Computer RAGE strikes

You think it won’t get you but it does. It does.

I remember an occasion when my son was eight years old. He was so enraged with his Sega that he shrieked and hurled it across the room. It crashed into his father’s hi-fi.

You think it won’t get you but it does. It does.

I remember an occasion when my son was eight years old. He was so enraged with his Sega that he shrieked and hurled it across the room. It crashed into his father’s hi-fi.

Naturally I separated him speedily from the offending machine and dispensed superior wisdom about patience and so on. I was thirty-eight but I had never experienced what he was experiencing. It was another three years before I started to teach myself word-processing.

The rage! The frustration! The despair! Things disappear! You spend whole days learning to do something, creating a wondrous document, and then it vanishes forever.

Which is the sort of thing that happened to me this afternoon, while trying to master this little machine, and get the missing reviews back on the website. Oh the muddles I have got in! Oh the messes I have made!

‘Use Notepad,’ Sarah advised. What did I do? Used Wordpad. It is NOT THE SAME. And the number of times I have hit the home key by accident and closed the file with nothing saved . . .

Yes, I wanted to hurl the machine across the room. Instead I went downstairs and parcelled up the orders and then read for half an hour in the conservatory with the leaking roof. A leaking roof is NOTHING in terms of annoyance.

I believe all the reviews are back. I think I may have cracked it, since Sarah saved me again. I may not. Watch this space.

Meanwhile, I’ll go and edit the other reviews, the ones that have been sitting untended for the last three weeks to a month. Where does the time go? (Don’t answer that.)

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

 

 

 

 

What a week!

The switch finally happened — from old website to new one. An email shot went out to hundreds of people to announce this. Then, as requested, masses of you registered with the site so you could use the shop and comment on this blog.

Then we realised there was a snag. It was not enough just to register. People needed to get to the point of sale (because this is when full details are saved in the database) for us to be able to apply the subscriber discount (and lots of you are subscribers).

Hell’s bells! The frenzy of activity! When people sent their emails asking to have subscriber discount applied, we had to reply asking them to buy something and then cancel, so we could adjust them to discount status. Dutifully, people did as asked, but the orders just came through to me as real orders, not as cancelled ones. I had lost the plot by then anyway and posted out whatever was ordered, forgetting it was probably not a real purchase, just a way of getting details entered.

We changed the strategy then and asked people to ‘buy’ one of the free downloads (which obviously doesn’t involve me putting anything in an envelope) and things started to settle down, apart from the dozens of spammers attempting to register.

This website development has been happening since early August. Lots of work has been done, financed by Michael Marks. Some of it is still work in progress. Our pamphlets, being all on cream card, looked a bit boring in the shop. Yesterday, Sarah had the brilliant idea of scanning them all against coloured paper. Take a look — what a difference!

Sample poems for all publications will be in place soon. They’re not there yet. It would be easier if my Mac was more prepared to talk to the technology. I ordered a Windows laptop yesterday, just for the web work. All of this — everything that is used to make up this website — is freeware. And when such marvellous resources are free, you can’t complain.

HappenStance HappeningWhile this electronic mayhem was in progress, in the background I was folding and printing. I am still folding and printing actually. Folding the new cards and flyers, printing price lists, updating the subscriber list, printing the address labels. All this is so things can go out by snail mail this week. I’m up to letter J.

So if you are a subscriber, you should have an interesting brown envelope dropping through your letter box this week with various things inside it. The aim was to raise the subscription list to 200 by the end of this year. In fact, 193 people have subscribed in the last 4 years, but we have lost some of them. About 30 have lapsed, and a few have died. That means we still need more. Talk to your friends — any that like poetry — this is such a good deal. They can’t lose.

And if you should be a person who aspires to have work published here, subscribe! Keep the press going.

Honorary assistant sticking labels on envelopes

There’s much more to say but you’ll get bored. I’ll save it for later . . .

Megrims and mayhem

I said I had fallen a bit behind. Fell further this week. The megrim arrived, much grimmer than usual. I love the word ‘megrim’. Old word for migraine but also, I learn, describes a whim or caprice — as in indulging in megrims.

And ‘megrim’ is also a species of turbot. Edible. Hm.

Last week I confessed I’d fallen behind schedule. Not too far. Just a wee slip and slither. However, I fell further this week, mutter, mutter.

The megrim arrived, and grimmer than usual. I love the word ‘megrim’. Old word for migraine but also, I learn, describes a whim or caprice. And . . . er . . .  ‘megrim’ is also a species of turbot. Edible.

 

You migraine sufferers and turbots out there know all about the grimmery. I had to get some pills to stop me throwing up this time — which is a first — and the whole thing took over about three days of the week. However, I’m back. It’s glorious sunshine. We’re about to switch on the new website and switch off this one. It’s technical. Sarah keeps explaining to me how it will work and I keep not understanding it. But this blog will appear just the same. It is the website that will look different.

Behind the scenes, the mechanics of the thing are incredibly clever, though it would be more straightforward if I were working from Windows and not a Mac, much as I love my iMac.

Meanwhile the three Samplers are still simmering and not quite finalised, the mailshot to subscribers is still not quite done — I have to update the list and do the address labels — it takes ages. There are reviews to write, Sphinx reviews to edit into triplicate and post, more pamphlets to send out to reviewers, new pamphlets to start thinking about. And I daren’t think yet. Not quite yet. Still haven’t got Kate Scott’s cover licked into shape — and the Fife Placename Limericks need pictures putting into their pages.

Outside, it’s a glorious autumn day. The wind is rippling the trees merrily but not sweeping the leaves off in swathes. Berries are gleaming from hedgerows. Amazing.

Now I’ve just got to work out how to put the picture of the berries into this blog in the new website.The really good thing about bad headaches (or any other sort of acute but temporary pain) is the way you appreciate so much not being in pain when it stops. It gives you back that thing you had forgotten: the contentment of being at peace inside a human body.

Which today I am. This body is very comfortable, thank you. I’ll stay here a bit longer, and get on with my work.

More on Indian Summers

Matt Merritt sent me this, after reading the last post:

“There’s another old British name for Indian summer, which you almost touch upon. It used to be known as ‘Goose Summer’, probably because it was a time of year at which fattened geese were slaughtered for eating. It’s also possibly because it coincided with the annual arrival of huge flocks of wild geese and swans from their Arctic breeding grounds – the main migration is usually in October.

Matt Merritt sent me this, after reading the last post:

“There’s another old British name for Indian summer, which you almost touch upon. It used to be known as ‘Goose Summer’, probably because it was a time of year at which fattened geese were slaughtered for eating. It’s also possibly because it coincided with the annual arrival of huge flocks of wild geese and swans from their Arctic breeding grounds – the main migration is usually in October.

‘Goose summer’ eventually became corrupted to ‘gosssamer’, which was then applied to the strands of spider web that are particularly visible at this time of year.”

I love this!

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?

The Island

It’s very interesting flying between international cities, becoming aware how simple these things are — if you have time and money. I love the bits of time that isolate themselves like islands — the bits when no-one except yourself quite knows where you are or what you’re doing.

It’s very interesting flying between international cities, becoming aware how simple these things are — if you have time and money. I love the bits of time that isolate themselves like islands — the bits when no-one except yourself quite knows where you are or what you’re doing.

 

Old town, Geneva

On these peaceful islands drinking coffee and waiting for planes I read Eckhart Tolle’s The Power of Now, Tove Jansson’s The True Deceiver and RJ Price (who is also Richard Price, the poet) The Island. And then I read The Island again (it is very good — a very beautiful little novelle from Two Ravens Press) and most of Tove Jansson again and part of Eckhart Tolle again.

And I spent a whole afternoon walking across Geneva in sunshine, stopping here and there. I read several chapters sitting beside a fountain.

Funny how things connect too (although everything connects): The True Deceiver has a foreword by Ali Smith, who was one of the judges for the Michael Marks award that so benefitted HappenStance. And Richard Price was another. Eckhart Tolle wasn’t but he knows something about peace, knows something about those islands.

Ordinarily, I read so much poetry that it’s a joy to read good prose — a kind of holiday to a different kind of consciousness. Back home now, I’m reading James Robertson’s The Land Lay Still (the title is drawn from a poem by Edwin Morgan, who died this week. Another connection.) This is a big book and complicated. I have to take it slowly. It’s my current bedside treat.

But what about the HappenStance stuff? I am a little behind my schedule, though I may yet catch up. The Crowes story is done. I made an elementary error with page layout which is annoying but probably most readers won’t notice it. The Hardy and Dorset poets anthology is done except for the cover:  Alan Dixon and I are still exchanging woodcuts by snail mail. This remarkable artist-poet has no telephone and no computer. I imagine him on his own quiet island.

Two new PoemCards are with Dolphin Press. There are others but Gillian is still working on illustration. A great deal of time has been spent replying to late submissions, considering books for review, commissioning Sphinx reviews, sending out orders, or giving feedback on poems for next year’s publications: hard to get this balance right. The website is also being worked on in the background and soon it will all look completely different. Sphinx will have a space for online interviews and features, several of which are in process. One with Leona Carpenter of Mulfran Press is finished.

In between all this, there’s chocolate. I eat Hotel Chocolat Tasting Club chocolate. I don’t eat a lot: it is expensive and rich — maybe one a day, though sometimes I miss a day and sometimes I have two . . . It seems to me not unlike reading poetry. My preferred reading method is really one a day and sometimes two (poems) but I have to read much more than that. Sometimes it does get overwhelming and then it’s hard to give the right quality of response.  A little is marvellous. A lot is too much.

Meanwhile, here I am busily publishing a few hundred poems a year in some shape or form, while the rest of the publishing world is printing thousands more. I can’t read them all. Nobody can read them all. Nobody will even want to read them all because you can’t read that much and respond. Out of all the poems, you just want the few that stop time for you, the ones that create an island where you sit and read. Nobody knows where you are. The island stays inside you and you carry it around for a while, go back there when you need to. It becomes part of your necessary geography.

Jon Stone wrote a blog entry recently about the problem of too much good poetry, the risk (or advantage) of the poetry superhero getting lost, with the attendant danger of  poetry itself becoming secondary in an age compulsively driven to create superheroes. Somewhere, Peter Sansom says he’s interested in the poems, rather than the poets. As a reader, I agree. As a person, I can’t help being curious about the poets as individuals: what makes them tick, why they do it — even what they think poems are.

But if there are too many poets (Stone talks about the 147 entries for the Forward prize, for example), it is even more true that there are too many poems. How shall we find the half dozen that really matter to us? Some poets write so many! Each magazine editor is busy doing her or his bit to select and present and enthuse.

In 1852 , 370,000 immigrants arrived in Australia.  That was largely as a result of the Victorian gold rush. I have no idea how many of them found sufficient gold to sustain their expectations. Not many, I shouldn’t think, though it’s quite possible they found other things, including friends, lovers, jobs, lives, homes, children. Perhaps it’s the hunt that sustains us — the idea that anybody can find gold, anybody can find the true poem.

Because they are out there. I came across two yesterday.

Great-great-great-granddaughter gets cake

Yesterday a day of nearly no HappenStance. It was Gillian’s birthday (that’s Gillian who does nearly all the cover images for HappenStance), so I got up, did a couple of orders and the cheques to go to the bank, then started the birthday cake. When I opened the cupboard several things felt out, including the balsamic vinegar. The top blew off and it spattered all over my face, hair and t-shirt.

Yesterday a day of nearly no HappenStance. It was Gillian’s birthday (that’s Gillian who does nearly all the cover images for HappenStance), so I got up, did a couple of orders and the cheques to go to the bank, then started the birthday cake. When I opened the cupboard several things felt out, including the balsamic vinegar. The top blew off and it spattered all over my face, hair and t-shirt.

Yesterday a day of nearly no HappenStance. It was Gillian’s birthday (that’s Gillian who does nearly all the cover images for HappenStance), so I got up, did a couple of orders and the cheques to go to the bank, then started the birthday cake. When I opened the cupboard several things felt out, including the balsamic vinegar. The top blew off and it spattered all over my face, hair and t-shirt.

Changed t-shirt, washed most of balsamic off self. Back to cake cupboard. Got out SR flour, marg, eggs, sugar, all ready to start cake. Opened flour container. Argh! Crawling with little black weevils. Threw flour away, cleaned out whole of flour cupboard, sprayed with anti-weevil spray. Began again.

So it was a Dr Oetker’s instant mix, wasn’t it? The almond one which sinks in the middle, and which sank in the middle. Filled middle of cake with cream and strawberries from Blacketyside Farm where I had tea with Eleanor Livingstone on Friday. Made two and a half jars of jam with raspberries from self-same farm shop — very expensive jam but excellent.

 

Cake

 

Packed up birthday gifts (and one jar of jam which is LOVE) to go off to Aberdour to pick up daughter and son-in-law to go to Fringe. Torrential rain meant walking through a new river on the way to the car.

However, in Edinburgh warm sunny and clear. Glorious afternoon, in fact. We went to see Dean’s Dad’s Ducks which was excellent. I recommend Dean’s Dad’s Ducks. First-rate story-telling with a few poems sneaked in. It is thoroughly enjoyable and definitely different. Absolutely performance, but not Performance Po, as such.  Nice venue too, with cafe style seats and plenty of space.

Then first session of Utter which was darker, Performance Po As Such, hotter and more claustrophobic but –good in bits, if over-miked and predicably OTT (in this case Over the Tim — three Tim performers). It was free and should be supported and the fun count was at least 75%.

When we set off back to the station the roads were sealed off, with ambulances and fire engines all over the place, and police. We found out why when we finally made it to Waverley. A man was on the North Bridge, obviously threatening to jump, and the assembled crowd had found yet another street fest event, one even more exciting than most of the others, because real and potentially involving death. Poor soul up there on the bridge. Poor human race for goggling at the spectacle of misery and despair. Some of them were even filming him. I suppose we had all inadvertently become witnesses to his story. You can’t help looking. You can’t help wondering.

Ah well. Nose now back to grindstone. Night Brings Home the Crowes has gone to Dolphin Press. I feel even more sanguine about it after hearing Dean’s Dad’s Ducks, a show which celebrates the stories that families generate because if nobody celebrates these stories, they get lost.

 

Mary Crowe – Gillian’s great-great-great grandmother

 

The Crowes were my great-grandmother’s family, a family of bakers. I bet they didn’t have weevils in their flour. I bet they used their flour too fast for weevils to get a look in! My mother, Kathleen Curry, has collected as many of their stories as she can remember. The last chapter links directly with Dean’s show and with the central significance of Cake, because it’s about a piece of parkin, and Dean Parkin himself

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.’