Tuesday 7 May 2024

"Nature, the Environment and Sustainability" Competition: Winning Entries 1

Over the next five days, we're delighted to be publishing the winning entries from the short story competition, "Nature, the Environment and Sustainability," which ran in 2023-4. The competition, commissioned by the University of Leicester’s Centre for New Writing and Centre for Environmental Health and Sustainability was judged by the celebrated nature writer, Mark Cocker, and showcased at this year’s Literary Leicester free literature festival.

You can see the results here. There were two winners, one specially commended entry, and two runners-up. Each day, we'll publish one of these winning entries. Today, you can read the story "If a forest," by one of two runners-up, Carol Rowntree Jones.

Carol Rowntree Jones writes poetry, essays and creative non-fiction, and is currently working on writing inspired by the National Forest. She is based in south Nottinghamshire.



If a forest

Once upon a time, there were seven men and one woman who worked at long tables in two rooms in a big house: each table had a wired telephone, and in the corner of each room was a fax machine and a kettle. 

Other people at other tables wrote of trees planted in the far north, planted to earn money in angular blocks with hard edges, in wet places drained to suit trees that did not like wet places. The seven men and one woman read of this and spread stiff paper maps over their large tables, smoothing them out with the edge of their hands. They dreamt of creating a forest where the trees would mean something to the people who planted them, where they would grow near and among the daily lives of these people. Their documents were labelled IF: what IF it were possible? what IF it happened? Over coffee they played with Scrabble tiles to find a name.

The heart of the country was known to contain many people and few trees. The seven men and the woman sent out notices throughout this vast band of ‘The Midlands,’ announcing their intention to create a forest, an invitation to compete for a forest ‘where you live.’ 

In these modern times, jousting for favour (and funding) had become campaigning, signing petitions, newspapers championing causes, local parishioners writing to MPs. Enthusiastic schoolteachers set up class projects entitled ‘What if a forest came to live here?’ Children drew pictures of round-topped trees and set brown and bright colourful birds on the branches where green leaves shimmered, the sun shone in the sky, and a happy squirrel scampered on the ground.

Few would envisage that the success of this forest would be so great that the corporeal descendants of this imagined squirrel would be severely ‘managed’ for loving the trees too much. In an ecstasy of sap, they would strip the young trees of their bark, wounding and opening them to disease, causing many to die.

An anonymous area between four famous cities, shaped as if a rectangular cloth was thrown down on the map and lay ruffled at the edges, began to draw the attention of the seven men and one woman. Here were hardly any trees. Here were many people. This was a landscape damaged by coal mines and clay pits that had worked these communities for more than two centuries. It was the end of these industries here, in this country, and many people were out of work. Even when they found new employment, the men would talk with regret and fondness of the camaraderie, the physical danger, how the light above was brighter when you’d been down the pit all day, how you had to account for the bullet the day you’d had to put the pit pony out of its pain when a stumble, or loose wagon, had broken its leg.

The women would tell you that the work might have been secure and lucrative, but they had 300 years’ worth of mining trauma in their family and they were glad no grandson of theirs would be going down the pit. They’d say how the washing on the line would be black before it was dry. How their husbands would have to stop the car to clean the windscreen after driving down the road by the big pit and the belt carrying the coal to be sorted. “When you’re in it you don’t really notice, but it was filthy. Grey dust, mud everywhere. And you’d never know when the shout would come; someone’s man injured.” 

So as the last pits were closing the women opened their hearts to the notion of forest. They wrote letters of support and sought out materials for the school projects. The local newspaper ran headlines, conducted interviews and polls, and wrote editorials putting the case This Area Needs The Forest Most.

And it probably did. 

It spoke to the core of what the team of eight dreamt of: a peopled landscape where trees would lead a magnificent transformation. Children would play in the shade of trees planted at their school, men and women would learn to plant, prune, forage, how to use a saw and a lathe, but mainly they would all be living in the breath of trees. The young trees would take up carbon as they grew and in maturity hold back water in heavy rain. Insects would creep in the bark and woodpeckers drill for them, small mammals would nest in the shelter of the woodland, and owls would scout them out. This forest would show how trees could heal both the scars in the land and the rift that had grown between people and nature.  

And it won. 

Everyone wanted to plant the first tree, any tree, in this brand-new forest. The local newspaper was not short of forest-related stories. A school has started to collect acorns to grow on windowsills. Women’s Institutes take on a quilting project to welcome the forthcoming woodlands. Money was allocated in special pots for people who owned land to say what they could offer this new forest: “See my plans! I will plant ten thousand trees, they will be native oak and ash, with rowan and hawthorn at the edges.” Of course, these were the days before the disaster of ash dieback had arrived in these lands. Because the intention was always to plant mixed woodlands there were few broad stands of ash as a singular species, to leave a stark scar of stricken naked stems when they died. The ash would quietly fail, and the oak, birch and thorn drop their seed and move into the space.

A landowner would say: “My new woodland will be threaded with silver birch and I will name it after my granddaughter. Children from her school will come and plant the first trees in the far field. Grant me the money and I will allow local people to come and walk over my land, they can learn about the birds that will live among the new trees – I will learn about the birds – and they can picnic and play and enjoy the views.”

The map makers had to find a new shade of green for land that was opened up to the people in this way and it swept over their maps in swathes. In later years there were occasional but regular disputes when the local people came with their dogs and with friends with their dogs. They would catch up and be chatting so much that they might not notice their dogs sniffing in the long grass, disturbing the nests on the ground, or shitting on the edge of the path where later that day a child might step. The tension this could create between people saying: “I’m only walking here," and the landowner saying: “Please don’t mistreat the land and the agreement I have made,” was, sadly, a variation of most disputes about land. I own it and you don’t. The maps and the money and enough goodwill generally ironed things out.  

From the beginning the people who held the funds to make this revolutionary forest happen knew it was important to consider carefully where the trees would be planted. One cold winter’s day, there was a child who travelled from one of the four cities that surrounded the forest, travelled from the city in a hired bus with classmates, to meet the foresters on a hill where several hundred trees had already been planted. The children and their teachers picked their way up the muddy field, but the trees were tiny and easy to tread on. The child, who had neither hat nor gloves and wore a thin blue anorak emblazoned ‘Foxes’, tried not to step on the trees and worked out that most of them were marked by a stick and guard supporting and surrounding them. The woman from the forest who walked with them explained that the trees were protected in this way from all the things that wanted to eat them - rabbit, vole, hare, deer. Foresters love few furry creatures. 

Laid on the ground were spades and bundles of slender young saplings wrapped in black bags against the wind. Oak with a few tattered leaves, hazel and small leaved lime. The foresters showed the children how to plant a tree: the size of the hole they should dig so that the fine, thirsty roots could be teased out and would fit with ease. They pointed out where the colour changed on the stem of the tree, the stem that would thicken to be called ‘trunk’, and to plant the tree deep enough so that this point of colour would be level with the ground when they’d finished. “Break up the soil and pile it back into the hole. It helps to do this in pairs. One to hold the tree, one to replace the soil carefully. Heel it in. Tread carefully with your boot to press the soil down. We want to squeeze out any empty spaces, so the roots won’t sit in pockets of icy water during this, their first winter out in the wild.”

The forester explained that the trees they were to plant that day were some of the many thousands that were added each year to this forest, and that the location of every tree and group of trees was chosen carefully. “For instance, we wouldn’t want to spoil the view from a site like this.” And the child from the city in the thin Foxes coat, with bare blue hands, said, “Sir, what’s a view?”

And there were students who came to the forest, from a big institution in the same city as the child’s school. One wore walking boots, one wore fashion boots and one wore white trainers. They came to make a film about this forest being created near where they were studying. They wanted to talk to people who had made the forest and about the difference the forest made.

The forester was talking about richness. How the trees flourished, and people walked amongst them in the spring and smelt the scent of the blossom, and in the autumn they gathered nuts and berries. That the trees produced firewood for the woodland owner to sell, who then planted more trees. How the trees would soon offer timber for furniture makers, and how children learnt and played here, and their teachers saw different children thrive. That the leaf fall each autumn made the forest floor richer and healthier and encouraged more insects and animals to make the woodland their home. “I don’t understand,” said one student, “what is ‘forest floor’? I’ve only heard the term ‘floor’ for carpet or dance.”

The people in the forest lived on farms or in villages but mostly in towns. There were four towns in this forest: one built on water, one built on fireclay, another built on history, markets and spa treatments. The fourth came into being because of, and was named for, the coal.

The town built on water was built on beer and brewing. The water ran hard. Tall warehouse buildings with many small-paned windows grew up along the riverbanks, the banks themselves reinforced with timber and iron. The warehouses were full of people, hops, sacking and mice. Outside, carts drawn by horses took the barrels to the buyers. The river, the canal and the railway took the beer to the ships setting sail for the whole world.

The skyline of the town built on fireclay was a stave rising and falling with the outlines of bottle kilns shaped like cones for the firing. This fireclay had special qualities and was formed into white sanitaryware, also sent across the world, supplied to keep the British Empire comfortable. Pipes, pots, chamber pots and kitchenware. 

A favourite mixing bowl might take you by surprise, might be found to have the mark of the town on the base, clay from the forest, purchased by a mother long ago and handed down. Made years before the forest was even begun, even thought to be necessary.

One solitary brick-built bottle kiln was saved, in this town surrounded by forest, and became known for its acoustics, when people sang songs about the clay in the past tense, and songs about the woodlands in present and future tenses.  

In the town built on history, therapeutic spa water would be brought in water wagons drawn by horses from the mines where it pooled, to the smart hotel in the town. Rich people bathed while miners sweated, each a few miles from the other. 

The town built on, built for, and named for the coal, had to find a new identity. The coal was only ever there because of trees that grew millennia ago: trees compressed into the ground, becoming coal, the coal extracted, the world turns and heats and now trees are planted again.

When the first potato farmer signed up to plant trees, it was a sign that the forest would happen. When the estate agents started to include in their fancy words ‘desirable, in the heart of the forest,’ the people knew that the area would thrive once more because of the trees.

Wildlife began to arrive. Diggers were working in a wet field surrounded by gravel pits and fast roads. They had made long shallow scrapes in the topsoil to attract water-loving birds and were packing up to leave. No sooner had they gone than two pairs of lapwing arrived, with their crest feather fascinators and iridescent wings, birds not seen here for over twenty years. This is how they learnt that nature is opportunistic. It does not need ‘beauty’, does not need chocolate-box perfection. Make it good enough and it will come. 

A man was dying. He was one of the first farmers to throw in his lot with the forest and years later he told his story. “Farmers do what pays off the loans. In the 70s we ripped out all the hedges, because we were paid to. The forest came along and offered us a new way to use our land. It’s the best thing we ever did. I never thought I’d see the trees grow but they did, the canopy is over our heads. I feel I’ve put a marker down that will never be removed. For the children round here, everything’s rosy. The forest is everything to me.”

A woman was walking. She had walked from her door to this cafĂ©, in the heart of the forest. “I’ve hardly touched a road. I walked past the lake, glittering with birds, through woods which lead one to the other – the colours are glorious today! It’s uplifting. The forest has been the saviour of this place.”

This is what the seven men and one woman, long since retired by now, had known all along. 

The lichen started to gather.


Thursday 2 May 2024

Corinne Fowler, "Our Island Stories"



Corinne Fowler, photo by Osborne Photography


Corinne Fowler is Professor of Colonialism and Heritage in Museum Studies at the University of Leicester. She is co-investigator of the Leverhulme Rural Racism Project, led by Professor Neil Chakraborti at the University’s Centre for Hate Studies. In 2020 Corinne co-authored an audit of peer-reviewed research about National Trust properties’ connections to empire, which encouraged the heritage sector to address its colonial stories and became a major media story. The report won the Museums and Heritage Special Recognition Award, 2022 and the Eastern Eye Community Engagement Award 2023. Corinne directed Colonial Countryside: National Trust Houses Reinterpreted, a child-led history and writing project with Peepal Tree Press with commissioned photographer Ingrid Pollard (2018-2022). Our Island Stories: Country Walks Through Colonial Britain was published on 2 May 2024 by Penguin Allen Lane.



About Our Island Stories: Country Walks Through Colonial Britain
This book of country walks opens up the colonial history of Britain’s rural life and landscapes. The countryside is cherished by many Britons. There is a depth of feeling about rural places, the moors and lochs, valleys and mountains, cottages and country houses. Yet the British countryside, so integral to our national identity, is rarely seen as having anything to do with British colonialism. Where the countryside is celebrated, histories of empire are forgotten. In Our Island Stories, Corinne Fowler brings rural life and colonial rule together with transformative results. Through ten country walks, roaming the island with varied companions, Fowler combines local and global history, connecting the Cotswolds to Calcutta, Dolgellau to Virginia, and Grasmere to Canton.

Empire transformed rural lives for better and for worse: whether in Welsh sheep farms or Cornish copper mines, it offered both opportunity and exploitation. Fowler shows how the booming profits of overseas colonial activities, and the select few who benefited, directly contributed to enclosure, land clearances and dispossession. These histories, usually considered separately, continue to shape lives across Britain today.

To give an honest account, to offer both affection and criticism, is a matter of respect: we should not knowingly tell half a history. This new knowledge of our island stories, once gained, can only deepen Britons' relationship with their beloved landscape.

You can read more about Our Island Stories on the publisher's website here. Below, you can read an excerpt from the introduction to the book. 

 

From Our Island Stories, by Corinne Fowler

From ‘Introduction: A Colonial History of the British Countryside’ 

I took the train to Pangbourne, some 20 miles west of Windsor. Perched at the confluence of the Thames and the River Pang, the settlement is ancient: its name was first recorded in 844 CE. The Pang, which gives the village its name, is a tributary of the Thames, a chalkstream which remains full of life despite the farm fertilizers, pesticides and sewage which pollute the local rivers. Voles still swim in its water meadows, just as they did when Kenneth Grahame used to go boating thereabouts in the early twentieth century. Along with other riverine creatures, the water vole appears as Ratty in Grahame’s much-loved children’s classic The Wind in the Willows, a book which re-enchanted generations of readers with the English countryside: its financial success enabled Grahame to retire to a gable-ended cottage in Pangbourne, where he lived until his death in 1932. 

Crammed with listed buildings and expensive real estate, Pangbourne has long attracted people with money: people in search of this bucolic idyll. In the eighteenth century, wealth flooded into Pangbourne, much of it linked to the East India Company. Founded in 1600 by English merchants to trade between Europe, South Asia and the Far East, it became far more than a trading company. Acquiring its own army, it fought rival East India Companies from the European powers such as France and Holland, competing for the lion’s share of trade in spices, cotton, silk, indigo and saltpetre. The English – later British – East India Company established and defended warehouses, forts and trading posts all over India, including Bombay, Calcutta, Madras and Surat. Over time, it conquered territory, collected taxes and eventually colonized India. When East India Company employees had made their pile and returned home, many headed for the Thames valley – so many, in fact, that it became known as ‘England’s Hindoostan.’ A former governor of Madras lived 3 miles south of Pangbourne, at Englefield; the former governor of Bengal, Warren Hastings, had a residence at Purley Hall, a mile or so from the village. 

I had come to Pangbourne in search of one of these figures, Sir Francis Sykes. I planned to walk the riverside path along the Thames valley to Basildon Park, a landscaped and wooded estate surrounded by a handsome brick and flint wall and, within it, the house that Sykes built: a grand Palladian pile, constructed with the proceeds of his Indian adventures, and now owned by the National Trust. With me would come the historian Sathnam Sanghera, author of the influential Empireland, a personal journey into British colonial history. As we walked, we’d talk about Britain, India and the culture war into which our work had plunged us both.


Saturday 27 April 2024

Imtiaz Dharker, "Shadow Reader"

 

Imtiaz Dharker, photo by Ayesha Dharker


Imtiaz Dharker is a poet, artist and video film maker, awarded the Queen’s Gold Medal for Poetry in 2014, Chancellor of Newcastle University. Her seven collections, all published by Bloodaxe Books, include Over the Moon and the latest, Shadow Reader. Her poems have featured widely on BBC radio, television, the London Underground, Glasgow billboards and Mumbai buses. She has had eleven solo exhibitions of drawings and also scripts and directs video films, many of them for non-government organisations working in the area of shelter, education and health for women and children in India. 



About Shadow Reader
Shadow Reader is a radiant criss-cross of encounters, messages and Punjabi proverbs, shot through with the dark thread of an unwelcome prophecy. The poems bind this looming curse to the occupation of countries, the earth and its creatures, those who own the story and those who redirect it through art or artifice. ‘Does the warp look back at the one who is weaving and say, This is not how I remember it…?’ Imtiaz Dharker’s collection pays attention to wilful erasures, exclusions and also to places of sanctuary. This is poetry as music, as momentum, as the texture and taste of languages, joyously sensuous and rich in images. While it acknowledges the everyday and its shadows, it is also an irreverent, playful celebration of life.

You can read more about Shadow Reader on the publisher's website here. Below, you can read two sample poems from the collection. 


From Shadow Reader, by Imtiaz Dharker

You write a window 
    
This is how you labour through the night
at the kitchen table, tallying up again,      
again, to get the merciless numbers right.
You weigh the loss against the gain,

the  plumbing or the heating, the buzzing thing
that has to be plugged in to work, switched on
to keep the household running. You are writing
your life in figures. He is gone                           

and you are awake in the sonnet of a window,
the chiming of a house where children come
and stay. The paper blazes white. The shadow
at your shoulder knows your will. This room,

this page is the sum of all you have to say
and all you have to give, you give away.




With empty hands

It’s life that is the visitor, it comes and goes,
a guest with many faces.
It flickers for a second on the face of time
and brings no gifts for the host.

Wednesday 24 April 2024

Michael W. Thomas, "A Time for Such a Word"

 


Michael W. Thomas’s latest poetry collection is A Time for Such a Word (Black Pear Press). His latest novel is The Erkeley Shadows (KDP / Swan Village Reporter). He has published nine poetry collections, two collections of short fiction and three novels. His work has appeared in, among others, The  Antigonish Review (Canada), The Antioch Review (US), Critical Survey, The London Magazine, Pennine Platform, the TLS and Under the Radar. He is on the editorial board of Crossroads: A Journal of English Studies (University of Bialystok, Poland). From 2004 to 2009, he was poet-in-residence at the Robert Frost Festival, Key West, Florida. He contains no (well, few) additives. His website is here. His blog is The Swan Village Reporter.




About A Time for Such a Word
"A time for such a word" is taken from Macbeth, which might suggest an attempt to doom this collection from the start. True, there are dark corners here and there, but they exist for good reasons and are most carefully explored. And there is also much light and hopefulness. Visiting different points of time and space—now a desert island at dusk, now a log-store with an out-of-season moth, now Grenada, now a suburban house as it unbuilds itself—Thomas’s speakers reflect, speculate, even reanimate what seems valueless, a lost cause, a scene of no account.  The collection’s final line is "You’re alright, you, you’re alright." Now quietly, now emphatically, A Time for Such a Word insists that the world might just be so. 

You can read more about A Time for Such a Word on the publisher's website here. Below, you can read two poems from the collection. 


From A Time for Such a Word, by Michael W. Thomas

The Orphans of Midsomer
          
          (Midsomer Murders, ITV, 1997 onwards) 

And every so often
a young person stares unseeing
over and around the last five minutes.
The Inspector pats their shoulder,
the DS gives a smile his heart
can’t really afford, because already the next case
is among the foliage, the credits are antsy
at the foot of the screen.  Doors must slam.  
The unmarked car must drive 
into this time next week.

So the young person
without so much as a neighbourly hug
is left to stand outside what they’re stuck with:
a cottage in which the odours have to stoop,
a mansion where the chill huddles into itself
at corniced junctions – 
Death’s pay in kind, there being no other family,
not truly, mum or dad having hooked it
before the episode began,
the other one having been fed to the plot,
even unmasked as the murderer
brewing more grudges than all the hot dinners
touted in the breaks.

A proper wrong ‘un
will always fight the glove
that seeks to pilot their head
through the squad-car’s rear door.
So it is now, before the orphan’s unmendable heart.

The DS and Inspector
will make off through ending’s dusk,
fade in step with their tail-plate.
The supporting cast will tumble
into the run-off down the sides of the script.
Only the orphan remains and is real,
standing before a house whose secrets
will never now stop yakking.
Maybe they’ll pray for their own tomorrow
(though veiled as yet by that fight of names,
key grip, location bod, gaffer…) – 
even tell themselves they can almost see it,
like a hometown glimpsed as a train slows,
half-melted in an indifference of rain.
 

Yes

A blackbird stands on a branch
above where philadelphus
makes the path feel less alone.

It’s the moment when day
starts threading down hand over hand,
stuck about with the odd small glory.

The bird sings the whole mad run of the world
to the second it opened its beak.
War and pleasure bubble in its notes.

Late rain clicks at the greenhouse
as though an irradiated man hides there
and the elements baulk at his wormy blood.

And now a plastic bag
cartwheels past the gate to the lane.  
The blackbird sees off its tale of the hour just gone

and flies.  Imagine them rising together
wet with the first tears of night,
making for what doesn’t know it will be dawn.

Imagine the bird dropping notes into the bag
like unstrung pearls with no floor for their skitter.
Imagine the bag as a singing moon…

…till they swerve apart,
the bird to rise on,
the bag to cascade the knockings of a song

that someone might assemble as they wear against the dark
and try through once or twice…and find
a yes, small and improbable, itching at their heart.

Monday 22 April 2024

Rory Waterman, "Come Here to This Gate"

 


Rory Waterman was born in Belfast in 1981, and grew up mainly in Lincolnshire. His fourth full-length collection, Come Here to This Gate, has just been published by Carcanet Press. His other collections, all published by Carcanet, are: Tonight the Summer’s Over (2013), which was a Poetry Book Society Recommendation and was shortlisted for a Seamus Heaney Award; Sarajevo Roses (2017), which was shortlisted for the Ledbury Forte Prize for Second Collections; and Sweet Nothings (2020). He is also regularly a critic for the TLS, PN Review and other publications, and has published several books on modern and contemporary poetry. He co-edits New Walk Editions with Nick Everett at the University of Leicester. He has a BA and PhD from the University of Leicester. Since 2012, he has worked at Nottingham Trent University, where he is Associate Professor of Modern and Contemporary Literature and leads the MA in Creative Writing. He lives in Nottingham. His website is here



About Come Here to This Gate
Come Here to This Gate, Rory Waterman's fourth collection, is his most candid and unexpected, personal, brash, hilarious, and wide-ranging. The book is in three parts, the first a sequence about the last year of the life of his father, the poet Andrew Waterman, against a backdrop of recrimination, love and alcoholic dementia: "your silences were trains departing." The second consists of poems that open various gates, or are forcibly restrained behind them, from the literal North and South Korean border to the borders between friends, and those imposed by photographs, memories, and paths taken and not taken. The third opens on the poet's rural home county of Lincolnshire. He rewrites several folk tales into galloping, sometimes rambunctious ballads for the 2020s: what happens when imps, ghosts, and a boggart who looks like a "doll left behind at Chernobyl" must reckon with the modern world and the people who lumber through it.

You can read more about Come Here to This Gate on the publisher's website here. You can read a review of the book on Everybody's Reviewing here. Below, you can read two poems from the collection. 


From Come here to This Gate, by Rory Waterman

Home

T-shirt weather today: a bumble bee bumps
the window, and the door of the visiting room
yawns and nudges a pot. We could go out,
sniff freedom over the fence. You’d rather not.

‘You’ve come to take me home?’ No, Dad. I’ve come
to bring it to you, blind on your piss-proof seat
on wheels, most of you a line of little knots
beneath a blanket. Stop-gap Clov to your Hamm – 

you’d get that, and it wouldn’t help – I ask 
someone to bring your sippy cup, some biscuits,
and you chew them in the back of your open mouth
in quiet, ‘thinking,’ too afraid to talk.

So I watch the ridge of your forehead, feel my own – 
for impulse, or connection, which doesn’t come
until a nurse does, panting, to the door, 
to tell us darlings we have five minutes more. 

         (first published in the Times Literary Supplement)


ICN to LHR

‘Keep the reunified Korea in your heart’
an old man had said, palming his chest. And 
okay, I do. And there it stays, doing nothing 

as flight KE 907 to London lifts 
from a (re)claimed island, over (re)claimed islands
stacked with containers: a concreted sarcophagus,

the memorial to Operation Chromite,
which has no other memorial. A child beside me
pulls down her mask, is chastened, frumps.

‘We’re progress,’ he had added. See it down there,
a phosphoresced capital washing round its hills,
a land of neon chaebols and kimchi jars

where new friends complete the circuits
of their lives for Samsung, Lotte, Hyundai,
as I complete this circuit for Hanjin.

See the sea ooze the yellow they don’t call it 
here – there – with silt from China, as we skirt
North Korean airspace. This land is your land

I hum before noticing. Far towns are like colonies
of barnacles; dark fishing vessels ply 
what looks turbid. And when we start to cross

the safety of China, from where this – that – 
is ordained, a city (Shenyang?) shifts, 
a molten web in new night. Now there will be

nothing but black, the dark familiar nowhere, 
and then the grind of lowering, the misted plots
of ruined nametagged earth around our lives.


Monday 15 April 2024

Vic Pickup, "The Omniscient Tooth Fairy"



Vic Pickup is the author of Lost & Found (Hedgehog Press, 2020), What Colour is My Brain? (co-written with Jules Whiting, Hedgehog Press 2022) and The Omniscient Tooth Fairy (Indigo Dreams, 2023). She has also edited an anthology, Reading Poets, forthcoming in June 2024 from Two Rivers Press. Vic is a co-organiser of Poets CafĂ© Reading and the town’s Stanza group. Her website is here.



About The Omniscient Tooth Fairy, by Vic Pickup
The Omniscient Tooth Fairy documents the decade following the poet becoming a mother: from hospital visits and melted Easter eggs to viewing world news through new eyes. Exploring old vulnerabilities and discovering new strengths, this collection observes the daily rhythm of holding on and letting go that comes with adjusting to parenthood, and change. The poems illustrate the world in all its beguiling complexity, enticing us to both absorb and shield from it, taking what’s needed to find faith and purpose; pursuing the quest to know ourselves better.

You can read more about The Omniscient Tooth Fairy on the publisher's website here. Below, you can read two poems from the collection. 

  

From The Omniscient Tooth Fairy

Him, building me a bookcase

Sixteen chunky shelves, propped on blocks
of pallet wood, sliced like angel cakes –
each one a different shade.                         
 
A dusty finger pins the glossy pages
of a how-to book. Cautiously, he drills,
but soon his eye is fixed, unblinking.
 
The bar turns, the wood secured in its vice.                         
Lines of sinew flicker in his forearm as he saws,
then blows and smooths the debris clear.
 
He measures with one eye shut,
improvises in places where
the spirit level would not go.
 
He gives purpose to timber fit only for the fire,
a hand-me-down drill and screws
from an ice cream tub on a garage shelf.
 
Having masked the edges, he applies three coats,
wearing war paint of magnolia, the glean of cream
laden thickly on his brush.
 
We stand and my hand slides
into his back pocket, already wondering
which will go where and in what order.
 
He doesn’t know, but this is my greatest wish:
not the having of a place
or a way to keep things, only this –
 
Him, building me a bookcase.    
 
 
The longing of Judith Kerr

 
What if you could give them back
their hats, coats, scarves? Place
a knitted glove onto each small hand.
What if you could return their hair to them,
for plaiting, threading with daisy chains;
pull from the sack the toy train,
hand-carved, and old bear,
a travelling companion – exactly the one,
with a bright blue bow around his neck
frayed from too much love?
What if you could put them all back
into the right hands, find the shoes,
a perfect pair, buckle the feet, all tucked up
in woollen socks? What if you could fill
their cheeks until red and ruddy,
make rounded tums and dimpled legs,
scatter freckles on faces with the touch
of summer, then place in one gloved hand
another, bigger? What if you could give them
a mother; give them back a father too,
smiling down as button eyes look up?
What if they could hold hands and step back
on board the train, this one with red velour seats
and a warm welcome from the lady
with the trolley, who offers jelly sweets
and apples and a storybook,
about a tiger who came to tea?
 
 
Note: Judith Kerr’s Creatures (2015) is dedicated to “the one and a half million Jewish children who didn’t have my luck, and all the pictures they might have painted."


Friday 12 April 2024

A. J. Lees, "Neurological Birdsong"

 


Andrew Lees was born on Merseyside and is a Professor of Neurology at The National Hospital, Queen Square and University College London. He is in the top three most highly cited Parkinson’s disease researchers in the world and included in Thomson Reuters 2015 List of the Worlds Most Scientific Minds. He has written the authorised biography of the Arsenal and Liverpool football player Ray Kennedy who developed Parkinson’s disease in his early thirties (Ray of Hope, Penguin 1994) and which was made into a television documentary, Liverpool the Hurricane Port (Random House 2011) a book about his home city, Alzheimer's: The Silent Plague (2012 Penguin) and William Richard Gowers (1845-1915) Exploring the Victorian Brain, a biography of William Gowers. His book, Mentored by a Madman: The William Burroughs Experiment (Notting Hill Editions) published in 2016, explains his unlikely association with the author of Naked Lunch and his curiosity to find neurological cures. Brazil That Never Was, an investigation of saudade, was published by New York Review of Books in the USA. Lees's quest for a new viewpoint in the Amazon led to an unlikely linkage with Ciro Guerra’s film Embrace of the Serpent and a joint presentation with him at the premiere at the Institute of Contemporary Arts in London. His previous book, entitled Brainspotting: Adventures in Neurology, was published by New York Review of Books in April 2022 and was a plea for a return to soulful compassionate medicine. Lees has also written essays published in Dublin Review of Books, Literary Review, Empty Mirror, Tears in the Fence, The New York Review of Books, The Polyphony, and the Scottish Review of BooksHe is a free thinker who has dedicated his recent years to reminding the scientific community that medicine is an art and that literary and science fiction can inform understanding.




About Neurological Birdsong
In Neurological Birdsong, Dr Andrew Lees documents a career’s worth of insights into neurological practice by reformulating his most profound tweets into poetic form. The aphorisms collected here touch on a host of related topics, from the right approach to diagnosis to the importance of a "soulful neurology" in the art of healing. They will interest everyone: the suffering patient, the young doctor or nurse, the medical administrator. Neurological Birdsong is the beautiful expression of one doctor’s wisdom.

You can see more information about Neurological Birdsong here. Below, you can read a few sample aphorisms. 

From Neurological Birdsong, by A. J. Lees

Favourite Twoosh's and Twaikus
 
18. 
You cannot reduce the clinical picture
to a series of scales and tick boxes,
administered by health care professionals
who have not been taught clinical skills during their training.

54.
The medical history is part of the romance.
We must keep a patient’s life close to our souls.
Science underpins modern medicine but healing is an art.

73.
The daily practice of neurology strengthens the mind 
But it is by attending,
and in the art of healing,
that it becomes soulful,
as well as stimulating.

147.
Question everything,
dissent,
and if necessary fight back.
No blind obedience.
No e-patients.
No life-threatening rules.
Do what you know is right.

273.
Last week in the Vega
I understood that Lorca had seen,
in his torn-up garden,
the same green winds and roses of blood,
that Cajal had described,
deep in the human brain.