Thursday, December 05, 2024

On abandoning my transposition of Dante: thoughts and extracts


It came to me in a flash in April 2024: write a version, or transposition, of Dante’s
Divine Comedy BACKWARDS, from Paradise back to normal life. The rest of the plans came more slowly, as notes in my Red Notebook testify. I won’t trace the movement of these ideas too thoroughly: I’ll simply give a précis of procedure and progress. Dante would be a version of me, Sheppàrd by name, who appears twice in British Standards. My Beatrice would be Benjamin/Klee’s ‘Angel of History’ (pictured above). Virgil would be William Blake, for my basic notes were produced ‘writing-through’ his wonderful illustrations to Dante, composed at the end of his life, and having the advantage of stepping pretty lightly through the more doctrinal ‘Paradiso’. Like Milton (who was slated to be Statius in this retelling) Blake was of the Devil’s Party. I read as many versions of Dante as I could find: Cary’s (I had an 1847 edition I bought at a jumble sale in August 1972! A similar edition pictured below), CH Sisson’s, Alistair Gray’s, Robin Kirkpatrick’s Inferno, and other looser texts: Philip Terry’s Dante’s Inferno (I’ll return to that), Adrian Clarke’s ‘Paradise Gardens’, Bruce Andrews’ Lip Service, Amiri Baraka’s ‘from The System of Dante’s Hell’, and a load of background books. I ended up quite knowledgeable on the subject.



Some way into the preparatory process, by dint of some synchronicity, Philip Terry wrote to tell me he’d written his follow-up Purgatorio. I despaired, until I realised I wasn’t proposing anything like his brilliant work, which was strictly Oulipean. I have since reviewed his book, for Tears in the Fence (Spring 2025 edition). With something like 84 pages of notes, produced slowly, one Blake ‘image’ a day, I was ready to write the thing. (See image below.) I would not have what I have always called ‘interfering’ material: I’d have ‘informing’ material. Working with the writings-through, I needed to mix in some political philosophy, some wonderful phrases and collocations from Cary’s Miltonic version of the comedy, and, Alighieri’s Your Uncle, it would all come together! A rich absurd allegory for our times. It was to be (to quote from the unprocessed notes) a ‘comedy machine’. Epigrams were prepared. An earlier poem, which I wrote for the ‘Dante’ edition of the online magazine Junction Box, in 2021, offered itself as an introduction, and a guide to the tone and style. (I still approve of this poem, by the way.) Issue 16 Dante Page 1 – Glasfryn Project



But, not unlike Belacqua in Beckett’s stunning early story (another piece of ‘background’, ‘Dante and the Lobster’), I was more or less ‘stuck in the first of the canti in the moon. He was so bogged that he could move neither backward nor forward.’ ‘All he had to do,’ Beckett explains, ‘was to follow her step by step.’ ‘Her’ being Beatrice, of course: my Angel of History. Perhaps it was the precision with which I had envisioned the whole as a whole, perhaps I didn’t find it hard enough, resistant to my garrulousness and productivity – but it fell to pieces on me.  A quotation from Derrida which I came across in my re-reading of Derek Attridge's The Work of Literature (see my first encounter here: Pages: Robert Sheppard: The Meaning of Form and Derek Attridge’s The Work of Literature) describes the singularity involved in reading (and what is my method of 'transposition' but a mode of 'reading'?). 'Reading must give itself up to this uniqueness, take it on board, keep it in mind, take account of it. But for that ... you have to sign in your turn, write something else which responds or corresponds in an equally singular, which it to say irreducible, irreplaceable, "new" way.' (Attridge 2015: 138) There was not enough response or correspondence in my approach, perhaps.


I should say it’s been great fun. ‘Trump?’ ‘No, did you?’ Blake and Sheppàrd say at one point, as they Derek and Clive their way through the circles, running back from the summer of 2024 to, sort of ‘midlife’, December 3rd 1994, when the almost-legendary Smallest Poetry Festival in the World was held. (See my post here: Pages: Remembering The Smallest Poetry Festival in the World 3rd December 1994) Sheppàrd can’t remember a thing, after crossing Lethe; unlike Dante he won’t be able to report back to the people of the earth. When Blake tries to instruct him, he learns nothing!


In one of my notes I worried about whether, if you base a text upon another, particularly one with an alien or even repugnant content, do you inevitably carry something over from the original, like a germ or a virus or a glitch, that still operates in ways one might not be able to anticipate, in ways of which one might not approve? It’s a sobering thought, though surely my experience in writing the three books of transpositions of sonnets in ‘the English Strain’ project, suggests the virus may be inoculated (or transformed into comedy: laughter, as Blake and Sheppàrd discover, is the best medicine). But then maybe the answer is simpler, and lies in those THREE volumes (pictured below, though one is hiding! Links here: Pages: New book British Standards completes the 'English Strain' project: all 3 books available ). I’m through with ‘transposition’ as a method: done! In April perhaps I should have said to myself, ‘That would have been a good idea five years ago. Let’s move on.’ (In fact on that day, I also had another idea: writing a kind of memoir via an Alphabet of Poets.)



I am posting my ‘fragments of an attempted writing’ which I have now deliberately curtailed, though I decided to jump forward and write the last part (which was almost in complete form anyway). I like what I have written, but doubt whether I would like a whole book of this stuff, unmotivated as it seems on reflection. But all is not lost. Two other writings have come out of the ferment. I half-intended my long poem ‘The Palisaded Ditch’ as an accompanying text to ‘Stars’

 (‘God made the sliding bricks of the gateway,

but Mankind built the bands crossing the

scorched earthenware ground with words:

here a cathedral with owl eyes, there

a castle of pure flame, capped in a psilocybin glans,

two shuttlecocks colliding in the lane.’);

 

and my ‘Tone Poem: Starlight and Stardust’, a sequence of jazz poems, dedicated to Jazz Ian  Perry, began life as ‘interfering’ materials, but it took on a life of its own, though even in its opening lines you can see my mind was dwelling in the upper levels of Paradise:

‘it’s not Sam Rivers

            playing ‘Beatrice’ like a paradisal theme tune

                        haunting though that would be:

            it’s ‘Starlight’

            played by Fred Hersch

 

constellations of high notes from woody keys’.

 

The poem ‘Thinking About Dante’ stands alone in 2024, just as it did in 2021 when I wrote it. Perhaps I should have heeded these lines from it:

 

                                              He

sits in the pub thinking about Dante,

his visions, decides to write

(but knows he won’t) eternal versions of

his tercet Commedia:

‘midway through the Black Forest Gateau

I threw up over you! Such things move

the moon and the stars and the sun!’

(I was thinking of Caroline Bergvall’s ‘Via’, of course.) Yes, all is not lost. I know enough of my own procedures to wager that my voluminous notes won’t simply be tossed into my non-existent archive. Watch some other space.  

29th November 2024


Stars: A Comedy Machine

 

                                    Thus the cause

                        Is not corrupted nature in yourselves,

                        But bad government that has turned the world

                        To evil.

 

                                                Purgatorio XVI

 

                                    As a fir tree

                        Upward from bough to bough less amply spreads,

                        This one’s tapered upside down, so no one

                        (I think) may climb it.


                                                Purgatorio XXII


The introduction is the 2021 poem 'Thinking About Dante' (which may be read here: 

Robert Sheppard: Thinking About Dante – Glasfryn Project)

 

Cantica One

 

                              let’s start all over stars

                                                Bruce Andrews

 

(31 32)

stars, winking at the joke, through the Empyrean

not falling like glide bombs and phosphorus

over Ukraine, or like dead drones dropping onto Gaza

but fixed and waiting, as Sheppàrd waits, summer 2024

for the predicted Aurora Borealis to show

that, only if photographed, glows a purple haze

across the flat reproduced sky, a perfection

never finished

outside of recorded artifice it is vaporous

a wispy milky streak across the ‘heavens’

the sun’s colourless cough over the moon’s rich grin

and failing to see even that version of it

through the glare of the city’s lights he

returns to this multiform unwinding in

multiple dimensions, his imperfect Vision

in inadequate language

undeceived, unlike those drunken watchers

for the northern lights who, following a deceptive

purple glow through the Liverpool streets

find only the corporate neon of their local Premier Inn

under a comfy Hypnos blanket of thick cloud

at last he descends from this Luminous Doughnut

though not a lot is clear yet, as if within

each portion is trapped a bit of uncertain

paradise: the ghost of the Angel of History

who sees one single catastrophe which keeps

piling wreck upon wreck; a spectre of

a warrior from one such wreckage as a storm

blows from the edge of futurity; a swan

caught up in his own wings by the tornado

of the Angel’s fateful omnivision

further down, naked figures fall around

like the lustful on a bouncy castle

at an open air orgy, singing wordlessly

to Ellen Andrea Wang’s ‘Closeness’, the music

gliding from the resonant bole of her double bass

into the swelling womb for the singer’s baby. They’re

adoring the Angel, and one kneels on a snot-green

picnic rug, arms outstretched, long yellow hair

like a 1960s folk singer about to deliver a sensitive

ballad to some floored stoners. A

fleur-de-lys flies off in the storm, baby angels

with duck faces flap below, and the sun

and the moon and the stars (of course) drop away to

the tune of ‘Nobody Knows the Trouble I’ve Seen’

‘here, silent as you are, I know your doubt

and gladly will I loosen the knot’, promises the Angel

‘this storm called progress – we’ll run it in regress

for you alone’  

 

(30)

a tree pours liquid bark down the page

it seems to Sheppàrd, and The Angel of History

wags his finger at him: you’re not yet conscious,

you’ve not yet become! nagging

as he crouches, unable to bear

the vertiginous waterfall of flowing light

a post-alcoholic tropic glare, dense im-

penetrable blaze! Sheppàrd leafs through

the paradisal protocols, checking out

the river: is it safe to drink from, or to sink in, as

the Angel says it is? The roses mentioned

in passing are here, falling from the tree

as though from the spangled firmament itself

but visive sprites tease him, half-hidden

in its shadows, and remembrance of their twitching

smiles will dispossess his spirit of itself

something’s not right. Unequal to his theme

he can feel divinity as sun on a slave’s back

but the place seems half-built, a holiday chalet

in 1970s Spain, a huddle of workmen

fussing in the shade. Later

the inevitable district magistrate with his scroll

waits for the English hooligans to be manhandled

towards his judgements, guilty of soiling

the river of light. This hooded allegory of deportation

from vintage pages of The News of the World clears

Sheppàrd tastes pure light, to exceed our human

feasts on clearing vision, all his laughter

on that bloomy shore excessive and expelled

 

9th November 2024

 

 

(28)

Nobodaddy clambers over the garden wall

like a Chad, raises one hand as if to say

‘imparadise my soul!’ or ‘immiserate the peasants’

humans dissolve

into miniature columns of dust, but angels

wave from their circles. There

is meant to be singing, but nobody

opens their mouths. There’s

meant to be irrepressible darted light,

scintillating fires, every sparkle

shivering to new blaze

but everybody’s eyes are wide open

what faces fix these tight lips, void eyes

wingèd moony coquettes

with lightly rouged cheeks and delicate kohl lashes

even the ghost of a flea is tricked into this

hegemony, as silent note is to its meaningless metre

eternal circles within temporal circles of Sheppàrd’s

looking, gently turning; there wheeled about a point

a circle of fire, pure to the spark of truth

that knows happiness has route in seeing

 

18th November 2024

 

 

(25)

they approach one another like astronaut

and cosmonaut on the Orbital Space Station

floating in their suits of fire, not one more full

of hope than the other, one red swirl

the next lauded in blue. They greet

like Freemasons about to shake recognisant hands, one

open palmed, the other drawing back with two fingers raised

two fingers curled, but they never touch, never

look the other in the eye. One has flushed

cheeks and compassionate mien, the other furious

focused eyes, fiery brow, curled hair, mean. Sheppàrd

floats, space-walking in the pale rainbow lightning

that flashes invigorate with hope, almost innocent

from this encounter, drawing him in. If I were him (and

I am) I wouldn’t trust either of these supranational

egomaniacs, with scripted ‘hope’ of joy to come

and catechistic ‘verities’, but he gravitates towards

their negotiating hands, looking from side to side

for vanishing sign of the Angel of History

as he’s blinded by false resplendence. Pods or eggs

pull all creatures in downward gravity

of their own beliefs, exploiting fissures in surface

reality. Bursting like the stone

from a split avocado, the one who wrote the histories

in which he is loved (events like beads now

committed to memory) drops

from a furling splash of juice, falling

where boss-eyed lovers also fail to touch

and where venerating venerables kneel

astonished children at bedtime prayers interrupted

by an everyday miracle of this new effulgence. Stars

circle the encounters like flowerheads

plucked and grafted in cruel artifice. They fail

to grasp the constellation and in the song

and dance they comingle to the accompaniment

of Ambrose Akinmusire’s ‘Yesss’

for their soaring unescorted lofty flight. If one

of them gets the giggles – this is a

comedy! – they’d collapse through

watery space into a gloopy pool of poop

 

21st November 2024  

 

 

(24a)

under the egg-edged off-white of celestial light

out of a crimson pod, a blaze of

comet splendour bursts around the Angel of History

thrice it wheels, as the bearded one appears

beard flowing into the flow that floats him

beneath them with so human a song it resounds

in all the spheres: Kurt Elling’s vocalise-poem

‘Stay’, its soft fluencies entuning trauma

a tricksy clue saved for the music round

in one colossal hand he grips a key

like that of a dungeon door or deep vault

of la Banca del Paradiso. Compassion

floods his spaced-out eyes, his lips

aquiver to form his first quizmaster question

in Sheppàrd’s specialist subject, the primordial

phenomenon of Nero; he warns: ‘Only the Sophist

would want room for his wit!’ Inquisitorial angels

flit below, arms half-swimming, their borrowed carol

weaving variously, half-imploring, amid cool sparks

and sprinkled sacred dews, robes trailing into

mermen tails. The Angel could be

drowning though he attempts to remain buoyant

‘whoever does not hope for the un-hoped-for

will not find it.’ So breathes this flame of love

(the pen passes on here and leaves a blank)

armed in silence, as hope never guarantees

Sheppàrd stands steady for his starter for ten

 

24th November 2024

 

 

(24b)

the Angel of History’s paper-coil hands

cloud out as he raises them

like so many finger puppet Hugo Balls

they melt into celestial action and angels

spin like a hot-rod speedometer in

its own volition. ‘These mismatched eyes,’ he says

as he squints beyond Sheppàrd’s soft shoulder

‘are not your Paradise!’ Sheppàrd mimics

his gesture, fingers splayed, which he

suspects causes everything to revolve

around them, even the bare sketchy shapes

funnelling closer in the rush, their benediction

opening with pliant song (‘I Own the Night’)

but he knows he causes nothing

to happen, not even love, as he turns

to the Angel, frowning. His face gives

nothing away: futurity is the swinging sign

above the No Future Night Club and the destiny

of humankind seems nothing. His scrolly hair

like curlers of scriptural chronicle

catches in the churning carousel wind, his

chicken feet swept free of the spectral ground

through which Sheppàrd fears that he must plummet

 

26th November 2024

 

Epigraphs for etc… and some notes (excluding the many pages of writing-through of Blake’s illustrations to Dante)

 

Cantica Two

 

                              asterisks for cat’s

                                    eyes in acoustic

                                    reunion on

                                    the spectral highway

 

                                                Adrian Clarke

Cantica Three

 

                              Capital divides

                                                and rules     its kingdom

                                    Like a greedy spoilt dictator.

 

                                                Philip Terry

 

 (notes and drafts of 2 of the final Canto of Cantica Three of Stars, i.e., the end of the work)

 

… and so from Circle Two Sheppàrd now ascends

to the Circle Line, changes at Monument, walking

the long tube to Bank, and slithers down

the familiar track, all snake and no ladders, to

Tooting Broadway, near the southern end of the Northern

as though he has commuted

from The Angel to Tooting and then

suddenly, he recognises where he is

on the crowd-cramped platform heading towards the exit

for life has unleashed so many wage-slaves

as he rides the long escalator towards the city’s

musty breeze above, stepping up to speed his rise

and remembers once seeing Martin Carthy here

crashing down the escalator opposite

guitar in hand, from his gig at the Selkirk

and Sheppàrd feels fresh regret at ‘the shipwreck

of the singular’. Later he’ll write:

                                                       I burst out

into daylight and street corner bustle

as I approached the kerb, inhaled

the petrol and grit of London

and awaited the traffic at the Broadway to stop

this was a dream, and I knew, in the middle of

my life, in the midst of life, that I was returning

to the living: to bitter work and restorative friends

to the tiny garden city house with Patricia and Stephen

to make the final domestic and ambient arrangements for

what we would conduct there (as we head off to

Chillerton Road swings in late autumn dusk)

The Smallest Poetry Festival in the World

 

2024



Tuesday, December 03, 2024

Remembering The Smallest Poetry Festival in the World 3rd December 1994

Saturday 3rd December 1994: The Smallest Poetry Festival in the World

It’s 30 years ago today that Patricia and I (with Stephen advertised as ‘domestic ambient noise’) held The Smallest Poetry Festival in the World at our tiny house in Lessingham Ave in Tooting. We were famed for holding ridiculously large parties in this confined space (on one occasion the patio doors burst), but in 1994 we wanted to hold a lengthy poetry reading as the focus for the party. The South Bank that year were holding what they were pleased to call The Biggest Poetry Festival in the World. Unable to compete, we decided to go the other way. Stephen drew a version of the big festival image for our image. Patricia silk-screened t-shirts and this remains the only ‘record’ of the event. (See below.) Nobody was photographed; nothing was audio or video recorded. We also assembled a booklet from pages provided by (most) of the participants (cover again being Stephen’s image in black and white). Copies of that are probably floating around. (I have one at least.)

Although the centrepoint of the festival was the Cobbing-Upton performance to end it, it is worth recalling and recording all the poets who read (note the paucity of women readers, typical of the era). My diary entry reads:

 

The event was a great success, I feel, too much so: I fear there have been smaller.

Reading. Part 1: Me (reading The Lores book one), Harry Gilonis, Lawrence Upton, John Seed, speedy Miles Champion, Patricia Farrell, John Cayley, A.W. Kindness.

Part 2: Bob Cobbing, Johan DeWit, John Welch, Scott Thurston, Martha Kapos, Ian Robinson, Robert Vas Dias, Out to Lunch (Ben Watson).

Part 3: Gavin Selerie, , Robert Hampson, Ken Edwards, Adrian Clarke, Simon Smith, Ulli Freer, and – Lawrence Upton and Bob Cobbing, with the unforgettable mid-performance (anti)dedication, ‘This is for Andrew Duncan!’ who was there. (He’d written something negative about Bob.)

Went on until [w, x, y, z, and an unknown lady] were thrown out.

A good time was had by all, or most, I hope and suspect.

The Upton/Cobbing piece took up the warning about ‘domestic ambient noise’ (I think Stephen did try to MC the event at one point!) as the title of their collaboration, their first for some years. They'd fallen out and I forced them to talk to one another at a Writers Forum workshop. (I sent Bob upstairs where I knew Lawrence was alone - or the other way round, I can't remember - and when we all re-ascended after a refuelling break, they were chatting away!) Nobody knew at this point that this collaborative project would extend to 300 booklets! Commonly known later as DAN, it's one of the wonders of concrete and sound poetry.

‘The Smallest Poetry Festival in the World’, by the way, is slated to be the final line of my new work on Dante’s Divine Comedy.

(This is an image of two houses in Lessingham Avenue, possibly ours the one on the left.) 

Completely coincidentally the anthology Arcadian Rustbelt edited by Andrew Duncan and John Goodby has been published, and I will post about it when the book is on the publisher's website (Waterloo Press). (But until then check out the blog of that name on my Blogroll.) In response to my contributor's copies, I wrote to the editors something which is relevant to this post: 'I have a post coming up about the Smallest Poetry In the World (which Andrew, you attended). Such a gesture of rejection (the South Bank was holding the BIGGEST at the time) now seems of a piece with your chronology: December 3rd 1994 being pretty much the end of the 'period' of the book [1980-1994!] (Some of the contributors read.) It also coincides with my The Necessity of Poetics, which in its third part, reprints a number of hidden 'poetics pieces' (not critical texts) from the period (and a little after).' (On The Necessity see here: Pages: The Necessity of Poetics - out now!)

Here are some internal links to posts that contain references to some of the participants in the Festival. Presence or absence doesn’t constitute a value judgement, simply a check on what’s posted.

Part 1: Me (reading The Lores from Twentieth Century Blues) Pages: Robert Sheppard: thirty years since Twentieth Century Blues was begun, 20 since it ended, and future plans), Harry Gilonis, Pages: Ten Years of Pages: The Best Bits Lawrence Upton, Pages: Robert Sheppard: in memoriam Lawrence Upton John Seed, Pages: Robert Sheppard: Punctum, Punctuation and the Poetics of Space in John Seed’s Objectivism, Patricia Farrell: Pages: Patricia Farrell: Links to some visual work, John Cayley (right at the end:) Pages: Robert Sheppard: A History of the Other (final installment).

Part 2: Bob Cobbing, Pages: Robert Sheppard: My Bob Cobbing 'Archive',  Scott Thurston Pages: Scott Thurston's Inaugural Lecture: KINEPOETICS March 2024 (video + my introduction), Robert Vas Dias, Pages: Robert Sheppard: article in CLASP: late modernist poetry in London in the 1970s (my part in its downfall).

Part 3: Gavin Selerie, Pages: Remembering Gavin Selerie and his laugh, Robert Hampson, Pages: Meet the EUOIA Collaborators: Robert Hampson, Adrian Clarke Pages: Robert Sheppard: My review of Adrian Clarke's Austerity Measures on Stride plus further notes, thoughts and links, Ulli Freer Pages: Robert Sheppard: Far Language: Adhesive Hymns (Ulli Freer) , and – Lawrence Upton and Bob Cobbing’s Domestic Ambient Noise: Pages: Robert Sheppard: Bob Cobbing: Two Sequences.  

This post, also on John Seed, has a little about Lessingham Avenue and John’s poem written after another of our famous parties: Pages: Robert Sheppard: John Seed: England’s derelict archive circa 1990. At the end of the post.  

Sunday, November 03, 2024

The Lowry Lounge 2024 - an account and links


The Lowry Lounge 2024. I wasn’t looking forward to it, too many other things (readings) going on, but felt enthusiastic once Patricia and I were on our traditional way to the Bluecoat in Liverpool. (I’d also decided I would read ‘Malcolm Lowry’s Land’ at/on my online reading on Wednesday; see Pages: Details of Readings this Autumn.) And I was justified because Helen Tookey and Bryan Biggs (the central Firminists) had spent a lot of time and energy to compensate for limited funding this year. Since it was The Day of the Dead, this year focused on that, and upon its appearance (a weak word for its omnipresence) in Under the Volcano.

 The Mexican altar from 2009 (the first Lowry Lounge: Pages: Malcolm Lowry: From the Mersey to the World) was re-envisaged (we brought a Hell Bunker golf ball, the Lowry beer bottle from 2009 and other bits and bobs; but I didn’t want to take leave of the notebook from my 1979 visit to Lowry’s grave!).


[Helen Tookey's photo of the altar upon which she spent much time]

Then in honour of the late John Hyatt (punk musician, visual artist and educator), who I liked very much, we watched his ‘backwards’ version, ‘resurrection’ he’d say, of the final chapter of Under the Volcano. (I’d embedded it on this blog, in my account of the 2018 Lounge: Pages: The 2018 Lowry Lounge in Liverpool and on the Wirral (including the Open Malc) (set list)). It occurred to me that my recent plan to narrate Dante’s Divine Comedy ‘backwards’ might have been unconsciously influenced by it. Might as well make it conscious. We saw some other of John’s contributions to the Lounge. What impressed me was the way he was able to re-imagine Lowry; I’ve long thought I’ve nothing more to say (or do), that the Lowry section of Doubly Stolen Fire was my final word. John Hyatt’s example suggests that that is not necessarily so. (See an account of last year, when I launched the book: Pages: Launch of Doubly Stolen Fire at the Lowry Lounge 2023, Liverpool (set list).)


'The Resurrection of Geoffrey Firmin' 2018. Oddly we watched a different video to this one, but it was the same performance!

Colin Dilnot talked about the Day of the Dead and found a solitary reference to Eisenstein’s epic filming in Mexico. Which we watched an edited version of. He also informed us that the novel sets Day of the Dead 1938 on a Sunday: it was a Wednesday! And Lowry and Jan didn’t arrive in Mexico for the first time on the Day itself (as we would be briskly informed in the Powell documentary we saw later). But a day or two before. (It strikes me now, perhaps on the Sunday before the Wednesday?) Death Day follows: 



 Lunch in the thriving Bluecoat with fellow-Firminist Ailsa, and Tim, catching up a little, before the afternoon session was called.

Bryan and Catherine Marcangeli talked about Adrian Henri’s early ‘The Entry of Christ into Liverpool’ (poem – painting (on hessian!) – performance) and the late ‘Day of the Dead in Hope St.’ (poem – paintings and studies – performance only planned), 1998. So, I thought, we were here in Liverpool when Henri raised the dead (with Lowry coming out of the Phil: I hope he wasn’t too disappointed with the beer). It was good to chat with Catherine who is only intermittently in Liverpool. (But she was here for Mersey Poets events in 2017: Pages: Celebration of 50 Years of The Mersey Sound (readings and pop up reading by Roger McGough) (set list).) Here's the Liverpool Scene with Henri, performing the poem. 



An Open Malc with Alan Peters blowing harp and singing a bit of Adrian’s ‘Day of the Dead’ poem, which he’d scribbled down as it was displayed (thus giving it the scratch performance that Adrian never achieved). Now I appreciate the inter-art aspects of Henri’s work, I’m I much bigger fan than I’ve been, seeing, as I did, the Mersy poets’ fame as a bit of a blanket over the rest of The British Poetry Revival – but I see now that that was never their intention, though it was an unintended consequence of that fame and notoriety. I know I’m rattling away from the theme, but it’s worth to add that Alan performed and toured with Henri at some point.

Helen Tookey read some more beautiful passages from her forthcoming book on/about/out of/round and about Lowry. More about that when it’s out, I think. In the meantime, here's the New Brighton plaque for Lowry, with the quote selected by Helen. 



 A showing of Tristram Powell’s 1960s documentary on Lowry followed. (Meeting the film maker himself a few years ago was a privilege. He died earlier this year, after a legendary career in film and TV. Rough Passage was his first feature in 1967: it's worth it to hear the dreadful John Davenport, who elsewhere accuses Lowry of being an onanist, here calls him 'a little tipsy Delilah'!) I can't the video or Tristram's website. 

The traditional toast to Lowry and (this year) to John: mescal, of course!

A final photo of me at the Lyceum Day of the Dead crazy golf bid accompanied a farewell to us all until next year.


Jeremy Lowry (yes, he is), Cian Quayle, Helen and Patricia and I had a quick scope of the crazy golf ‘course’ between a beer at the Post Office and a hearty meal at the Greek Taverna… 


An image of Messers Lowry and Sheppard...