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Monday, September 30, 2019

The End of 'Work': the unfinished part of Robert Sheppard's Words Out of Time published in LUNE magazine

I'm pleased to say I have some new work in the online journal

LUNE: THE JOURNAL OF LITERARY MISRULE

Guest Edited by Nathan Jones, one of the co-organisers of Storm and Golden Sky (relevant because quite a few of our readers are featured here). See here for more.Thanks to Nathan.


Issue 03: Display (link here)



p. 65 if you are scrolling.


Lune is edited by Jenn Ashworth and Charlie Gere from Lancaster University. Caty Flynn is Assistant Editor.

I have a piece of experimental prose which I explain in the head to the text here.


My book Words Out of Time: autrebiographies and unwritings (Knives Forks and Spoons) ends with a piece entitled ‘Work’. In that version it finishes not with a full stop but with ellipses. That’s because its focus, the world of work, acts of, commitments to, actions of labour, wasn’t over for me at that time (the book appeared in 2015). Formally, the text distends time, or slows it even (the original idea was 15 words for unwritings of diaries when I’m 15, 50 for when I was 50, and thus 61 words for when I was 61, etc, but that broke down to nevertheless leave the general effect). That means that the text covering 2011-17 is as long as that for 1965-2011! (I was reacting against the fact that most conventional (auto)biographies spend more time on their subjects’ early years, and I wanted this section to ‘do different’.) Here’s the end of that end.

Words Out of Time (without this supplement) is still available from Knives Forks and Spoons. Buy it here.

I write about it here. There are links to reviews and outtakes.  

I also write about this new piece here.

Tuesday 30th September 1969:

Talking about nuclear warfare in English.

Sunday, September 29, 2019

Monday 29th September 1969:

A student for Maths: Mrs Edwards is still ill.

Elsewhere in diary: 29/9/69: I do not watch the Television much, I listen to the radio, or I read (or play records or record.) 

Saturday, September 28, 2019

Sunday 28th September 1969:

Reading: Three Men in a Boat, JK Jerome.

Went over Auntie Marjorie’s. In the afternoon we went to Preston Park (Rockeries).

Friday, September 27, 2019

Saturday 27th September 1969:

Went to Jumble Sale. Bought Les Salauds vont en Enfer (to [be] intelligent in French lessons) and many books. Waiting list for books is 9 books long.

Thursday, September 26, 2019

On Bad Idea (and reference to earlier parts of The English Strain, and to prospective parts) (hub post)

Michael Drayton with laurels




I’ve been wondering what that special place in hell looks like, for those who promoted #Brexit, without even a sketch of a plan how to carry it out safely.
                                                                                                Donald Tusk

I have now ‘finished’ the second book of my The English Strain project (see below for the first and for more details), which is entitled Bad Idea. It is a re-working, a transposition, if you will, of the whole of Michael Drayton’s sequence Idea; that’s 64 poems (with the addition of its ‘Address to the Reader of these Sonnets’). I’ve been at it since July 2018, one a week (more or less), now for over a year. Now I have run out of sonnets! 

Hub Post

Fortunately some ‘Bad Idea’ poems may be read online, so I’ll offer the links to these first. I’m pleased to say three poems appear appropriately in Monitor on Racism. Patricia Farrell’s two images of Bo accompany them. Thanks to Monica at Monitor. Find the poems and images here:


Four consecutive poems from Bad Idea (XLV-XLVIII) are published together in International Times. Thanks to poetry editor Rupert Loydell. HERE

I write about those here:  
Not so happy in power
There are some 'Bad Idea' poems published in Tears in the Fence 70; see here.
  
I am pleased that Tony Frazer has selected a group of five sonnets from Bad Idea for Shearsman 121 and 122; see here.  


On IT, I have two new poems from Bad Idea  Poem LV was written on 1st August 2019 and concerns ‘Booster Bo, turbocharged with active verbs’ getting elected as leader of the party. Poem LVI, written a week later, is in the voice of one of the true Yeoman of Kent, who, after Brexit, will be tasked with both the defence of the newly liberated realm, and custodianship of the Dogging Sites. Go straight to the poems here:



Two more sonnets from Bad Idea appear on International Times. They are LVII, which is about Bo (Boris Johnson) and his ‘vision’ of the world, and LVIII, which features the various carves-up of the nation pending if Bo takes us out of the EU. Idea appears in each poem, as its muse.
You may read the two poems HERE: http://internationaltimes.it/idea/



On 8th October 2019 I started writing the sequel to Bad Idea entitled Idea's Mirror. These will be posted on this blog, temporarily, one a week. There's one there now, if you want to search for it.

*

As you can see, they are poems‘about’ Brexit (as are some of the first book of ‘The English Strain’, to be called The English Strain). The idea of Bad Idea originally was that it would pass through Brexitday and onto the other side, where it might gather some positivities. (I’m not even hinting here that post-Brexitactuality will have any positive effects at all.)

For a while it has been clear that I was running out of the poems at my weekly rate of progress, although the Flexibretension (and Bo’s extremist ‘do or die in a ditch’ deadline) runs to 31st October 2019 (‘the eve of the Day of the Dead’ as one of my poems notes, Lowryesquely). Now it looks like an election may follow in November or December, after the dreadful proroguing, ‘for those rogues have prorogued the no-deal clock’, as I put it in poem 61. But of course, that all changed on 24th September, while I was writing the last poem of the sequence. As I put it as introduction to the temporary posting of that week's poem on Pages:

I’m typing this at 10.27 a.m. on Tuesday 24th September, not my usual ‘Bad Idea’ day, but I read the whole sequence through last night and plunged in. I wanted to write it before a decision about the legality of Prorouging is announced in three (actually it’s now one) minutes’ time. I wanted the [party] conferences to be in motion so we leave the whole sequence at a moment of indecision, an unrested untotality of unfinish, Brexit still not clearly decided for, or against. Hanging – for the next poetic possibilities. I realise the importance to the country, but that doesn’t stop me having thoughts about formal possibilities. However, with transposition, the decisions are not merely formal. Are they?

So I am faced with how to proceed. And how to proceed when the political events that I seem to be tracking, tracing, are moving so quickly. The Supreme Court ruling (whose result was unexpected) has thrown another spanner in the works of Brexit (which I imagined would be well-finished by the time I ran out of sonnets as I have).  

I called a summit of Drayton’s ‘thrice-three Muses’ to discuss possibilities but they didn’t show, like Bo at a press conference! I’ll have to think it through myself. What I’ve done before is to source more sonnets, like a greengrocer after a no-deal Brexit searching out the last Spanish lettuce!

Musing on the train to Manchester some months back, and in the pub, waiting for Scott Thurston, I settled upon some post-revolutionary reactionary sonnets of Wordsworth, 1802-3. About 24 of them.

Wordsworth may not help much (although there are poems about Kent, where the Dogging Sites of Brexit Britain, and Farage, come from! There’s potential in that. ‘Lie back and think of Nigel!’ ‘After Brexit the only meat we’ll get is each others’ bodies,’ she purred: ‘Let’s go dogging!’ It’s one of the themes that was picked up in the first book, but when Go was appointed to Rural Affairs, which surely is a dogging agency, this theme ran and ran. Here’s a Christmas message from him!

Following Go's instructions for people to become 'more active in the environment'
I have also located more of Drayton’s ‘Idea’ poems not included in the 1619 edition, 12 of them, and I thought I might use them as a now necessary appendix to ‘Bad Idea’ itself, and also use however many I need of the 1595 edition’s poems (the ones not preserved in the 1619, obviously). I’ve sorted them but I’m not satisfied with them. Too many of them are dedicatory sonnets. Or text-book Petrarchan exercises. They are, by nature, not as good as the ones in the 1619 edition. Scholars agree. (I might post this selection on this blog at some point if I don’t use them. I am less sure I won’t now after the Supreme Court ruling. Everything seems up in the air.)

In another poetics scenario, I thought I might move back reflectively through the sequence I have written as befits the title Idea’s Broken Mirror (derived from Drayton’s original title for the sonnets, Ideas Mirrour). I could make use of both my versions of Drayton’s poems and his originals, as we move backwards, as week by week models. (The predecessor of this lies at the beginning of The English Strain: the multiple versions of one Petrarch sonnet in Petrarch 3, published by Crater. See here.) The mirror is broken so it would have to offer a more fragmentary view (not necessarily textually) and it will not be necessary to progress from 63 back to 1 in its entirety. So when would the break off point be? It could be anywhere I wanted it, or where history dictates: perhaps at Brexit or some other crux point, an election maybe. The sequence might be only 4 poems or 63.

This personal flexi(br)extension is useful to the uncertain progression, to the need to respond to national chaos, and to the need (simply) to stop at some point. This (and the extra Drayton sonnet idea, or some combination of them, it strikes me now) would form a coherent annexe to ‘Bad Idea’, if needed, in a way that the Wordsworth option doesn’t. However, the idea of using a different verse form is inviting. As I describe now.

At one point, I envisaged these next poems as being more like my 100 word sonnets (I might even take up that form again, which I talk about here, and which I invented 25 years ago, my diaries remind me) in that they might be impacted, unpunctuated, multiply coherent rather than unitarily narrative, rather like ‘Break Out’ in The English Strain, book one, the first 'Brexit' sequence.

I more recently invented a half-pint sonnet, two versions, the syllabic and the 50 word isoverbalist (word-count) one. I shall check up on these minimal beauties too, though I suspect they will be just too minimal for what I have in mind. Oddly I checked sonnet 63 and found that it was exactly 100 words long: the kind of serendipity I pick up on creatively. Sometimes.

On the other hand, Idea’s Broken Mirror or Idea’s Mirror could be narrated from the point of view of Idea herself, obviously stripped of her Platonic and Petrarchan idealism. My Charlotte Smith versions (see below) represented my comic ‘becoming-female’ as a narrator. Perhaps here it would not be so comic. They need to reflect BACK on the poems as they already exist but they need to absorb the developing political epic of Brexit, and they should project forwards. (The extra Drayton sonnets option could achieve that too, obviously.) Throughout Bad Idea Idea has been trying to get a word in, and when she does, she’s often quoting Rosi Braidotti's Deleuzoguattarrianism, though she has developed certain human traits also (a certain plumpness and a love of gin, especially on Ladies’ Day). Perhaps she has no need of them now.
Idea at Ladies' Day, Aintree (face obscured by newspaper with the latest Brexit news)

As ever, of course, these thumbnails (one definition of poetics) are not blueprints. I’ve already backed away from this plan and that, and then come back to it. (See here on the nature of poetics as a speculative writerly discourse: 


Idea herself has had something to say on the shortage of sonnets. In an early Bad Idea sonnet she notes sardonically, sitting in a bar in her ripped jeans,

News just in: Article 50
may be extended to delay no-deal (or even Brexit)!
Idea stretches her denim on a barstool, eyes the TV, thinks:
I can see it all: he’ll eye up Daniel’s Delia next,
covet more sonnets to stockpile through this mess!

(i.e., a no-deal Brexit). But Samuel Daniel’s Delia is not as complex as Drayton’s work. But it’s still there.

Wordsworth might be a better option, I think in a different frame of mind: just leap out of the Renaissance into the Romantics.

Whatever I decide next, Wordsworth is potentially waiting for a new turn for the third book of The English Strain – though that thought is unthinkable in two senses: both of the post-Brexit world with which it would deal, and the thought of writing a third book of transposed sonnets! Somewhere the sonnets of John Clare lurk as final possibilities. Or quennets rising out of them like sparrows from the nest. Then it’s done….

Though I’d have my homework to do, as I have had with Petrarch, Milton, Wyatt, Surrey, Smith, Barrett Browning and Drayton. And maybe even Shelley. Why Shelley?

An even more recent thought: Perhaps use might be made of Shelley’s ‘England in 1819’ (particularly as it is alluded to in one of the Bad Idea sonnets). Surely somebody has tackled that with the Peterloo celebrations this year. See my thoughts on poetry and Peterloo here: https://robertsheppard.blogspot.com/2019/08/john-seeds-manchester-august-16th-17th.html

Perhaps Shelley could act an an ironic introduction to the Wordsworth sonnets. (Also I have already transposed ‘Ozymandias’ in Warrant Error, a poem about history for my historian son Stephen.)

You can see I am not clear which way it will go.

Or indeed when I will start working on it. ALL the sequences I have produced for the ‘English Strain’ project so far have involved a break between sequences, both for fatigue and research. Having now written the longest set of transpositions on one author, it’s clear that the break should be substantial, but it can’t be that long if it’s to track Brexit. A short prorogue may be more than enough of an hiatus.

Scott Thurston’s review of Elena Rivera’s Scaffolding also pointed to a fraternal enterprise, a copy of which I have purchased and shelved to read in that hiatus which, it is clear to me now, is opening up at this point. Read Scott here:


Of course, I am working on other creative projects; I just don’t NEED to post them weekly like this. Jamie Toy writes about the periodicity of these weekly posts in relation to the temporal progression of Brexit here, in Versopolis: https://www.versopolis.com/arts/to-read/792/moving-but-also-staying-the-same


I also want to record my thanks to Clark Allison who has responded by email to every temporary posting of these poems, right back to Hap at least.

*

Back to Bad Idea and touchy Micky: he was very grumpy about his lack of visibility and patronage as a poet, and Bad Idea reflects that now and then. Recent research has rather revised the Victorian view of him (only a paragon of virtue could write Drayton’s verse). Here he is in court, touchy in a very different sense, and in a very different court from the Royal one he wanted to be summoned to!

 She ‘did hold up her clothes unto her navel before Mr Michael Drayton and … she clapt her hand on her privy part and said it was a sound and a good one, and that the said Mr Drayton did then also lay his hand upon it and stroked it and said that it was a good one’. Suspicion of Incontinency: London Consistory Court proceedings, 8th March 1627

(Source: Capp, Bernard. “The Poet and the Bawdy Court: Michael Drayton and the Lodging-House World in Early Stuart London.” Seventeenth Century 10 (1995): 27–37.)

Guilty!
Poor old misunderstood Drayton is somewhat out of print at the moment, though I have found a ‘Poly-Olbion’ project online (the whole epic is online, which is refreshing and exhausting), and this fine sonnet sequence ‘Idea’ (the 1619 version) is also available online; have a look at both, the latter being:

Drayton, Michael. ‘Idea.’ in Arundell Esdaile, ed. Daniel’s Delia and Drayton’s Idea.
London: Chatto and Windus: 1908. 67-141; online at Luminarium:  http://www.luminarium.org/editions/idea.htm

This is also the source (http://www.luminarium.org/) for much more of Drayton’s poetry, including the ‘extra’ sonnets I located for possible further transpositions.

I am using

Tuley, Mark. ed. Elizabethan Sonnet Cycles: Five Major Elizabethan Sonnet Cycles: by Samuel Daniel, Michael Drayton, Sir Philip Sidney, William Shakespeare and Edmund Spenser. Crescent Moon Publishing, Maidstone: Kent, 2010,

a careless book that even misses one sonnet out! 

In fact, I’ve also bought

Evans, Maurice, ed. Revised by Roy J. Booth. Eizabethan Sonnets. London and North Clarendon: Phoenix Paperback, 2003,

a careful book that includes the 1619 Idea entire (with original orthography) and has some notes. BUT not so careful that it doesn’t have the typo I have made mischevious use of in one of my poems: ‘This anthology mistypes my chosen verb ‘eternize’./ A new word enters the language as I enternize you!’



Brink, Jean R. Michael Drayton Revisited. Boston: Twayne, 1990, has also proved extremely useful in giving an overview of Drayton’s career and voluminous works, and questioning a lot of the unsupported assumptions that still circulate about his poetry (particularly about identifications of ‘Idea’ Not that I don't mind wild speculation. In Poem LIII I note:


‘If Shakespeare’s dark lady was born a Sheppard,
then I would hope to hook more than a goldfish
hanging over these railings for her to pass.’      

which is a cheeky reference to somebody's shit theory that Shakespeare's Dark Lady was Jane Davenant, (nee Sheppard), mother of William, and whose father was a Robert Sheppard).  
 
You may read about the whole ‘English Strain’ project in a post that has links to some other accounts, and earlier parts, of this work: hereThat was 100 poems long. The most recent instalment of it to appear is Hap: Understudies of Thomas Wyatt’s Petrarch is available from Knives Forks and Spoons here:
https://www.knivesforksandspoonspress.co.uk/product-page/hap-understudies-of-thomas-wyatt-s-petrarch-by-robert-sheppard-26-pages


I write about my sonnets generally here, and here and see here and here for more on my Petrarch obsession (the first part Petrarch 3 is still available from Crater) which kick-started ‘The English Strain’ project into motion.

There are more excerpts from The English Strain in The Robert Sheppard Companion, and some critical writings on my sonnets.  


Three more overdubs of the Sussex poems of Charlotte Smith (from the first ‘book’ of the work) have been published at Anthropocene, an online platform run by Charlie Baylis. The first, ‘To the River Adur’ features a line or two from a letter from Lee Harwood. The second, ‘Written at a Church-yard in Middleton in Sussex’ is an overdub of Smith’s most famous poem (of that title), and ‘The sea-view’ which is a fully gender-bending Brexit-madness poem from later in the 14 part sequence.


You can go straight to them, here:


I am pleased to say I have six poems published in BlazeVOX 19, edited by Geoffrey Gatza, four of them poems from ‘The English Strain’ project, also transpositions of Charlotte Smith sonnets. You may get straight to the pages here:


Another Charlotte Smith variation may be read in Smithereens 2, on page 15:

Charlotte Smith

Links to a number of the published poems from Non Disclosure Agreement (the last part of the proposed first book of The English Strain) may be accessed here:



Some older ‘English Strain’ poems (from the first ‘book’) may be found here:

Brexit Office

Friday 26th September 1969:

Mr Jones (Metal-work) did not like my diagrams for homework.

Wednesday, September 25, 2019

Thursday 25th September 1969:

Number One: Bad Moon Risin’, Credence Clearwater Revival.

Mum still ill. Funnell is to start his tape pirate station soon. Although this is competition, I greet it. 

Tuesday, September 24, 2019

Monday, September 23, 2019

Robert Sheppard sonnets from Bad Idea published in Tears in the Fence 70


I'm pleased to say four poems from Bad Idea have been published in Tears in the Fence in its 70th issue. These are versions of Michael Drayton's 1619 sequence Idea which have been appearing in magazines as part of my 'English Strain' project. 

Thanks to editor David Caddy. Tears in the Fence 70 is now available at https://tearsinthefence.com/pay-it-forward

This issue also features poetry and prose poetry from Jeremy Hilton, Jeremy Reed (on Bill Butler of Unicorn Bookshop, Brighton), Charles Hadfield, Mandy Pannett, Lisa Dart, Simon Collings, David Ball, Tamsin Blaxter, Seán Street (of Liverpool), Jessica Mookherjee, Peter J. King, Lucy Hamilton, Andrew Henon, David Sahner, Rhea Seren Phillips, Beth McDonough, John Freeman (I always stop to read his work), L. Kiew, Andrew Duncan, Charles Wilkinson, Rhys Trimble, Ruby Reding, Peter Hughes (two fine lyrics), Maria Jastrzębska, Jane Joritz-Nakagawa, Hazel Smith, Lucia Daramus, Vik Shirley, Julie Mellor, Michael Henry, Cora Greenhill, Maggie Giraud, Paul Matthews, Adam Horovitz, Sarah Barnsley, Beth Davyson, Paul Green, Caroline Maldonado, Lesley Burt, Jonathan Chant, Jane Wheeler, Miranda Lynn Barnes and Reuben Woolley. There is editorial matter too, part of which points to Red Ceilings Press and my latest micro-presentation Micro-Event Space. (See here.) Lots of goodies...


Fortunately some other ‘Bad Idea’ poems may be read online. I’m pleased to say three poems appear in Monitor on Racism. Find the poems here:


Four consecutive poems from Bad Idea (XLV-XLVIII) are published together in International Times. HERE

I write about those here:  
https://robertsheppard.blogspot.com/2019/07/robert-sheppard-4-new-bad-idea-poems.html

Tuesday 23rd September 1969:

Mum is ill with flu.

Sunday, September 22, 2019

Monday 22nd September 1969:

Gave the tape out to Funnell and George. Stone is interested. Picked up Radio Veronica, the 1st Pirate.

Saturday, September 21, 2019

Sunday 21st September 1969:

Reading: HMS Ulysses, Alisdair McLean.

Recorded our tape service for Funnell and George. Sun Radio has put up their power. Going off air for 10 weeks.

Friday, September 20, 2019

Thursday, September 19, 2019

Wednesday, September 18, 2019

First Review of Micro Event Space by Alan Baker on Litter



Hot on the foot of Andrew Taylor’s account of the Poetry and Poetics Research group on Litter, here, there appears the first review of Micro Event Space by Litter editor Alan Baker, which pretty much gets to the point of its attempted minimalism: short poems about little things in a small short run book in the neat Red Ceilings series. Alan’s final words are ‘This is a much bigger book than is apparent from its physical appearance.’ Thanks for the review Alan. Read it HERE.Or here.

Details of the book here (and lots of links to some of the (micro) events and collaborations and publications included therein):

Micro Event Space Book Launch
There’s also a review by Steve Spence of the anthology Noon: An Anthology of Short Poems, edited by Philip Rowland, that one of my short ‘twittersonnets’ in the book was published in.


My last poetry in Litter was four ‘Burnt Journal’ poems, birthday poems for poet friends: http://leafepress.com/litter12/sheppard/sheppard.html

Micro Event reader

Thursday 18th September 1969:

Number One: In the Year 2525, Zager and Evans.

Chris George gave me his small tape.

Tuesday, September 17, 2019

Monday, September 16, 2019

Andrew Taylor: Robert Sheppard and the Edge Hill Poetry and Poetics Research Group on Litter

Up on Litter now is ‘“Isn't it time somebody wrote all this down”: Robert Sheppard and The Edge Hill Poetry and Poetics Research Group, 1999-2013.’ This is a generous account of the PPRG, focussing on the years the author Andrew Taylor was a member, but nevertheless acknowledging that this poetics anti-workshop is still going (strong: there is a new publication on its way). There are some nice photos too, of our meetings and publications. Thanks for the article Andy.

Read it here.
Cliff Yates and Andrew Taylor talking at the 'Going Public' open meetings of the PPRG 2009

It is a detailed piece on its history, much of it I'd forgotten, and my only concerns are that it might mythologise what should remain historicised: the attempts we made to define the nature of poetics (see here) were crucial, both in terms of defining the discourse and defining OUR discourses. It is good to recall that the PPRG is still operative. There's a meeting next week!
Andrew Taylor and others at the Symposium
A version of this article was presented at the Robert Sheppard Symposium at Edge Hill University, 8th March 2017. (More about that here.)

Details of The Robert Sheppard Companion which came out of the symposium may be read here:

Pages goes back almost as far as the PPRG. Here’s an early post about it with some links:

Here’s some thoughts on the group here, which I think I posted after including the thoughts in an email to Andy; he quotes some of it: https://robertsheppard.blogspot.com/2017/09/robert-sheppard-thoughts-on-edge-hill.html

And don’t forget that this summer I guest-edited Stride and exclusively featured the current members of the PPRG. See here for an account of that with links to all the items.

In a nice neat symmetry, there are also four new poems by original PPRG member Cliff Yates in Litter too: here: http://leafepress.com/litter13/yates/yates.html

My last appearance in Litter was four ‘Burnt Journal’ poems, birthday poems for poet friends: http://leafepress.com/litter12/sheppard/sheppard.html

Litter also carries the first review of my Micro Event Space here.

Tuesday 16th September 1969:

First tape given to me by Funnell for a comedy show.

Sunday, September 15, 2019

Monday 15th September 1969:

The few have accepted my tape idea. Voted as president of the 3A Debating Society.

Saturday, September 14, 2019

Saturday 14th September 1969:

John came up. Sun Radio did go on the air, and they were not raided in their transmission. They were faint. This probably answers the GPO who said they were interfering with the airlines’ radio.

Friday, September 13, 2019

Saturday 13th September 1969:

Running Radio station by tape is re-planned. Bought framed call up card of 1915 at Jumble Sale.

Thursday, September 12, 2019

Friday 12th September 1969:

Sun Radio have been warned not to go on air on Sunday by the GPO – it is a good job we did not make a tape for them.

Wednesday, September 11, 2019

Thursday 11th September 1969:

Number One: In the Year 2525, Zager and Evans.

In evening, I did a show. Played records I’ve just bought off Scotty. No microphone because it broke.

Tuesday, September 10, 2019

Wednesday 10th September 1969:

Had Biology Test (easy) with Miss Prior. Good programme about Lenin on the radio.

Monday, September 09, 2019

Tuesday 9th September 1969:



Streader (David) and Simon Hales came up my bedroom at dinner time. We got out to have our pack lunch.

Sunday, September 08, 2019

Monday 8th September 1969:



Sent letter off to John. Told him of weekend’s events and free radio.

Saturday, September 07, 2019

Sunday 7th September 1969:

Went to Katie’s christening. She cried all through the service. Drink, etc… at Uncle Peter’s new house.

Sun Radio.

Friday, September 06, 2019

Saturday 6th September 1969:

Went to the wedding of Pat and Colin. (See May 26th 1968). The reception was for 80, and it was in a hired hall, with free drinks, and a dance band. Arthur, who was paying for the lot, tried to get everyone drunk. Karen was a bridesmaid. Met goodness knows who on Dad’s side of the family.

Thursday, September 05, 2019

Friday 5th September 1969:

Ronan O’Rahilly is reported to have bought 2 planes for a pirate TV station. (He started Radio Caroline.) Got letter from John. Had Mr Putnam for first time. He is quite good really.

Wednesday, September 04, 2019

Thursday 4th September 1969:

Number One: In the Year 2525, Zager and Evans.

Today we did not have Mrs Edwards for Maths. Instead we had Miss Jennings, who takes English, so we did minute speeches. She is new to the school, and the boys seemed pleased at the sight of this female. The speeches we heard were filthy. Mine was partly humorous, and about communist propaganda. She really liked this more than the show-off ones (Flea-circus, bird watching).

Tuesday, September 03, 2019

Wednesday 3rd September 1969:

Back to school {Shoreham County Secondary School, called Middle Road, boys only}, Mike Edwards is our form master, and I am again the form captain. (See timetable.)

Monday, September 02, 2019

Tuesday 2nd September 1969:

Last day of free-dom. John and I went mad. In the morning we took the record player in the front garden (John’s) and played records. Many people gave us very funny looks. In the afternoon John and I went chasing after girls on our bikes. We saw two who we’d seen previously the other day. We followed. We ended up a close, and the girls went into a house. We went to the Square, and we saw them again, and followed, until they met a boy. We went to John’s, and when we went out again, we saw them again, and followed them. Soon they stopped and one of them turned and said, ‘Go and fuck off!’ We had a good time. Oh, well, back to school!!

Sunday, September 01, 2019

Retirement: Mine and Roy Bayfield's: Remix of Words Out of Time (set list)

Two years ago I retired. You can look back at my account of my ‘first day of freedom’, AND at my retirement ‘do’ rap. and my thoughts after a year, here: https://robertsheppard.blogspot.com/2018/09/robert-sheppard-thoughts-on-year-after.html

This year it was the turn of Roy Bayfield, (and of Ailsa Cox earlier in  the summer) who is also a member of the Poetry and Poetics Research Group, and whose poems I selected for my guest editorship of Stride (see here: https://robertsheppard.blogspot.com/2019/07/my-guest-editing-of-stride-magazine.html
This is the cover of the booklet of imaginary events put together for Roy's leaving do, in the style of the Edge Hill Arts Centre publicity!

I was invited by Cathy Butterworth to read something at his 'do' and I thought I’d read this introduction and then this re-mix from my book Words Out of Time. In the event it was too long so I read something else. But here it is:

Roy’s book Desire Paths: Real Walks to Nonreal Places (Axminster: Triarchy Press, 2016) is a glorious exploration of – as it says on the tin – Nonreal Places. More on that book Here

Roy like me, is a South Coast poet: he comes from Portslade in East Sussex and I come from the next town along, Southwick in West Sussex.  I think it would take about 20 minutes to walk from the house where I grew up to the house where he grew up. In one paragraph he quotes me and explains the Southwick/Portslade dichotomy:

‘I don’t remember seeing Portslade on the radar screen…’ wrote Robert Sheppard in his chapbook The Given – a moment forgotten by the writer but remembered in a journal entry from an earlier decade. Robert was raised in Southwick, the town next to Portslade, and such dismissal is perhaps to be expected from the rival place, across the border in West Sussex. Admittedly, Portslade may not be on many people’s radars, at least not consciously so. (Bayfield 2016: 25)

He explains further:

As a child, the border between East and West Sussex, Portslade and Southwick, running at the back of our garden, defined by a footpath and a row of electricity pylons, seemed like such a line. Merely by virtue of being on the other side of the line, Southwick seemed slightly uncanny. (28)

I’d like to offer a special ‘Portslade/Southwick Remix’ of my text that Roy refers to, The Given, for Roy, and to wish him many psychogeographical explorations of uncanny nonplaces, wherever he may find them:


Portslade/Southwick Remix


I don’t remember going to the Grenada in Portland Road, Hove, don’t recall the film on show, and don’t remember, on the same day, seeing a play, or its plot, or its title. A frame set up, years later, by others. Coal dust on the doorframe, where the hood catches it. A dozen or so knapped flints pushed into the earth: a Roman road straight across the horses’ field, the wheat, the ridge of the Downs. Nazis machine-gun the cheese crates and screaming POWs leap up to their deaths. The pebbly beach beneath the Brighton B power station will do. An aluminium bowl of wasted food before which feeding is practised with moral intensity. I don’t remember the thunderstorm I watched from my window, lightning flashes over Southwick, flickering, striking ground. After the toad in the witness box, real policemen arrive to investigate stolen buttons, the wrecked foreign car. I don’t remember trying to buy This is Blues and finding the record sleeve contained only cardboard. I don’t remember tracking Radio 260 through the streets of Southwick, the ‘common’ English of the DJs, the warning that they’d cut up rough if we found them. The desire to write is the desire to write. I don’t remember reading The Day of the Triffids. I don’t remember watching colour TV. I don’t remember seeing Portslade on the radar screen, don’t remember the visit to HMS Collingwood. I don’t remember being shot at by somebody from a van. I remember the Ruby wine at the Romans, the way the barman would loll his tongue from the side of his mouth as he poured the soupy chemical liquid into Tony’s bottles. I don’t remember Doll and Arthur’s caravan at Selsey. I don’t remember getting a harmonica with Green Shield stamps. I don’t remember David’s bottled fish. I don’t remember Emerson Lake and Palmer playing a tribute to Hendrix at the Dome. I don’t remember seeing a band called Vomit. I don’t remember playing my tape of The Waste Land to an empty room. I don’t remember when poems became a currency. I don’t remember a girl called Annie flashing on Toby’s houseboat. I don’t remember writing a poem about Bill Butler’s Unicorn Bookshop. I don’t remember the night that was not particularly memorable. I don’t remember the Scottish woman who helped me at Metal Box in Fishersgate. I don’t remember sitting in Southwick Rest Garden to read Wilfred Owen. I don’t remember dancing with a girl with a big nose whose brother was a surrealist. I don’t remember that I bought Bomb Culture the day I saw Country Joe and The Fish. I don’t remember Tony arriving at 15 Oakapple Road, Southwick, with a letter from Henri Chopin. I don’t remember the German sailor dead drunk on the steps of the Crown and Anchor. I don’t remember the clever-dick who wanted to know why the Newhaven-Dieppe crossings were more expensive than the Dover-Calais ones. I don’t remember seeing the Doctors of Madness again, not getting it the second time, that blue-haired zeitgeister Kid Strange. I don’t remember reading Iain Sinclair’s Lud Heat in the swelter of ’76. I don’t remember Flatfoot at The Alhambra. I don’t remember the disco to celebrate Franco’s death. I don’t remember laughing at the statue of the past Mayor of Brighton. I don’t remember jumbling the verses of ‘Travelling Riverside Blues’, our first gig at the Burrell Arms in Shoreham. I don’t remember climbing Chanctonbury Ring, the moon rising, ensanguined, over charmed hills…

Remix July 2019: for Roy


This is not the first remix from Words Out of Time on this blog. I did a special remix as part of the eulogy to my mother (see here) and a presented continuation of the final part ‘Work’ to the day of my retirement, here. More on that here. Read my account of writing The Given, the part used for Roy’s remix here.  There are even some outtakes here, stretches of 'When' that didn't make the final edit, here. It is an extraordinary flexible text to form and re-form.

Words Out of Time is still in print and may be read about and purchased here:


So what did I read for Roy?

Well. I decided to play with his notion of Southwick being ‘uncanny’, and I more or less said what I’d already written as intro to the remix above, and then read one of the Charlotte Smith Sussex 'Brexit' sonnets or overdubs, ‘Composed during a walk on the Downs’. It may be read here, along with other poems from the sequence: It’s the second poem down: http://www.blazevox.org/BX%20Covers/BXspring19/Robert%20Sheppard%20-%20Spring19.pdf

It also seems appropriate to mention this poem because what did I do 50 years ago, according to my 1969 diary which I am blogging each day: 'In afternoon, went over Downs for a walk.'

I write about my sonnets generally here, and here and see here and here for more on my Petrarch obsession,which set this thing off.