Tag Archives: creativity

The Other (Michael Conley)

The Other has been running in Manchester since January 2016. Michael Conley and Eli Regan organise the event where writers are put in pairs to read and perform each other’s work, with plenty of time beforehand to prepare. It is a fascinating idea.

During the pandemic The Other moved online and I took part in a memorable Zoom session where I was paired up with Adam Farrer. The Other is now ‘live’ again. Dates are on Facebook and Twitter. Sessions also raise funds for Manchester Central Foodbank.

It’s a pleasure introducing Michael and a sample of his writing.

Michael Conley is a poet and prose writer from Manchester. His first prose collection, “Flare and Falter” was published by Splice and longlisted for the 2019 Edge Hill Short Story Prize.  His latest work is a poetry pamphlet published by Nine Pens, called “These Are Not My Dreams…”

At The Park, A Grown Man Has Got His Head Caught In The Railings
 
Possibly somebody loves,
or at some point has loved,
this man. But it’s hard to imagine
right now. It’s hard to imagine
that for most of his life
he hasn’t been stuck 
at this ninety-degree angle,
fists flailing, jeans sagging
at the waist. He’s so angry
with the railings, 
with the soft mud under his boots
and especially with the teenagers
who are laughing at him
from the picnic benches.
 
You could empty a whole tub
of vegetable oil onto his neck
and tug him out by his belt loops
but he wouldn’t thank you for it.
And of course you can’t ask him
what he was trying to do
in the first place.
He doesn’t know 
what his pain looks like
from the outside.   

Website: https://ninepens.co.uk/2022-poets/michael-conley

Enxaneta

Credit: Makamuki0 via Pixabay

My thanks to poet Annie Muir for this seasonal poem from her pamphlet New Year’s Eve. Best wishes for your own New Year’s Eve – wherever you are. See you in 2023.

Enxaneta

In Barcelona it is 38 degrees
and a little girl screams with mimicked joy –

she is all eyelashes, all eyes,
all teeth and gums and tongue.

I hate her through the eyes of her big sister:
half a plastic broken heart tied around my neck,

I climb a fence to watch the castellers.
They huddle, arms up as if reaching for a throat,

others climb them like stairs, feet clinging to backs
like tadpoles on their first legs,

it doesn’t stop, more like ants than people
but with muscle and bone and white trousers,

two little girls heading for top,
one takes her place below, the other

is no longer a child but the star
at the top of a Christmas tree,

her arm pointing up is the man on the moon,
a clock striking midnight on New Year’s Eve.

She slides down the legs of her supporters,
relieving the mountains of tension from their shoulders.

Biography

Annie Muir lives in Glasgow. Her debut pamphlet New Year’s Eve was published by Broken Sleep Books. Pre-pandemic she handed out poems on the street outside local libraries, and has a podcast – Time for one Poem – aimed at complete beginners to poetry.
@time41poem

Food Match

Credit: Life-Of-Pix, Pixabay

A Christmas Day poem with my best wishes for the day and with my thanks to Matthew Stewart. In his pamphlet Tasting Notes (Happenstance Press) he pairs poems with notes about the Zaleo wines from Extremadura, a region with several UNESCO heritage sites.

Food Match

It glistens on the wooden stand,
a black trotter pointed upwards
as if offering a hoofprint.
Now cut a slice so thin that steel
is visible below the meat.

Place it across your tongue and wait
for the marbled fat to melt. Sip
un vino tinto. The tannin
grips, hugging the ham — both of them
start, suddenly, to magnify.

Credit: GerardBarcelona, on Pixabay

Biography:

Matthew Stewart works in the Spanish wine trade and lives between Extremadura and West Sussex. His second full collection is due from HappenStance Press in November 2023.

There are a few copies left of Tasting Notes. Contact Matthew direct via social media.

Winter Sun Speaks

I am delighted to feature the poem Winter Sun Speaks by Maggie Reed. We first met on a residential workshop several years ago. The picture of winter sun is also by Maggie.

Winter Sun Speaks

I birth my cry through cloud layers
push my weight low over the southern horizon,
strident, desperate, slanting over the hills
forking through trees, splintering ice.
I blind drivers on the school run.

How I ache for summer skies, to leap and arch
over the earth, spread light, energy and love.

But for now my shriek, my low level beam, insists
my right for the few hours I’m allowed
to crisp up these dark winter days.

Biography:

Maggie Reed lives in the Malvern Hills, Worcestershire, having spent much of her life in Cumbria. Her current collection Let Small Wings Fly was self-published in 2021 to accompany the Arts Council funded travelling art exhibition ‘Mappa Marches’ that visited libraries and art centres across Herefordshire throughout 2022.

She has been published in several journals, including The North, Orbis, Poetry Birmingham, Pennine Platform, Three Drops from a Cauldron and Poetry Village, and has been included in anthologies such as This Place I Know (Handstand Press, 2018), Places of Poetry (One World, 2019), When All This is Over (Calder Valley Poetry, 2020), Poetry of Worcestershire (Offas Press, 2019) and In the Sticks (Offas Press, 2021). She won the Poem and a Pint competition (judge, Carrie Etter) in 2019.

Crab Snowglobe

Credit: Kurious via PIxabay

Each Sunday in December there will be seasonal poems on the blog. For a few years I lived in the Withington area of Manchester, so I recognised the shop mentioned in Annie Muir’s poem. It’s from her pamphlet New Year’s Eve, published by Broken Sleep Books in 2021.

Crab Snowglobe

Thrown in with shoelaces and paracetamol,
a souvenir from Copson Street pound shop –

this rusty orange crab on a rock
with specks of glitter resting

in every nook and cranny.
Around the base there are footprints in sand

and another, smaller crab,
exactly alike except I can touch it.

Inside your hard, glass globe
you seem to be in some other dimension

like the reflection in a mirror,
or memory.

Either dormant or ecstatic –
when I shake you up

it is for a moment New Year’s Eve,
your pincers grasping to catch the confetti

that floats around your head
in kaleidoscope slow motion.

Then, when each piece has fallen, you wait
for something else to happen.

Biography


Annie Muir lives in Glasgow. Her debut pamphlet New Year’s Eve was published by Broken Sleep Books. Pre-pandemic she handed out poems on the street outside local libraries, and she has a podcast – Time for one Poem – aimed at complete beginners to poetry.
@time41poem

I’m for the art of last war’s raincoats


Another quote from Claes Oldenburg’s famous Ode to Possibilities ‘I’m for …’ from 1961. It reads like a long list poem. Oldenburg said it was a statement, not a manifesto.

Risham Syed, The Tent of Darius

My poem Wearable Narratives, from my second collection, Nothing serious, nothing dangerous, published by Indigo Dreams in 2019, is in two parts. The poem was inspired by art in the Manchester Art Gallery. Last week I posted part i (Scarf).


The Tent of Darius, an installation from 2009, is a complex work by the Lahore-based Risham Syed. It consists of five embroidered vintage European Army Coats with a small painting. This is a copy, painted by her, of the Charles Le Brun work of the same name.
Syed describes her inspiration for it:


“I imagined these five coats to have travelled all over the world, with women having contributed to them by adding a piece of embroidery. They are like these tired, old worn-out soldiers who have dreamt of coming back home. On the one hand, they symbolize the imperial power, but on the other hand, there is another aspect to this work; how soldiers from the colonies were made to fight for the Imperial powers. It’s true for any army including the Pakistan army, where most soldiers are from Jehlum, Potowar region, from poor, lower middle-class families and end up with the army because of their physique/tradition, in the hope of making a romantic/glamorous career. This work, compares the romance/glamor to the actual reality of war, the aim of it and the beneficiaries of it. I juxtapose the embroidered coats with an ‘Oriental’ painting called The Tent of Darius, a seventeenth-century painting by Charles Le Brun that provides the title for the installation. In it, the Queen of Persia bows to Alexander the Great who has conquered the land. It serves as a metaphor for the West making incisions in the East.”

I was very moved by the sight of these five coats and the details of the embroideries which inspired the last stanza.

The tent of Darius

The ornate faux-Chinese frame holds
a cropped copy on acrylic:
The Queen of Persia
draped at the feet of Alexander.

Below, an array of five overcoats,
donated by European soldiers,
appliquéd and embroidered
by women’s hands.

Under the lapel, a stilled windmill,
peach-coloured vanes.
A green tree above a button hole.
Death comes like blue geese.

Poetry in Aldeburgh

Scheveningen, S Hermann/F Richter on Pixabay

On Monday, my journey to the other side of the North Sea involved five different modes of transport: taxi from Aldeburgh to Ipswich, National Express coach to Standsted Airport, Easyjet flight to Schiphol, Intercity to Den Haag Centraal, tram to the flat. All clockwork, no delays. It was dark when I got back home.


Taking part in the ‘live’ Poetry in Aldeburgh Festival has been a joyous experience. The highlight was the reading Our Whole Selves with poet friends. Poet Kathy Pimlott and I wrote several blog pieces about the readings, workshops, performances, open mic. These will soon be on the official website. A big thank you to the small organising team which managed to arrange a wonderful programme.


The poems I read were from my new collection Remembering / Disease, published by Broken Sleep Books last month. I opened my set with Nautical Miles (from my collection Nothing serious, nothing dangerous). When I looked at an old photo, I saw that only Hoek van Holland is ‘less than a hundred’ nautical miles. Good reminder that poetic truth matters more than the accurate facts…

Nautical miles

Outside the Sailors’ Reading Room, the sign:

thin wooden planks, painted white:
Den Helder, IJmuiden, Hoek van Holland.

Across the horizon, they are less than a hundred
nautical miles from Southwold in Suffolk

where the narrow beach of pebbles –
grey, brown, black mostly –

is held together
by couplets of groynes, slimy green.

Both our languages have the word strand.

Note: The Sailors’ Reading Room, Southwold is a Grade II listed building from 1864 and still a refuge for sailors and fishermen.

coming light

I am very glad to introduce this month’s guest poet Sheila Butterworth. We met many years ago, in that Yorks/Lancs Branch of the BHS. I let Sheila introduce herself and her haiku.

“Winning the Leeds Waterstones Haiku Competition in 2000, organised by the Yorks/Lancs Branch of the British Haiku Society, introduced me to the world of haiku poets, workshops, journals and a network of local poets with whom to chew the haiku fat. I have since had poems published in Blithe Spirit, Presence, The Snapshot Press Haiku Calendar, Wales Haiku Journal and The Red Moon Anthology.

Most of my haiku come out of the everyday experiences of life within a mile of my edge of village doorstep where I have lived for 40 years. This is where I notice those things that have most meaning to make haiku. The familiar environment highlights the nuances of change in place, in time and in me and this is when haiku happen.”

coming light
the bubble and trill
of robin and wren

high street dawn
the smell of sweet dough
folds into the fog

morning mizzle
molehills spatter
the spring pasture

planting potatoes
startled sparrows
scatter in the quickthorn

summer rain
the shining bole
of a sapling ash

evening sun
the shadow of the wood
fills the field

standing out
in the half light
borage blue

passing by
the old doctor
walks into the wind

the white tip
of a fox’s tail
above the snow

instead
I blow the dust
from a bowl of sea glass

Still Life with Octopus

Photo credit: Grace Gelder

It is a great pleasure to introduce this month’s guest poet Tania Hershman. I met Tania a few years ago when I attended a series of workshops she gave on flash fiction. She is a generous, inspiring tutor. I have chosen four different poems from her new collection.

Tania Hershman’s second poetry collection, Still Life with Octopus, was published by Nine Arches Press in July 2022, and her debut novel, Go On, a hybrid “fictional-memoir-in-collage” will be published by Broken Sleep Books on 17 November 2022. Her poetry pamphlet, How High Did She Fly, was joint winner of Live Canon’s 2019 Poetry Pamphlet Competition and her hybrid particle-physics-inspired book ‘and what if we were all allowed to disappear’ was published by Guillemot Press in March 2020.

Tania is also the author of a poetry collection, a poetry chapbook and three short story collections, and co-author of Writing Short Stories: A Writers’ & Artists’ Companion (Bloomsbury, 2014). She is co-creator of the @OnThisDayShe Twitter account, co-author of the On This Day She book (John Blake, 2021), and has a PhD in creative writing inspired by particle physics. As writer-in-residence for Arvon for Autumn 22-Winter 23, Tania has curated a programme of readings, workshops and talks, both online and in person. Find out more at http://www.taniahershman.com

Still Life With Octopus (II)

I only asked her once to climb inside a jar for me. (Before we met, I’d watched all the videos of those experiments.) She sighed but did it, said I could screw the lid, released herself easily. You could become any shape you want, I said. She said nothing. One arm sent itself out to switch the kettle on. While she made us tea, I put the jar back in the cupboard, feeling that slight ache from too much sitting in my hip bones, my lower back, where fixed part meets fixed part of me.

Standardized Patient*

Today I am your
lower back pain. Listen,
I have all the details, will
not veer

from the script. Tomorrow
I will be your cancer
of the kidneys. Next week,

I may be your
one-legged skier (I know,
I know). Whose pain
is this?

*Standardized patient simulation lets medical students practice on people trained to play patients.

And then God

sends someone else’s
Jewish grandmother
to stop me

with a question about birds
I can’t answer. She says – as if
this is her river – I’ve never

seen you here before,
then presses for my
exact address. Instead

of the usual, Such a nice
girl, no husband?, she asks,
No dog? I don’t know why

I tell her then
that I’m a poet, but
the gleam in her eyes

warns me this
is the point
to leave, the unasked

dancing on the path
between us: Will you
make a poem out of me?

Middle of the Night

Night asks me
to wake up. What?
I say. Night whispers
darkly, something
about cats coming in
and out, a baby five
doors down. You
want company? I ask.
Night nods. I get up

and we make tea. Too
early, the cat mutters
as we pass. Night
and I get back
into bed. I’m fine
now, Night says.

Cover design: Ben Rothery

Note: Peter Godfrey-Smith, Other Minds: The Octopus and the Evolution of Intelligent Life (William Collins, 2017).

Imaginary Paintings – writing prompt

Credit: mdabumusa via Pixabay

I enjoy most of the archive poems from the Paris Review which arrive in the inbox. I save many of them in my folder ‘Inspiration’.

The poem Imaginary Paintings, by Lisel Mueller (Fall 1992, # 124) is in seven numbered sections. Seven is always a good number. The length of sections varies, from one line (Love) to 10 (Big Lie).

Lisel Mueller, 1924 – 2020

1 How I would Paint the Future

A strip of horizon and figure,
seen from the back, forever approaching.

2 How I would Paint Happiness
3 How I would Paint Death
4 How I would Paint Love
5 How I would Paint the Leap of Faith
6 How I would Paint the Big Lie
7 How I would Paint Nostalgia

I liked the start of the Big Lie painting:

Smooth, and deceptively small
so that it can be swallowed
like something we take for a cold.

Here is my attempt at How I would Paint Patience:

A small mat, wool, handwoven.
Mostly pale grey, with the odd
black nubbly bits at the corners.

Credit: Prawny via Pixabay

Writing prompt: If you’re looking for a subject for your imaginary paintings, you could always take one of the seven cardinal sins (pride, greed, lust, envy, gluttony, wrath, sloth) or one of the capital virtues that overcome them (humility, generosity, chastity, brotherly love, temperance, meekness, diligence). There is also prudence, fortitude, justice. Or take anything abstract, such as stubbornness, peace.