Monday, 29 October 2018 at 16:52
That time of year again. The clocks have just gone back and the shops are full of Hallowe'en stuff. Here's a poem I wrote many years ago when I lived on the edge of Snowdonia and which appeared in Trans (The Collective Press, Wales, 2005). I've also added it to the relevant collection page.
All last week, the same old joke
cracked that face up. He swung for us,
the burning Bogey, this pumpkin bloke.
Hacked out chops, no arty fuss,
these little triangles for nostrils, eyes
weren’t meant to last or gather dust.
Set light, the kids strung him up high,
lynched him briefly from a rafter.
Little priests, they swung him like a censer;
the smell of burning wax wafting
up as air hissed through his sawn-off crown,
turned gallows grin to hollow laughter.
All Hallows, we cut him down.
Three nights he glowered in the dark,
then guttered, more malcontent than clown.
Now, suddenly, that gourd’s gobsmacked.
The bite that was incised in light’s
a gurning mouthful of gummy black.
That hackneyed grin hacksawed in white,
the one that made light of death’s
now toothless, gormless by Bonfire Night.
The candle inside’s dead, unlit,
but a visual pun still takes the pith
and disses us with living soot.
At first, I’d thought the kids
had blacked it in, felt-tipped.
Tipped up, inside’s a weird skid-lid,
foam-cushioned right up to the lip,
black padding where the casing’s holed.
But then the night sky seeps
through an opened fontanelle,
and you’re staring through a brain-pan
chinked with stars, a trepanned skull:
the nightlight waxed into a tinny moon;
or a metal plate countersunk in bone,
but inside out and upside down.
All perspective’s suspect. In Holbein,
the anamorphic does the trick,
a tangent turns formlessness to omen.
The Ambassadors’ world is fixed,
measured, ordered by degrees:
Against these clear geometries,
the foreground’s strangely deformed, defaced
- soft and shapeless as a new disease?
or thin and hard, reflective as a blade?
What’s smuggled in’s your skull, of course:
(left-field) revealed obliquely in an aside.
... And in Acherontia atropos
you can read your future, make a book.
A flutter on this Death’s Head Moth
shows you how the odds are stacked:
an old movie of an ageless face
flickered through short-winged days.
This moth cannot know what’s on its back.
The sun has never seen its shadow.
Yours is everywhere you look.
Staring through this dark halo,
this tonsured hole in the head, to see
a Möbius pumpkin full of hollow,
some Zen monk’s memento mori,
or merely the fungus that has rimed
these lidless eyes, this lipless smile
with kohl. There’s still a mise-en-abîme
of further skins beneath the skull.
This close, the spores begin to seem
like droplets of commas, dots, ink.
Now powdered anagrams dismember
rictus, smirk, reek and stink.
Outside the season’s ash and embers.
Elsewhere, fruity gourds - watermelons
are sliced into lippy smiles. November.
On the Day of the Dead, in sun,
I got a sugary skinhead grin,
a skull with my name candied on.
These aren’t my kids. In another life,
words end with ‘ohs’ and ‘ahs’: Mexican
names sugared on by a dark-skinned wife.
What’s dead sometimes was never born,
or a belly’s swollen by another man.
Short days, dark nights, mud, ice, rain
- this wasn’t part of any plan.
These aren’t my kids, but without them,
how would I recognize this woman?
Tomorrow, somehow I know, the skin
will blister into tears - tiny, red.
Passing the piano to the bin,
this ex-hardcase, pithy kinsman, blokish pumpkin,
will give, then break - I feel it already-
mush up to my knuckles, as my thumb sinks in.
Prospect Gallery Exhibition Reopens
Friday, 7 September 2018 at 14:21
The Prospect Gallery has reopened after the summer break, featuring more work from Hull College Access courses, including the Professional Practice strand I've been a part of for the last for or five years. The works in the exhibition will change over the autumn; at the moment four of my large cityscape paintings are on display. All of my work in the gallery is for sale, as are most of the other pieces.
Normal opening times Tues, Wed, Thursday 10am -4.30. The gallery is situated on the front of the Prospect Shopping Centre, 78 Prospect Street, Hull HU2 8PW
Death of a Poet
Friday, 17 August 2018 at 20:45
I've added this, the last poem from A Ned Kelly Hymnal, to the Vandemonian pages.
It was odd: I'd seen this painting often in Liverpool. I think it was probably first when I was an art student there. Later, after coming back from Australia and writing my Ned Kelly sequence, I came across it again. Is Ned really an Orpheus figure? Or is this just some critic's misunderstanding?
Sidney Nolan’s “Death of a Poet”, Walker Art Gallery, Liverpool.
Death of a Poet was what they called it:
head hung in a branch; roughed-up paint;
wristy little vortices where rag
scrubbed board, twisted bark
right through flat mid-blue.
Bush. Heat-struck head hung
against a cloudless dumb forever.
Not hard to see why
(a sniff of lemon leaves, a fierce Greek sky?)
the municipal Victorian neo-classical Walker
saw Orpheus. No lyre. Alternative ending:
his ripped silence after frenzied stalkers
had torn him limb from limb.
Forget downriver. There’s no water;
here’s what became of another him:
head tossed sky-high, caught in trees.
But what we’ve really got here’s dead Ned’s head.
So odd to find, in Liverpool,
his face for once — at last his naked skin.
Yet though he’s out his box, escaped his tin,
and all around the bush is blasted through
to ripolin blue enamel skies
the one thing you can’t see here is his eyes.
Tight shut. Not really him at all.
Death-mask or bust. Kicked the bucket.
Right now he’s just something in the trees,
round as a gourd, shiny on top,
bald as baked clay, a terracotta pot.
Or one that’s bloomed, blown, grown scratchy dry;
breeze-rustled beard ready to fall to scrub,
dead-headed by some passer-by.
Ned Kelly rides again!
Friday, 17 August 2018 at 19:32
As I mentioned in the last post, I'll be adding material from earlier books to the portfolios over the next few weeks. I've just added the sequence on the death of Ned Kelly to the portfolio pages featuring Vandemonian (Arc Publications, 2013).
The sequence also appeared in A Ned Kelly Hymnal which was published by David Kennedy as an illustrated chapbook (A Paper Special Edition from The Paper / Cherry On the Top Press in 2008).
David Kennedy died last year. He was a colleague of mine at both Sheffield and Hull Universities and a friend. We collaborated on several Humber Writer anthologies.
David, as well as being an important poet and critic, was also good company, kind and thoughtful. A small example: he organised a launch in Sheffield for my collection Trans; when delays with the publication seemed likely, he quickly put together a sample pamphlet so I'd have something to show at the launch.
He is, and will be, much missed.
Looking Back Down the Road
Thursday, 16 August 2018 at 17:16
Working on a long poem using material from my Kyrgizstan visit and putting together a collection of translations, versions and perversions from French has meant there's not been much time to add to the blog over the last few weeks. In order to keep up a fairly regular flow of posts, and add material to the website, I thought it might be a good idea to put up older poems. This variation on two Rimbaud sonnets seems an appropriate place to start glancing back. I'll be adding poems to the portfolio pages over the next couple of weeks, but I'll also post some of them on the blog. For more versions and variations, please see the Translations page, accessible via Poetry or Other Work.
Looking Back Down the Road
loosely after Rimbaud's "Ma Bohème" and "Au Cabaret-Vert".
1. Taking Off
Those days, I'd split without a second's thought. Hit the road.
Just take off. At seventeen, I'd tramp for miles, hitch a ride
no place special. Leather jacket like a scarred second hide.
Signposts for sonnets, truckers' long-load tales for odes.
Service stations, greasy spoons, thumbing cars, cars, cars.
Wind finding new holes in the knees and arse of my strides.
Blacktop, humming rubber, Autobahn-piste-strada.
Crashed out dead in graveyards, dossing under skidding stars.
Sat at the roadside, under creaking trees, the huge race
of clouds. September nights, dew sparkling my face.
Swigging lager from a stolen can: clean, cold, sharp,
conjuring up visions from shadows. Hidden in secret places,
I'd twist feet up close to my heart, pluck the laces
of my wounded boots, entire body tuned to (canned music) - Harp.
2. At The Green Café, 5p.m.
A full week on back roads, dusty mountain tracks.
Old Chinese canvas shoes were shagged-out shreds.
I hobbled into this one-camel-town, back
of beyond, saw the green sign, smelled fresh baked bread.
Splashed face at the pipe, dragged fingers through hair.
Inside, this girl looked up - big tits - cracked me a smile;
flicked a rag over the green oil cloth, dusted off a chair.
I stretched my legs out, took in the shiny painted tiles.
She looked good around the eyes, not shy at any rate.
Fetched me slabs of bread, butter, thick folds
of home-smoked ham on a brightly-coloured plate.
Pink and white, delicious, garlicky. For something cold,
she foamed up this huge mug. Getting too late
for the border, a quirky ray of sun turning beer to gold.
Monday, 2 July 2018 at 18:09
Well, it seems the Professional Practice, along with all the other Hull College access course, will be moving again. We've been in Hull High Street with the river just outside for the last two years, since we moved from the much-loved old art school premises in Park Street. Now we may move into the main Hull College building... let's see. I loved the space here - not immediately, after Park Street, but the location was great and it took me a while to find my corner. Here is my space, abutting the great rock painter Phil Entwistle's bit.
Time now to collect our stuff and move.
Hand Made End-of-Year Exhibition Prospect Gallery
Monday, 2 July 2018 at 17:43
I was away for the launch of our end-of-the year exhibition at the Prospect Gallery, Hull at the end of June. There is some continuity with the previous exhibition, but the works exhibited have mostly changed since we featured Sandra Holle's exhibition a few weeks back. My Tidal Barrier and cityscape paintings are gone, replaced by this work (possibly still in progress) - the Energy Works construction site at Wincolmlee.
I think I've probably said all I want to say in terms of Hull cityscapes (but who knows when a project is really done?) and I think I want to book-end it with some ground-level construction scenes, maybe to echo, in a messier, more down-on-the-site way the construction of the Hull University medical building I did from my office, maybe also to allude to the demolition of the Clarence Flour Mills which happened as I was painting them.
Anyway, I'm still not sure this is finished, but, when I came back from Kyrgizstan I found Andy Fairbank had taken it from the easel and put it in the exhibition. If Andy says it's finished, then that's good enough for me.
Hand Made will continue for the next couple of weeks at the Prospect Gallery, Prospect Centre, Hull.