poetry resvolutions

I have decided to (secretly) pronounce my 2016 the ‘year of the poem’. I have nearly finished the book project which I have been working on for a number of years (along with my other work). There will be more spare time, and some of this I want to devote to a more sustained rhythm of poetry writing.  I have been inspired by my friend’s book to explore more of my creative history and to be braver about actively doing the things that will make me a better poet.  This includes things like writing every time I have even a small idea, sending more poetry to competitions and finding more places where I will receive advice from people I trust and respect.  I might even host a reading, although the ‘look at me’ nature of this concept makes me squirm.

Directly approaching poetry makes me feel a bit worried.  My experience of poetry is a lot like looking at the stars only out of the corner of your eye, so that you really see them sparkle whereas if you look straight on they diminish.  I feel a risk that if I really consider poetry on purpose it will run away and I will be left with the options of abandoning it with fake insouciance or chasing it down like an errant date. ‘Call me! Text me!’ (etc).

But not approaching it directly also has risks.  I feel the risk that the poems are a bit floaty; even that they show signs of neglect. With more input they might become more muscular and vital. I want to balance the tenderness of my writing with real fire and I feel that for this they may need extra help.

These are the kinds of things that the year of the poem might help me explore.

In the spirit of The Happiness Project, I am going to decide on some poetry resvolutions. I have not thought these through yet but I will be back with some options and a decision. The resvolutions need to be the right shape; not too restrictive so I get unhappy and not too vague so I don’t grasp them.  I have decided to call them resvolutions (silent v or silent s as you wish) because I hope over time the impact of the small steps will be large.

Happy New Year of the Poem!

 

 

flat Christmas moment – commentary

I have updated ‘flat Christmas moment‘ with two short additional lines. When I wrote the poem, at the very moment of completing the last line, the door did open and my parents returned from their walk in the woods.  I hummed and ha’ed about leaving the moment adrift, or bringing it to the same halt as experienced by the poet.  On balance I think the change of pace of the return of people adds an element of wry humour and a greater sense of reality. After all, the poem is about a moment, not life drifting on forever.

But I am open to new thinking…

the poetry of outfits

Occasional blogger – bobble hat, brogues,
pointy-out skirt,
grey tights,
red headphones.

Christmas auntie of
small children – jeggins
(don’t tell anyone), soft top, long
cardigan and (still) Uggs.

Urban gardener in a hurry –
shorts with tights, wellingtons
a parka and pink gardening
gloves with polka dots.

Runner in disguise – dawn-coloured
vibram five fingers (yay!),
black thermal tights (too hot),
blue long sleeve top and
large white plastic sunnies.

Businesswoman with recently
adopted ‘flat shoe’ policy – suit
dress and jacket,
New York snow scene
silk scarf (for winter) and
silver pointy flats.

Writer on the weekend –
stripey slogan top
‘believe’, cream
coatigan with enormous
sleeves and collar
(cosy), grey suede boots.

Woman pretending
to be French – pencil
midi-skirt (striped again,
horizontal), light grey
cashmere jumper, gold
zigzag scarf, just so,
peacoat, maybe Le Monde.

Faux-nonchalant
party-goer – black silk
tracksuit bottoms, gold
lamé linen vest,
leather flip-flops,
enormous studded
clutch.

The endless poetry of
outfits has possessed me;
(spring christening of
new friend’s son, grey
print dress…)
how can I escape? I can’t stop
thinking about
(grown-up beginner
ballerina – …)
the poetry of outfits.

This will have to be
‘Part One.’

(What’s yours?)

 

 

poetic history

Every now and then you catch one of those moments, flitting about tiny as a dust mote, but golden and shivering off a tiny glimmer that you can ignore or chase.

I caught it.

There is a poet friend of mine and knowing him has helped me to realise that I might be a poet too.  Maybe one day.  He writes poetry and about poetry, introducing me both intentionally and not to poem-mirrors that make me wonder.  Perhaps I can do/am doing this?  These moments are a kind of equation, a logic that appeals to my maths-geek brain.  If fragment of poem (x)  = fragment of poem (y) and x is the work of a ‘real poet’, is perhaps y the work of a ‘real poet’.

Reading my friend’s new book (about poems, of course), I come across this thought.  When was my first poetry experience?  In fact, what is my poetic history?  These questions have literally never occurred to me before.

(What is more, these questions answer the matter I pondered in happy birthday extraplorer:  whether to write about creative living.  The answer, I think, is not to write about how to do it, but to discover more about my own creativity.)

So another avenue of extraploration opens up…

To answer the first question (and to hop over nursery rhymes, songs, my parents’ banter), my earliest poetic memory is not of reading a poem, but writing one. This makes me think that I must have read one, otherwise how would I have known what a poem was? But it seems that the poem at the heart of my own poetry has vanished.  What is left is a memory of creating tiny poetry books, maybe an inch and a half square, hand-illustrated and stapled, with rhymes like this:

My mummy is very kind
when you’re hurt she’ll bathe and bind
she wraps me up in bed
and kisses me on my head.
I love my mummy.

As far as I recall I was about six or seven years old. (I also wrote songs.)

While I must have read poetry at primary school (and maybe it will come back to me; I have a vague dusty feeling thinking about it, as if the poems I encountered must have said nothing to me), my first memory of a poem is from an English class age ten or eleven.  There is a line in it I still recall, although extensive googling does not retrieve the poem. It is my first memory of being stirred by poetic magic:

‘interminable flocks
hives of the archipelago’

The captivating five syllables of ‘interminable’ have never left me and I see flocks flying still as I breathe these lines, as far as the eye can see.

lost voice weekend

Exhaustion?
A sneaky virus on yet another train?
A cold morning run, who knows.
Silence overtakes me;
A sign.

Patience, patience,

Unexpected space
among commitments,
parting a to-do list thicket.
Stillness;
the beech trees hold their
breath too.

Patience dans l’azur.

Aside from life,
days slide into blur.
Voiceless, those with me
whisper back.

Chaque atôme de silence

I give into mystery,
tumble into poetry.

Est la chance d’un fruit mûr.

Wait.

Note: The lines in italics are taken from ‘Palme’ by Paul Valéry,