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Wednesday, 25 November 2020 at 14:11

No Text

The ship is the Admiral Togo, launched from Beverley.

As part of the recent revisiting of poems here's "A Champagne Cork".

A very different version appeared in Slipway (2013).

A Champagne Cork
Over 1,300 ships, mainly trawlers, tugs and minesweepers, were built in Beverley by Cook, Welton and Gemmel between 1901 and 1963. The vessels had to be launched sideways because the River Hull is so narrow here.
It were a good show, a launch.”

His champagne cork comes with old photographs:
here, the town is up for a christening-party
where the shipyard echoes arch and nave, and churchy
buttresses fly from blueprint to rivetted ribs
to the last few spars and stays that corset the ship.

All Sunday best: beneath the slipway slats,
frocks and feathers. “Back then, we all wore hats.”
Daughters, mothers whose babies skippered the bridges
of prams on bobbing high chassis seas, cheeks tweaked
by whiskery uncles flushed with hip-flask whisky.

Snug in its little wooden box, this cork
(he presented its twin to the owner’s wife)
recalls the sleek green bomb cradled in straw.
First job: to mitre these joints; then tasked to score
the glass, ensure the bottle smashed on cue.

The photographer ducked inside black cloth. Flash!
– to catch it all as chocks were sledged out clear
and light rhymed back from the bottle’s brilliant smash.
You can almost see that crowd’s huge cheer
still hanging in the magnesium-bright air.

A greased creak as tons begin to edge.
All that hammered noise and work now eases:
foam-born, slides sideways over wood and tallow.
Lolls, lurches. Booms. Heaves a wave to throw
blunt weight around. Wades in, bullying shallows.

The river recoils, shivers back over shore.
Sky whitens. The crowd’s a stumbling blur.
That side is screams and shouts. This side’s a roar.
Girls clutch at skirts, raise hems to run or squeal:
eels slither through the grass, squirm at their heels.

Back-wash. The hull is rocked as displaced
volumes shoulder back, the weighty chug
slows to a lap; waltzing into a sort of grace,
she settles to a broad-beamed dignity
– “Long gone... They shut up shop in ’63.”

Outside, the day itself now sheds some dark
on those lively long-dead celebrants, their work.
Traffic at the lights for the single-track bridge;
before the Saturday big-shop Tesco trip,
just here, the dump, the bottle bank, the skips.

Below, the river: a duck or two, a swan;
styrofoam crumbs, a freshly-painted narrowboat;
a rusty hull, skewed into a bed of reeds;
a plastic medusa ghosting the algal green,
bagged rainbows smudged around an oily skein.


Written in Light

Thursday, 12 November 2020 at 17:48

No Text

Here's a sequence based on some old photographs of Beverley. An earlier version (quite different from the poems here) appeared in Slipway (Wordquake, 2013) a Humber Writers' collaborative anthology commissioned for the Beverley Literature Festival, and for which I also made a short film.

Written in Light


They disappear so slowly, but they go,
legs armed, heavy in worsted, tweed: big bolts
of cloth that flap about these bony boys.

Not doffed, but dropped: flat caps; discarded boots;
the faster lads in shirtsleeves – their oiled quiffs shine
out of the dark – while, breaking lock-step, junior clerks

clock off or get their cards. They’ve drawn a line,
a vein, under the double-entry ledger, its stark
negotiations of page, ruled columns of black on white,

and slowly rush to each now certain future,
unsleeping fast into the fleet and uncaught bright.
These young – already at their fleetingest – attain

the transparency of speed… escape
to the velocity of light.


Who are these women behind hard stares and pinnies,
scrubbing and squinnying from their whitened steps?
Do they outface their tight-laced betters? (That halo of breath

– the widow at her window’s lacy nets?)
Or is it against the cracked and naked panes
of the barefaced poor their faces are really set?

An aproned line outstares the world, upright and straight
outside the imperially-measured dry-goods store:
stiff collars, ties still peeking above those oblong whites

– moustachioed cadavers stacked in their winding sheets,
or men, wound tight as chrysalises once,
now almost blooming from the strings of their tight trade?

We turn the page, peer through each window that wore
its own boiled-white and starchy pinafore.


They pose: high collars, scrubbed, boys full of lives
still waiting to come in from the huge outside
(the chauffeur and Bugatti idling on the drive).

Or these young men intent on their place in history,
the one as yet unwritten, the one they’d write;
that background man with his air of vague mystery.

Pavilions of confident chaps – striped blazers, straw boaters;
these pretty girls – champagne, strawberries and floaty
dresses – now waving goodbye from expensive motors.

Their eyes are all lit with ancient alternatives,
the unheard chronicles to elsewhere, elsewhen. Who knew
– not these, embarking on their historic future lives –

what lay in store? What later – already even – might have led
to how gods as yet unborn would judge these unknown dead?


The happy event: floral hats like cake-stands;
the glint of trombone, trumpet, the tubby tuba
– you can almost hear the brass band’s oompah-pah –

the frothy ’taches, the marquee’s foaming pints.
The heads thrown back to aim a laugh at the cloudless sky,
so happy and huge you almost hear it being snapped.

Meanwhile the ragamuffins scarper from the bobby.
Can you hear the hobnails clacking cobbles,
taunts hanging in the echoing alley? Smudge-faced girls

squealing in grubby smocks, their curls in cables?
Far harder to hear these umbrellaed gatherings of crow
-black coats which fall to skirt their booted ankles.

Can’t read their widowed faces. Tight-lipped or veiled:
darknesses balanced on isosceles triangles.


Bishops, Vice-Chancellors, Lord Mayors, Privy Councillors,
snug with the certainty of fobs and gold watches,
oil-painted into morocco-bound gilt-edged corners,
warming their robes and chains of high office.

Or barrel-chested by awaiting carriages;
posed on the lawn, sealing the good marriage,
the beribboned children are already pale and fading,
beside the solid house that is no more.

The servants fled and the mansions humbled.
The gables gone and the chimneys tumbled.

The pediments and architraves,
cornices and swaggering stone, cut down to size;
the steeples, and all that rose high razed;
towers sinking into the ground like grave.


The proliferating signage of eight-till-late:
forget the bank’s brass-plated earnest door.
It’s all Wetherspoon’s, Oxfam, pound-shop pop-up, nail-bar,
Barnardo’s, Polsky Sklep, convenience store.

The Workhouse has been put to idleness;
Business has parked itself just out of town,
the library’s in the low-rise leisure centre
where work’s the sweaty penance paid for pleasure.

Those who settled long ago are gone,
they’ve left some standing, mainly fallen, stones,
but mostly it’s just the barely decipherable mound:

earth’s belly, oddly swollen with gods and bones.
With nothing more to live up to, they’ve finally found
their level. It suits them down to the ground.



Monday, 9 November 2020 at 16:08

Poison-Oak, California

Here's a little sonnet trilogy to round off the Californian poems from Djerassi.

Poison-Ivy is well-known, and there's a lot of it over on the east coast. Less well-known are Poison-Sumac and Poison-Oak. There was a fair amount of this about, and something I was always aware of on my walks in Djerassi.


Urushiol is an oily organic allergen present in plants of the Toxicodendron family
such as poison-oak, poison-ivy and poison-sumac. The name derives from the
urushi, an extremely hard lacquer made from the sap of Toxicodendron

A health warning comes with every Eden.
Though not much else is shared by wilderness,
rural track and quiet suburban garden,

there are some things in common nonetheless.
You’ve poked around out back, disturbed a snake
maybe. More likely the danger in the grass

isn’t a serpent but a plant. It’s Biblical,
of course, but though the name suggests a tree
– poison-ivy, sumac, or, round here, oak –

forget the fruit. The knowledge that you need
right now’s the low-down on that plant. Folk
wisdom counts the leaves: “If there be three,

then let it be.” The jingle is no joke.
Save your skin: to fear of God, add Poison-Oak.


Three-leafed, slick with persistent oil,
this plant looks mild but it’s possessed
by the fiery spirit of Urushiol.

Whose slight unfelt caress is soon a restless
itch. Gets under your skin, boils over flesh;
plays hell, leaves his perverse lover’s rash.

Urushiol, could be some cast-out Old Testament
fiend or unworshipped, bitter, so-sore god:
blisterer, bringer of tetter, demon dementor,

heartless skin-raker, bland-seeming three-leafed sod.
Unholy triad of oak, sumac and ivy:
this Divil’s shamrock’s the very devil to rid;

this harvest of rods, this great three-personed malignity,
fifth-column uneradicated from sea to glittering sea.


Animals are immune, but you can get caught
from a blanket, garden tool, a brush with a cat,
the sole of your shoe, a touch on your jeans, the coat

hung up over winter, a dead plant fuming on the fire.
Genius loci, Zeitgeist of what time you have left here.
Exorcise with spirits before he creeps under your skin!

Stop! No devilry, just an oily organic allergen.
More wonderfully strange how ancients learned to tap
and tame, refine by crafty flame its caustic sap,

transform it to a high hard gloss: japanned.
What alchemy of the word could rival this?
Turn itch to such durable art; rework pain

to frame a blessing from a lash, a curse?
Think now… just how to polish poison into verse


Sunday, 8 November 2020 at 11:43

Djerrassi Orpheus Coyote

Here is another photo of one of the figures from the Orpheus Coyote sculpture at Djerrassi, and a couple more poems I wrote during my stay there.

I'd go for long walks very early in the morning, before the mist had burned off, and often had the sense of being watched - coyotes, maybe, in the bush, though more often than not it would be a deer, or some smaller racoon-like animal.

Later, sitting on the verandah, there were often hummingbirds. I'd never previously thought of hummingbords as aggressive, but these Californian ones could be very territorial and sometimes would hover up close to your face. Their beaks are rather long and sharp for getting into flowers, and the overall impression was rather like a huge angry insect with this syringe-lke beak attached to whirring wings.


They rattle brush, startle up – birds flap
and thrum, spiral to flock above the track.
Unsure, you stop, unshoulder backpack,
dig out the hand-drawn map to check

just where is here. Squint. Drip sweat.
The day is loud, urgent with insectivity.
It weaves its gauze, hums through heat, your head,
networks all but distant calls, odd throaty crawks.

Behind this noise, this light, a sense of something
strangely else. Would come as no surprise to hear
the day punctuated by the crack of stick or gun,
or, looking up, to find some sudden tall or longish thing

appraising your meek trespass into being.
Something bright, yet dark with too much sun.


You hear it first, that buzzy whir,
then it’s hanging inches from your face,
wings mechanically a-blur
to keep that plump fuzzy little body

levitated on whisked gravity,
like an insect, or an angel just hanging there,
pleased with its own smart levity,
for some metaphysical joke.

Or some darker syringe-beaked familiar,
getting right into your face,
asking just what it is you think
you’re doing in this place.

Orpheus Coyote

Sunday, 18 October 2020 at 18:09

Orpheus Coyote

Here's a poem I wrote when I had a residence at the Djerassi Ranch in California. The ranch is up in the Santa Cruz mountains. I spent a lot of time walking there, often along the extensive scultpture trail. A photo I took of the sculpture of Orpheus Coyote was used for the cover of my collection Pilgrim Tongues. I spent a lot of time, especially at dawn and dusk, walking along the scupture trail. Occasionally, I thought I caught a glimpse of a coyote disappearing into brush. Some nights you could hear their howls.

Orpheus Coyote

Orpheus Coyote and Other Pieces (1999), wooden sculpture by William King on the sculpture trail, Djerassi Ranch, Woodvine, California.

Coyote is following two sisters on the road and is in love with both of them. When they come to the crossroads, one goes east, the other west. Coyote looks both ways, then takes his lance and throws it high. When it comes down it splits him in two and he goes both ways at once. Kwakiutl myth.

                 There’s something archaic, vaguely Greek,
                  like spirits of each woodland place,
                  in how these sculptures mark this track.

                  Old country altars open to the wind:
                  a wayside shrine as the path slips down
                  to stippled shade, the trout-brown creek.

                  Then out in sun, and who’d have guessed
                  what spindles darkly above scrub, mezquite
                  in this amphitheatre of swaying grass?

Orpheus as Coyote? I liked the thought
of the bard metamorphosed into wily beast
– or had that trickster shape-shifted into poet?

Suddenly, up on his hind legs, that Coyote’s
grabbed some kind of pipe, got it in his paws
and he’s blowing it side-on like a flute.

No banjo, uke, guitar. With these claws?
Coyote can’t hold down those fiddly strings.
Best leave the lyric stuff to some other Orpheus.

Anyway, who wants to hear that mongrel sing?
We’ve all heard his one and only – truly awful – song.
Let him blow. That way he can’t even howl along.

He’s all tall lichened wood, half-way to Pan.
He could be a spirit of the savage places:
satyr, faun, or a wild green man.

And these other critters conjured by that shifty Ace?
Low-down lesser forms that lack his verve,
his sense of the absurd, his cheeky cynic grace?

What other roles are played out here? What beasts?
Bobcat? Deer? Mountain lion? Mere bit-part players,
and the acting’s, well, a little wooden for my taste.

Then, moving round and off the track, you notice
that there is Orpheus with his trade-mark lyre:
a pair of wooden horns strung with rusty wire.

But just who is fronting this metamorphic band?
Is Orpheus conjuring up Coyote? Like he did
the other beasts? Or is it the other way round?

Now, I think I see how these two got twinned.
They’ve both been down that road below – for love
fooled Death. Just one escaped. That poet got binned,

could only go back to his boys in the dark
and the jealous maenads ripping him apart.
If it’s all just a game, the champion’s the guy who plays

the field, both ends against the middle.
You do what you do. No really going back.
But, tale tells how old Coyote’s at a fork in the track:

looks this way, that, then takes both ways at once.
Keep going! Keep going, Poet-Coyote!
Take both roads – Go, Peyote!

Be yourself and split.
Go! Just never look back

Royal Academy Exhibition 2020

Tuesday, 22 September 2020 at 17:57

Anlaby Road, Hull

My painting of Anlaby Road, from the Hull Cityscapes sequence will be in this year's Royal Academy exhibition.Normally it's the Summer Show, and a great event. This year, as with so many things, Covid has meant a delay and the usual precautions.

The exhibition will now run from 6 October to 3 January 2021.

More details on the Royal Academy website: here

Anlaby Road, Hull, oil on canvas 90 x 121 cm.

(16 Oct. The painting has now been sold.)

The view is from one of the top floors of a high-rise block of flats on the Thornton Estate overlooking Anlaby Road, Hull. The flat belonged to a woman in her nineties, who liked to tell stories of the strange and often outrageous scenes she had witnessed from her eyrie above the often chaotic streets. As with many areas at the back of train stations, there is a definite sense of being on the wrong side of the tracks. But the city changes abruptly from block to block, and the face the city likes to show, with its municipal buildings, department stores and office blocks, is just a little further down the the road.

I started this painting in the summer, but had various problems with how to deal with the spaces to either side of the main road. I abandoned it for a few months and came back to it over Christmas, when I sharpened the edge of the road on the right to a sort of cliff edge, and added the odd bus and car. Though it was now winter, I decided to keep the bright summer light, which perhaps highlights of the urban messiness, or maybe adds a note of cheery, if realistic, optimism. The last touch was the celebratory glass of Stella on the sill.

Below the window on the right is the burned-out shell of the New York Night Club, with Paragon Railway Station car park on the left. I liked the mish-mash of architectural styles, from the mock-Moorish domes to office blocks, from painted bay-windows to dilapidated backs, from scaffolding to overgrown gardens.

Poetry Archive Now / YouTube: Films of "Loop"

Sunday, 20 September 2020 at 14:47

Tasmanian Tiger

A YouTube film of me reading my poem "Loop" about the last Tasmanian Tiger in captivity, is available on the Poetry Archive Now: Wordview 2020. YouTube doesn't appear to let me link directly to the film, but the search-term "Cliff Forshaw Loop" on YouTube will take you to it and also another earlier, short, more professionally-produced, film of me reading "Loop" intercut with the footage of the loop of film itself:

It comes from a sequence in my collection Vandemonian (Arc,2013) which also appeared in the chapbook Tiger (Happenstance, 2011). Several other poems from that sequence feature on the Vandemonian portfolio page, There you'll also find links to the Arc website featuring Vandemonian as well as links to the earlier film, and an Australian Broadcasting Corporation radio programme about the Tasmanian Tiger to which I contributed. All that is here:

The poem was a Guardian Poem-of-the-Week, chosen by Carol Rumens, and appeared in her anthology Smart Devices (Carcanet, 2019). To read Carol's commentary, see here.


Here's the poem:


(62 seconds of the extinct Thylacine or Tasmanian Tiger on film.)

Within the box, it growls, it twists,
scowls through its repertoire of tricks,
ignores the camera — or gurns up close, turns
again, to flop, to gnaw that paw-trapped bone.

It paces out its trap of light; one hundred reps
while hindquarters zither bars of sun;
claws cage’s mesh, hangs stretched
as if to take the measure of itself.

You saw. You see. And what we’ve got is what was shot:
short clips, fragments caught and stitched
together in a loop of black and white.

Nine lives? Not quite. It’s down. It’s out.
It’s on its feet and born again. Like a repetition
compulsion, like… like reincarnated light.

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