Season of Seas – Reflections in December

I have had the good fortune at the end of this year to have a number of publications follow one on the other. With the single exception of my review of ‘We Saw It All Happen‘ by Julian Bishop, they all seem to have a very oceanic theme (though depending on how the climate crisis develops it might be that my review of Bishop’s collection is more in keeping with this theme than is apparent at first).

First there was the publication by the Causley Trust of my poem ‘As the Sea Gives Up Her Dead‘, building on an older poem responding to the latest small-boats crisis (although one feels that really should be the crisis of our governments’ repeated and disastrous responses to the presence of small boats). Then I was fortunate enough to come third in this year’s Waltham Forest Poetry Competition with the more surreal and playful ‘Rainbow Heart Power-Up for a 90’s Platform Game That Did Not Exist‘ (thank you to Niall O’Sullivan for judging and Paul McGrane and the Forest Poets for facilitating the competition). And then this week Ink Sweat & Tears, along with my review, were good enough to publish my poem ‘I Have Memorised a Series of Statistics About Drowning‘.

Not all of them are necessarily united tonally or structurally beyond the presence of underwater imagery. Some are more overtly political than others; some more playful; some more abstract. In any event, it seems like the end of the year has coalesced around the theme of being in water, whether being at home in it or not, whether being happy to be in it or not. It’s got me thinking about what exactly has prompted all this. I have never suffered from any kind of fear of the water; I am generally quite at home it, and consider myself to be, if not a strong swimmer, then certainly more able in water than I am doing most forms of physical exercise (though even there, not as often as I should). Growing up in Ireland quite close to the sea, and occasionally returning to it, I have always regarded it as a homely element, or certainly as homely to me as the earth and the air – indeed it’s difficult for me to think of it without also thinking of those others. I have a certain comfort with its flow, its ebb, its ability to interpenetrate and mingle and nourish.

When I want to enjoy solitude I tend to do it by imagining myself beneath miles of water, where light ceases to shine and the movement of things far over my head would vanish into irrelevance. It’s not an environment I could be much at home in normally, of course; the closest I could get is by taking a bath and submerging myself (as much as my lungs would allow!). It might be that, by itself, this impulse is worth evaluating. We all feel the need to be alone now and again. But if I am particularly attracted to the idea of being lost in a world of water, why is that? Is it entirely right or healthy that I feel the need to plummet to these depths, away from the surface, and not be found? I am not, after all, a creature native to that element; so should I try to be, even temporarily? It does rather seem to suggest I am on the run from something on the surface, and certainly at times this year I have felt as if I am exactly that, beset by obligations and commitments and worries that will not yield unless I dive into the depths where they cannot follow and be gone for a while.

On 18 December my maternal grandfather, Martin Heneghan, died at the age of 94 after a brief spell of pneumonia. My mother was with him at the end and I am encouraged to know that he went peacefully. I am, in the main, fine. My grandfather lived a rich life to a good old age and will be remembered by me and his other friends and fellows for his generosity and good humour, itself something that called to mind for me the words of Juliet to Romeo when describing her bounty of feeling ‘as boundless as the sea‘:

the more I give to thee
The more I have, for both are infinite
.’

It might be that, as someone prone to seeking solace in the depths, it does me no harm to bed down somewhere on the ocean floor once in a while. But even there I would be reminded of its connection to everything else, of the ways in which it is pulled up into the clouds to fall on and nourish the land, and of how in our interconnected world it cannot escape what washes into it from the world above. If one wishes to have a good rest, as everyone needs from time to time, it is ultimately so that one can return to that world and see that all is well (if only to be assured of an undisturbed sleep next time).

Whatever your element I hope you have the rest you need this holiday, and that we find ourselves ready again to surface in 2024.

The Year of Two Pamphlets: An Update

So, the last time I posted anything on here, it was April 2022. A few things have happened in the intervening year and a half.

Chiefly, in a development that I could not have predicted at all this time last year, I have been lucky enough to bring out not one but two new pamphlets this year, through the completely unforeseen good fortune of attending the right open mic night and entering the right competition…

To Darren Beaney at Back Room Poetry and Janice and Donall Dempsey at VOLE Books – thank you so much for the opportunity to bring Plaque for the Unknown Socialist and No Other Life into the world! You can buy them both directly from me, signed and all, at my dedicated shop-site, http://timkielybooks.bigcartel.com

As for everything else, well… rather than uploading a whole series of separate bits, I think it’s best to just get everything else down here in one go, with a handy list and links for those who are interested! Since April 2022, I have:

A lot of life, suffice it to say, has taken place, evidenced by a great deal of poetry. Or possibly a great deal of poetry has been evidenced by life. At times it feels distinctly difficult to pick the two apart, but I think that is simply to be expected, past a certain point. Poetry is something that, for me at least, emerges from, and then entwines itself back into, my life. It is a constant now, as sure as the breath in my body, a continuous exchange that both sustains me and is sustained by me.

This has not been a year without its hardships. The poetry world as a whole experienced a shattering loss, and Gboyega Odubanjo has left a hole in our community that will take a long time indeed to heal. But I believe more powerfully than I did before that healing is not only possible, but inevitable. I believe it whenever someone lifts a finger to type, or begins to speak, and something brilliant stirs into life.

I look back on the year I have spent swimming in poetry, and while I am proud of what I have achieved and anxious to take my next steps, the mere fact of being a part of this rich ecosystem, this kingdom of weirdos and egotists and magicians and sages, is something that has blessed me down to my bones. On the days when I am demoralised, or bitter, or uninspired, I can put one foot in front of the other and say, as someone with very little faith of any kind left in them, that I believe in poets and poetry. And that can see you into the next day.

At the bottom of this post is a photograph I took at the very end of my second pamphlet launch of this year, at the Betsey Trotwood pub in Farringdon. The pub itself is a gem, a place to which many members of the poetry and wider arts scene in London and beyond can trace lineages of good work, good shows and good times. But for me it was even more important, however little a splash my own work might make in the grand scheme of things, to remember the warmth and human grace of that room, on that night, filled with poetry and the people who love it.

So here’s to more of that. And a bit less time before my next update…

Queer Traditions

How does queer poetry, writing in a world shaped by systemic and ongoing violence against, and denial of human rights for, anyone who isn’t cis and straight, relate to the traditions from which it emerges? As with queer liberation movements themselves, there isn’t a single answer.

At one end of the spectrum, arguably, you have poets like Richard Scott, unapologetic in his sense of belonging, admitting himself boldly to the tradition so that he can knock it down a peg or two (or, as in the poem ‘Public Library, 1988’, open up a Golden Treasury and write ‘COCK’ in the margin). His poem ‘museum’ riffs explicitly on Rilke, as his persona ends up performing fellatio on the time-weathered statute made to stand in for generations of broken queer bodies: ‘people told me / I must change my life / but this is my life’. The title sequence of his collection ‘Soho’ ends with a triumphant paean to the seedier side of queer life in London, in contrast to the staid, bowdlerized histories of a straight capital: ‘baptise me with pigeon-shit, cheap lager, cum… my only weapon against normativity’.

Meanwhile Simon Maddrell, in the crowning poem of his pamphlet ‘Queerfella’, positions his persona as far away from this sound and fury as once could imagine. He is literally out in midwater in Port St Mary Bay, recalling being a young boy hearing his father recite Coleridge, waiting for a shearwater whose wings could ‘skim & break the silence’ and listening to the sensuous, and sexual, ‘licks // about the stern… slaps upon the bow’ of the water itself, all accompanied by ‘that smell, half-rotten, / half-new’. Maddrell, negotiates a different relationship with his poetic traditions; his language and personae together become fluid, soft and vulnerable, both allowing themselves to permeable to the conditions from which they emerge while also themselves shaping and shifting those conditions.

Whatever their respective approaches many queer poets deal frankly with what might be called the ‘costs’ of queerness, however it is expressed. In Scott’s case, the cost has already been paid in years of abuse of various kinds, including in societal homophobia. Maddrell’s cost may be just loving his father, ‘the man who loved the boy who loved men’, even though there has already been, or will be, wounded moments where old prejudice returns. Romeo Oriogun, writing in a Nigerian context, is starker still, evoking visions of queer people burned alive in homophobic attacks and, in poems like ‘The Guilt of Exile’, agonising over how he can write about his first pride march, what his ‘freedom’ even is, when ‘a million people / still walk with the fear of being seen’.

And yet it is often part of the alchemy of such poets that they can work themselves back into the traditions from which they have emerged (sometimes traditions which have worked violently to exclude them) as sources of solace and joy. Oriogun’s collection ‘Sacrament of Bodies’ draws gloriously on Biblical praise language to evoke the queer experience (‘let me sing / the night through your body / like a man learning how to worship God / in a strange land’) as does Jericho Brown in his luminous collections ‘The New Testament’ and ‘The Tradition’. And with Jonathan Kinsman’s ‘Witness’ the site of reclamation is the very bedrock of the Christian tradition: the life and work of the Apostles.

If, as the Dominican theologian Herbert McCabe once argued, it is a ‘depressing’ that ‘no bishops are going to be crucified’ so long as Christian morality is mainly a series of bourgeois anxieties about people’s bedroom habits, then Kinsman is a most potent anti-depressant. His poems are a vivid reconnection with a Jesus who would end up being executed as a despised political prisoner: a Jesus who is anti-capitalist, anti-war and queer to the ends of his fingernails. In this version of the Gospels, Judas betrays his friend and teacher into the hands of the state amid tabloid headlines and internet comments frothing with homophobia: ‘watch jesus christ and judas iscariot lock lips….dya think hes fucked em all?’ John, the ‘Beloved Apostle’, sleeps beside a Jesus whose living body is vividly eroticised (‘it’s so easy to love him like this – fingers and mouth, / voice and vision’) but who also terrifies John with the spectre of what it might mean to really live for him.

Most affectingly for me, Jude is reimagined as a trans woman, dead-named and beaten by assorted representatives of the ‘god hates fags brigade’ before Jesus bathes her in the river. The poem explicitly celebrates not only her bravery, but her body, the site of her selfhood and her suffering: she is ‘the woman / with her flat chest, the limp flesh between her legs… perfection’. In a contemporary UK where best-selling novelists and mainstream newspaper columnists can trade comfortably on poisonous innuendo about trans people being either deluded or else dangerous predators-in-waiting, to have this Jesus wash the wounds of his ‘sister’ and declare ‘i am with you’ would definitely place him on the wrong side of much ‘respectable’ politics. Amen to that.

I do occasionally have reservations about the ways in which Kinsman, Oriogun and others seem to portray queerness as so intimately concerned with suffering, but given the world that we live in now it could scarcely be otherwise. In ‘Witness’ especially, queerness costs because love costs; because really living as your best self costs, and sometimes costs everything. In this, Kinsman connects with the most radical part of the Christian message in a way that, even for an unbeliever like me, touches something truer and more powerful than a thousand consolatory platitudes. It is a vision which I admire intensely, even as I fear I lack the conviction, or courage, to inhabit it fully.

My own queerness, I think, is very much that of the boy in Maddrell’s rowboat, on the open water but still very much within sight of land. For me, this is a liminal place where interesting, sometimes profound things happen, albeit where much of the time is spent bobbing about gently on the surface. But I will also make one final claim for the connection this modest adventurousness can make with the sublime.

At the end of ‘Half-Rotten, Half-New’, Maddrell presents a basking shark – gobbag vooar, literally ‘big mouth’,in Manx Gaelic – breaching the surface briefly and allowing the boy to see ‘life inside a mouth’, before it dives and passes under the boat’s starboard swell, ‘it’s tail-fin dripping triumph’. The basking shark, swimming at the world with its mouth agape, could easily cut a comic figure; I can’t be the only one who caught a touch of nudge-wink sexuality in it, of a distinctly ‘Carry On’ variety. But it also carries the menace of Moby Dick, ‘Ahab’s foe’, and like Maddrell’s persona, watched over by his father and liable to be ‘shot… with his bow’, it is also vulnerable, albeit in a way that is only caught in glimpses.

The basking shark, then, is less of a mascot for Maddrell’s questing, venturesome kind of queerness than it is an avatar for what else lies out there, in the depths, awaiting discovery. It is exactly the chance of meeting with something like this, new and alive and alien and enthralling, that makes for such a rich promise, in queerness as well as in poetry. The costs can be counted later; for now it is time to sail out and explore.

The ‘Dead Darlings Podcast’ interview is now live – Listen Here!

I know it has been a very long time since I last updated this page, for which my apologies, but hopefully this little bit of goodness will be enough to offer some kind of recompense.

Earlier this week I was interviewed by three fantastic members of the London poetry scene – Rebecca Cooney, Laurie Eaves and Hannah Chutzpah – who host the ‘Dead Darlings’ poetry podcast. Over the course of 40-or-so minutes we talked about the lessons I had learned from spoken word, the glories and pitfalls of political poetry and where you draw the line (if anywhere) between page and stage, as well as sharing one of my latest (and filthiest) poems.

I can say that this was one of the most delightful and stimulating exchanges I have had in a long time – it is no exaggeration to say that the muscles in my face were hurting by the time I finished from all the smiling I had been doing.

Listen now on Soundcloud, or wherever you get your podcasts, and if you like what you hear then buy my book, available now from myself, from Indigo Dreams or in person, from me, at the Miller Pub in Southwark on the 24th of November where I will be reading for the Poetry Graduation Party (thanks again to Laurie Eaves for organising)!

Thank you so much to the Dead Darlings for the joy they bring to the scene, and happy listening all!

PEACE

‘Hymn to the Smoke’ now available for pre-order!

For those of you who have been following my adventures since around this time last year, when I announced that my pamphlet ‘Hymn to the Smoke’ was going to be published by Indigo Dreams as a joint winner of their 2020 First Pamphlet Prize… well, we’ve now reached the stage where it all comes together!

Indigo Dreams will be publishing the pamphlet officially from the 14th of May 2021, but those looking to pre-order a copy from the publisher can now do so from their website. Pre-orders are, I can now say, a huge benefit for writers and publishers, so do please get your order in now if you want to support both me and a great indie publisher.

As for what I’ll be doing with my own physical copies once I get a hold of them, watch this space for more announcements. For now, as it’s Friday, I am pulling out a glass or five of beer, gearing up for a night of some companionable D&D, and thanking Ronnie and Dawn at Indigo Dreams, as well as my fellow #indigopoets and everyone else in the community, for helping to build such a thriving community.

They say poetry is having a moment right now. I’m going to enjoy my part in it…

Waiting for Spring

Oxford is supposed to be drab in February.

Pretty much everywhere is supposed to be drab in February, but Oxford actually warns you about it. The student prospectus I was given to read described the weeks around Hilary Term as the ones where the city would least stir your soul; where you would wake up every morning and process through the damp corridors of ancient stone on your way to somewhere or other, and feel no special spark as you did. It would be cold, it would be bleak, and the communal showers would be especially unpleasant of a morning.

Turl Street, on a February morning in 2021, should still feel less dead and less cold than this.

I have not been a student for nearly a decade now. I am back here working as a barrister, on a trial currently taking place at the Combined Court building just south of Christ Church. It’s the first time I have ever been away from home on consecutive nights for a case, and the B&B where I’m staying doesn’t have the facility to cook breakfast. I am currently camped outside the Missing Bean, waiting for a black Americano. Every other place in the street is closed.

It is just after opening, and the door is open so that customers can approach the counter, but come no further. NHS Test-and-Trace QR codes are stuck to the front window, next to the Keep Cups and a few old advertisements.

On the way here I passed what I am sure were trucks still making deliveries to the Covered Market, even though it seems like that is mostly closed too. I know; I checked, making sure that I didn’t have the option of a sweet, greasy cooked breakfast at Brown’s before I came here.

I am outside, in the rain, while my coffee is made. I remember sitting down at a breakfast table. I check my phone – I don’t need to be at work for an hour.

As the proprietor hands me my coffee I pay and wish them “Good luck”. They thank me. In the circumstances it’s not clear how much they might need it.

*

Last night, as I checked in and unpacked my suitcase, I had to remind myself that none of the rituals of being here normally would be available to me this week. No sitting in the pub with a pint after work; no browsing the shelves of local bookshops; no sticking my head round the door of local chapels without pretending to be a worshipper, Test-and-Trace app at the ready. When I went outside to get food that night. I thought how the Deliveroo-cyclists, gliding up and down Cornmarket Street, were now the most visible population of Oxford. Apart from the homeless people.

*

This morning, at the bottom of Turl Street the rain waters wash down the pale façade of All Saints’ Church. Its round-headed windows and classical spires are, the nearby sign tells me, the product of a restoration in the 18th Century, after its tower collapsed. It’s easy to assume, at first, that everything around here has always been there, with no interrupting disaster.

I walk a few minutes down the High Street, further away from the court, and hope that Taylor’s might still be doing takeaway sandwiches. No – they join the other casualties: the Ivy; Ede and Ravenscroft; the Oxford University Press bookshop; all closed, and with no prospect of opening soon.

Yesterday in court my opponent and the other staff had wondered how many of these places would survive to next year.

I make it as far as the University Church of St. Mary the Virgin before I think of turning back. My spirits are lifted, for a moment, by the sight of a fluttering rainbow flag for LGBT+ History Month, but my excitement doesn’t last. It sits over Oriel College, and in a portal facing the street there remains the statue of Cecil Rhodes, over seven months on from when the college authorities all but agreed with protestors that yes, the man who once urged the Cape Parliament to think how thankful we shall all be if “the whites” kept “the natives in their proper place” should probably not have a statue there anymore. A Latin inscription continues to proclaim his ‘generous munificence’ to the High Street.

The ‘Rhodes Must Fall’ campaign had not yet started when I was a student. I often regret missing out on the fun. For now, Rhodes glowers from behind a wire mesh, a rainbow fluttering just over his head.

I turn back to the University Church. When I first came here over a decade ago, prospecting for my future college, it was spring and the front of the church was violent with pink blossom. I can see the buds on the nearby branches packed tight, spear-tips quivering with water droplets.
I imagine what will happen when spring arrives.

*

On my second night in Oxford, I take a walk. Even if nothing else happens, there’s something about putting on my long coat and hat, and finishing it off with a mask, that gives me a kind of thrill after all day spent in rooms of assorted cream colours, feeling the hours grind by.

It still surprises me how much else you can do when you’re still at work, waiting for something important to happen. At some point I began reading scans of superhero comics, and a dream of freedom ran through me. I have always been a fan of the genre.

I open the front door of the hotel and step out – I almost add, to myself, ‘on patrol’.

I don’t make a particularly good masked hero. I pass by a number of doorways filled with sleeping bags, the shapes of various human beings just visible under rolls of fabric. On an impulse, I slip someone a fiver. I don’t understand a single word of his response.

Even without anywhere to be tonight, the walk does me good. In a city that is now mostly, disturbingly quiet, the night at least provides an opportunity for those who are looking to see signs of life. Lit windows shine out onto the streets, from interiors where students, professors and other residents carve out their lives in a safe space. If I pass near enough to some windows I can make out additional glows from screens, as people do what they can to stay connected, to carry on their lives in some other spaces. Occasionally I can see on their TV or laptop, whatever they are watching to stay occupied. Others are typing on keyboards or touch pads. Some hold their devices close while they talk. The just exchange their messages, and between their points of light, I can walk.

Holywell Street has student accommodation on both sides, snaking down behind New College towards Magdalen. It’s a route I got used to taking in a hurry whenever I was coming to or from the English Faculty.

That night, as I walk, it’s full of flags – not just the rainbow flags that have become a more common sight on my travels, but the whole panoply of queer identity: the blue, pink and purple bi-pride flag; the trans-pride flag with its white stripe shining through the night like a smile. There is even, for whatever reason, a Romanian flag hung up near the street’s end. I can understand wanting to be a part of the display. I smile as near the bottom of the street and see someone hauling what looks like an Irish tricolour back into their room.

Meanwhile, at eye level, there are signs in some windows, variations on a theme. ‘Trans Rights Are Human Rights’. ‘You Can’t Take My Trans Pride’. I have seen many like them, and would even expect them, but something about them still lifts a load from my shoulders. I wonder, with the way the signs are arranged, if a parade has not been through here recently. It’s not as if people would need an excuse. Lockdown wouldn’t necessarily be an issue.

I remember being in Trafalgar Square last year; a black-gloved fist in the air; thunder. I remember seeing superheroes.

Occasionally people pass by talking, but mostly I have the streets to myself. I decide to loop down to the High Street and head back. As I look up, over the towers of New College, I can see a band of stars in the black.

*

It takes until the end of the week for the clouds to clear and for me to see the sky in daylight.

As my case goes on, there are fewer opportunities to leave the courtroom and take it all in, even as the evidence draws to a close and the jury retire to deliberate. It takes them a full two days to reach a verdict, much longer than I had expected going in. I know I should be grateful they are taking their time.

When I can, I take myself away and make sure that what I first thought was true is still the case. Again, even when I expect to see them, something still stirs and lifts inside me whenever I do. On my way to court each morning I get my coffee from the Missing Bean, wish the staff “Good luck”, and count the flags as I make my way through the narrow streets. They are more numerous than I remember, fluttering through the rain still dusting the High Street, shining as I pass them: over Oriel; over Queens; over Brasenose; at the crossroads over Cornmarket Street.

Wadham have gone one step further, with a flag incorporating black and trans pride. But it’s not quite that sight that rounds off my trip.

By the end of the week, it’s not raining anymore. I decide to take my walk over lunch, cutting across Christ Church meadow and up past the swollen Cherwell. Its surface is sluggish, but seething, as currents tug within it like muscles.

I used to think that this was a place where I could come and things would always look the same. I would come here to lie on the green banks, forgetting that a world was happening elsewhere. Today, when I look over the cricket fields and the botanical gardens I catch the slightest flash of something else, and I am glad the place no longer seems like this.

Oxford is supposed to be drab in February. But underneath it a city is preparing for the sun, and there are signs of what is waiting. I step onto the High Street north of Magdalen Bridge and feel the last piece click into place. I think about my case and am surer than ever that the jury will do the right thing.

Over the battlements of Magdalen I can see a rainbow flag, underneath a pink and blue sky. A single light glows in the nearest window.

I imagine what will happen when spring arrives.

A New Poem for Tim Wells

It Would Be Him Who Thought Of It

A very familiar looking man
in a smart black suit just got out of a van
marked B&S Richman Funeral Directors.

He doesn’t exactly wink at you
as he passes, on his way to the foyer
of Coutt’s on the Strand, but the turn of his lip
is enough to tell you that, very soon,

he’ll emerge through the doors with somebody
slung over his shoulder, fireman-style.
He’ll stagger to the side panel
and slide it back. There’ll be a moment

where you think you can see the glint of hacksaws
and bin-liners before he barks
just take a seat ‘ere sir!
flings the guy in and slams the door.

He’ll stop for a moment and draw breath –
they get bigger every week, the fuckers…” –
before he whistles and re-mounts the cab.

The driver, a dead spit for Phill Jupitus,
will pop his head out to do one last check.
The Porky Pig bobble-head stuck on the dash
will be the very last thing you see

before they gun the engine and speed
away, discreet as poetry,
with only one baffled secretary
eyeing them as they disappear.

Makes sense: why not make your passion
into your career?

‘Keep staring at it till you sleep’: through 2020 with Roger Robinson

I have spent a lot of time this year with Roger Robinson’s poem ‘A Portable Paradise’. Mainly because it is now up on the Tube and, when I am still required to be out of my home on some bit of legal business, it is a nice thing to read and mull over between stops.

In many ways it’s fitting for the poem to be placed on public transport, and not only because it’s the title poem of the collection that resulted in him being awarded the T.S. Eliot prize this year. Roger Robinson is a poet forever in the act of travelling.

Robinson has always worn his experience as a migrant, shuttling between London and Trinidad, on his sleeve. Memory, specifically of the Caribbean, is a continual source of solace and strength, but also melancholy. The vivid memories of the place, in everything from the smell of rum in Christmas cake to the shellac records evoking the sounds of Carnival, are the primary source of emotional thrust in his 2009 collection, Suckle.

In The Butterfly Hotel, from 2013, he draws perhaps his sharpest contrast between that childhood of colour and light and a Brixton that threatens at times to deaden every impulse until, as he puts it in ‘The Immigrant’s Lament’, ‘he has lost / his need for seasoning. /Grey is no longer / good or bad’. The butterflies of the subsequent poems are symbols of a venturesome spirit, but also of fragility, and a shiver runs through us when they are simply preserved and not able to roam. In ‘On Seeing the Butterfly Collection’, the persona considers the pinned specimens with ‘their splayed wings / telling me that they have flown’ – past tense. These butterflies no longer travel.

Hotels form a backdrop to the action of this poetry, right up the ‘hotel, / hostel or hovel’ in ‘A Portable Paradise’ where Robinson imagines his interlocutor will retreat to when they need to shelter from the world. Yet that same sense of precarity, of disaster lurking not far away and no home being entirely stable, keeps tremoring through even our moments of safety. The paradise which we must keep on our person, (‘concealed… ‘that way they can’t steal it’’), is both apparently essential and in near-constant peril.

*

In the Medieval ‘peregrinus’ tradition (from which we get the English word ‘pilgrim’), the Christian life on Earth is imagined as a constant state of transition, with this life being only a station on the way to some other, more divine kind of life. One is instructed to travel light; to take only the essentials, and not be caught up in the world and its trivialities. Some hermits and monks, purportedly, would practice this to the extent of setting out with no fixed destination in mind, on foot or sometimes in a small single boat, trusting only to Providence for their safe passage.

Whatever Robinson’s own theological proclivities, his poems have no room in themselves for any kind of lasting paradise. It is always something elsewhere, remembered or recovered in snatches, and something whose primary function is ‘to comfort those who’ve been left behind’ (‘The Job of Paradise’). Roger Robinson is a poet who knows that paradise is lost to us, this side of the grave at least, but who has faith that its memory, even viewed in miniature by the light of a desk-lamp, can strengthen us – can ‘comfort’ us.

And indeed, ‘A Portable Paradise’, both the poem and the larger collection, had much in it to comfort me. But I was troubled by the poem’s last line, and the line that ends the book, where we are told to hold on to this image and ‘keep staring at it till you sleep’. Something of what that line suggested about the business of poetry itself bothered me. Was it really the best we could do, as poets, to lull the reader asleep? Robinson has himself been vocal about the intolerable societal conditions that have inspired both his own rage and the rage of generations of activists, subjects which he does not shy from in his poems. So why does it sound like we are being told that the best thing we can expect from our poets, the makers of our portable paradises, is briefly to take the edge off the pain? Can’t we build something better than that? Can’t we demand more of our leaders and our poets?

It was precisely this sense of impotence, and the “woe is me” lamentations to the universe at large, which earned a piercing critique from reviewer Marek Sullivan in Volume 110:3 of the Poetry Review from Autumn of this year. Specifically, the poem ‘Dolls’, which offers a list of matters which the persona could rearrange to stop the Grenfell Tower Fire, presents him with a problem: the poem seems as ready to blame ‘the Daily Mail’s favourite ground zero, “Muhammad’s fridge which exploded”’, as the ‘cladding that burned like dry straw’, in a way which weakens the poem’s overall impact. As Sullivan argues:

Robinson seems to be railing against two adversaries, the racist state and the universe, the second of which encompasses the first and cannot be beaten.

For Sullivan, Robinson’s generalised angst is a dilution of the radical potential in these poems, and an abdication of responsibility on Robinson’s part for not writing work with ‘more … context, more depth of analysis, more consistency and more history’. He wants something which might do justice to the strength of feeling that motivated so much political action this year on behalf of black and brown people in the UK and worldwide.

Sullivan’s anxiety is one that I understand. But his view is, I think, uncharitable. I agree that those final, problematic lines of ‘Dolls’ are among the weakest in the collection, and I agree that some of the more ‘political’ poems seem oddly less impactful than those where Robinson is more attentive to the more insurmountable difficulties of time, displacement and alienation. I can well appreciate the reluctance to embrace what Emmanuel Levinas once called the ‘alibi’ of metaphysics – the need to provide us with some compensation for the fact that, although we are here, the ‘true life’, paradise, is somewhere else.

But while we are here, there are still needs to which we must minister, even if only for this moment, even if they will likely return again. There are works of mercy which may yet be done by poets, and Robinson takes this seriously. These are poems which accept that these stresses will be ‘sustained and daily’. The workaday world with its many petty injustices, its daily and insoluble aches, will always return, and for that reason the job of the poet is never done. As Robinson puts it in ‘On Nurses’, faced with the realities of a random universe where ‘death can creep up on the innocent’, there are nevertheless those who can provide solace, ‘pull spirits back from the brink… like midwives’. He could easily be speaking about poets.

The recurring medical metaphors also help to re-order and redeem a bleak reality. The poem ‘Shandilay Bush’ imagines a bitter medicinal herb, boiled and administered to a fever patient whose life is now ‘hanging by my leaves’. What could have been an intolerable cliché becomes a revived and visceral metaphor, where the harshness of the cure – and maybe the world – still drags the patient back to ‘sweet sweet life’.

Viewed through this lens Robinson’s poetry is bread for the hungry, balm for the bleeding, the heart in a heartless world. It is something we are all in need of right now, in a year that has forced most of us inside and turned our reality on its head. There is plenty of room for systemic critique of the rapacity and short-sightedness that has exacerbated much of our difficulty – as a Green I have been making my fair share of them. But it is just as important to make sure that we can see ourselves through to the next good day; to make sure we can draw on a paradise, even if it seems out of reach.

There is nothing ignoble or easy, then, about a poetry that provides this kind of consolation. There are times when I feel a need for it as deep and as urgent as for food or drink, or for any sense of a bolt-hole in the chaos that characterises much of our world. My life may be very far removed from Robinson’s in a number of respects, but as a graduate coming into my thirties and still renting, clinging on through the ravages of late capitalism, there is still much solace to be found in its account of a peripatetic life, shot through with occasional luminous moments.

*

One of the soundbites on the jacket of A Portable Paradise comes from Charlie Dark, describing Robinson as ‘one of the last true poets’. This would be an alarming thing to consider if it were true, and thank goodness it isn’t; there is proof enough in this year alone thanks to collections from Inua Ellams, Rick Dove and Caleb Femi, all of which have thrilled me to read. I have written before about the experience of reading Antonia Jade King and Gboyega Odubanjo, both poets who have crafted rich mythologies out of belonging to both the African diaspora and modern Britain. Raymond Antrobus, Yomi Sode, Caroline Teague and Nick Makoha all give me the same sense of excitement. Tune in to any random moment of the Black Lit Power Hour, hosted by the effulgent Repeat Beat Poet, and you will be swept away by young talent that is definitively owning being black and British, re-shaping the literary scene as they do.

Robinson himself also features in that show, at the very beginning. Guess which poem he reads?

The final poems of A Portable Paradise, as well as being stirring hymns of praise to healthcare workers, are also pleas for the life of his baby son. It is a rare showing; the remainder of the coming generations are notable by their absence, even as ‘time is running out’ for everyone else, whether for Abdullah in need of a liver transplant (‘Liver’) or for the poet himself as he stands on a beach where ‘the waves consume you where you stand’ (‘Maracas Beach Prayer’). In that final poem, that ‘fresh hope of morning’ described by Robinson hovers on the other side of sleep, just out of reach, beyond the last page.

In his writing life, Robinson has become well known as a mentor and guide to other black British writers, including some of those rising stars just mentioned. He has spent his time admirably, nursing a coming generation of ferocious talent in black British poetry, and a group are now coming into their power who will alter the landscape definitively. But you also get the sense that he isn’t sure that he will be among them. You wonder, reading his poems, if he conceives of his role as transitionally as he seems to view much of his life, in keeping with his sense of being never quite at home. Will it be left to others to stake their claim, after he has gone before and prepared the way?

One of the last poems in the collection, ‘Noah’, imagines the Biblical survivor of the Flood, haunted by the ‘ghostly animalia’ of all those left behind, not saved, as he tends to the routine maintenance of the livestock and ‘contemplates his faith’. The poem shies away from the hoped-for moment of relief, when the flood waters recede and a new generation can populate the earth. For now, the rain keeps pouring down and it is ‘hard, hard to sleep’.

Robinson writes for those still in the boat, anxious for those who could not be saved and dealing with the hard edge of prophecy which looks to a future they may never experience. Speaking as one of those people who might be in the boat with him (one hopes), you appreciate the need for a poetry that will give you some rest while you wait till the morning, the rising sun and a rainbow in the sky.

Spring-Cleaning and Announcement!

Photo by Tyrone Lewis

WHEW! Well, that was a long time coming…

So yeah, you’ve probably noticed that I have spent the last couple of days frantically updating the content on this page after it went quiet back in June 2017.

The reason for this was a bit of really great news that found me earlier this month, when Indigo Dreams Publishing got in touch and told me that I was among the winners of this year’s First Pamphlet Competition!

This Friday the news was announced on the website of the Poetry Society, and while this was a brilliant feeling, they also linked to my WordPress account, which I swiftly realised had not been updated in over 3 years…

Cut to 2 days of frantic recovery later and this WordPress is now up to date with the essays, poems and occasional short-story I managed to knock out over that time. I plan to be more disciplined about using this going forward as a means to share my work.

Starting with the brilliant news that my first pamphlet, ‘Hymn to the Smoke’, will be published by Indigo Dreams next year.

Thank you so much to everyone who has helped, supported and critiqued by work to bring me to this point – I am hugely excited to think where this journey may take me next!

Poetry Over Troubled Waters

I’ve been thinking about water of late. Specifically, about the use of water and water-based metaphors in two poetry pamphlets published last year, and which I have been meaning to record my thoughts about for ages: ‘She Too Is A Sailor’ by Antonia Jade King; and ‘While I Yet Live’ by Gboyega Odubanjo. Why did the images I encountered in both of these poets strike me as deeply as they did, and why do I find myself returning to them now with a particular need and urgency? Apart from the fact that the days are getting longer and hotter, and being able to take a mouthful of clean water is itself becoming more of a luxury by the day.

In Antonia’s case, on re-reading her I realise that the actual use she makes of nautical metaphor is more sparing than I remember. Its most striking use is in the poem that lends a line to the title of the pamphlet, ‘conversations with my mother about love’, where it holds connotations of abandonment, the unknown, of an intimacy turned fearful:

My mum asks me why I politicise love. I tell her that love without politics feels fragile. That I am always fearful of uncharted water, maybe this is because my father is a sailor.

It’s worth noting that ‘conversations’ has also been revised extensively, and reading it alongside another, longer version shows just how much control has been exercised in creating the mood of the pamphlet version, the tone of which hovers, even more pointedly, somewhere between the straightforward and the guarded. On the one hand, the sentences are unadorned, frank, providing straightforward replies to straightforward questions, yet they also shiver with an underlying tension: ‘calm waters and love make me nervous’. In a series of four prose paragraphs, the lines create a space that is, at once, both reflective and suspenseful, both measured and charged, as of a power being held in check. We are on the lookout for a lurking danger just as much as the persona who is checking the horizon when they aren’t ‘fighting a storm’. Love and its promises are at once enticing and repellent, in the same way that the ocean is an attractive force and also the place where ‘I saw my mother drown… with a sailor’.

There is one other significant use of water: in ‘maya and her protest are going furniture shopping’, there is a reference to the poet Maya Angelou as someone whose art provided solace in the face of outrage after the assassination of Malcolm X, allowing her to be ‘a fire extinguisher to a burning town’. The line put me in mind of another poem not in the collection, ‘On Loving a Burning Building’, a poem that is tonally and structurally very reminiscent of ‘conversations with my mother about love’ where once again there is an ambivalence about the sheer intensity and turbulence of relationships: ‘the heat from a burning building can still keep you warm and cook your food if you let it. The trick is to not stand too close to the fire’. One wonders if, in foregrounding water as her element in the title of this pamphlet, Antonia is embracing the symbolic potency of its dousing, cooling properties, its consoling powers in the face of horror, while also allowing its disturbing, oceanic vastness to resonate.

In Gboyega’s case, mentions of water and oceans also carry connotations of a vast, enticing but potentially hostile unknown. In ‘Poem (With Drums)’, imagining an ‘earlier poem’ where ‘i am a boat and you are an ocean’, imagined bodies of water form a parallel with the world of cultural references which are growing steadily in the persona’s attention, sweeping in everything from sitcoms to Skepta’s performances at the BRIT Awards – complete with dipped audio and that notorious caller’s complaint. As the persona remarks, ‘not understanding a prayer is no reason not to say amen’, and water’s religious and sacramental associations are also explored with intoxicating brio. The title of one poem, ‘JOHN 19:28’, refers to the moment when Christ on the Cross calls for water, saying “I thirst”, and in several poems both ecstatic religious experiences and moments of celebratory release are accompanied, vividly, by sweat.

‘Swimming’, the final poem of the collection, explicitly enacts the dangers of venturing into this element without even a boat. As the persona pushes out deeper, the choppy lines of the poem lend a growing desperation to the voice:

‘… there’s water in throat

and there’s water

i stroke and there’s water

we’re drowning…’

The end of the collection, where the water ‘sings’ and the persona keeps up their stroke even while they may still be drowning, is as chilling as it is hopeful. Additionally, what draws the persona into the water, the promise of a ‘new world’, also cannot but carry a sonic reminder of that other New World, the Americas, and the horrifying route taken there through the transatlantic slave trade. Both these pamphlets, Antonia’s containing some sharp explorations of growing up as a mixed-race woman in Devon, are intensely embodied; they emerge from the lived reality of being a person of colour in contemporary Britain, and the quotidian experience of injustice this often involves.

In the tradition of black speculative art and fiction known as ‘Afrofuturism’ water is a rich and weighted symbol. Given its associations with both life and death, as both the element essential to sustaining life and as the resting-place of staggering numbers of black bodies lost to the Middle Passage, water often comes to stand for both the erasure of black history and the emergence of something entirely new. The saxophonist Kamasi Washington evokes these themes vividly in the cover of his 2018 album ‘Heaven and Earth’, where the figure of Washington hovers over a vast body of still water that extends to the horizon, joining with a clear blue sky, his musician’s body serving as the axis between them. In the 2009 Kenyan short film Pumzi the protagonist, Asha, searches for a source of fresh water outside her enclosed, water-scarce society, and so comes to be a locus of hope for a better, more abundant future.

I have no idea to what degree, if any, Gboyega considers his poetry to be ‘Afrofuturist’; Antonia once told me in conversation that she would identify at least partially with such a categorisation. But whatever the conscious aesthetic choices these poets have made, I’m still struck by their use of water, and the way that it keeps drawing me back to both of their pamphlets as these times roll on and I ask of my reading what it can teach me about moving from one crisis to the next. For Antonia, the answer seems to be that we learn to trust those calm waters, and those few human ‘anchors’ who might offer us a chance of being grounded, of belonging and trust. For Gboyega, we are already out in mid-water, maybe even in dire danger, but in the end we keep swimming. For me, both are necessary lessons right now.

This isn’t officially a ‘review’ of either of these books, though I should hope it has been made clear that both of them are brilliant pieces of work and you should go out and buy them immediately. At a time when history increasingly feels like islands of calm between atrocities, when we all feel like we are struggling to keep our heads above water, the need for poets like Antonia and Gboyega is felt all the more keenly. In these collections, as in still pool, we can see reflected storms large and small, griefs both historical and personal, and as much as their depths might unsettle us they are also the things which nourish us. They are water for those who thirst.

‘She Too Is A Sailor’ and ‘While I Yet Live’ are published by Bad Betty Press