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Friday Poem – ‘The Infants’ Christmas Concert’, Tony Curtis

Christmas is fast approaching, so our Friday Poem this week is a festive one from Tony Curtis, originally published in Letting Go (1983) and again, just recently, in Tony’s new From the Fortunate Isles: New & Selected Poems.

From the Fortunate Isles: New and Selected Poems, Tony CurtisFrom the Fortunate Isles features poems from ten of Tony’s published collections, as well as a substantial number of new poems. This is a poet whose themes and variations remain consistent: a deep affection for his roots in West Wales, tender attachments to family, a profound interest in the wars of the last century, and an abiding fascination for all art forms, particularly painting and poetry.

 

The Infants’ Christmas Concert

A moment of hush, held breath –
the fairies and robbers, the soldiers
and dancers are in position
– then the piano begins.
This sounds otherworldly,
each note a drop of water falling distantly.

Angels swallow trumpets,
a robot trips and turtles in his cardboard shell;
the ballerina crumples and cries.
They may not know why, but still
perform for us the pattern of sentiment,
superstition and love: we sigh,
smile, laugh and applaud.

“The Rich Man gave them a bag of gold
and everyone cheered on the day
the church had a new bell.”
The couple are starched in best white –
as the singing swells, they marry
and claim their gold.
It is intensely sad and fleetingly
realises the ghosts of our innocence.

Flashlights – the year’s frozen
for this instant.
Keep that – don’t move – stay there,
stay somewhere like that for ever.

It all builds to The Nativity:
Joseph, Mary and the three glittering Kings
change without age, time after time.
Only the baby Jesus doll remains,

a scarred and worn wooden face held magically
fresh each year in the laundered swaddling.
The audience – parents and children in arms,
grandparents and neighbours, point and giggle,
there’s a glow and, finally, we all sing.

This has worked some sort of renewal,
some sort of an ending.

 

From the Fortunate Isles: New & Selected Poems is available from our website: £9.99
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Friday Poem – ‘Without Narcissus’, Rhiannon Hooson

without narcissus rhiannon hooson

Last night, we welcomed a chilly December in Chapter Arts, with Rhiannon Hooson reading poems from her debut collection, The Other CityIt seemed appropriate to have Friday’s Poem from this beguiling new release, for those who missed out.

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Rhiannon reading to a full house at December’s First Thursday event

the-other-city_quicksand-cover-copyWith a sharp focus and beautiful resonance, the deeply felt poems from The Other City  tend to travel in distinct streams: some reference and re-make narratives from classical Greek myth; some rework elements of Welsh history, both ancient, and modern. There are also a number of poems exploring the idea of otherness and the uncanny, where actions are done and undone, and the familiar made unfamiliar.

 

Without Narcissus

The lack of his blindness shocks the silver water black.
Your palm’s slap against its surface is looped silence:
bare shoulders with their heron stoop,
the wet ropes of your black hair, the empty water
and the stiff-leafed lilies which break for sharp fingers,
their pink throats silent and smiling. Speak.

Over the water the red rock leans and watches.
Your nails like fish-scales break against
the cool shadow of its noon, and the silence. Speak.
Even the fish have voices, even the rough
hush of the trees, even the birds.You press your body
to the dark-loomed sediment and learn its silence, touch the red
heat of your mouth to the rock and learn the syllables
of its unspeech. Speak.

Birds watch you writing the mangled sign of your name
wet hair strung across the tangled mats of cress,
white fingers and their fish-belly pallor, your white lips
kissed against the petals of the lilies.You can speak
their silence back to them so well, so well.

 

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Friday Poem – ‘Bluetit Feeding’, Ruth Bidgood

friday poem bluetit feeding ruth bidgood

Our Friday Poem this week is a careful portrayal of the fragility and beauty of nature. So take some time away from the Black Friday madness, and enjoy Ruth Bidgood’s ‘Bluetit Feeding’.

New & Selected Ruth Bidgood Friday Poem Bluetit Feeding‘Bluetit Feeding’ is taken from New and Selected Poems. This generous selection of work highlights the steady accumulation of a significant oeuvre. Bidgood’s ostensible subjects are the storied landscape and history of her region of mid-Wales, the hills and valleys of Powys and Breconshire, but her themes frequently have a wider reach, a spiritual depth that is often darkly suggestive and mysterious.

 

Bluetit Feeding

Early at the window in starved winter
a little knot of energies, a beaky hunger
fluffed and sleeked, taps, prises
unsucculent scraps of cracked putty,
swallows with a ripple of tiny throat.

Behind it climbs a bleak pale hill
stained with ruts of December bracken.
White morning moon is barely seen
on hardly darker sky that seems
opaque, a barrier against pressure
of immensities. Imperceptibly
the chill day flows out to black deeps.

The bluetit pauses in its arid feeding,
flirts a crisp wing. Half-handful of warmth,
it stays for a moment sill,
compellingly centre-stage, diminishing
to a backdrop the hill, dull morning sky,
pale echo of moon, black vertiginous
trenches of space-ocean, myriads
of molten and frozen, dying and rising worlds.

 

 

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Friday Poem – ‘On the Sudden Passing of a Crow’, Eoghan Walls

Friday Poem On the Sudden Passing of a Crow Eoghan Walls

Happy Friday, everyone. This week our Friday Poem is taken from Eoghan Walls’ debut collection, The Salt Harvest. Eoghan has just been shortlisted for the prestigious Manchester Poetry Prize – so do send all your good luck his way.

the_salt_harvest72Dark and evocative, the poems in The Salt Harvest involve rich, multi-layered descriptions of the natural world, and cast a sardonic and tender eye on the human condition. The climates of Walls’ native Ireland inspire both the muscular imagery and the complex forms of work. Also apparent is an ambivalent, often deeply ironic attitude towards a culture once steeped in religion, whilst threads of humour and an imaginative playfulness run throughout.

 

on the sudden passing of a crow eoghan walls

 

 

 

 

 

 

 

 

 

The Salt Harvest is available from the Seren website: £8.99 (£7.19 for Book Club members)

 

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Friday Poem – ‘Armistice Day ’77, Honiton’, John Tripp

John Tripp Friday Poem Armistice Day

Today, to mark Armistice Day, our Friday Poem is one of remembrance and silence from John Tripp’s Selected Poems.

John Tripp Selected PoemsA well known and popular figure on the poetry scene, John Tripp’s untimely death in 1986 meant the loss of a ’devoted and passionate poet’, as John Ormond calls him in the Introduction to this book. Pithy, regretful, bitter, angry, at times tender, John Tripp’s poetry was always engaged with the issues which most mattered to him.

Selected Poems draws on all John Tripp’s books, together with work published since the last of those collections, Passing Through (1984), and previously unpublished poems.

 

Armistice Day ’77, Honiton

The two minutes’ silence was cut to one
that November day; it was a busy world.
By chance, on my way to a gig
I walked into a ceremony of six
in the rain: crosses in a ring, and the poppies soaked.

Down two sides of the slab were names
linked to this piece of England – the sound
of country stock grown old in duty
and the acceptance of pointless loss.
Names going back to Minden and before.

(Were these the only ones left
to remember their dead?
Already sixty seconds were lopped
off any dignity. Would their children
forget, as I had forgotten?)

No more came. On some other day
I might have felt an interloper
marring their ritual. At eleven o’clock
the men took off their hats
and we all bowed our heads.

A minute in the rain in a country town
may whisper the whole grief of history.
Picture a knot of seven around that block,
the red wet poppies, and just for a moment
a complete and utter silence in the world.

 

John Tripp: Selected Poems is available from the Seren website: £4.95

 

 

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Friday Poem – ‘Seamus on the Tube’, Tony Curtis

Friday Poem Seamus on the Tube Tony Curtis

Last night saw us at Chapter, Cardiff, with Tony Curtis and Cynan Jones for November’s First Thursday event, and today we are featuring one of the new poems Tony read on the night – for all of you who missed his entertaining performance.

From left: Tony Curtis, Amy Wack (Seren Poetry Editor), Cynan Jones
From left: Tony Curtis, Amy Wack (Seren Poetry Editor), Cynan Jones

From the Fortunate Isles: New and Selected Poems, Tony CurtisTony Curtis has been writing poetry for fifty years, and his new collection, From the Fortunate Isles: New and Selected Poems contains poems from ten of his published collections, as well as fifty pages of new poems. This is a poet whose themes and variations remain consistent: a deep affection for his roots in West Wales, tender attachments to family, a profound interest in the wars of the last century, and an abiding fascination for all art forms, particularly painting and poetry.

 

Seamus on the Tube

Looking away, not looking away –
The happenstance of what may change everything;
Those standing commuters moving off at Charing Cross
For the Bakerloo Line and then your eyes lifting

Above those seated opposite, as one does, to read
Between faster Broadband and Las Vegas –
“Where your accent is an aphrodisiac,” it says,
And where “what happens here, stays here,”

The Railway Children where in the white cups
Of the telegraph wires a young boy knows
That words are carried in the shiny pouches of raindrops.
Like this poem carried for you in the red and white Tube

On the Northern Line in cold January’s real freeze;
Snow is promised in the suburbs so everyone’s scarved
Against the weather. Words taking you back to the fifties
And his boyhood summers before everything changed.

Reaching Warren Street, you’ve read it
Four or five times, absorbed the innocent wisdom
And sense of the thing. Those people opposite
See a crazy old man mouthing words, appearing to sing.

 

 

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Friday Poem – ‘Reasons for his absence’, Darío Jaramillo Agudelo (translated by Richard Gwyn)

Friday Poem Dario aramillo Agudelo Richard Gwyn

This week our Friday Poem is ‘Reasons for his absence’ by Darío Jaramillo Agudelo, from Richard Gwyn’s hot-off-the-press anthology, The Other Tiger: Recent Poetry from Latin America.

The Other Tiger by Richard GwynThe Other Tiger (the title is a nod to Borges – “the one not in this poem”) is a much-needed bilingual anthology of contemporary poetry, containing 156 poems by 97 South and Latin American poets. It includes work from Argentina, Colombia, Mexico, Peru, Nicaragua, Chile, Uruguay, Venezuela, Cuba, the Dominican Republic, Ecuador, Costa Rica, Bolivia and El Salvador.

 

About Darío Jaramillo Agudelo
Agudelo is an internationally acclaimed poet, novelist and essayist. He graduated in law and economics from the Universidad Javeriana of Bogotá, and worked for many years in various roles with state cultural and arts organisations. He has been shortlisted or winner of several awards for his work, including the Colombian National Eduardo Cote Lamus prize for poetry (1978), and the José María de Pereda Prize for the short novel (2010). The most recent edition of his Selected Poems is his personal anthology Basta cerrar los ojos (México DF: Era, 2014).

A note on ‘Reasons for his absence’, from Richard Gwyn:
I was attracted to this poem by its epistolary style, and by the device of news being relayed about an absent party. The lack of clarity surrounding the reasons for the man’s absence holds particular poignancy in a country such as Colombia, where ‘disappearances’ were – at the time of the poem’s composition, in the late 1970s – already becoming an everyday occurrence. The slightly elevated or ‘baroque’ language and incantatory style creates a strange juxtaposition with the content, which describes a life of sensual dissolution. The curiosity is stirred by the profound sense of loss or lack with which the absentee seems infused, wherever he is. Whether his exile is literal or metaphoric is never made clear.

My principal concern with the translation of this poem concerned the title. The Spanish noun ‘razón’ can mean a range of things, including ‘reason’ or ‘information’, or even ‘explanation’, depending on context. Similarly ‘ausente’ – here a noun, but commonly an adjective – could be translated in a number of ways: ‘the absent one’ sounded too much like translatorese, ‘the missing person’ subject to over-interpretation in the context of recent Latin American history. In the end I chose ‘his absence’, which deviates from the original in a grammatical sense but conveys the meaning of the phrase accurately. A second concern was the repetition in the Spanish of ‘díganle’ (literally: tell him), which, since it refers back to ‘alguien’ (anyone) in line 1, I chose to translate as the generic ‘tell them’.

 I attempted to re-create the long, rolling cadences of the original in my translation, alongside the reiteration of the introductory ‘tell them that . . .’.

I have also tried to reproduce the bereft tone that reflects the absentee’s solitude, and the distance he has chosen to maintain from those he left behind.

 When I read this poem out loud at an event – as I do from time to time – it still makes the hairs on the back of my neck stand on end. I can’t say that happens with many poems, but with this one it happens every time.

Reasons for his Absence
(click to enlarge image)

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Friday Poem – ‘Elegy for David Beynon’, Leslie Norris

Aberfan Friday Poem Elegy for David Beynon by Leslie Norris

Today marks 50 years since the Aberfan disaster, 21 October 1966, when a mountain of coal waste slid into Pantglas school and 19 houses, killing 144 people, 116 of them children.

Today is a day of solemn remembrance, and in this spirit, our Friday Poem is ‘Elegy for David Beynon’ by Leslie Norris, written after a teacher who died trying to shield five children from the slurry.

Leslie Norris was born in Merthyr Tydfil in 1921, and many of his works transform local incidents into poems of great depth and significance. ‘Elegy for David Beynon’ is among his most anthologised poems, and with its poignancy and sincere emotion, it is not hard to see why.

 

Friday Poem Elegy for David Beynon Leslie Norris

‘Elegy for David Beynon’ is taken from Leslie Norris: The Complete Poems, edited by Meic Stephens.

 

 

 

 

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The true story behind Alun Lewis’ poem, ‘Burma Casualty’

In January 1943, after fracturing his jaw during a regimental football match, Alun Lewis spent 6 weeks in Poona Hospital. In this blog post, Maggie Evans, whose father lay injured in Poona in the bed next to Lewis’, tells the true story behind the poem ‘Burma Casualty’.

As a child, “My Dad’s in a poem”, was my default position when any Dad boasting was called for.  “Don’t believe you”, was the usual reply, but here I had them.  I could run to the shelf and produce the evidence. There, in a slim volume entitled Ha! Ha! Among the Trumpets, was the poem, entitled ‘Burma Casualty’ and even more exciting, with a dedication – To Capt. G. T. Morris, Indian Army – My Dad!

It was years before I actually read the poem and even longer before I was capable of understanding it, but the magic of a special poem about my own special Dad has never faded.

Dad was born on 12th July 1911 in the Eastern Valley of South Wales. His given names were Thomas Griffiths but he was always known as “Griff”. To me and my two older brothers he was just our Dad, and the fact that he had one stiff leg shorter than the other and had to wear funny, built up shoes was of no consequence. We were children of the Second World War and post War period – war wounds were common. Dad didn’t ever let this hamper him. He wouldn’t accept a Disabled Badge for instance, and wouldn’t countenance anyone thinking of him in this way. He carried us on his shoulders and took us swimming and walking just like any other Dad and so I never fully understood the extent of his injuries until recently, when following a house move, I found bundles of his letters and photographs from that time. Reading the letters he sent from hospital in Poona sent me straight back to the poem – and now for perhaps the first time I was able to understand it.

In February 1942 Dad was fighting in the Burma Campaign with the 17th Indian Division which was decimated at the Battle of Sittang Bridge during a retreat from the Japanese. He was badly wounded, carried off the bridge by unknown hands, and ended up in hospital in Poona where he remained until late 1943.  Earlier that year he had for six weeks a new neighbouring bedfellow – one Alun Lewis, also a Welshman, who had sustained a shattered jaw in a football match. The sharing of his experiences with Alun resulted in ‘Burma Casualty’.

Thomas “Griff” Griffiths in Poona Hospital
Thomas “Griff” Griffiths Morris in Poona Hospital

Re-reading the poem now reveals how much Dad shared with Alun of his pain and fear – showing that at times he might have welcomed death as a release from his own physical pain and from the loss of so many comrades.

Thomas Griffiths and his wife on their wedding day
Thomas Griffiths Morris and his wife on their wedding day

But his letters to his sister from the same time show that as he recovered, his focus was on re-stablishing his family life with my Mum, his childhood sweetheart, and my oldest brother, born in 1940, whom he had never met.  He resisted Death, the ‘beautiful singing sexless angel’, preferring ‘his wife’s sweet body and her wilful eyes’ (though, like any child, however advanced in age, I confess to being unable to think of my mother in these terms without feeling slightly queasy!)

 

 

Dad never spoke of his experiences of jungle warfare and rarely mentioned his time in hospital. When pressed, he spoke of his friend, Alun Lewis, as something of a tortured soul. As an adult I have come to understand and love Alun’s poetry, not because he allowed my childhood self to hold its own on the boasting front, but for his luminous verse with its dark undercurrents. I can now say with pride, “my Dad knew a true poet’.

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‘Burma Casualty’ is one of the many poems featured in Alun Lewis: Collected Poems. Buy your copy now from our website: £9.99.

 

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Friday Poem – ‘Making Out’, Deryn Rees-Jones

friday poem making out deryn rees-jones

This week our Friday Poem is ‘Making Out’ by Deryn Rees-Jones, which originally appeared in her second collection, Signs Round a Dead Body, and also features in her generous new What It’s Like to Be Alive: Selected Poems.

Both collections (along with Deryn’s other books The Memory Tray, QuiverAnd You, Helen and Burying the Wren) are half price until midnight on Sunday, 9th October as part of our National Poetry Day sale.

Deryn Rees-Jones What It's Like To Be Alive Selected PoemsWhat It’s Like to Be Alive marks a mid-career milestone in the life of this highly-acclaimed writer. From the poems written in her teens and early twenties included in her exciting debut The Memory Tray to her most recent exploration of time and grief, we see the arc of development in her writing over twenty-five years as she visits and revisits the concerns that are the mainstay of her writing: memory, love, desire, and heartbreak in all its manifestations. The following poem originally featured in Signs Round a Dead Body, Deryn’s second collection.

Making Out

Now it was airports that she needed –
to sit there going nowhere
counting aeroplanes like sheep,

with Concorde like an archaeopteryx or angel
and Egypt, Russia, the Azores and Lithuania
spinning in her head. She’d sit there

writing letters that she knew she wouldn’t send,
telling him about the dull, red moon, the way
the landscape then, so pale, unreal,

the fishermen, the midnight seas
had been tattooed like hieroglyphs
in blues and golds

deep into her skin. It was his hands, I think,
she could imagine best
travelling across her. But she thought about the way

he’d kiss her too, the way she’d smile, nod yes
to his demolishing her. The way he’d start
to reassemble, slowly, in the rented bed

her mouth, her throat, her shoulders, breasts,
her knees, her arms, her thighs, her calves, and love etc.

 

Until midnight on Sunday 9 October,What It’s Like to Be Alive: Selected Poems is half price: only £6.49 (RRP £12.99). Buy your copy now to take advantage of this fantastic offer.

 

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