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Tuesday, December 20, 2005

Robert Sheppard: Review of Harwood's Collected Poems

It’s a Long Road: a journey through Lee Harwood’s Collected Poems            

Part One




Lee Harwood’s Collected Poems – references to it marked CP in the text - takes the reader through varying landscapes, and changing obsessions, personal relationships, artistic passions. The metaphor of travel is apposite for a major characteristic of Harwood’s writing, that is, its restlessness, and one he repeatedly uses himself. On page 229 (about half way through this forty year accretion of work) we are warned to expect ‘a long road’; reaching the penultimate page we are reminded still ‘it’s a long road’ (p. 521). It is a journey, characterised not just by mutability and variety, but by what Harwood calls an ‘insistence’ (p. 168). It is

not so much a repetition
but a moving around a point, a line
- like a backbone – and that too moving
(on) (CP 177)

For example, the effect of the numerous times the reader is reminded of the inadequacy of language, particularly to evoke the emotive charge of erotic adventure, is cumulative. ‘You’ – followed by half a page width of silent space – ‘I hardly begin to say’ is emblematic of dozens of such insistences, limit-cases, crisis-points, breakdowns. (CP 463) The confessions of faltering, stumbling words, ‘moving around a point’, or the dozens of literally unfinished declarations of love or wonder, suggest that Harwood has snatched such anti-rhetorical ‘failure’ from the jaws of his greatest triumphs, his wounded poems.

Reading this oeuvre is also a stylistic adventure, a pageant of literary forms, with its readerly delights and surprises. Harwood knows this too. When he writes, ‘My heart weeps,’ and then comments, ‘Who would ever have thought I’d write that?/ “My heart weeps”?’ – he not only presents the troubling sentence twice, he presents its repetition in his frequently used and estranging quotes to defuse the subterranean romanticism – but he also knows he can rely upon a readership of whom he can ask such a question, who have followed his progressive ‘movings-on’ (CP 182), who have become accustomed to the interrogative assumption behind his ‘voice’, indeed recognise this self-conscious, knowing hesitancy as his voice (to play up to that doubtful metaphor).

The stages of this long – unfinished - journey are represented by the sections of the Collected Poems, published by Tony Fraser’s Shearsman Books in 2004. They broadly correspond to previously published books or to sections of those books. Very few poems have been omitted from what is now effectively the canon of Harwood’s work, and these are stylistically weak texts, mostly plucked from the company of poems in the first 96 pages of this 522 page publication.1 More positively, a number of uncollected poems have been added, mostly from the 1970s and the early 1980s, along with some previously unpublished recent work (to which I will return next month).

The White Room ( Fulcrum Press, 1967), Harwood’s first large volume, was already a kind of early collected poems, and began, as does this new book, with early work, called here ‘title illegible/early work 1964-1965’. Most of this was originally published in Harwood’s first pamphlet, with its characteristically self-evasive title: title illegible (1965). A regular attendee at Bob Cobbing’s Writers Forum workshop (and he was later, in 1967, to follow Cobbing as manager of Better Books, an important subcultural London venue throughout the sixties), Harwood was also published by Cobbing’s press. Little of this Writers Forum pamphlet survives the editorial process; this section of early work is dominated by ‘Cable Street’, a flawed but necessary poem, and important for Harwood’s subsequent development in that it is a long text in lyric fragments and prose. It is not unlike Roy Fisher’s near contemporary City (1960), or, only a little more distantly, the later books of William Carlos Williams’ Paterson. (It also encouraged others, such as Iain Sinclair, to begin to explore the little histories of London.) The text deals with Harwood's day to day life in the East End (where he lived until 1967, with his first wife, Jenny Goodgame, whom he married in 1961, and their son, Blake, born the following year), balancing the everyday with - to take one central example - the Battle of Cable Street between the fascists and communists, which was played out on the same turf 30 years before. The young Harwood applauds Lenin and eulogises the coming revolution: ‘O Prince your days are done/The Revolution’s come’. (CP 22)

The labour Harwood expended in the mid and late 1960s on translating from the French a representative selection of the ex-Dadaist and Surrealist Tristan Tzara possibly steered him from continuing to use this work as a direct model in his own writing (only a few early exercises in surreal mode are included). He met Tzara in 1963, not long before his death, and Tzara approved certain of the early translations. This body of work also is excluded from the Collected Poems, but several volumes have gathered these translations and its introductions, including Chanson Dada in 1987, for which he wrote a new introduction, and which is due to be republished soon. He also published a Tzara bibliography in 1974. As a part of the burgeoning literary underground Harwood was also a publisher of occasional magazines, (Night Scene, Soho, Horde) whose name changed with each issue, but one was an act of pure homage and assumed lineage: Tzrarad. There was even a subsequent anthology of that name. In his recent In the Sixties, Barry Miles explains: ‘We published Darazt, an anthology featuring a long poem by Lee Harwood, and named after his mimeo magazine, Tzarad (Darazt being Tzarad backwards). Lee was particularly fond of Tristan Tzara. There were some collages by me, inspired by Max Ernst, some photographs of Gala Mitchell naked by Hoppy, inspired by Bill Brandt, and a three-column text by William Burroughs.’ (Barry Miles, p. 64) 'Hoppy' was John Hopkins, who also ran the UFO Club, the centre of underground musical culture, with which Harwood also had some contact. Along with Pete Brown, Spike Hawkins and others, Miles tells us, Harwood read at the first ‘Spontaneous Underground’ event at the Marquee Club in January 1966, on an anarchic bill that included Donovan and Graham Bond, with most of the performers and audience in fancy dress. (When read this passage recently over the phone, Mr Harwood denied remembering any of it, proving, I suppose, that if you can remember the sixties then you weren’t blah blah blah. Or possibly the shame of being on the same bill as Donovan provokes amnesia. (The other day there was a horrible scream from downstairs. I went down there. I asked Patricia what the matter was. She said that Donovan was on Midweek. Why? I asked with incredulity. Cashing in on the Dylan revival, she explained. Again? sez I!). There's also the question of the relationship of Harwood's The White Room with the Cream song of the same title, written by Pete Brown.)

The brief gay lyrics early in the Collected, ‘This morning' for instance, open a theme of erotic longing at forced separation that haunts the entire oeuvre: ‘the pain of my leaving/and my love for you’. (CP, 23) This intensifies in ‘The Man with Blue Eyes’, a section of both Collected Poems and The White Room. This also appeared, under that title, as a separate volume, published by Lewis Walsh and Anne Waldman’s Angel Hair Books in 1966. It won the Frank O'Hara Prize, and heralded Harwood’s arrival in New York and inaugurated a transatlantic exchange that continues to this day. An erotic liaison with John Ashbery (whom he had met in Paris in 1965), and a more general literary engagement with the New York poetry scene at its height, engendered some deeply felt love poetry, including one of the finest meditations upon clandestine gayness, erotic obsession and separation, ‘As your eyes are blue’, which Jeremy Reed has described as ‘a love poem as important to its time as Shakespeare’s androgynously sexed sonnets were to his.’ In those days homosexuality was still illegal. In comparison, the straight love poem, ‘Summer’, demonstrates a similar erotic anxiety, though it can afford to be more graphic (though anatomically questionable, ‘length’ surely a masculinist measure of eroticism):

The damp heat
and discomfort of clothes, a tongue passing the length
of her clitoris … and back again …
erections in the musty pavilion. ( CP 41).

Indeed the explicitness is arguably an over-compensation for the restraint of the, otherwise better written, gay poems with their lack of gender markers, and their focus on detached parts of the body; ‘if only I could touch your naked shoulder’ could easily be read as non-gender specific. (CP 29)

The final ‘Blue Eyes’ poem, 'Landscape with 3 People’, while signalling separation and loss as much as earlier poems, is the first poem to adopt the more obvious narrative, even allegorical, mode that dominates the ‘The White Room (1966-67)’, replete with the mysterious menace that ghosts so many of Harwood’s fictions:

I loved him and I loved her
and no understanding was offered
to the first citizen
when the ricks were burnt (CP 50)

This large section reminds us that Harwood’s sheer output of the later 1960s and early 1970s is staggering. (One hundred and sixteen of the 500 pages were produced before he was 30.) More obvious exercises in a New York mode suggest Harwood was in danger of becoming a card-carrying member of an already fading avant-garde. The tragic death of O'Hara in 1966 might be thought emblematic of its demise, despite the rise of the genius of the second generation, Ted Berrigan. Harwood mirrors the insistent jocular name-checking and casual enjambment of the two poets:

Ted Berrigan has met Edwin Denby.
I don’t know anyone who’s met F.T. Prince.
I wish I could meet F.T. Prince;
maybe I will one day, but it will have to be soon
as he must be getting old. (CP 58)

Ironically, it was Prince – a stylish British poet much admired by Ashbery, and who Harwood did subsequently meet! – who issued the salutary warning that Harwood was ‘pattering on’. This led Harwood to realise the dangers of sheer production: ‘You get a tone of voice going, and it’s very elegant and witty … and then it comes out as yards of material which you just reel off’. (PI p 13) The best poems in The White Room show an opening of this range beyond standard second generation New York work into fictions about colonial vanity, military and naval disasters, outback life, the Wild West, the Muslim East - Harwood has spoken of these as our modern mythologies - and even about the nature of poetry itself. He matches an adherence to New York grace, while characteristically focusing on linguistic failure:

PLATO was right to banish
poets from the Republic. Once they try to go beyond the
colours and shapes, they only ever fail, miserably –
some more gracefully than others. (CP 96)

The influence of Borges’ strange narratives is evident too. Even some of these poems are rather long, and the danger of 'pattering on' was sharply dealt with by the next Fulcrum book, Landscapes (1969). Again the change of style or emphasis is prefigured by a single poem in the earlier volume, this time ‘When the Geography was Fixed’, which was originally featured in The White Room, as well as in Landscapes.

The section ‘Landscapes 1967’ is actually best read as (if not originally conceived of) as a sequence of eight poems that meditates dreamily upon the doubleness of its title: a landscape is a geographical term as well as the name of its artistic representation. The role of artifice is obvious in this interplay of nature and culture, erotic encounter and erotic representation. ‘When the Geography was Fixed’ plays on the conceit that ‘one woman in the gallery… liked the picture and somehow the delicate/ hues of her complexion were reflected in it’ (CP 100). This creates an ontological uncertainty, a sort of palimpsest world, which is an analogue for the mechanisms of consciousness and memory. (It may owe to O’Hara’s own poem of the erased canvas, ‘Oranges’.)

- you paint over the picture and start on
the new one but all the same it’s still there
beneath the fresh plains of colour (CP 108)

‘Landscapes’ is one of Harwood's finest achievements. In contrast, ‘The Picture Book 1968’ is a mixed bag. Its obsession with love and colonialism points towards the thematics of The Sinking Colony, while ‘The Coast 1968’, which was the final part of the Landscapes volume, points towards the stylistic fragmentation of that next Fulcrum book. Half lines and caesurae attempt a new semantic simplicity, while notions of heterosexual love as atomised body parts and the specifics of coastal geography merge to create stylistic complexity.

The whole outline called ‘geography’
meeting at a set of erotic points
lips shoulders breasts stomach
the town dissolves sex thighs legs (CP 125)

‘The Coast’ also announces Harwood’s partial removal to the actual coast, at Brighton, where he worked initially at Bill Butler’s underground Unicorn bookshop, though during these years he led a peripatetic life, taking on various temporary jobs from librarianship to forestry, between Brighton, London, Exeter, and Gloucestershire. His first marriage had broken up by this time.
The poems in ‘HMS Little Fox 1967-1968’ had to wait until 1975 for a larger volume (of that title) to appear. The closure of the important Fulcrum Press in 1973 by its founders, Stuart and Deirdre Montgomery (Stuart is a dedicatee of one poem), meant these poems appear displaced in Harwood’s publishing history. While this at once attests to the prodigious output of these years, the delay in publication may also derive from the fact that the poems obliquely record the ‘morbid masochism’ of the heroin addiction that had overtaken Harwood in these years. (CP 139) It was not just the geography that was ‘fixed’, to use a pun he opens up in the pointedly entitled and barely encoded ‘Chemical Days’:

‘The fix’ can only mean
the man with two blue flags who stands all day
on the cliff top. (CP 133)

His attempt to escape this ‘fix’ is charted most poignantly in ‘Love in the Organ Loft’, a poem dedicated to Marian (O’Dwyer). ‘Watching over my’ sleeping ‘love’ like one of Picasso’s minotaurs, the narrator fights not just the drug as he

double(s) my usual intake
to feel without compassion my brain wince
under chemical blows,

but the disjointed fictionalising that this evokes, or produces through confusion or hallucination:

I mean what is happening? – NOW! Do you see
what I mean? – like does the cathedral nestle
in the sky’s warm lap?....
This parable can be used for most things – think of a river … (CP 138)

This ‘almost indefinitely transferable allegory of “feeling”’ (to use Prynne’s term for this aspect of Harwood’s work) contrasts so much with the coterminous poems of ‘The Coast 1968’ that one must note this as the beginning of what Harwood later called a routine: ‘I can see my work does seem to swing this way; it’s a sort of puritan-cavalier routine. I suddenly wanted to cut the crap, and stop being a tap-dancer, and try to talk straight’ (PI p. 13), a stylistic oscillation between plainness and baroqueness, notational realism and elaborate fictiveness, a battle between the influence of Creeley and Olson on one hand, and Ashbery and Borges on the other. ‘Love in the Organ Loft’ explicitly equates the plain style with health and artifice with addiction, abjection, and evasion. More generally, there is another dichotomy at work within the ‘routine’. It is difficult not to see it sexualised as a dialectic between ‘straight’ talk (which, remember, is Harwood’s own word) and Ashberyean gay camp. Harwood’s term ‘swing this way’ echoes the (admittedly inaccurate) demotic marker of bisexuality: to swing both ways. Even amid the most baroque fiction, a telling line of straight talking has it: ‘I loved him and I loved her’ (CP 50). But then Harwood’s work is full of collapsing binaries. As he confesses in a recent interview, reversing the polarities of his writerly ‘routine’: ‘At times the personal is the fiction and the elaborate stories … are the real thing.’ These are not be the only times that one can observe a personal dimension behind what is represented by Harwood as stylistic preferences.
Despite the establishment of the puritan-cavalier oscillation, The Sinking Colony (the final Fulcrum book of 1971) experiments further with fragmentation, again resulting in one of Harwood’s great (but admittedly not characteristic) poems, ‘Animal Days’, another narrative of colonialism and erotic obsession. It is pared down, but not straight talking exactly, because it is a variety of cut up. Despite the inevitable nod towards the techniques of William Burroughs evoked by the term (and although Tzrara is often cited as the originator of this brutal form of collage) the model actually was Ashbery's collage poem ‘Europe’ from the controversial 1962 volume, The Tennis Court Oath, which has one section reading in its entirety: ‘I’m on my way to Hull/ grinned the girl.’ (135) Harwood's poem seems located anywhere but Europe, let alone Larkin’s Hull:

the indian chiefs
what are the wounds, anyway, and their cost?

In the morning everything is white
low clouds trail across the upper pastures
and the valley is thick with mist

‘sometimes their canoes only hollowed-out tree trunks’ (CP 150)

Fragmentation and collage seem suitable forms to evoke what a later colonial poem calls ‘confused longing’ amid such a world with its numbed calendars of pain. (CP 201) But in another poem, ‘Linen’, such intensely isolated shards of truncated utterance enable a gesture of readerly intervention, as if the reader could literally step into the silence and finish the job, although the poem emphatically ends with its own excessive double simile that belongs to ‘cavalier’ New York baroqueness (yet how odd they seem for the sensation of touching skin). We are invited to help the poem reach its figurative climax, but not to provide it, like a Hollywood fluffer.

touching you like the
and soft as
like the scent of flowers and
like an approaching festival
whose promise is failed through carelessness (CP 144)

‘The Big Chop 1969-1970’ (again delayed until 1975 when HMS Little Fox was published by the late Ian Robinson’s Oasis Books) attempts to meld the puritan-cavalier routine, but read in chronological sequence, it seems to contain exercises towards the large scale and major success of the next section ‘The Long Black Veil: a notebook 1970-1972’, which Harwood himself called ‘the end product, the "flower" of my work to date’, so that ‘The Big Chop’ reads as ‘the roots of that work’ as Harwood put it. (dust jacket HMSLF) In its juxtaposition of poetry and prose (its generic insistence upon its notational quality), ‘The Long Black Veil’ picks up, slightly unexpectedly, on the experiments of ‘Cable Street’. Harwood’s philosophy of composition, his poetics, posits a hopeful ‘presentation of informations and the art as mover, catalyst - to somehow work together, be one’. (dust jacket HMSLF) Harwood also benefited from ‘an American permission’ (to use a phrase of Geoff Ward’s) to write long sequences, particularly from the influence of Olson’s The Maximus Poems. In its turn, ‘The Long Black Veil’ both influenced, and was influenced by, the contemporary British version of this ‘permission’, which was called ‘open field poetry’ and was proselytised by Eric Mottram and exemplified not only by Harwood’s work, but by projects like Allen Fisher’s contemporaneous Place (Book One). This was a mode that both authors would need eventually to surpass, as the technique of notational bare utterance upon the blank page, the invasion of lyric concision by quotation, page-space a kind of literal mapping, a guide to the territory of experience hinted at, became a fashion. In short, an enabling technique quickly became an imitative style. But the careful plural that Harwood places on ‘informations’, the reminder of complexity, suggests the gains initially to be had from this method. In an indirect passage of poetics within ‘The Long Black Veil’ Harwood writes (or mainly quotes):

The questions of complexity

On Gide’s death Mr. Forster said – ‘I realized more clearly how much he had got out of life, and had managed to transmit through his writings. Not life’s greatness – greatness is a nineteenth century perquisite, a Goethean job. But life’s complexity, and the delight, the difficulty, the duty of registering that complexity and of conveying it.’

The distinctions (CP 177)

This style or technique suited the restlessness that is both geographical (we pass from Brighton to California) and thematic. ‘The Long Black Veil’ borrows its title from a country and western song about loving ‘my best friend’s wife’. In an unpublished part of an interview Robert Creeley states: ‘(Lee and I) had a sad number at one point in the later sixties when my wife [Bobbie Louise Hawkins] and he had an intense and frustrated relation…. My wife and I were having extraordinary problems so it was hardly unusual. But she was very moved and drawn to him, and he likewise to her.’ This instability haunts the intense sparks of passion amid a (sometimes literal) ocean of separation: ‘you there/me here’. (CP 184) I have written (twice) elsewhere of this extraordinary poem.

In ‘Qasida Island (1971-72)’ this open field mode was put to good use in shorter tighter lyrics, particularly in the tri-partite poem ‘One Two Three’, with its clear invitation in title and final line (‘Now put it together’) for the reader to enter into the co-production of the utterance. (CP 201) Its openness is a gesture to the reader, different from the intended literal lacunae of ‘The Sinking Colony’ poems. By presenting narratives of gift-exchange, the exchanges of sexual passion and the stiffness of colonial rigeur, it asks the reader to relate all of its parts. It is a gesture of obligation to the reader to initiate an inventive response, the sort defined by Derek Attridge as when ‘the reader attempts to answer the work’s shaping of language by a new shaping of his or her own (which will in turn invite further responses),’ an image of the catalytic response Harwood has often attributed to acts of reading, and – more generally - to acts of social and political change (as I shall show):

Yes, I suppose, fascinated by the delicacy
of the piano part in the first movement
of Beethoven’s ‘Ghost’ Trio
(‘he sighed… but real enough,
aesthetic coat-trailing aside.
The delight beyond the technicalities
- not pursuing, but there
to be recognised (CP 199)

The apocryphal pamphlet, Captain Harwood’s Log of Stern Statements and Stout Sayings, published in 1973 by Writers Forum, is largely a commonplace book of informations and quotations, mainly drawn from politics (Mussolini to Mao), Poundian modernism and the I Ching, the Chinese book of divination. While such a publication enjoyed only the limited distribution of a little press, it is worth remembering that in 1971 Harwood shared the pages of Penguin Modern Poets 19, with John Ashbery and Tom Raworth and ‘reach[ed] an even wider readership. Even my father had heard of this series,’ Harwood recalls. (Bio. 145) He was also included in a couple of widely-read Penguin anthologies, Michael Horovitz’ The Children of Albion (1969), a gathering of ‘underground’ poetry, and less tribally, Edward Lucie-Smith’s catholic first edition of his British Poetry Since 1945 (1970). (Harwood has, of course, been widely anthologised since.)

‘Boston to Brighton’, a section of the Collected, equates to a second Oasis book (called Boston-Brighton of 1977) but is divided into two parts. ‘Boston’ celebrates the city in the US where Harwood lived in 1972. It was also the home of his second wife, the photographer Jud Walker, whom he had met while a writer in residence at the Aegan School of Fine Arts in Paros, Greece, and whom he married in 1974. It ranges from an ironic found poem about Kennebunkport, (which is all informations) to bare lyric notations, but the two modes are not otherwise juxtaposed or, one it tempted to say, made complex, as they had been in ‘The Long Black Veil’. The second part, ‘Brighton (1973-77)’, celebrates the British city Harwood and Walker settled in, and where they had two children, Rafe, born 1977, and Rowan, born 1979. It includes the minimalist straight talking of ‘ChĂȘn’, derived from a reading of the I Ching:

the clarity
what believed
or rather hoped for (CP 226)

It also includes a successor to ‘The Long Black Veil’, ‘Notes of a Post Office Clerk’. This extended text is only excerpted in The Collected, which suggests a measure of authorial dissatisfaction. Indeed, in 1993, Harwood himself called it ‘a worthy but dull attempt’. (Bio, 149) Harwood used the style of ‘ChĂȘn’ to develop the mappings of the earlier work (quite literally there are maps) of the Sussex coast where he lived and worked as a post office clerk, an occupation he carried out intermittently for 19 years.

Indeed, a sense of civic and family obligation pervades this period’s writings and partly accounts for their heavy literalism, their optimism in ‘clarity’. In ‘The Notes of a Post Office Clerk’ we read, that ‘now in England 1975’ there exists ‘a list of simple, practical, and just acts, /moves towards a real “socialism”’. (CP 253) That list was Harwood’s own political manifesto and, although excluded from the published poem, it appeared in full in a magazine publication of earlier drafts, advocating a fairly radical socialist equitable incomes and fiscal policy, major political reform and a utopian commitment towards catalytic social change, a hint of which survives into the published poem: ‘The steps that could change this, that could be taken now, open a few doors and windows, start the change that would produce changes as yet unknown.’ (CP 253)

During the mid to late 1970s, Harwood was actively involved in politics, as a union official and as a member of the Labour Party during its most radical years, now often derided, and he stood as a candidate in local elections (unsuccessfully). He was no more immediately successful as a member of the Poetry Society General Council, being drawn to negotiation as a strategy rather than conflict when the Arts Council began to object to the changes Bob Cobbing and others had spearheaded, after a radical take-over and make-over of the once moribund organisation. As fellow poet Elaine Randell said, ‘Along with Lee Harwood and Roy Fisher at that time, I personally felt that we could work within the constraints, that the money [for promoting radical poetics] was the important thing and that things would adapt if tempers and personalities calmed down.’ Such a hope was vain and all three, along with Harwood’s publisher Ian Robinson, suffered ostracization from certain quarters for not joining the walkout. The judgement of history may be on Harwood’s side. (Peter Barry’s forthcoming book The Poetry Wars, Salt, promises to open up this sore on the body poetic again, and threatens to have new things to say.)

The one exception to the stylistic austerity in Boston Brighton is the prose piece dedicated to Jud, entitled ‘Old Bosham Bird Watch’. Its opening

out of nothing comes...

nothing comes out of nothing

cut / switch to…. (CP 230)

suggests a recovered delight in language's ability to create ex nihilo, through fictions, through juxtaposition, though the details here are more domestic and local, less mythological, than those of the 1960s. The metaphor for erotic obsession and wider knowledge, as ever, is one of movement: ‘That I love you, we know this, parting the branches and ferns as we push on through the wood.’ (CP 231) The re-discovery of prose was to be crucially important for Harwood in the next few years.

Next month this review continues with a look at the emergence of the mature Lee Harwood. Read it here.
Page 493

Monday, December 19, 2005

Clark Allison: MIND'S EYE

1


Parallel Tracks

parallel tracks there are lines beneath us
outboard climes plucked and seen before reducing
in sense stack whose ambience strung short
and undone I have varied according to
method how many times that theme which
you could and I decline slipping aside

test that and lift squarely hard and
harsh just stopped dead in its tracks
excess detritus there must be more than
doors closing spidered webs linger aflame as
if rent comprehension won’t cognise thick reflection
has recollection build up a little time

and came toward feasance not being untutored
hats synced to shirts few contest an
abstruse equation unspent covered ground quick head
of steam your realisation the fidelity of
moments to this garden among trees stepped


2


Spanned Attention

do I keep to themes spent tread
a mask may unfathom foreign places visit
one thing leading to others anodyne and
whither storm and tide fluent playing at
life and travelled nothing much as given
can’t help but betray itself once again

trapped as can caught within self interest
being powerful motives taken out with what
makes every good intention some kind of
preference whether truth could beauty really try
the soak of personality can’t stake another
minute where seen might believe at all

of what was imparted reads like an
abstract vast rooms hinging on light patterns
of interaction been there before imbued and
jump cut reclaiming spanned attention never was
and got to pare it all back



3


Shedding Light

evidence of foreign travel bags packed and
checked notched down a peg or two
more than enough sense of continuity tired
of repetition other angles shedding light his
default demeanour of unruffled gaminess taking it
all in stride enough of time ratching

expressionless static horizon plane of vision unheard
roccoco disabuse an elaboration of sockets sinked
to reason fared and disavowed going elsewhere
at reckless pace I have effaced detail
after synonym to render incomplete pixel upon
flatbed no rejig anon season sip quit

tender squib picked up and let go
the printer’s ink I withstand height less
vertigo queasy sun in the eyes spanning
out of sight the impossibilities of wrapping
up so many loose ends connected late


4


Mind’s Eye

oblique transit space slides the mid line
give it time and take immersion therapy
threads given instruction shudder and shiver and
only ache O relenter the company we
keep transferred over to dark nights transform
the ether lux an idea of heaven

not mine you only turned back displacement
of the mind’s eye hollow caverns with
neither doors nor lights dispel them as
narrow expressive range defaulting to control panel
restless and almost futile gestures set to
an automatic where what only comes naturally

could nearly look like trying primeval strokes
to sustain life reverting to the same
defensive manoeuvres call it personality crisis I
took against the mirror and called it
time or shape no more nor less


5


Sprung Loose

the day of the funeral what burns
fingers slipping drawn from life relinquish this
taint foisted immaculate and ignorant wishing the
past neither filled nor empty no imagination
a getting back appealed of words in
some sound or gesture a lucid freeze

hopelessly distracted your sentience mars the
beachhead
remember last contoured dismembered cipher shed blind
catcher run the drop down you will
find colour and efflorescence currents ebb and
turn shun mastery having been here before
to thin and bind allows keeping place

oblivion and strong medicine no cure for
this disease and pass through inertly in
a manner of saying sprung loose not
recognising street nor curve pent up and
discharged covering the cost of sent far


6


Fade Out

tomorrow or till the end of time
the mind going blank fade out and
imagining torso rip ordinance sack taste bud
fending clover hop joust staged roundabout all
over by way of analogies bowl of
grapes by hand a wonder of apostles

by virtue of language such a long
way to go slow and glance consume
them thistle slight glow sunset breach the
cloak of wear and tear down which
way hey enough signage to post direction
impressed upon tight appearance slit and sand

the narrows that lodged air pockets and
nets to trap fish and wake no
destination how much could suffice and ring
walk road slog and circuitous revelry at
gasp and turned along the curved slope







These pieces are the opening 6 from a set of 17, entitled “Mind’s Eye”, which were put together by Clark as part of a collaborative project organised by Rupert Loydell consisting of work by 7 contributors. This is tentatively identified as a ‘17x7’ series. Each contributor’s poems are set
out in groups of 17, of length 17 lines, with 7 words per line.


(Ed: good to see what Adrian Clarke dubbed ‘neo-formalism’, and what I liked to call ‘iso-verbalism’, having its day.)


Clark Allison was born in Glasgow in 1961 though he spent nineyears in the 1980s living in Los Angeles. Author of Temporal Shift/Daubs (Trombone Press 98) and of several poems and reviews appearing in Notus and Stride, of which 'Six Paragraphs 1 & 2' at(www.stridemagazine.pwp.blueyonder.co.uk/2003/june/6paras.htm) and 'an actuality/In the mere number of us', on GeorgeOppen, at(www.stridemagazine.pwp.blueyonder.co.uk/2003/october/allison-oppen.htm), will interest regular readers of Pages.


Page 492

Tuesday, December 13, 2005

Bill Griffiths: Ghost Story 3: MIDNIGHT EXPRESS

As we approach the year's Midnight, here's the third of Mr Griffiths' tales of mystery and local government


The bus station at Seaville – late at night – is not a pleasant site. The toilets are locked, but the mix of hormonal relicts and disinfectant pervades the concrete court. The decorative crowds of travellers back from work have long gone; the shy gangs of youngsters, with bikes to practice on, or girls to sit with, or slogans and graffiti to create, are gone likewise. Long since to bed, or whatever. The sky has darkened and the single bulb or two that provides company shows a tendency to blink – then blanks out. Shivery winds roll round the exposed bays and alleys, empty of their buses. What a place to be. But you dare not turn up late or even on time: what if you missed the last bus – the connection to the night coach at Sundercity – the only way out to London – the escape to civilisation, company and the real. It’s worth turning up early, and suffering the cold – was that a flick of snow? – and the isolation, just to know that you cannot miss the bus.

Not that there are any signs of regular travellers. I begin to doubt that there will be a late bus after all. The timetable is illegible, even supposing there was light to make something of the tiny figures. Are they am/pm or 24-hour? No way of telling. Of course, I checked up at home, before I set out – but come to think of it, it was rather an old brochure I grabbed to give me info. Yes, 23.23 – easy to remember – or is that what worries me? Perhaps I wanted to believe it – that I could get from tiny Seaville to the big Sundercity even at virtual middle-night – much better than mere and mortal accuracy. If you didn’t mind standing about in the darkness, the chill, the isolation.

Maybe it’s not so lonely, after all. Someone is turning out from a late-drinking pub somewhere – I can hear them singing – or humming – or whatever. Not a cheerful sound. Perhaps they will avoid the bus station. No. They are on their way. I can hear them getting closer, but I can’t see them quite. It’s too dark, and they are keeping back near the wall where it isn’t so exposed to the wind. I can make out shapes – people – a group – but that’s it. They don’t approach. They don’t say hello. They just have a melody or two to keep them warm. Blessings. At least it means the late bus must run, doesn’t it?

Yes, they have timed it to a T. Decrepit enough, an old bus that is all the company cares to risk at this time of night, coins the corner, and with an almost antique throb, comes to a stop – and just at my bay! No doubt about it, this is the 49 to Sundercity. I can’t make out the lettering on the front – there is no proper illumination – but the number seems as near as right – I check with the driver – 49? – a sort of solemn neutrality as I show my pass. After me the choristers get on. As I supposed, they are hugely old, and not easy on their feet. Must be a good pub, theirs. They sit way behind me at the back of the coach. I do not feel inclined to turn round and notice them. Not a friendly bunch, I’d guess. Probably known each other for years and don’t need to speak to strangers. Not typical of Seaville, mind.

I don’t care. I’m on my way. My faith in the bus company vindicated. The snow and the piercing wind, the dark and the loneliness behind me. More or less. It’s now warm, here, on board. Not cheerful, exactly. The driver doesn’t speak. The group at the back are singing a hymn now – it rings a bell – isn’t that the one at the Cup Final? – that’s it: Abide With Me. I almost join in.

Fast falls the eventide…
Fast falls the eventide…

Well, what else is there to do in a chilly bus on its way to a dark city late at night? Maybe they come from a pub with hymns on its jukebox. I turn to show my appreciation, but somehow they have blended into the dark shadows around the back seats – I can hardly make them out. I leave them alone after that. I’m on my way. I don’t need them.

We peter along – Sunnyside Up – the estates outside Seaville – round onto the old main road – average time – no spectacular racer this – but no rush either. There is a patch of country-like darkness, then we start to find our way towards the satellites of Sundercity. Suddenly – for no one has hailed the bus since we got on a Seaville – there is a stop. The antique brakes pull on, and the stiff doors fold open like an aged screen of zigzagging moth-cloth. Ah, this is where the old folk dismount. I can hear them moving forward. I see them clearly now, as they move past, silent, slow, slightly wobbly-coggly, like old folk who need sticks and a supporting hand. I do not offer. They will soon be gone, with their wheezy hymns and dark presence, and then we will be on our way! Sundercity! Hurrah!

The bus, however, disagrees. There is no move to shut the doors. There is no response from the driver. Does he know I am here? Is he too far in advance of the schedule? Unlikely, the slow rate we’ve been moving. Perhaps he’s had an attack and slumped in his seat, a martyr to late shifts. Well, it’s getting embarrassing, so I move forward to check. They don’t like being goaded, but a friendly enquiry…

How, man! We’re bound for Sundercity, are we? (No reply.) Must be time to gan, eh? (Nothing.) Drive, can you? (Humour.) (No response.) Aw, come on, it’s getting ower-late. I want to get to Sundercity. Nummer 49… Sundercity…

It seems useless. There is no response, but the driver seems upright and alert, in his way. Eventually he turns a head towards me, slow and gaunt, like a tortoise might. I wait, apprehensive somehow. I mean, how old can a timetable be? ‘We can go no further,’ he seems to be saying. Well, I know the regulations – you have to go to the terminus – the destination on the front of the bus – but then, did I check? Maybe the last bus stops short now. The old folk seemed to expect it. They all got out. ‘Sundercity?’ I query, in a last attempt to get him moving. But the engine has stopped now. The driver is adamant. Nothing is going to move. I have to get off.

How far to Sundercity I wonder, as I step down. Outside. Not nice. A musty smell. Stones and strange carved caprices over the wall. Great… A graveyard. Must be the cemetery at Grunge. No sign of the others. No hymn-singing now. The only sound is the bus doors creaking shut behind me.

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Thursday, December 01, 2005

Iain Sinclair: Patrick Hamilton

PATRICK HAMILTON








PATRICK HAMILTON IN ST LEONARDS ON SEA

‘The sea! The sea! What of the sea?
The sea!
The solution - salvation! The sea! Why not?’
-Patrick Hamilton






a bone, a Norman bone
scavenged from pitted shelf, rain
early, against delight of snow, failed roads
meat as it’s fired, citadel stagnant with peace
hung in harness, brother spirits, late whisky
from pharmacist, a gentleman commoner
tyre track distinguishing narrow skull
Pat, Paddy, powers to your elbow
marine parenthesis, bed above butcher’s slab
harnessed in bracers, shirtless, blindlight
smell and texture of chartered streets
you step fastidious into the young girl’s body
her shame, geyser bath, soapflakes
sticky in tight hair, like flying
old values, old men: cigarette breakfast








II

Karl Marx & Hopalong Cassidy: this time apparently
you can trust the black shirt rider, saddlebum
smarter than singing cowboy, white-hat Roy
as beard, secular Jewish patriarch
granite paperweight holding down Highgate
it’s confusing, headline backwards
canted road hidden from promenade,
wake up last night’s radio, shadow of invasion
sea hiccups, every wave a dog’s head,
cork waistcoat, cork room, memory used up
‘that’s you done to a nice turn, sir’
hands tremble, three air shots on a 9-holer
game’s over, no more commuter trains
files thicken, print faints
the thin book it’ll cost you fifty notes







III

if you agree to oppose, you agree
Hamilton never got his head around Marxism
confused coarse golf with horizonless steppes
tanks ‘roll’ into Bluewater, confirm television
threat, when the car crunched Earl’s Court
his brother, fellow Norman, was in Victoria
watching the Marx Brothers in ‘The Cocoanuts’
Freddie Mills borrowed a fairground rifle
to shoot himself, suspect vehicle, exploitation
of complimentary parking space up west
pass me the knout & the knot tightens
roped cabin trunk transports body parts
uneconomic migrants
try ‘Hamilton’s Drop’ watered whisky
pissed into the hold of container ships







IV

gun-product collage, poetic ‘objects’ of mass observers
armpits eyebrows private life of midwives
sheer bollocks said H turning from rattle
slatted blinds concrete & pleasure
warden cadging light from cab driver
no hot water to scour dental plate
Naafi-style cafeteria breakfast Gielgud
holding free hand like a slack prick
I want war, H, to end it:
Yale lock, the difficulty in dying
To Save A Life! Do not interfere with this equipment







V

Mexican Fast Food from 5 to 11, Urban
Conflict Simulation Internet Access
if I had a gun I could kill myself cleanly
leave others to write up the mess
easier to swallow than a No.9 iron he said
everything tastes like marmalade
a ghost play without ghosts
plains of marzipan moving sand
the Egyptians I understand watch the same
sunrise it only takes about three years







VI

caught Hamilton’s tail squeezed juice
peardrops dissolving in milk
when he touched fingers to temple he bled
hair fell in marmalade, wife’s
a toff, sickbed, autographed bat
imprint of her buttocks, moving south
& stopping is a curse, karma of
unbricked villa. The earlier applicant
suggested movies in an upstairs room, Lang
Hitchcock, dancing girls, projector beam
cone of blue smoke: that trick
they went for the usual crusty hotpot
too close, too loud,
20,000 streets under the sea, nothing
in the can to touch Max Von Sydow
splaying cold fingers, raising stiff arm
disbelief, a blister in her palm








VII

refusing to read or even read about Billy Budd
climbed Melville not yet born
seaboots & long-coat in glycerine soft
ascent driven starwards mizzen-mast
‘a great writer but unreadable’
bit above himself lost in computer pool
spoke Scotch & travelled once to America
20,000 spectators looking from blue yonder
dissolute faces red-paint fire
man he knew should possess grain & water
so give himself up to his judges & swing
avoiding gibbet gibbeted at dock gates
bone pendulum, pulp writer’s winter fever







VIII

why does Stacey from Holiday Rewards have to be late
Americana, beamed from sub-continent
to swing & mimic, allowed to go so far before
I say no with mock serious conviction
or, better, ‘Go away’. He dig it, the German
cleared by truth commission repentance
private resolution, disturbed by glow under pier
Hamilton couldn’t tell left from right,
Hitler Youth costume in wardrobe,
no aberration against disorganisation
of hot places where older Bavarian gentlemen
hide out: to be here, to be fixed
in the matter-toffee of narrative
mouse on sticky pad
death by screwdriver, how they scuttle
legless, behind fridge
according to whim: in darkness or light












AFTERMATH


Three years slumber on the banks of the Ocean.
William Blake


It explained his dreams. The Chinese caused his dreams. Every terror and queerness of sleep, even unspeakability – it is painted in China white.
Don DeLillo


Pistol Pete hadn’t played professionally for a while, and he was thought of as forgotten. I hadn’t forgotten about him, though. Some people seem to fade away but when they are truly gone, it’s like they didn’t fade away at all.
Bob Dylan








This poem is shortest section from Buried at Sea, a volume of Iain Sinclair's poetry to be published by the Worple Press in 2006. It is the most substantial volume Sinclair has published since Suicide Bridge.

See Iain Sinclair's take on another famous writer-drinker, Malcolm Lowry, here.

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