New Kate Scott Pamphlet

Kate Scott’s pamphlet is out and about. Escaping the Cage has a gorgeous cover design. The poems inside look innocent enough at first, then knock you off your cosy chair when you’re least expecting it.

At least they knocked me off mine. Of course, Kate’s not a ‘new’ poet. Her first collection was Peterloo in 2003, so there’s been a long gestation here. And these are poems worth waiting for.

Interesting stuff going on in the HappenStance back bedroom. It’s been straight from Kate Scott, who sends a shiver down my spine, to laughing out loud when wrestling (metaphorically of course) with Graham Austin and Martin Parker.

But more of the bad boys shortly. . . .

 

Gill Andrews and the Forty Thieves

I didn’t think it was funny until after she’d gone away. But then I realised that I’d handed her forty thieves in a box. I should have put them in a big jar, like Ali Baba. I have a jar. . . .

The thieves were for the London launch of The Thief, which is at seven pm on Monday 25th October in the second floor suite of the Old Crown in new Oxford Street. The Old Crown doesn’t have a sign outside showing its name, but it is the pub on the corner of New Oxford Street and Museum Street, about halfway between Tottenham Court Road and Holborn tubes. If you think you can go along (please do), email me on nell@happenstancepress.com and I’ll let her know. That’s if I manage to get this blog post to appear. . .

I didn’t think it was funny until after she’d gone away. But then I realised I’d handed her forty thieves in a box. I should have put them in a big jar, like Ali Baba. I have a jar. . . .

The thieves were for the London launch of The Thief, which is at seven pm on Monday 25th October in the second floor suite of the Old Crown in new Oxford Street. The Old Crown doesn’t have a sign outside showing its name, but it is the pub on the corner of New Oxford Street and Museum Street, about halfway between Tottenham Court Road and Holborn tubes. If you think you can go along (please do), email me on nell@happenstancepress.com and I’ll let her know. That’s if I manage to get this blog post to appear. . .

But now I am sounding silly, and there is a reason for this. I’m typing on the new machine, the little bijou Inspiron which allows me to use Windows 7 and do things that I don’t seem to be able quite to do from my Mac.

New machines are always lovely in one way and HORRIBLE in another. They do things you aren’t expecting. They do things too fast. Their mice aren’t the same as the mice you’re used to — in this case it’s a touchpad which seems to move things before I know I’ve touched it properly.

To such an extent that I just finished this entry and then lost it when I somehow got to the previous webpage by accident. Oh hell. I had just successfully uploaded a picture of berries in the garden (to prove it really is autumn now) and was about to save everything with a sense of triumph, when I lost everything with a sense of exasperation.

Then I got to the end, repeated the process, got the nice picture, tried to resize it — and blow me down, did I not somehow close everything? I somehow had logged myself out and was responsible for Windows closing down, then starting up again, installing its updates — all beceause I did something (I know not what) with this ‘floating touchpad’. Floating touchpad, my foot.

I had mentioned, before that, the point HappenStance is  more or less up to. Kate Scott, and the three Samplers nearly off to the printers (about to finalise pdfs and send them to authors), the first two publications in the Po-Lite series in draft form and posted them to their authors, Martin Parker and Graham Austin, yesterday. I hope to start type-setting Alan Hill today.

I know some of the reviews have got lost in the Sphinx area. It was to do with the changeover. I’ll put them back as soon as I can, if I can get this new machine to be my friend. I probably can. I’m getting used to the keyboard. Just not to making the window I’m reading in look like the right size and resolution for me.

Okay. Let’s try putting that picture in again now. . . this has only taken an hour and a half so far.

Autumn
Clematis berries, Autumn

 

 

 

 

Saint Britta, whose story is lost

Someone in the Post Office (where I was spending a small fortune posting boxes and packets of pamphlets) referred to this lovely ‘Indian Summer’ — that term we use to describe a period of warmth and sunshine, after ‘summer’ is officially over. It’s been gorgeous this week, though in Scotland, this morning, it has given way to thick grey cloud again. Why Indian? I thought I’d look it up.

Immediately I discovered it wasn’t a ‘true’ Indian summer this last week. True Indian summer has to be after the first proper frost, so we’re talking October or November. And anyway, the term ‘Indian’ summer only began to be widely used in the UK, according to Wikipedia, in the twentieth century, when American influence became more potent than European, the ‘Indian’ deriving from Native American references.

Someone in the Post Office (where I was spending a small fortune posting boxes and packets of pamphlets) referred to this lovely ‘Indian Summer’ — that term we use to describe a period of warmth and sunshine, after ‘summer’ is officially over. It’s been gorgeous this week, though in Scotland, this morning, it has given way to thick grey cloud again. Why Indian? I thought I’d look it up.

Immediately I discovered it wasn’t a ‘true’ Indian summer this last week. True Indian summer has to be after the first proper frost, so we’re talking October or November. And anyway, the term ‘Indian’ summer only began to be widely used in the UK, according to Wikipedia, in the twentieth century, when American influence became more potent than European, the ‘Indian’ deriving from Native American references.

Before that, it would have been a St Martin’s Summer, named after the French Saint Martin of Tours, who died on November 8th in 397 AD. Rather a long time ago.

However, Saint Martin’s death became a good story. Corpses of saints were valuable: people made pilgrimages to pray at their gravesides, get healed and even get relics (the original tourist and merchandise industry).

Martin died in Candes-sur-Loire, later named Candes-Saint-Martin in his honour. He had converted the pagans after all and knocked down their temple (they didn’t do diversity in those days). Anyway, according to legend his body was snatched in unchristian manner by the people of Poitou, who popped him in a boat and floated him downriver to Tours, where they buried him (though not according to the website of Candes-Saint-Martin which suggests he is buried there. He was once, it seems, but he was definitely shifted).

Anyway, the ‘St Martin’s Summer’ refers to the way, according to legend, the vegetation on the river bank flowered as the saint’s stolen body floated past. It was November 8th and things definitely shouldn’t have been flowering by then.

Saint Martin himself was actually Hungarian. According to the history of Catholic Saints, he was in the Roman Army, got converted, and once he was demobbed became a Catholic and, in due course, a Saint. It must have suited him because he lived to the age of 81, a ripe old age in those dark days.

He was a popular saint, so an Indian summer in Spain is Veranillo de San Miguel or Veranillo de San Martin, depending on which date it occurs (either September 29 or November 11th). In Galicia and Portugal they celebrate Saint Martin’s day with bonfires, roasted chestnuts and wine.

In Russia, it’s ‘Old Women’s Summer’, in Bulgaria ‘Gypsy Summer’ or even ‘Gypsy Christmas’. In Sweden, it’s Brittsommar, which is linked by the name day for Saints Brigitta and Britta, celebrated by an open-air market on October 7th. Saint Brigitta was a medieval mystic with a complicated story; even her daughter became a saint. But poor Britta — she was a fourth century virgin, martyred with Saint Maura – and her story is lost! Her relics were discovered by Saint Euphronius, Bishop of Tours, (where Saint Martin is buried).

In Germany, Austria and Hungary, it’s ‘Old Ladies Summer’ (Altweibersommer) or ‘Crone’s Summer’. That is (allegedly) because of the white threads of the canopy spiders in autumn, in turn  associated with the white haired Norns, the demi-goddesses who live at the base of Yggdrasil and control our destiny.

In Scotland (but not in England, Ireland or Wales), the European Martinmas (November 11th) was one of the quarter days. That is to say the days when servants were hired and rents were due. That meant a holiday, and in religious terms an opportunity for feasting before fasting.

All of which brings me to the sorry conclusion that we have not had a St Martin’s Summer, or an Old Wives Summer, or a Brittsommar. We haven’t even had an Indian Summer. It’s too soon. What we have had is a few lovely days in late summer, early autumn, and we should be jolly grateful and get on with it.

For me, it’s been so beautiful in the garden that I found it hard to work at the desk, but nevertheless that has been necessary. Kate Scott’s pamphlet, Escaping the Cage, is more or less complete though the cover’s not done.  Three Samplers, from Isobel Montgomery-Campbell, Patrick Yarker and Tom Vaughan, are in the post in draft to their authors, who will provide a bonny signature for me to scan for the front. Parcels of the Hardy pamphlet have gone scurrying hither and thither. Two new PoemCards are ready, one by Maggie Butt for empty nesters; the other by Bruce James — the comical but melancholy tale of the Woodworm. More will follow.

My next task is to organise a subscriber mailshot, which will have all sorts of interesting things in it. The new website is about to go live; some teething problems yesterday.

And then it’s on to Martin Parker (redoubtable editor of Lighten-Up Online) and Graham Austin (two PoLites), Tim Love (pamphlet) and Alan Hill (tankas). I’m slightly behind schedule, and the accounts are also demanding my attention. A small prayer to Saint Martin about now might be useful, though I think I’ll appeal to Saint Britta, whose story was lost. I can relate to that.

I’ll plan a little chestnut roasting for next month. . . .

It’s here

Although the Autumnal Equinox isn’t until September 23rd, Autumn has arrived.  The rowan berries are  brilliant and gleaming, in wind wild enough to bring the leaves down in swathes. Oh hang on, you leaves, a little while longer!  The nasturtiums are fantastic too — such value for money these glorious little flowers, yellow and orange and red, They spring up every year without seeding or feeding. They love late August sun and I love them.

Although the Autumnal Equinox isn’t until September 23rd, Autumn has arrived.  The rowan berries are  brilliant and gleaming, in wind wild enough to bring the leaves down in swathes. Oh hang on, you leaves, a little while longer!  The nasturtiums are fantastic too — such value for money these glorious little flowers, yellow and orange and red, They spring up every year without seeding or feeding. They love late August sun and I love them.

It’s a strange thing, the human response to natural beauty. I wonder what purpose it serves, what evolutionary logic has brought it into existence?

Meanwhile, this lesser mortal continues to create little artefacts. My mother’s narratives about her grandmother’s family (my great-grandmother and great-grand-aunts and uncles) is on its way out to to various people. There is a date error on the first page (my author mother spotted it immediately, although it escaped through all previous drafts) and a layout error later. But the cover is lovely and the content is a delight.

Who’s in the Next Room?, which comprises lyrics by Thomas Hardy as well as new work by four Dorset poets (Paul Hyland, Kate Scott, Catherine Simmonds and Pam Zinnemann-Hope), is at the printers about to emerge. Alan Dixon came up with a fabulous print for the cover — a real cracker. At the same time, Kate Scott’s individual pamphlet is at first draft stage and I have started work on some new Samplers. Isobel Montgomery-Campbell is first in the group. . . .

The Samplers hold so few poems that they’re lovely to work on. Each individual poem has to make its case irrefutably. There’ll be new PoemCards too: two are at the printers. More are waiting for their illustrations to be done by Annie-Ellen Crowe’s great-great–great-grand-daughter, Gillian.

The new website is nearly ready to get kicked into touch. Not quite. . . . The biggest thing is changing all the customers from the shop over.

At college, (my other job) it’s the start of the academic year. New students will enrol this week. Today they’ll be apprehensive, and the wind will make them even more restless. But what could be better than paper, books, new things to learn and company to learn with?

Enough! Or Too much

I feel this week as though I’ve read more poetry than anybody else in the world. It’s an enriching experience, in some ways, reading a great deal of verse — I mean bookfuls every day. At the same time, it’s frustrating because  what I really like is spending time with an individual poem, turning it inside out, trying it on for size. Perhaps that’s why I like doing the pamphlets: typing out each poem by hand, getting the feel of it, hanging it outside on the line to dry.

I feel this week as though I’ve read more poetry than anybody else in the world. It’s an enriching experience, in some ways, reading a great deal of verse — I mean bookfuls every day. At the same time, it’s frustrating because  what I really like is spending time with an individual poem, turning it inside out, trying it on for size. Perhaps that’s why I like doing the pamphlets: typing out each poem by hand, getting the feel of it, hanging it outside on the line to dry.

I feel this week as though I’ve read more poetry than anybody else in the world. It’s an enriching experience, in some ways, reading a great deal of verse — I mean bookfuls every day. At the same time, it’s frustrating because  what I really like is spending time with an individual poem, turning it inside out, trying it on for size. Perhaps that’s why I like doing the pamphlets: typing out each poem by hand, getting the feel of it, hanging it outside on the line to dry.

I was very taken, as they say, with a little pamphlet of poems by A C H Smith, a  Greville Press pamphlet. Smith has written lots: novels, plays, ‘novelizations’, libretti, thrillers, non-fiction — but his Wikipedia page doesn’t mention poetry. This brief selection, with a foreword by Tom Stoppard, consists only of ten poems (though one, ‘Structures of Cancer’, is a long one). Something about the quiet particularity  reached out and grabbed me. I’ve read so much lately where lines break arbitrarily or to achieve some kind of fracturing effect — attempts to render the text as ‘poem’ rather than a set of words. But here is a man who just offers a handful of beautiful phrases, and they add up to a great deal more. The opening of ‘No 11, The Polygon, in Winter’ is:

You are potential in this room’s air, about
To condense, always about. The flowers I bought
Last summer still imperishably bloom
On my desk, except when I look for them.

For years I used to think all poetry was about either love or loss. These days I think love and loss are simply two sides of the same coin. This little pamphlet has just enough poems in it. You could read it for a long long time and dispense with much else.

On the other hand . . . I’m working on a pamphlet of poems by four contemporary Dorset poets (Kate Scott, Pam Zinnemann-Hope, Catherine Simmonds and Paul Hyland), all responses to poems by Thomas Hardy, and some of the old poet’s poems are in there too.

 

Thomas Hardy

 

Doing this, of course, took me back to The Complete Poems, all 954 pages of them. I recall having an argument with Angus Calder about Hardy’s poems: not all of them were all that great, I said. But Angus was for having the bard’s absolute calibre in every word. It is so much easier to be nice about huge works by dead poets. At least you know they can’t rush off and write another 500 poems and brandish them.

I’m inclined to think Hardy wrote some bad lines, as well as quite a lot of poems I could live without. But then some of them have such lovely bits in them and all of them have that beautiful musicality and playfulness of form.

And occasionally one just catches you with a little shock, like static electricity, and you cannot imagine how you didn’t notice it before.

There’s much that contemporary writers can learn from Hardy at his best, not least the power of what is not said. Here’s ‘In the Moonlight’:

‘O lonely workman, standing there
In a dream, why do you stare and stare
At her grave,as no other grave there were?

‘If your great gaunt eyes so importune
Her soul by the shine of this corpse-cold moon
Maybe you’ll raise her phantom soon!’

‘Why, fool, it is what I would rather see
Than all the living folk there be;
But alas, there is no such joy for me!’

‘Ah — she was one you loved, no doubt,
Through good and evil, through rain and drought,
And when she passed, all your sun went out?’

‘Nay: she was the woman I did not love,
Whom all the others were ranked above,
Whom during her life I thought nothing of.’