NaPoWriMo - 2019 #23 - Reference works

Reference works

So... Edward finally has the book.  It came
in Amazon's robust brown cardboard packaging
and the woman who lives downstairs took it in.
Thank you, says Ed, when he gets in from work
at seven p.m. but the woman — is it Carol? —
is blushing again and disappears.  Leaving
Edward with his box which he opens...

How to do anything!

(with diagrams)

This is the business -- and by business
he does not mean answering tech. support
queries for clueless noobs for eight hours every
day at what works out very close to minimum
wage, but business: the business of business
of getting stuff done and getting on.  Here we go...

How to debug Windows(tm) system-level drivers using a virtual machine.

Well perhaps this isn't where to start, let's try:

How to change a '64 or '65 Aston Martin gearbox.

--and the diagrams are great! You can see exactly
how to remove the clutch plate.  If only Edward
did not drive a smart car with a pushed-in wing.
Maybe the index is the thing?

How to sex aardvarks...

How to damp a gas-cooled reactor...

How to weld titanium in the vacuum of space...

All useful stuff but Ed to some degree
is aware of his place in the scheme of things
and this is not his metier:

How to turn a profit growing swedes...

How to hold a spade...

How to milk a cow...

How to duel with various blades...

And now Edward's starting to get angry
all he wants answered is one simple question
but is there an entry for How to meet nice girls?
Is it under "N"?  Is it under "G"?
Is this book even alphabetical?  Well nothing
for it but to read the whole damn thing.  Except
the doorbell rings and it is what's-her-face?
Karen?  Carla?  Katie!  That was it.  And it seems
she has made too much mushroom stroganoff
and would he like...?  Edward has too much
to do.  Too much to read...
Now, let's get down to this:

Chapter one:  How to recognise the obvious...

 

Sept 18th - Midnight in the house of books

Midnight in the house of books


An infinity of clocks are chiming -- all
throughout the echo of the house.  Feet, cold
upon the hallway flagstones, roused from normal
somnolence are following a candle glow.

Dark unfolds ahead, flows past on either side
(pressed back against the shelves so hard it's squeezed
between the spines of books) and we're not looking
behind us but I'm sure the darkness folds

right back together perfectly.  You won't
see any joins between the chapters, and I
cannot see any holes within the plot.
We try to work it out a lot, all sat

around the battered kitchen table, mugs
steaming in front of us.  We're characters
each seeking our true roles and I consoled
young Eglantine today now she admits

that "action hero" never would have fit
her eleven year old frame.  Still, all the same,
we are all quite the same; all searching, for
some handle on the drama.  Me more than any...

which is why they're in bed
and I'm here with my candle.

NaPoWriMo - 2017 - April 22nd - Alice through the mirror-plane

This is, of course, a sonnet -- although I've sneaked an extra rhyme into the penultimate couplet.  The prompt here was for a mirror poem and like every other living human, I love the tone of Alice's Adventures in Wonderland...



(Does Liddell rhyme with fiddle?  Probably not, but there's the competing constraint of the text making some sort of sense...)



Alice through the mirror-plane


A rabbit and an anti-rabbit, go
around the tree and down the wormhole.  Where
can such a transformation lead? — Please show
your working as you think it through.  I share
your nervousness around the silvered glass
and note what care we're taking with the frame.
We pause and whiskered heads are asked to pass
their eyes across each step as we arrange

the kit.  We all wear white gloves on our shift
and antique pocket watches we have found
provide a way to check your drift.  Keep cool!
You're near normal, still grounded in old-school
reality—you'll find we never fiddle
our safety checks: we all recall Miss Liddell.

The X Thief's Daughter

Where this comes from is a certain class of book where the title is simply the description of a character.  You get these for children's, young adult and full grown up (tm) books with examples such as The Ink Thief, The Book Thief, The Kite Runner, The Memory Keeper's Daughter etc etc...  However I think The Man who Mistook his Wife for a Hat is a different phenomenon.

These make wonderful titles, capture the imagination and begin the character development right there on the cover...

However, is this style of naming be quite as acceptable to the characters themselves?  Do they get jealous of other characters, who have their actual names in lights on the cover?  Nicholas Nickleby... Anna Karenina... Batman?

And what about the characters whose books are never finished, whose backstories aren't quite completely filled in?

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The X Thief's Daughter...

...drinks ice wine in the sub-basement
of the basement club behind the real.
She has nothing to conceal: she says
too many times, as the frost rose blooms within
her chest.  Her eyes grow dark.  Maybe it's best

the fence does not learn more. The X Thief's
Daughter is complex but direct
in shady negotiations. She sees
the world as chances overlayed
on chaos. What is this whole thing for?

There must be more than this, the normals ask.
So dumb.  "What can I get?"  She asks instead
and peels the false skin from her face.
The X Thief's Daughter knows her place
is nowhere that she's been, or will go.

The X Thief's Daughter is selectively
obscene, but will practice ritual magic
on a  first date.  She gets there late
as a matter of course and has rude words
tattooed, in schoolboy Latin,

in ruder places.  The X Thief's Daughter:
your mother never warned about.
How could she -- so far outside the bell curve
of parental advisory?  She's on
no chart.  The X Thief's Daughter

is all heart, all stomach, all pudenda;
a real but ill-defined character,
discontinuously variable
in every field but gender, and has,
always, that unbound variable

in her back-story -- she has no clue
what was the X her father stole
if any, but this is not a problem;
it's an opportunity.

A War to end all Worlds

Last night I finally watched a BBC program on the War Poets that I recorded in June.  It focussed not just on their poetry, but also on the landscape and events that they inhabited around the Somme: battles they fought in, what poems they wrote afterwards, where they died.

And that reminded me of this, which I think sprang from a previous time when I had been listening to Jeff Wayne's War of the Worlds in close proximity to reading another account of the first World War.  It's an easy juxtaposition, Martian fighting machines against barbed wire and artillery, but I should (and do) feel a little uncomfortable about it.  I am welding together bloody history and SciFi fantasy after all.

My defence for this latter point is threefold:

1. This was written with the intent of using the fantasy war as a mechanism to highlight the horror of the real war...
2. Wells himself was certainly critiquing the empire building and conquest of his time...
3. You don't get SciFi authors in front of War Crimes Tribunals*

(*Although if any ever do, you can bet the charge sheet with be spectacular.)

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A War to end all Worlds

When the whistles were blowin'
and there was me
there was me and Smiggy
and the two Johns

Johnny C and Johnny F and
nothing for it
but to go over the top.
We could not see

no tripods from where we were
but we knew alright
they were out there somewhere
lumbering in

with beams and gas and voices
like foghorns boomin'
and foghorns seemed to fit
with that black gas.

Smiggy bought it first, smashed
down by steel feet
that fell amongst us sudden
in the wire

we couldn't even stop
though Johnny C
would have headed back
exceptin' I swore.

Johnny F got caught out
in the open
when two tripods came up
and burned down

where he stood.  We cowered
in the water
in a half-collapsed trench
hearing steel grind

closer to us.  Lining up
on the angle
of the trench and we knew
the Martians had us

but a squad of gunners
with a Vickers gun
had set it up quiet-like
and cut them down.

It's a beautiful machine
the Vickers gun
if you like to kill things
and that was my war.

Now plugging: Memento

Memento

This book was kindly produced by J.S.MacLean as a memento of the times that a big crowd of poets had on the now defunct CriticalPoet.com.

Three of my poems are in there, as are contributions by another 37 accomplished poets.  One of the three I provided was Coming Round which is featured on this very blog.

On-line poetry forums are a very useful resource, when they are good, for the beginning or developing poet.  I see them as occupying roughly the same position of the literary salon of former centuries.  On them you can both get feedback on your own work but, more important, you can practise critiquing the work of others.  This is vital as the ability to understand the strengths and weaknesses of a poem underpins the ability to self-critique, and thus self-edit.

To put it another way, until you've learnt to understand why somebody else's poem doesn't work, you haven't a hope of knowing whether yours does...  and also seeing other people praise the very feature you just condemned, that teaches you something of how different readers can come to the same text in very different ways.

A good forum is also a source of companionship, writing prompts and exercises.

So the demise of a good one is a sad occasion, but also a chance to look back at the good times and realise how far you've come.

Shameless plug

A plug, earlier today, and on the other side of the Atlantic

A while ago, Rosemary (my wife), Nash (internet-based friend) and I edited together a poetry collection from work contributed by members of the Poet's Graves Poetry Forum.  Ben (another internet-based friend) acted as publisher...

Skip forward three years or so and three of the above mentioned individuals meet up, quite by chance (and nearly a year's careful planning by Suzanne; another internet-based friend) with another seven or so members of the same forum, in the upstairs room of a central London pub.

Here we planned our inevitable takeover of Planet Earth.  Much eating, drinking, and poetry reading ensued.  And I also volunteered to plug the book.

Making Contact (Amazon)

There are great poems from twenty-five fascinating poets in there, including four from myself.  Just to prove the quality, peruse the following sample.

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Bottom Dead Centre


Intake

Ice-path uncles, sliding, come
to top-up stockings, sip sherry,
be knocked unconscious by the Queen.
The old year has been dripping
through the cracks in December,
now only one festival remains.


Compression

Fewer and smaller,
the uncles left for us to visit
dribbling in their rest-homes.
What troupe remains to get festive?
To turn up, unexpected? To decorate the tree
and give you socks?


Combustion

I give you socks
to wear outside your boots
wending from the crematorium
with the path caked in icing, decoration
a drain-pipe dribbled through its crack.
We spontaneously scatter Uncle Clive.


Exhaust

All the uncles scattered once,
when you aced and raced the new sled
of younger years. Now the pagan tree
is baubed with tears, as you tear the ribbon-paper.
Another pair of socks—useful. At our age
the ritual differs. The engine hesitates,
one year unsafely dead, and drawing-in
one drawn-out breath we wait
to long-live the new.