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BETWEEN RIVERS SUMMER 2023: ANNE DOUGLAS, POET & ARTIST – ALAN HORNE

BETWEEN RIVERS is a quarterly series edited by Alan Horne. It is focused on the area bounded by the rivers Alyn, Dee and Gowy, on the border between England and Wales in Flintshire and Cheshire. You can read about the background to Between Rivers in the Introduction.

In this August 2023 edition, we feature works by the contemporary Wrexham-based poet and artist Anne Douglas. She is a member of Cross Border Poets, based at Gladstone’s Library in Hawarden in Flintshire.

Most of her poems are meditations on natural features. We start with her poem The Alyn, about one of the defining streams of the Between Rivers project. The accompanying illustration, Morning Glory, is a drawing by the poet of convolvulus, often found on the banks of the river.

The Alyn

Ambling down Rossett’s Manor Lane
Passing the River Alyn,
Part of which traverses our road
We pass trees, hedgerows and tall trees
At the side of the fence.
We hear the dulcet, lyrical sounds
Of the blackcap,
The goldfinches flitting down
Between seed head weeds.
Later, we pass woodland and pastures
On which friendly cattle graze,
Through a country garden the Alyn
flows.
We cannot follow the meandering Alyn to its end
because it disappears through
neighbouring fields,
But we meet with the Alyn later as it snakes through kingfisher country:
they fly low, skimming over water.
We stop here and listen to the sound
of the river
Eventually the river becomes one of the tributaries of the River Dee
Or the Holy Dee.

 

Part of the interest of Anne Douglas’ poems is that they often appear at first to be transparent and simple, but then give a sense of something else happening just out of view. In Rose Wall or The Close of the Day this is almost literally the case, as the world of the poem is divided by a wall. It is accompanied by the poet’s drawing Rose Hips.

Rose Wall or The Close of the Day

Near a shady wall
A rose once blossomed
Fair and tall she grew
And through a gap
Her tendril crept
To dream
Of what might lie
On the other side
She breathed out
Her fragrance more and more
It was no different
On the other side
Still she grew there
Near the shady wall
Just as she would
Scattering her fragrance
Forever and a day
Until her life ebbed away
The evening sun
At the close of  day

 

Although born in Cheshire and being a long-time resident of north-east Wales, Anne Douglas was brought up in the Far East and has travelled extensively. This is reflected in many of her poems, which are sometimes almost haunted by the memory of a distant land. Here is The Bees Must Have A Name For It.

 

The Bees Must Have A Name For It.

With the cries of the birds
Perhaps the honey-guide bird
I come across a flounce of red flowers
In a pearlescent dusk
The bees must have a name for it
Lazy-blowing fragrance
Of the carnation border
Or of the bean blossom
They must have a name for it too
In bee language
Honey flowers
Here and there
More and more
As the branch
Peeps over the garden wall
Until at length
With a final kiss from the sun
Tiny fragranced flowers close
And night has come

 

If you would like to read more of Anne Douglas’ poetry, you will find her poems in the Love Wrexham online magazine and on the Cross Border Poets site.

 

THE MINER’S WELFARE INSTITUTE, LLAY

Taking a wrong turn, as per usual,

out of Wrexham, I found myself driving

to Llay* up that gradual gradient,

looking for signposts to places I knew

to set me right but reached the colliery houses –

built in the ’20s with indoor toilet,

bath and the electric at nine pence a week –

on First Avenue, Second Avenue

and so forth to the Ninth as if the owner

could not be arsed to find proper, local  names.

Llay Main was the deepest pit in Britain.

The seams were worked out by ’66

so the village missed the Scargill/Thatcher show.

 

I saw the sign for Rossett and knew my way –

but then, on the brow of the rise, saw

the white neo-Edwardian Baroque

of the Miner’s Welfare Institute –

the large lettered name picked out in gold

like a movie palace or a music hall –

built with dues paid by each miner (hence

the apostrophe) for books and billiards,

cricket and pantomimes, talks and meetings.

 

I slowed, moved by its pristine survival:

a community venue for quizzes

and sports, for carnivals and weddings.

As I drove down towards Rossett, I could see

the distant refineries at Stanlow

on the far edge of the Cheshire Plain

and thought how we are close to forgetting

our history, of acting as if coal

leapt ready hewn from the earth or turned itself

into gas to make the world too warm.

 

Once, within a radius of fifteen miles

of Llay, among the hills, meadows, rivers,

woods, were two steel works and sixty pits.

It was lethal work in the stuffy dark

under the crushing heat of rock and earth,

uncared for and unregarded work.

 

In Gresford pit, fewer than two miles from Llay

two hundred and sixty six men and boys

were killed in one explosion – all but eleven

entombed in the abandoned galleries.

Among the thwarted rescuers were teams

of miners from Llay.  The words ‘whited

sepulchre’ come unbidden – hiding

exploitation, pain, loss.

 

 

*Llay rhymes with ‘die’ and ‘lie’.