OTHER PEOPLES’ FLOWERS

OTHER PEOPLE’S FLOWERS: LESLEY CLIVE, PLAYWRIGHT – BRANWELL JOHNSON

My mother Lesley Johnson is an award-winning Wirral playwright with several works under her belt penned under the name Lesley Clive; plays that were professionally produced and brought  to life on the stage and local and national radio in the late 1970s and early 1980s.

Sadly, she has no recall of her creative life – I’m afraid Alzheimer’s Disease casts this distressing spell. But her works were always present on the page and on old recordings waiting to resurface. But if not for David Selzer’s kind prompting, it’s unlikely I would’ve unearthed and digitally copied the original analogue cassette recordings and I’m incredibly grateful for this opportunity to introduce Lesley ‘s plays to a new audience.

My mother was born and bred on the Wirral and despite being a young mum with two fractious kids living in a crowded three-bedroom semi, she somehow found time and space to write. She didn’t have her own study in which to concentrate but worked on a desk in the parental bedroom and she lacked the networks people often forge at college that can help open doors – she didn’t pursue higher education until much later in life when she attended Ruskin College in Oxford for a time to study a particular historical Scots’ event (another fascinating tale to surface one day).

But Lesley did have a deep love of and huge appetite for plays, poetry and literature and a marvellous circle of encouraging friends. These included David and Sylvia Selzer, friends of my parents going way back to when David taught alongside my father way in the early 1970s. All were highly engaged with the creative, cultural life of the Wirral and Merseyside. And Lesley had tenacity in spades. She built her own network among the regional theatre groups and actors, writers and radio producers in Merseyside.

I was fairly oblivious to mum’s creative efforts in childhood and my early teenage years. I often heard the typewriter rattling and clattering and sometimes we’d be ushered out of the front room when the landline rang so she could have long, private conversations about current projects. But I didn’t pay much attention beyond being aware she was ‘writing.’

It’s only when going through her papers and belongings on her move into a nursing home that I realised the extent of her work. It’s a heartbreak that she is still alive but unable to elucidate on her writings – but the cache of official BBC reading scripts, recordings of radio productions and local newspaper cuttings paint a picture of a creative life well-lived ‘in the provinces.’

Lesley’s plays embraced historical dramas and contemporary life, all leavened with dashes of grit and humour. Her radio commissions also took on important Northwest events, such as the tragic sinking of the submarine HMS Thetis in Liverpool Bay, George Stephenson’s tenacious battle to build the first intercity railway from Liverpool to Manchester and the Liverpool policeman’s strike of 1919.

 I only saw one play performed on stage myself, this was Any Way You Want Me about the recollections of an ageing rock’n’roll groupie; it was poignant, funny and rather rude, I recall.

The Daisy Chain also stands out in the memory because I recall the family excitement of its broadcast on Radio 4 back in 1979. It’s an evocative account of the thoughts of Catherine Howard, Henry VIII’s very young fifth wife, on the eve of her execution. It’s a moving story of thwarted passion, the fears and follies of youth and the sacrifices made on the altar of power.

The play was one of her prize-winners and was aired both on Radio Merseyside and Radio 4’s 30 Minute Theatre. Other plays like Back Step told stories of women trying to shake off the restricted roles placed on them by the society, class and poverty of a few decades back and all the stories are shot through with imaginatively biting and amusing lines that prevent them being mere tales of misery.

I have now published the broadcast audio recordings that are salvageable on YouTube as a testament to Lesley’s passions and her unique voice, not quite stilled but no longer that of a storyteller. Among the various casts are actors who were well-known at the time, such as June Barry, or who became recognisable names like Julie Waters. The hard work of all the actors and production teams on all the projects of this not that distant era deserve applause.

Below is the full list of Lesley’s works with clickable links to available plays on YouTube.

Radio Plays

Tie Up – BBC Radio 3 (1976)

The Daisy Chain – Radio Merseyside (1977) – winner of BBC Radio Northwest Playwright’s Competition 1977, Thirty Minute Theatre, BBC Radio 4 (1979 featuring June Barry)

Back Step – Thirty Minute Theatre, BBC Radio 4 June (1980)

Shadow Tick – Thirty Minute Theatre, BBC Radio (1980 featuring Julie Walters)

Wheelbrace – Radio Merseyside (1979)

Radio Drama Documentaries

Sea Of Trouble (story of H.M.S. Thetis) – Radio City (1979)

King Steam (4-part series, George Stephenson) – Radio City (1980)

Part 1

Part 2

Part 3

Part 4

Who Killed Julie (The Julia Wallace Case) – Radio City (1981)

Coppers Out! (Police Strike, 1919) – Radio City (1982)

Stage Plays

Eye – Liverpool Everyman Theatre (1972)

Can’t You See My Face Is Sad – Gateway Theatre Studio, Chester 1972). Prizewinner

Next of Kin – Gateway Theatre Studio, Chester (1973). Prizewinner

Dov – Gateway Theatre Studio, Chester (1973), Prizewinner

Tie Up – London Fringe Production, Playhouse Upstairs (1976)

Any Way You Want Me – King’s Head, London, Birmingham, Liverpool Everyman Theatre, Manchester, Buxton Festival (1981 featuring Linda Beckett) and Edinburgh Festival (1982)

Jam Side Down – Liverpool Playhouse (1983)

A Basket Of Stars – children’s play, Wirral Youth Theatre (1978)

OTHER PEOPLE’S FLOWERS: JEFF TEASDALE – ARTIST-IN-EDUCATION

‘Caminante, no hay camino, sino estelas en la Mar…’
Antonio Machado

To teach or not to teach? That is no longer the question…

I am honoured to have been asked by David to contribute to ‘Other Peoples Flowers’ on his website, so please allow me to introduce myself. My name is Jeff Teasdale and I have known David for many years, although exactly when our paths first crossed is a mystery lost in time to both of us. It was probably initially on one of the teachers’ courses that Cheshire LEA (Local Education Authority) was so good at providing in the 1970s and which took place in very special places like Cheshire’s Canolfan Conwy Centre on Anglesey/Ynys Môn or at Bangor University. In such environments, away from the hurly burly of the classroom, left behind in the exhaust(ed) Friday night fumes of what is now the westward-bound A55,  the environment for stimulus in the creative subjects was established, and was supported by a sympathetic and very human Director of Education, John Tomlinson. In those halcyon days we also had independent people called Her Majesty’s Inspectors of Schools (HMIs), who were knowledgeable, generous with their time, and helpful, and certainly not intimidating as their successors seem to be today. Such background support to our work in the classroom with students was – and remains so – essential to the well-being of education, both for its teachers and its children. Sadly little of that ethos exists anywhere in this country now, and I think David would agree that our years then and ‘in the thick of it’, were possibly the best years ever to have been working in education, and especially in places like Cheshire.

Prior to that though, I had had no aspirations to become a teacher. With the award of a degree in Fine Art delayed at Newcastle University because of the promise of becoming 1969’s Hatton Scholarship Student for the next year, the rug was pulled from under me in May by, of all funding bodies, Cheshire Education Committee itself. This was the first time a local authority had reneged on their fund-matching a promise since 1929. So, with my plans in ruins around me like Giotto’s earthquake-ravaged chapel in Assisi, and after an intervening job on a building site in Alderney, I went for an interview to teach English in Sweden, this to at least be with my girlfriend who had, being an essential part of the Newcastle Plan, by then reluctantly moved back home. The interview went very well, until I discovered the job was in an iron-ore mining town in Lapland, whereas she lived in the deep south of Sweden. In fact, it would have been easier commuting to see her from Manchester than from the mines in the Land of the Summer Midnight Sun – and its corresponding Winter Midday Moon. So, my teaching career did not lyrically begin in Lapland.

It did begin however – potentially somewhere somewhat less lyrical – in Wythenshawe. On the way back from that interview I had passed by the offices of Manchester Education Committee, which ironically had agreed to fund the Hatton Scholarship in my place to a friend. Elaine and I had unknowingly lived only five miles apart while at school, she on the Manchester side of the River Mersey in East Didsbury, and me on the other side in Cheshire. That’s how random one’s future apparently was: decided on the whim of a bureaucrat working at a desk in the dark recesses of a County Hall. Walking towards the Education Offices, I had reasoned that if I could get a job teaching English in Sweden, I could get one teaching it in England. By the time I was at the reception desk, the English had been replaced by Art in my head, so I asked to see the Art Inspector, John Waddington, for whom I had done some paintings for a local college bistro whilst at Sixth Form. What followed was what he described as being… “… The most bizarre job interview I have ever been involved in…”… Essentially, while I was drinking tea in his office he was on the phone to a head teacher in a school, and the first question over the desk was… “He asks if you can play football?”… Affirmative… “He now asks if you can be in Wythenshawe by three o’clock?”… Again, affirmative… “Well, congratulations Jeff, you’ve got a job. You’re playing on the staff team at 3.30 and teaching art tomorrow morning”… John lent me ten quid for a pair of boots and some apparently ‘”essential shin pads’” – this was a “needle match” against the school first team and ‘”here would be scores to settle”. So, I jumped on a bus to Wythenshawe, danced over some vicious scything tackles with ease out on the left wing only inches from a baying-for-blood school audience uncontained behind a slack rope, and I was teaching art at nine o’clock the next morning.

Within two minutes of starting work for the four weeks involved in a job that I had only intended to take in order to earn a bit of cash to pay my fare to southern Sweden (probably one-way and going there for good), I found I was engaged in something that I wanted to spend the rest of my working life doing. I loved every minute of it. After four weeks at Brookway High School, I became John Waddington’s ‘Emergency Supply Art Teacher’, working in spa towns like Ancoats, Beswick, Ardwick and Levenshulme – in fact, any place I could easily get a bus to by eight in the morning with my ‘art teaching kit’. I razor-honed my craft very rapidly, having a sense of humour being the most effective tool in my arsenal.

After two years back in Wythenshawe – why would I want to teach art anywhere else? – I began teaching in Cheshire, and eventually met David properly, two schools later, in a project called TVEI, and although enthusiasm-sapping as ‘Technical and Vocational Education Initiative’ may sound, it just meant that the creative risk-taking that had been the roller-coaster bedrock of my career to date, could rise to another and county-wide level.

It’s all in my book… chapters of which will be eventually appearing in my new and under-development website.

In the meantime, what follows are a few snippets – a small bouquet of flowers from the equivalent in size of RHS Bridgwater – of what will be on there.

The rest will appear on my new website, currently under re-construction for this purpose…

www.jeffteasdale.com

… and David will let you know when that is ready.

In the meantime….

This is where it begins…

‘…The bearer of these gifts is a young man called Michelangelo… Treat him with kindness and he will produce work which will make the whole world gaze in wonder…’

 We exist in two worlds; that world which exists for all of us whether we, as individuals, exist or not and in this image is represented by the Tuscan landscape in front of the student.

The second world is that which exists only for us, in this case the painting between that landscape and us, the viewer, and over which she, the young artist, is layering her own patch of personal and internal sunlight…

…and which is totally unique to her.

OTHER PEOPLE’S FLOWERS: GOING HOME – GERALD KELLY

When David asked me to recall my memories of travelling to Ireland when I was much younger it appeared to be a straightforward task of recalling and revelling in happy memories of four eight-week long summer holidays I enjoyed in the west of Ireland between 1958 and 1961.

However, in June 2024 my eldest daughter and I  completed another quarter of the Wild Atlantic Way from Malin Head to Blacksod Bay, starting with the Giant’s Causeway and the Carrick a Rede Rope Bridge near Portrush in the Six Counties  (a shibboleth!)

A consequence of this was that she bought as a birthday present for me Fintan O’Toole’s  We Don’t Know Ourselves – a Personal History of Ireland Since 1958. Since 1958 was the year of my first ever visit to Ireland the date had a special resonance for me. Even more so was O’Toole’s detailed and incredibly readable account of the religious, social, political, nationalist, economic and other issues that created tensions around Irish life in those days.

A direct consequence was that I had to go back and revisit my memories but this time paying more attention to what now appears much more significant than simple happy memories.

Although I was born and brought up in Carlisle , whenever I visit relatives in DonegalSligo,  Roscommon and Dublin the inevitable query comes up – “How long is it since you were home, Gerald?”

I know where I come from!

My parents were ‘economic migrants’, in that current term of abuse used by right wing politicians, many of whom are, ironically, themselves descended from immigrants.

Some four years after a large part of Ireland had gained a measure of freedom from eight hundred years of English (and later British) misrule, my father from Sligo  crossed the new border to Enniskillen and ‘took the king’s shilling’, spending the next ten years in the army in India maintaining British power over the so-called ‘Jewel In The Crown.’

He never saw the irony!

My mother, a bright and capable girl from Tuam in Galway, travelled to London to enter domestic service with an aristocratic family.

For myself, I have often recalled my Sligo grandmother, who was born in Easkey on the Atlantic coast of Sligo in 1879. She was originally a native Irish speaker. By the time I came to know her in 1958 she only spoke English.

I frequently wonder if she would appreciate the irony of her grandson spending fifty years teaching the English their own language?

 

INTO THE WEST

The west of Ireland is not just a different physical place where, the further west you go, the trees bend towards the east – a result of ‘the haystack – and roof – levelling wind’ from the Atlantic.

It’s a place with wide physical horizons stretching to America.

When I ask my youngest daughter to recall a trip we made to Clifden in Galway, her response is the heartfelt exclamation, “Sea and sky!” Clifden, of course, is where the distance across the Atlantic was shortened to one of time not miles when Alcock and Brown crash-landed in a bog there in June 1919.

The west is also a place of the imagination where writers seek (and find) inspiration for their creativity.

Even the most minute of surveys could include J M Synge  in the Aran Islands in the 1890s, the influence of Sligo on William Butler Yeats, the Kerry of  John B Keane, the Galway of The Lonesome West and The Beauty Queen  of Leenane by Martin Mc Donagh (born and brought up in London but whose mother was from Easkey and whose father was from Connemara), Tom Murphy from Tuam, the powerful playwright of The Gigli Concert and The Sanctuary Lamp among many others, the Claddagh in Galway captured in Walter Macken’s  Rain on the Wind, the Leitrim of John McGahern’s Amongst Women and Conor McPherson’s The Weir, and, very notably, the Donegal of Brian Friel, especially the imagined Ballybeg (Ballybeg, small town).

(However, Stephen Dedalus in A Portrait of the Artist As A Young Man did not share this view of the west. He tells of John Alphonsus Mulrennan returning from the west where he had met an old man.  Stephen says of the old man, “I fear him. I fear his red rimmed horny eyes. It is with him I must struggle all through this night till day come, till he or I lie dead…”).

 

CARLISLE TO TUAM 1958

My first visit was when I was not yet 12 in 1958 when I travelled from Carlisle to Tuam in County Galway.

My companion on the initial part of this first trip was our local parish priest, Michael Curley, a kindly and gentle man who came from Ballinasloe and so counted as a neighbour of my mother.

We travelled via Stranraer-Larne and then by train from Belfast to Dublin.

Such was the respect with which priests were regarded in Ireland in those days that the waitress in the dining car actually curtsied on the fast moving train as she asked, “More tea, your reverence?”

(I must record here that Fr. Curley was, in my judgement, everything a priest should have been – devout, caring, devoted to his duties, unlike the monstrous hypocrites of serial abusers of women, girls and boys who destroyed the standing of the Catholic church in Ireland when, eventually, their manifold crimes and betrayals of their vocation came to light).

The train was late so a quick taxi dash from Amiens St (now Connolly) station to Westland Row (now Pearse) station saw me bundled into the guard’s van of the Galway train just as it was moving!

“There’s no train to Tuam by the time we get to Athenry,” said the guard.

Luckily, my mother had prepared me for this.

“If you get to Athenry late just wait for Tom McGrath to come from Tuam to collect the mail off the midnight train.”

Sure enough, when I got out at Athenry the porter said, “Tom McGrath will be here for the mail so just wait.”

When he did arrive and I explained who I was and how I wanted to get to Tuam his response was, “You’re Mamie’s boy?”

My mother was called Mary and hearing, for the first time, his familiar name for her conjured a whole history of hers which I had never guessed at.

Along with another late passenger, the rent collector in Tuam who had been visiting his son interned in the Curragh for IRA membership, (a policy enacted, ironically, under the government of the arch rebel himself Eamon de Valera), I sat amongst the mail bags in the back of the van and was duly dropped off at my aunt and uncle’s house at about 1.30 in the morning.

“Put some rashers on and wet the tay!” were almost the first words I heard in their house – the universal Irish welcome to a traveller who’s just arrived!

My aunt Freda and uncle Jarlath (a man of whom one of his sons said, “He would never use one word where thirteen would do”) made me feel completely at home over the four years in which I visited them.

Looking back now two things dominate my memory. The first is of Pauline Geraghty, a wonderfully pretty thirteen year old who lived two doors down – but that’s another story!

Her father, however, was a stern looking man who drove the pony and cart for the local laundry run by an order of nuns. This brings to my present mind the horror stories of the Magdalene Laundries run by nuns where unmarried mothers, abused women and girls and those often suffering from psychiatric disorders were effectively imprisoned and made to work for nothing other than their meagre keep.

The second is that, while I am not aware that the Tuam laundry was in fact a Magdalene Laundry,  much, much more disturbing were the revelations that on Athenry Road, just round the corner from where I was staying, was the Tuam Mother  and Baby Home run by the Bon Secours nuns. The remains of almost 800 children under three were discovered there in 2016/17 in a multitude of underground chambers (including, horrifically, in one report that one of the chambers was a sewage tank.)

Bon Secours means Good Help!

And all of this was happening while the people of Tuam went, unknowing(?), about their daily lives.

 

I WISH I HAD KNOWN HIM

Linked to this are two stories about my mother’s father. One of my aunts became pregnant in 1944. Although the father offered to marry her, my grandfather would not allow it. But, rather than banishing her and her child, as happened to so many unfortunate girls, my cousin was born in the family home and brought up with the family name. He did not however realise who his mother actually was until he was getting married and searched for his birth certificate when it all came out.

In fact, when I asked my own mother about Michael’s parents she told me they were dead, this despite the fact that her sister, now married with two children, was living less than a mile away from us in Carlisle.

My mother hated the Sisters of Mercy whose convent school she attended in Tuam. They were brutal.

She tells of them especially picking on and beating one of her classmates who was very pretty with beautifully long hair. Does one need a degree in psychiatry to read sexual repression into that?

My mother herself was beaten on one occasion whereupon my grandfather went up to the convent and said to the nun in question, “You lay a finger on my daughter again and I’ll break that stick across your back!”

In the Ireland of the late 1920s, dominated as it was by the Catholic Church, that took, I think, some determination.

Granddad, however, had joined the Inniskilling Dragoon Guards in 1900, gaining several Queen’s Medals and clasps and, inter alia, serving against the Boers in South Africa in 1901-02.

I should imagine he was afraid of nothing.

 

GIVING UP THE DRINK

My favourite story about him is how he became a Pioneer, in Ireland a member of the Total Abstinence Association.  In the 1920s pubs in Ireland were shut on Sundays. My grandfather, like many others, liked a pint after Mass and before dinner. His chosen pub was Quinn’s Rustic Vaults on Vicar St which dates back to the early 1800s.

One Sunday, he and several others were there having a quiet drink when the Gardai (Police) raided it – a fairly usual occurrence in those days. The well- worn routine was to run out of the back door, down the garden and over the wall, still holding your pint. When the Gardai had left, empty-handed as it were, back in the drinkers would go. This particular Sunday, the Gardai returned twice further, occasioning the same escape routine. Having gone over the wall for the third time, my grandfather looked at the pint in his hand and said, “If a man can’t have a drink in peace, he might as well not drink at all!”

He flung the glass against the wall and joined the Pioneers.

In 2019 I enjoyed a pint of Smithwicks there in his honour, paying homage to the memory of him, the back door, garden and the wall!

His obituary in The Tuam Herald in November 1949 described him as ‘… a fine active type of man…cheerful and obliging…held in the highest regard by all classes’

 

CARLISLE TO SLIGO

The train for Stranraer from Carlisle left in the late afternoon with a change at Dumfries.

In those days you could sleep overnight on the boat and I still have a clear memory of the purser making white bread luncheon meat sandwiches for supper for myself and a few other travellers.

The boat to Larne was supposed to leave at 7.00 in the morning but in those days of integrated transport it waited for the arrival of the London–Stranraer boat train, which was late.

It was absolutely essential that I arrived in Enniskillen in time to catch the second and last bus of the day to Sligo at 4 pm.

From Larne the train went to the old York Road station in Belfast. I and several others piled into a taxi for the two mile journey to Great Victoria St station.

I ran into the station and up to the ticket barrier to see the back of the 11.15 train to Londonderry/Derry pulling away. A minute earlier and I would have caught it.

(A shibboleth which still exists – Londonderry/Derry or, more recently, Stroke City)

“There’s a duplicate at 11.20,” said the ticket collector.

Huge sigh of relief.

“But of course that’s gone long ago!”

So, I spent several hours sitting in the station waiting for the next train having sent a telegram to Sligo to say I would be late.

My obsession with arriving early for trains, boats and planes stems from this and my earlier experience of getting to Tuam, now 65 plus years ago, and I’ve never been able to exorcise it.

I eventually got off the train at Omagh, now forever remembered for one the most horrific mass murders of the IRA campaign to ‘free’ Ulster, but a quiet town in those days.

On the bus to Enniskillen from Omagh as we were passing through a very quiet village (Ballintrillick?) I was surprised to see a policeman strolling down the main (only) street cradling a sub-machine gun.

I learned later that he would have been a B Special policeman, one of the (Protestant) paramilitary group formed to protect the Protestant state .

Obviously, when I got to Enniskillen the bus to Sligo was long gone.

However, a friendly regular young RUC constable knowing I was obviously stranded told me that since it was market day there probably would be cattle farmers from Sligo in town who could give me a lift.

In fact he commandeered a car to confirm that there were indeed farmers from Sligo in the cattle market. Interestingly, he wouldn’t actually enter the cafe in the market. An act of kindness I often thought of in later years when the RUC was the target of murderers.

Beyond Enniskillen the border on the UK side is at Belcoo. In those days the customs post was protected by sandbags and barbed wire.  A third of a mile down a straight road was Blacklion in the Republic with not a sandbag in sight.

(A few years ago my wife, Marcella, and I drove from Enniskillen to Derry weaving in and out the border; the only indication of which country we were in came from road signs in kph or mph or ‘Yield’ at junctions in the Republic).

So, at about 10.30 that night, having been dropped in Collooney by one of the cattle farmers, and then having caught a late bus to Sligo, I eventually arrived.

My granny, 79 years old, having had her nightly tot of whiskey, had gone to bed at her usual time saying her rosary for my safe arrival and totally confident that I would, in fact, arrive safely.

 

THE LANDSCAPE OF THE PAST

Sligo, with Knocknarea on one side, topped by the supposed burial cairn of Mebh (Maeve ) of Connacht of The Cattle Raid of Cooley fame, and Ben Bulben on the other, (Yeats is buried ‘Under bare Ben Bulben’s head’), was the scene of great fun with my cousin Gerry who was the same age as me . I saw him in June of this year. He is now sadly limited by vascular dementia but still able to remember events from our summers of long ago.

The very landscape is awesomely rich in ancient (i.e. more than 4000 years old) monuments.

Outside the front door of my aunt and uncle’s house in Garavogue Villas, situated on a small roundabout above the river, is the Abbeyquarter Stone Circle, also known locally as the Garavogue Fairy Fort  In fact the circle is the reason why the houses there are actually on a roundabout. Here and in what follows I am indebted to Fr Michael O’Flanagan’s History and Heritage website http://www.carrowkeel.com/sites/coolrea/abbeyquarter.html.

While I was always aware of the local name for the circle, it is only as I recalled and researched my memories that its full significance became apparent. Garavogue is apparently named after the ‘great hag or cailleach, the primal goddess of the early Neolithic farmers…. Abbeyquarter may be the oldest of all the early passage-graves, the primary burial place of the first group colonists to arrive to Sligo.’ (O’Flanagan). She appears as the Red Woman (who appears in Lady Gregory’s  re-telling of Irish legends round Finn MacCool Gods and Fighting Men in 1904) and also as Mebh of Connacht. Her latest incarnation apparently is in Game of Thrones as Melisandre.

A very readable re-telling of legends around Maeve and Cú Chulainn can be found in Patricia Finney’s two novels A Shadow of Gulls (1977 (written before she was 18) andThe Crow Goddess (1978).

Another fact to emerge is that the earliest settlers of Sligo were probably farmers from the Carnac region of Brittany some 6,000 years ago. I remember on a holiday to the Quimper/Beg Meil region of Brittany making a visit to Les Alignements, or Standing Stones, at Carnac.

A small world!

The Garavogue river (the shortest river in Ireland?) flows for two miles from Lough Gill to Sligo town and then to the sea, past the original Coney Island to Rosses Point where my cousins and I would go swimming on what always seemed to be sunny Sunday afternoons.

On the shores of Lough Gill is Tobernalt,  a popular place of Catholic pilgrimage from Sligo in late July in the years when I visited. Even today a pilgrimage still takes place because of the well’s association with Penal Times two hundred plus years ago when Catholics would gather there to hear Mass.

In comparison with the time of my visits to Ireland when weekly attendance at Mass was over 90% today the figure is 27%. In the 50’s and 60’s churches had notices in their porches  forbidding Catholics from attending dances on Saturday nights (not that there were any) – presumably for fear that they wouldn’t get up for Mass on Sunday mornings. Consequently, Sunday was the night to go to a dance. Like continental Europe, most major specifically Irish sporting fixtures, Gaelic football and hurling, took place on Sundays.

However, the well dates from long before the Christian era (possibly around 4.000 BC) and was associated with cures for eyesight and madness with perhaps connections to queen Mebh. It will probably survive the decline of Christianity in Ireland because of its long associations with the spiritual, even sacred, essence of water surviving from much earlier cultures

It is not at all surprising that W B Yeats – in my (limited?) critical judgement, the greatest poet in English of the century 20th – and, like Seamus Heaney, not an ‘English’ poet – should have found so much inspiration for his creative genius in the Sligo of his childhood holidays. The landscape resonates through the poems from the earliest to the last – Glencar, Dromahair, the Rosses, the Salley Gardens situated in Ballisodare ( the last syllable pronounced as in deer not rare) five miles south of Sligo, Innisfree, Lissadell, Benbulben, and Drumcliffe where he is buried with the simplest and most profound inscription on his headstone:

Cast a cold eye

On life, on death.

Horseman, pass by!

Legends were part of people’s everyday knowledge. My uncle Larry who worked for Foley’s Brewery in Sligo would occasionally take me with him on delivery trips into the surrounding countryside. On one occasion in the Ox Mountains he stopped the lorry and pointed out what appeared to be a footprint in the rock by the side of the road.

“That’s where Oisin (pronounced ‘Uh-sheen’) stepped off his horse and aged three hundred years.”

The legend was that Oisin (son of Finn MacCool) had spent those three hundred years in Tír na nÓg, the land of eternal youth. He was allowed to return but told not to get off his horse.  He did, and as soon as his foot touched the ground he instantly aged and soon died.

Just outside my grandmother’s birthplace of Easkey is the Split Rock of Easkey, a huge boulder split in two in an otherwise flat landscape. Legend has it that you can pass through the split twice but on the third time it will close up on you.

My daughter walked through it three times in 2019 but she wasn’t swallowed!

A Lough Gill legend from Fr Flanagan’s website:

Once there was a man building a beautiful boat and when he had it finished he decided to call it The Lady of the Lake.

 One day he went up the lake in it and when he was half way up a mermaid appeared to him and she said, “Go back and change the name of that boat.  There is only one Lady of the Lake and that is all that there will be”.

So the man went home and changed the name. If he had not obeyed the mermaid he probably would have been drowned.

In the version that I heard the boat sank and the owner did drown!

The more prosaic fact is that a small paddle steamer called The Lady of the Lake operated between Dromahair and Sligo for thirty years in the nineteenth century.

When did facts ever stand in the way of a good story?

As I mentioned earlier, my grandmother was born in 1879 in Easkey, a remote village on the Atlantic coast in county Sligo. It is now a stop on the Wild Atlantic Way tourist trail from Malin Head in the north to Kinsale in the south as well as a popular destination for surfers. I have often wondered if she knew people who had survived The Great Hunger (Cecil Woodham Smith) of the 1840s Irish famine. The memory remained difficult to handle in Ireland for a century and more afterwards – it was only in 1994 the National Famine Museum was established at Strokestown in county Roscommon.

Last year it was a moving experience to visit the abandoned Village of Slievemore near Dugort on Achill Island and to see the ‘lazy beds’ where potatoes were grown simply by laying them on the ground and covering them. When blight struck it was a mortal disaster, leading directly and indirectly to a million or more deaths.

(Even today we can get blight here in North West England after warm and wet weather. Luckily we can recognise it and if you act very quickly and cut off the diseased tops you can, perhaps, save something of the crop).

The poverty of the land in much of the west made it a suitable place of banishment for the defeated Catholic Irish when Oliver Cromwell told them they could “Go to Hell or to Connacht!”  – death or exile.

When I first visited Ireland and spoke to people of my own age, my English accent almost immediately made them bring up Cromwell so that it seemed as if he had only left Ireland a few years ago instead of three hundred.

Right up until the (ultimately false) boom of the Celtic Tiger, emigration was the chosen method of seeking a better life for nearly two million Irish people, my own parents, aunts, uncles, cousins included.

The Irish diaspora means that, apart from finding Irish pubs wherever you are in the world (on a recent visit to Bergamo I found three), an Irish passport means a warmer welcome from immigration officials from Singapore to Los Angeles, as we discovered on a round the world trip in 2012.

However, as countless songs and poems convey, the longing for ‘home’ never really dies among the exiles so, as I mentioned at the start of this piece, there has always been for me (a native Carliol) a comforting sense of ‘coming home ‘ whenever I visit Ireland.

 

 

OTHER PEOPLE’S FLOWERS: FOUR POEMS – ALAN HORNE    

Thank you to David Selzer for inviting me to present some more of my poems in the OTHER PEOPLE’S FLOWERS series on his website.

 

This selection begins with a translation of a poem by Anna Akhmatova (1889-1966) which I started in a remarkable workshop with the poet and translator Sasha Dugdale at the Whitworth Art Gallery, Manchester, held on 21 September 2019.  It would not have been possible without Sasha Dugdale’s knowledge of the Russian language and of Akhmatova’s poetry. It amazed me that, with no knowledge of Russian myself, it was possible to produce what, for all its faults, is an original translation. Dugdale’s poetry collection, Joy, also made me pay proper attention to William and Catherine Blake. So thank you, Sasha.

 

There then follow three original poems definitely written by me, all addressed to someone no longer living; despite which, one of them answers back. The first is to Akhmatova, written when I was reading a lot by and about her and was struck by the way in which the story of her life often seemed to obscure her prodigious poetic gift and extensive body of work. The second is to an unnamed dead person, and took its origin from the funeral of a onetime work colleague which was beautifully done. It also picks up an idea I came across in The Guardian’s series of podcasts on the newspaper’s links to slavery, about the importance of being a good ancestor, or, at least, not a bad one. Finally, readers of David’s site may be familiar with the eighteenth-century Welsh poet Jane Brereton from the item about her in Between Rivers , and the last poem in this selection is an encounter and dialogue with her. She is a minor poet, but I have spent a good deal of time thinking about her. I was always very impressed by the title poem in Seamus Heaney’s Station Island, which imagines encounters with various people caught up in the conflict in Northern Ireland, and this is one influence on the poem to Brereton.

 

 

Here all is the same… by Anna Akhmatova (1912)

(Translated from the Russian.)

 

Here all is the same, the same as before,

Here dreams have lost their fight.

In a house by a road that’s a road no more

I must bar the shutters though still it’s light

 

My quiet house, bare and brusque,

Looks out at the wood through one pane.

Here they pulled a dead one out of a noose

And damned him now and again.

 

Whether in sadness or secret joy

For him only death was the big affair

His flickering shadow sometimes plays

On the rubbed-out plush of the chairs.

 

And the cuckoo-clock gladdens as night arrives,

Its regular chat is all the more clear

Into the slit I look.  Horse-thieves

Over the hills are lighting a bonfire.

 

And, in omen of bad weather near,

Low, low the smoke blows abroad.

I’m not afraid.  For luck I bear

A silk navy cord.

 

 

To Anna Akhmatova, in a Cheshire Coffee Shop 

 

Leaves of cake display themselves in the drawers,

and the wine-rack’s glassy grin bares dark red molars.

A hundred years, a thousand miles, the wars:

 

yet, dear Hooknose, you’ll find all this familiar.

As for the rest – famine, prison, shootings –

thus far, these we avoid; unlike you.

 

They say Modigliani drew you nude,

and, plainly, you were a bit of a one.

But me, I ask your photo for a clue:

 

how did you write it all, legend

and love-charm and lament? Now all’s complete,

Old Woman of Kitezh, young woman

 

of the horse thieves’ bonfire, will you not eat

this slice of Bakewell tart? It’s surely yours,

full of your raspberry sun; and none too sweet.

 

 

Ancestor

 

We’ll never get to heaven, that’s for sure,

but from here see something like,

the planets glittering beyond the lurid

 

floodlights at the sea-lock.

These hills our ancestors ploughed

over for refinery or saltworks,

 

and you’re one of them now,

buried by cow-parsley heath and oil dock

where the old ferry once put out.

 

It’s water country: pools and slimy rocks;

do not fall in. The loved ones

praised you so, that, for a moment, in the box

 

went all our petty, half-lived lives along

with yours. After all, you had the knack;

and now the evening cows make a mournful song:

 

they snort, and bend their backs

to see you slip away by sleight of hand,

leave them like painted boulders in the grass;

 

for in the casket’s just the candle-end,

but here’s a place where what you gave to others

can be dreamt on. Walks drop through pine-needle land

 

to the thistly fields, and on past concrete coffers

for reactor waste from subs. It’s top security.

I’ll tell them we saw nothing.

 

 

To Jane Brereton 

(born Mold, Flintshire 1685, died Wrexham, Denbighshire 1740)

 

My mind is a black slate fence, and on the lade

are shims of yellow leaf, but water clatters

over limestone, and here you are, with your maid

 

to carry the books and the old culture.

You make demure greeting. I do too;

then it all spills out. Your face is unclear

 

– there is no known likeness – but the wit is yours:

None can read me now! Surely my verse  

made home for beetles, crumbled long ago? 

 

How to explain? We have it in a moment, anywhere.

You gaze at the blocks of stone and rolls of hessian

tree-guards by the ride: a truck reverses.

 

So this is true. And all through Mr Newton’s 

subtle spirit hid within gross bodies’.

Now tell me this: is Humankind perfected under Reason?

 

Reason has done great good, I say, and equal bad.

You nod. And when I was a babe, women 

were hung for witchcraft through an abundance  

 

of religion, of a too officious faith.  

I say I love your letters, the clarity of argument.

And Mr Law, he is still read today.

 

But you are grave: I fear for controverting him. 

A devout and learned man. Noticing your dress,

the practical economy, the embroidered margins,

 

I recall the church under which your bones are lost:

my son and I searched it all out, peered

into alcoves, found no memorial. You are impressed:

 

Now that is fair defence against the sin of pride! 

Somewhere a hopper empties. What, you ask, of Britain,

of the Female Race, of Cambria, and bards?

 

My question: our lives, do they feel the same?

You smile.

I see that men still delvie in the rocks. 

I do not doubt we suffered the more pain,   

 

the iron cold, many young lives lost. 

And truly was my sex ruled by the rod. 

But correspondence, natural philosophy, 

 

the news of stars and nations: all Creation beckoned. 

The maid interjects in Welsh.  What she has said?

She asks of that most important point: what of God? 

 

Ah, I say. There we fail. A klaxon sounds

in the quarry. You raise gloved fingers I cannot touch.

The maid bobs. Into the frith you recede.

 

At the last, as you cross the ditch with its skin of dust,

I remember, have to shout: In Ruthin. I read your actual

letters. In the record office. I mean, what you posted.

 

In your hand.

 

 

OTHER PEOPLE’S FLOWERS: ‘THE PROCESS OF POETRY’ ROSANNA MCGLONE

David Selzer By David Selzer6 Comments10 min read1.6K views

INTRODUCTION: DAVID SELZER

 I set up this section of my website to celebrate and promote creative work by people I like and admire. However, unusually for this OTHER PEOPLE’S FLOWERS posting, I have chosen a particular book – ‘THE PROCESS OF POETRY’ – rather than a person, though, as you will see below, the editor of the book, Rosanna McGlone, has kindly agreed to make the major contribution to the post.

‘THE PROCESS OF POETRY’, published by Fly On The Wall Press –https://www.flyonthewallpress.co.uk/product-page/the-process-of-poetry-edited-by-rosanna-mcglone – at £10.99, comprises interviews with fifteen contemporary and award winning UK poets, focussing on how each of them makes a poem. The poets include George Szirtes, Liz Lochhead, Don Paterson, Pascale Petit, Hannah Lowe, Gillian Clarke, Regi Claire, Joelle Taylor, and Victoria Kennefick.

I have chosen to showcase the book because it is a fascinating, unique, impressive and very important piece of research – which is already appearing in Creative Writing MA reading lists – into the creative process, a process which is one of the characteristics that makes us human, and whose fostering ought to be central to all forms of education at all stages. The best of research is creative in conception and execution, and ‘THE PROCESS OF POETRY’ is no exception. It seems appropriate therefore that the researcher tells us about the process that created the book.

 

‘THE PROCESS OF POETRY’: ROSANNA MCGLONE

A chance meeting between two World War 1 soldiers lies at the heart of my latest work. Sometimes ideas simmer, don’t they? It is possible that the concept for The Process of Poetry first developed several decades ago, during my brief spell as a secondary school Head of English. I recall employing a book, The Forms of Poetry, and being captivated by the drafts exchanged between Wilfred Owen and his mentor, Seigfried Sassoon, whilst they were in Craiglockhart Hospital, in Edinburgh. Sassoon provided feedback on a number of versions and, on each occasion, Owen had the choice as to whether to incorporate these suggestions into his poem which ultimately became the sonnet, Anthem for Doomed Youth. As a working-class girl this was my first exposure to the type of drafts ordinarily kept in hallowed university archives, and I was hooked.

It struck me that it would have been marvellous to have known the rationale behind those decisions. Wouldn’t it be incredible to ask living poets to share their working methods and to focus on the editorial decisions they made in developing a single poem?

Years later, whilst running poetry classes for adults, I became aware that ‘my’ poets were sometimes overwhelmed by the stunning execution of the poems we study during our workshops, and not a little disheartened that their own efforts, dashed off in the final 20 minutes, bore little resemblance to the accomplished pieces of others.

The idea for The Process of Poetry was reinforced further by my attendance at a workshop run by the poet, John McCullough, where John both shared early drafts, and discussed the journey, of several of his poems.

One never quite knows how past skills set will coalesce, however this project perfectly synthesised my experience as a journalist with my current work as a poetry tutor.

However, the idea was the easy part. Next, I needed to secure a publisher. I was fortunate to find Isabelle Kenyon at the feisty Fly on the Wall Press. My excitement knew no bounds, until I realised that the understandably tiny advance for what was likely to be at least a year’s work made the book unfeasible.

The situation was exacerbated when it was pointed out that I would need to negotiate, and pay for, permissions to use the published versions of the 15 poems selected.

Thus far, I had been very fortunate in securing Arts Council funding, achieving success with 3 out of 3 applications. But would my luck hold? And would my publisher wait?

At this point, the project extended beyond the book to offer several community workshops in Lincolnshire, several local school sixth forms, as well as a series of online workshops open to emerging poets across the country. This led to the formation of numerous invaluable partnerships within my local community including with arts organisation, Transported Arts, and various schools and workshop venues.

I approached the late Benjamin Zephaniah whom I had first met more than 30 years ago when I interviewed him for The Weekend Australian. Benjamin was amazingly generous with his support of other artists and promptly wrote a letter for me to submit with my application, strongly endorsing the aim of providing a unique insight, thereby supporting emerging and intermediate poets.

 

Why these particular poets?

My selection was partly based on personal preference, with a desire to include some of my favourite poets, however it was important to me that the book represented a diverse group of poets, thereby reflecting the society in which we live.

I knew none of the participants personally, and I believe it highlights the importance of this project that at least 90 percent of the poets whom I approached, not only immediately agreed to take part, but shared a real enthusiastic for the concept and a genuine desire to impart working processes.

A noticeable omission is the poet, Tony Harrison, who very sadly did not have the mental capacity to take part. Tony’s daughter, to whom I spoke, said that it was something her father would have loved, driven as he was to broaden the appeal of poetry.

There are many other poets whom I would love to have included, and would do, should an opportunity to develop the project further arise.

 

And these particular poems?

The selection of poems, as you can imagine, took some time. Each poet was asked to share 3 poems with me, in order to provide sufficient variety, both of approach, and of end product. Sonnets were all the go! But where was my range? Towards the end, I began to suggest poetic forms. ‘Does anyone have a poem written in tercets?’ ‘George, you wouldn’t happen to have a villanelle, would you?’ and so on. In fact, whilst George Szirtes didn’t have an early draft of the villanelle I had in mind, I was delighted when he generously offered to write one specifically for the book.

The selection criteria was quite strict. The poems needed to be dissimilar, but not too dissimilar, the poet needed to remember the rationale for the decisions that they had made and, ideally, the pieces needed to be relatively short, in order to sit on facing pages of the book.

I enjoyed the mental stimulation of poring over drafts and composing questions, from which I was nevertheless always happy to deviate, should circumstances demand it. In the case of Joelle Taylor, they certainly did. We had agreed the extract from C+nto that we would be exploring, however on the morning of her interview, Joelle arrived very excited. Why? She had recently been asked by The University of East Anglia for all of her early drafts of C+nto, however that morning she had unearthed a striking phone note which she brought to our meeting. This was fantastic, however it was on a completely different part of the poem to the one I had prepped. It was an absolute pleasure to interview Joelle for a second time.

As the project advanced, it broadened beyond a sole focus on a single poem. Interviewees had such a wealth of experience that it seemed remiss not to explore it, to ask what they sought as editors, judges and how the essence of a poem could be retained in translation.

I enjoyed, too, learning which poets had provided my interviewees with their first encounters with poetry. Sylvia Plath, Tennyson and Joolz Denby were all mentioned, but which poet chose which as their formative inspiration?

It was fascinating, and illuminating, interviewing poets in their home environments, particularly meeting Gillian Clarke in the tranquillity of her remote Welsh smallholding and conversely visiting Liz Lochhead in her beautiful Glasgow flat overlooking a bustling main road. Listening to both Gillian and Liz reading their work to me in their own homes was a real privilege.

If I have one regret it is in not being able to meet more of the poets in person, but time, logistics and funding constraints made this impossible on this occasion. However, I am hoping that there will be interest in developing the concept further. So, next time, perhaps?

 

REVIEWS, MENTIONS, SALES, SEQUELS, AND LINKS

REVIEWS

 The Process of Poetry first appeared, the day after its release into the wild, on BBC Radio 4’s Front Row. This was quite a nerve-wracking experience as it was live, and I had no prior warning of the questions. It was, therefore, rather like sitting an examination on my own book!

Another radio presenter, Ian McMillan from The Verb, described it on twitter as, ‘… a really good poetry manual… it illuminates and clarifies the art of making poems.”

Its first review came from the Forward prize-winning poet, Malika Booker, who wrote, ‘The Process of Poetry is a fantastic idea. Beautifully executed, this book will prove invaluable to poets, creative writing students, and anyone interested in the creative process.’

Buzz Magazine described The Process of Poetry as ‘…a wonder, and a must-buy for anyone who loves verse or who wishes to gain insights and ideas on how to create it.’

Further reviews came from Roger Caldwell, in London Grip, ‘… there is much to relish and ponder on, and The Culture Boar Pod who will be featuring it on a future podcast commented, ‘This is a really exceptional book. It’s wonderful.’

Write Out Loud commented that, ‘These are poets at the top of their game generously sharing their creative tips and thoughts. These insights only scratch the surface of the revelations, perceptions, and observations contained in The Process of Poetry… Many congratulations to journalist, writer and poetry tutor Rosanna McGlone for having the vision for this book, and for pinning down an impressive array of poets to deliver such insights about their craft…. It will undoubtedly also feature on many universities’ set books list, if it isn’t on them already, and is highly recommended to any students and writers of poetry.’

It has, indeed, been added to several Poetry MA reading lists including those at Edinburgh University, Lincoln University and Nottingham Trent University.

 

MENTIONS

The aim of The Process of Poetry was to offer a unique insight into the practice of some of the country’s leading poets, in order to provide advice, guidance and approaches to developing a poem from an embryonic idea to a published poem. (Although, of course, not all poets seek the validation of publication.)

The book has received some kind mentions from members of the public through social media and review sites, including:

‘I’ve decided to start my editing for the evening with a poem that I was always quite happy with. I suppose I thought it was strong because it has a decent sense of metre, powerful imagery, and a lot of pleasant rhyme. I see now that there’s massive scope for improvement. I’ll be recommending the book to my friends, clients, and fellow poets here in Ireland.’ Tomas O’Coileain

‘Wonderful. I’ve just bought your book! So love the first chapter – so amazing, such insight. I’ve won poetry awards and placed in others, but want to be better, more concise and articulate. I really think your book will help. Thank you so much.’ Peter Devonald

‘This is simply one of the best books on the craft of writing poetry I have ever read. The selected poets really show how multi-faceted and subjective the creative process of poetry is so there is plenty to inspire a budding writer here as well as help affirm to a would-be poet the importance of finding one’s own way.’ Inbr1ghtestday

Waterstones, Amazon and Good Reads, also have generous praise for the book.

 

SALES

Whilst for me, the most important metric is whether the work has achieved what it set out to do, and, if possible, is of some lasting significance, it is difficult not to reflect on sales. The Process of Poetry was number 1 on Amazon UK, number 12 on Amazon Australia and the Kindle version was number 30 on Amazon in America. Inpress, which represents 50 independent publishers, announced that The Process of Poetry was its second highest seller in December. I suspect that much of this was driven by my appearance, with Don Paterson, on Front Row.

 

SEQUELS

Reviews will also be appearing in The Morning Star, The Yorkshire Times, Orbis volume 108, Lincolnshire Life Magazine, Dreich Magazine, Lincs Online and The Friday Poem . There was a Final Draft launch on Zoom on 29th February.

However, this may not be the final chapter. Watch this space, as they say.

 

LINKS

Tom Sutcliffe, BBC Front Row Presenter at the 15 minute mark BBC Radio 4 – Front Row, Movie stars Adam Driver and Bill Nighy, author AL Kennedy, and the Process of Poetry

Roger Caldwell, London Grip’… there is much to relish and ponder on.’ THE PROCESS OF POETRY – londongrip.co.uk

https://www.writeoutloud.net/public/blogentry.php?blogentryid=133371

Buzz Magazine ‘ New poetry for January: towers, tolls, tarot cards, teenagers & a title raising money for Gazan children

Waterstones Reviews, including Waterstone’s staff reviews here: The Process of Poetry by Rosanna McGlone | Waterstones

 

 BIOGRAPHY

Rosanna McGlone is a writer and journalist. She has written more than a 100 features for both national, and international, publications including The Australian, The Sydney Morning Herald, Salon.com, The Guardian and The Independent. Her most recent book is The Process of Poetry a series of interviews with some of the country’s leading poets including Don Paterson, Joelle Taylor, Liz Lochhead and Pascale Petit, exploring the development of an early poem into a final draft. Her first radio play was shortlisted for the BBC’s Alfred Bradley Bursary Award. Her work has been supported by, amongst others, Arts Council England, The National Lottery Heritage Fund, Hull Truck Theatre, Vault Festival and The Old Vic New Voices Programme. Writing residencies include Capricorn Hill, NSW, Australia and The Hosking Houses Trust, Stratford-upon-Avon, England.

Rosanna runs Zoom poetry classes on a Tuesday evening and a Thursday morning. She is also available to write biographies, a perfect retirement gift, or simply a treat for oneself: mcglonehealey@yahoo.com or please call for more details, 07570 480802 or contact via Twitter @RosannaMcGlone.

 

 

 

 

 

 

 

 

OTHER PEOPLE’S FLOWERS: JOHN WAREHAM

I met the late John Wareham at Liverpool University’s Poetry Society in October 1962. I was in my second year, and Barry, as he was known to everyone, was beginning his first. We became close, comfortable and trusting friends almost immediately, and continued to remain so, each of us becoming, in due course, the other’s Best Man.

We felt able to share the first and further drafts of our poems with each other, and continued to do that for the next four years while we were students. We recognised that each of us had the makings of a good poet, that what we were producing was original work of value in its own right, and which might be enhanced by the views of a critical and informed friend. Critiquing and supporting each other’s work that way was, I realise now, an invaluable apprenticeship for me.

OPPORTUNITY KNOCKS  describes what that friendship meant to me at the time, and its continuing influence.

 

OPPORTUNITY KNOCKS

i.m. John Wareham

The tide of chance may bring
Its offer; but nought avails it!

THE OPPORTUNITY, Thomas Hardy

 

Each week on Tuesday promptly at seven –

chicken curry and chips from Barry Wong’s

on West Derby Road at the ready –

he and I would turn on the TV

in our rented rooms to watch Hughie Greene’s

‘Opportunity Knocks’.  It was an hour –

including adverts – of metaphors

of the mid-sixties: kitsch; schmaltz; condescension;

nudge-nudge; the cruelty of class; fifteen

seconds of fame; occasional talents.

 

We had no doubt we were poets – actual

not aspiring. Would we settle for minor

recognition – or would only major count?

How this would happen we never discussed.

Maybe we hoped we would be discovered

like others in their twenties in the city!

 

I can see him now chortling at the absurd –

his laughter bubbling, his kindly eyes gleeful.

He was an admirer of Thomas Hardy,

ever the collector of the bathos

of pretentiousness and misfortune.

He told me tales about the writer’s heart.

Hardy had willed, though an atheist,

his body be buried in the churchyard

of the village in which he had been born.

But his young widow was strong-armed by the Dean

of Westminster Abbey. Her husband’s ashes

were interred in Poets’ Corner near Dickens’.

His heart, however, was preserved, and borne

in a biscuit tin – Huntley & Palmers

Bath Olivers, it was claimed – from Paddington

or Waterloo to Dorchester then Stinsford.

One tale had the heart buried in the tin.

Another, the tin being on the grave digger’s

kitchen table with, for some reason, the lid

off, maintained the family cat ate it.

 

He published little. Re-reading what he wrote

when we lodged together in Liverpool

I am shocked by the matureness of his talent,

and his ability to make the mundane

original, significant, portentous:

Spareness is the point.

November’s manifest in skies of ash,

Branches whittled by the edge

Of winter, the parkland quite

Quit of final birds.

And how his, over years, has shaped my work,

like an underground, uncharted watercourse.

 

Barry wrote the following (previously unpublished) poems  – one of which is referred to in OPPORTUNITY KNOCKS – while we were sharing lodgings in the Newsham Park area of Liverpool in 1965. He read the poems at a meeting of Liverpool University’s Poetry Society. Re-reading his work makes me realise anew both what an original poet he was and how accomplished he had already become in his early twenties.

 

A VERY STUDENT PIECE

Ten weeks overdue with rent

I creak downstairs to basement views

Where mother, father and daughter bend,

Night-gowned with the three God-sent

Sunday papers, and gnaw on rind,

Potato-eaters of College Mews.

 

I pay my due. But the kind

That seems still owing no fork-out

Across a table will cover or justify.

Well within my means, it would find

On admittance the outraged cry,

My pity shown the short way out.

 

And then, the thing cuts two ways:

Against me, hearsay’s gamut filed:

The gay, reviled, Hell-Fire, half-tight,

Cracked up, sleazy student days.

My cool denials would seem to blight

The means our boredom is half-beguiled.

 

To take a stand on the shown bergs

Of other’s lives, the definition unsuspect,

Becomes a last and private stand

By impure guesswork that may not urge

It first impression on this hand:

We dress estrangement as respect.

 

©Estate of B.J. WAREHAM 2023

 

INCIDENT

Sparseness is the point

November’s manifest in skies of ash,

Branches whittled by the edge

Of winter, the parkland quite

Quit of final birds.

My footsteps carry

To the shut faces of three men

Whose stitched storm-collars upturned

Shield hooked heads, intent

By a pond’s stone ledge.

Instantly each face dissolves,

As poles pierce us and skim

The sluggish bottom scum.

One pole gains purchase,

Grappling limp weight

And bending as our knuckles blanch.

A body surfaces

Whose hands caress its flanks,

The head is bowed and matt.

Our jaws keep clamped

With chill or some embarrassment,

As it’s hauled to the path.

I start to relive

The wish, pellucid and definitive,

That had perfused a gainliness

Or whole corruption.

A note was left, general trait,

Hours between the writing

And the deed; an extensive purpose

Battening to live nescience.

One man lights a cigarette

And funnels the smoke high.

Another coughs.

I make to move off,

Victim of consciousness, not conscience.

 

©Estate of B.J. WAREHAM 2023

 

THE MAJOR’S WIFE

The major’s young wife sits alone tonight.

The home is incomplete. Remote lads whiting puttees

Know a thing or two; their brushes jig quicker

As they smirk. The square is disciplined

By windlessness; only a flag is at ease.

 

Kafka does not exert himself to amuse

The lady in blue cocooning dress; she sighs

For event, remote fulfilment, different privacy.

She has a past, her posted major his own

Deflating memories. She glances at his portrait’s eyes.

 

How their chaotic story is publicised!

The barracks is never finished

With its brutal talk of men lost or loved,

How recruits awhile renew them both,

Each incident’s hard glare daily furbished.

 

Grotesques of the starched-khaki world know too well

The gloss of competence, the insufficiency.

Past deed and present need are one still.

The major’s young wife resumes the page,

Thinks she hears howls, cannot see the fantasy.

 

©Estate of B.J. WAREHAM 2023

 

GRAPES

 For them, the evening started well,

That central couple whose names are known,

And silences understood, whose nods are identical

And heads nearly so. Ageing and concerned,

Limited in everything, they are vulnerable.

While they drink halves, their small feet scuff

Damp sawdust and fag-ends in uneasy circles,

But they like to see a crowd, brass rails

And dented fender shine, the hazed wall-mirror

As big and familiar as a bed sheet,

Lacework in each drained Guinness glass,

And some controversy to cock their heads to.

So when noise towers up as some row begins,

They settle, and the scuffing stops.

Even mouthed threats and a lifted fist

Are entertainment, commonplace and canned,

Much like their screen’s manoeuvred bluff –

Here everyone’s in character.

But then, which no one had rehearsed,

Drawling action’s sweaty blur,

No clean-cut straight for putting out

A stewed tough’s glaring light, but near the bar

Two top-heavy bodies lurch and cling

Until one the couple know, firm’s name

Stencilled on his duffled back, goes down,

A raspberry ring bottleneck-sized glistening

And jagged under one closed eye. A table is upturned,

The air close; screams are locked in threats, hands

Agitated in the jug-handles. Restraints all round:

The goitrous tenant-barman out of sorts,

Indignant with all, bawling that all should stay,

That nothing had changed. The couple go, and leave

In glasses lace-bedraggled by the great mirror

An insidious trace precipitating – almost dissatisfied.

 

©Estate of B.J. WAREHAM 2023

 

 

 

 

NOTES:

1. OPPORTUNITY KNOCKS was originally posted on the website in September 2019.

2. I am indebted to Clive Watkins [https://davidselzer.com/2021/06/other-peoples-flowers-twelve-poems-by-clive-watkins/] , a mutual friend, for copies of the poems. Clive was also a member of the Liverpool University Poetry Society, and has retained several of the cyclostyled sheets circulated for discussion at meetings of the Society in the academic year 1965 – 1966.