as defined through the female. I’ve selected a few titles from the series with brief excerpts below, as an outline:

I’m dancing with Veronica

….Our laughter lasts right to her curtsey,
and my stiff bow, taking care
not to break the balsa
of my performed identity….

I’m angry at Veronica because she’s perfect

….it all hangs on you like art, like Versace, like the exactitude of nature….

….making out of me only an artisan perfection, not that of a genius….

Lament of Maria Maresciallo at the funeral of Veronica Franco

….Tintoretto and Titian worshipped you, you know,
and your lover the Saint, he adored you;
but I was your sister, the only initiate of Berenice,
I wandered your depth and breadth, nave and aisle,
danced in your wake, walking on water by your magic, ….

Veronica to Wooden Mary.

@WoodenMary I’m sleeping, child
let me be, I’m no better
for the gold paint you splash
on my memory, and yet I know
you iconize my thumbprint
on a glass

Unlock the shrine and let me out,
I’ve faded, and never was that angel
of your imagination;

there’s no gold here, let alone oranges,
I’m away – and so’s my saint,
for what it’s worth –
to God knows where

    Marie. I don’t know if there was an actual question in there, Robin, but I wouldn’t quarrel with your basic interpretation of what I’m doing in this particular series of poems.

Robin. Ok, but what I’m trying to extricate here is your comment on your obsession as specific to this aesthetic concept of beauty.

    Marie. Look at her portrait, the one by Tintoretto. She’s beautiful (where is the beauty happening?). But don’t forget that her beauty has been commodified. Everything that is beautiful, elegant, admirable, accomplished about her is on sale. But it does exist in its own right. To ‘Wooden Mary’, to Maria di Legno, to me, this beauty is appreciable but only partly accessible, my love alone can’t buy it. All Wooden Mary can do is write poems about her, share some occasional intimacies that have nothing to do with the world of male power and economic power she is suffered to inhabit, but are set aside from it. I am writing about the effect that this beauty has on Wooden Mary, yes, and the first and most obvious effect is that it makes Wooden Mary write! At the same time, I am using Veronica’s perspective to question the way we see such things, to cock a small snook at that male world. In one of the poems, where Veronica and Wooden Mary visit my home city of Dundee, I give Veronica her freedom to question how we view pornography, to be the spokeswoman for an alternative view, while Wooden Mary tut-tuts in the background.

Robin. Well thank you very much for hosting with PLT Marie, it’s truly appreciated, may I ask as a closure any tips you might have for aspiring and despairing poets and if you would include a poem of your own selection.

    Marie. Thank you for having me, Robin. I hope I haven’t come across as too po-faced. If I have, slap me now.

Robin. Sounds like an authentic Marie to me

    Marie. About advice to poets – I don’t think I have ever read any advice from a poet that I felt was appropriate, so I shy from giving it. I could volunteer some small stuff, such as how redundant I feel simile is, but that’s just a personal thing.

    As a farewell, here’s ‘Big moments in Jazz, version2’

    When Bird and Miles woke up to find
    a hundred flowers blooming in a motel room
    and some doghouse man, maybe Mr. PC,
    pizzicatoed so far up the fingerboard
    he played the tailpiece right to the spike

    Smith and McGriff and McDuff
    functioned their function as a ternary star
    so it pricked them in their gravity

    wet Harlem streets yellowed-out in the low sun
    as Frank O’Hara hastily scribbled in
    a thumbed gumshoe book braving the loft
    where Lady Day blued through the haze
    and Trane and Pharaoh blew weird

    a devot of the Sun Ra sect vacationing on earth
    took a thread from Joe Zawinul’s hat
    unravelled and reravelled it saying
    ‘we’re having a ball’ and the rest of us
    snapped our fingerpops saying ‘wow’ and ‘cool’
    and calling each other ‘man’ far too much
    while Ra himself stepped on the cracks
    and dared the bears

    most often only realizing it was a day
    oh such a day when it was all gone
    and later-day eyes looked so sideways at us
    like we had our coats buttoned up wrong
    or had gone out in the rain without shoes

 
 
 
 
 
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The Woes of Gulbárdier. An Audio Video Poem by Marion Grace Woolly.

 
 
Marion 5 L
 
Marion Grace Woolley studied at the British Record Industry Trust
(BRIT) School of Performing Arts, Croydon. After obtaining an MA in
Language & Communication Research from the University of Cardiff, she
declared that she’d had enough of academia and decided to run away to
Africa.
 
Balancing her creative impulses with a career in International
Development, she worked and travelled across Africa, Australia,
Armenia, and a few other places beginning with ‘A’. In 2009, Marion
helped to oversee the publication of the first Dictionary of Amarenga
y’Ikinyarwanda (Sign Language) in Rwanda, where she currently lives.
 
The same year, Marion was shortlisted for the Luke Bitmead Bursary for
New Writers. She is an associate member of the Society of Authors. Her
latest release, Those Rosy Hours at Mazandaran, is due out with
Ghostwoods Books in February 2015.

 
 
 
robin@artvilla.com
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