Showing posts with label V Press. Show all posts
Showing posts with label V Press. Show all posts

Wednesday, 30 August 2023

Gram Joel Davies, "Not Enough Rage"



Gram Joel Davies grew up in a council house in the Westcountry. Working class and university-educated, he is enthusiastic about psychotherapy and works as a counsellor in private practice. His poetry concerns itself with an experience of being (through rural and urban landscapes) and with belonging (in relationships marked by emotional disturbance). Publications have appeared over the decades in Magma, The Moth, Poetry Wales, The Centrifugal Eye and many other places. Not Enough Rage will be published by V. Press in October 2023. His debut collection, Bolt Down This Earth (2017), is also published by V. Press.



About Not Enough Rage

Not Enough Rage is very gutsy and very heady. Written over the course of two decades, it is something of a companion volume to Bolt Down This Earth, but pushes Davies' perceptions and style to new points of contact with the world. It is at once peripatetic and personal. Themes of awe and disaffection wrap around one another like wrestling dragons, equally matched. The poems often have a musicality that is intended to buoy meaning on a current of implicit feeling. Rather than exclusively literal or logical, this is writing that hopes cast a magnet into the back of the mind and bring up knots of association, as much sensed as seen.

You can read more about Not Enough Rage on the publisher's website here. Below, you can read two sample poems from the collection. 


From Not Enough Rage, by Gram Joel Davies

A Taxonomy of Wingèd Serpents

When dragons, one bold as rusted pipework,
the other bluer than icebergs, pitch
and lacerate each other inside the mind,
at times I’ll plummet, while other days
I’ll walk a comet. Not caring much
what phylum/family/genus the symptoms are.

My doctor differs, mid-turn on his swivel
chair under the sincere light of his PC
with his coded manuals near: classification matters.
Medieval bestiaries, with their stunted
perspectives, draw commonalities through sea lions,
fishes and ducks. But, he assures me,

modern expertise puts little stock in superficial
characteristics, then loses me in split-tooth jargon...
Order Calidraco ... Dracoform ...
A web search churns up myths, citing creatures
who raise little boys in splendid palaces,
feed them riddles reinforced by scalds

and love, or heap approval on a bed
of starlit coins. By his screen light, the doctor
discredits links with Triassic lines –
you may be rough-mailed and warm in the marrow.
He even touches the genetic element, a stratus ribbon
helixed through a moody firmament,

most interested in the composition of the belch-
stain chemical breath. With swivelled eye,
he advises that identity, as it pertains
to conflicted dragons, has a crassness stigmatised
at meal parties (and better left unshared). My affect
wears the flare of rust and roars like glaciers.


In Which *I* Don’t Fit

*I* don’t look good     in bandana or tie-clip
and tattoos slip *my* skin     like film off cocoa
Clinique ‘Happy’ abandons *me*     up the extractor fan

*I* always admired thatch     cottages
from inside student digs     but council kids
took the posh piss     for the way *I* said
actually     the accents *I* tab through
are like game toons’     facial hair

*I* don’t     quite     qualify     for social housing
perhaps *I* belong     with the badger
drunk on fallen apples     so *I* buy craft ales
with *my* JSA     and sit in the park trying
to figure out poplar hybrids     by street-light

the skate-ramp runs cool     but *I* never learnt the fakie
everybody interesting     leaves the country     *I* do
Guardianistawaffle     then remain in tenements
with the names of men     coal-toting
up quicksand rivers     too heavy
in *my* face     for bachelor
honours     but groundsman     gutter-laying
don’t believe in     clinical     depression

though it’s BBC boffins     who give *me* the best buzz
*I* protest     against buying the licence

retail management     is afraid
*my* lexicon derogates     their intelligence quotient
it’s these entry jobs     which *I* enter
and re-enter     endlessly
the ones *I* step off     like Chaplin from a tram
HR greasing *me*     into tribunals

Wednesday, 23 September 2020

Ruth Stacey, "I, Ursula"


Ruth Stacey
is a lecturer in Creative Writing at the University of Worcester. Her second full poetry collection, I Ursula, was published Jan 2020, by V.Press Poetry. Her first poetry collection, Queen, Jewel, Mistress, was published by Eyewear Publishing, 2015. Her pamphlets include Inheritance (Mothers Milk Books, 2017); a duet with another poet, Katy Wareham Morris, this explores 19th-century experience of motherhood, contrasted with a 21st-century mother's voice. Inheritance won Best Collaborative Work at the 2018 Saboteur Awards. A poetic memoir, How to Wear Grunge, was published by The Knives, Forks and Spoons Press in 2018 and was shortlisted for best pamphlet at the Saboteur Awards 2019. An experimental pamphlet, Viola the Virgin Queen, is published by Knives, Forks and Spoons Press. Stacey is currently writing an imagined memoir in poetry of the tarot artist Pamela Colman Smith, as part of her PhD study. Her website is here.


About I, Ursula

By Ruth Stacey

My second poetry collection focuses on muses and discusses various aspects of the artist / muse relationship. Muses are often used as a projection for the artist's personal feelings, making a muse something that becomes idealised and objectified. How does the muse feel about this, and how do they strive for their own artistic expression? There are varying perspectives in the book; some poems embody and voice famous muses like Lizzie Siddal, Jane Morris or Iseult Gonne. Other poems direct the gaze at the poet’s muses becomes poetic memoir. The relationship between artist and muse is often romanticised and sensual; it can project a strength on to the muse to buttress against the existential dread and anxiety felt in the artist. This becomes an uneven relationship of unreliable narratives. I explored many poetic forms as a way of expressing these anxieties and desires. The various expressions of haunting and themes in the work, that appeared in the many redrafts and creative process, include inhabiting rural landscapes, animal shapeshifting, mental illness, inheritances, folklore, witchcraft and fears centred around mothering children.

Here are two poems from the collection:


Jeanne Hébuterne

I paint quickly, staring into a mirror propped
against new canvases. 

Modi sketches me; my neck slicks into a snake. 
Brown eyes tender in his version of my face.

Peach and pink oil paint on my skin: 
painted becomes my skin. 

My brush echoes the blue of my robes
in my cheekbones.

Auburn hair held back by a circlet of fabric 
transforms into a headdress. 

Queen-fierce expression stares out, 
reflected from my mirror into portrait. 

He lowers his sketch of me to note 
I capture my soul more accurately than he.


Averse Muse 

If you don't want 
poems written about 
you, then

do not make me fall in love with you
by seducing me softly until the honey
suckles. 

You should flee female poets; their call 
will transform you into a buck 
leaping to escape the word dogs. 

This is solid advice; it is true. 
Beware, your brown eyes will turn bitter – 
I am not just this season, not your bit of fun 

because I will write poems that will petrify 
your royal jelly into wax; I will 
describe the growl that you make as you come