I feel that I have known this month’s poet for many years. But, I don’t think we have ever met. Like me, Matthew Paul has been a participant on The Poetry Business Writing School. We both had work published in an excellent haiku journal. I very much enjoy his blog posts and am pleased that I can introduce you to his work: grounded in actual place and rich in vivid detail.

Matthew was born in New Malden, Surrey, in 1966, has worked for 30 years as an education officer for local authorities in south-west London, and lives in Thames Ditton. Matthew’s first collection, The Evening Entertainment, was published by Eyewear Publishing in 2017.

He is also the author of two collections of haiku – The Regulars (2006) and The Lammas Lands (2015) – and co-writer/editor (with John Barlow) of Wing Beats: British Birds in Haiku (2008), all published by Snapshot Press. He co-edited Presence haiku journal, and has contributed to the Guardian’s ‘Country Diary’ column.

 
THE TOXTON TORCHERS

Still their identities are secret. Let’s call them Gary and Glyn,
names which are popular then, at the Sixties’ fag-end.
This nit-locked pair of toe-rags, seeking alms box and plate,
enter St Joe’s via its sacristy, find nothing of value
and burn down the sanctuary like proper East End heavies.

They’re not discerning: any place of worship will do-
in the next few weeks, Our Lady Star of the Sea, St Anne’s,
the Kingdom Hall and the new St Margaret’s all go up in flames.
It’s when they smash collection boxes in All Souls that it ends:
old Reverend Carew and his nimble curate get straight on the blower
to the Law, who tip up in Black Marias at Z-Cars speed.

Gary blames it all on gormless Glyn. Brought before the Bench,
their eyes light up like matches as they detail every deed:
how in the new church they hadn’t the heart to torch the tapestries
as so much effort had been put into them, most by Gary’s nan.

 
THE KITCHEN GARDEN

On Capability Brown’s last visit
to this well-temperèd chalkland estate,
he plumped for action instead of advice:
training espaliers of local pears,

which would otherwise have become extinct,
against ev’ry venerable wall of brick—
‘for market opportunities’, he said,
and focused eyes on an artichoke head

whose outer bracts formed interlaced patterns
around the heart’s delirious embrace,
aubergine-veined chroma of grey–jade green.
He claimed it resembled ‘a scarecrow’s brain’.

Unaccountably, he bricked up the arch,
to dead-end our last remaining path;
so now unscalable walls enclose us,
in God’s own country’s Hortus conclusus.
(Both from The Evening Entertainment)

 

 

THE NETTLEBED

One September afternoon in August, a water vole
beavers through reeds. I feel the slap
of rain on my father’s umbrella. Mercy
and I compare families: I can’t compete
with her memory of travelling,
as one of five kids, with her moody
half-sister in the boot of their dad’s Datsun Bluebird,
without a torch. The teasel-lined tributary disappears,
reappears. Moorhen chicks stumble off lily pads,
to spatter at pace upstream, their parents
flicking tail feathers and squeaking alarm.

We reach beyond toddler-high nettles and burdock—
seedheads packed like the yellowest sunflowers—
to pluck the last few blackberries, sugaring
from ruby to plum. Mercy says the wide outdoors
keeps her well; that nothing else,
neither booze nor love in any of its myriad forms,
quite does the job. We sit on a log to wait and watch.

The moorhens tiptoe over stepping stones fording
back-water channels, to vanish like mumbled
anecdotes. I shake the rain from the brolly
into the river. Day’s end brightens
as an afterthought muttered out loud; becomes
a crumbling hurrah of loneliness. Dusk
spotlights parakeets sidling, like circus budgies,
along the railing of a tower-block balcony.
We realise, then, our arms are stung to fuck.

(Previously published, in a different form, in Fire.)

 

PLOUGH POND

Tiptoeing through them to the Co-op
would be impossible, this ragtag army

of marsh frogs. They block the alley
from our cul-de-sac’s cul, pairing up

to belly down within the water’s grease:
tansy eyes, camouflage-trousered legs

and lime-striped backs, clamped
in the fumble of joyful amplexus.

(Published in Poetry Salzburg Review 34, summer 2019)