NaPoWriMo - 2021 - XVIII - And as she...

 And as she...

...starts to sprint she pulls her self,
one foot sticking
slightly, out of time -- the external world slowing
between one footfall and the next --
as Einstein takes his cut.  She annotates

her future path with tense thought and big, square
[brackets] to show where she will go,
years of relativistic combat practice mapping
how she'll pass, barely noticing, through plate glass
and continue
via the eighteen-inch gap between two trucks
which would be crashing
if time dilation left them time to move.

The world ahead is going blue
as she -a-c-c-e-l-e-r-a-t-e-s- and she can see
the gun, rising.  She's going to be too late but again she
--a--c--c--e--l--e--r--a--t--e--s--
faster now than ever before, and she cannot see
in ultraviolet
but she already knows where everything is and how she is
-- in front of the motorbike and behind the limousine --
leaving a tunnel in the air which collapses behind her
with the voice of a titan.
Through the other window --

and now she is in the bank, among the gang,
balaclavas, weapons, bad minds;
normally she'd be flooring goons
at this point
or flicking biros from the desks towards heads
which would snap back
when hit by cheap office supplies
doing multiples of speed of sound
but she has only one target now

so close
a gun, horribly wrongly, pointing
at the only thing in the world which matters;
she might make it
-- might tear that hand off at the wrist,

or maybe swat the bullet in its flight--
or she might not
and if she is too late,
she simply will not brake, but run

into the side of the armoured vault
like a comet with a grudge --
scour everything back down to the bedrock
give the ants their chance -- and choose
not to live on in such a haunted world

of which there is nothing left now
except a man, a gun, a girl
and the need
to *a*c*c*e*l*e*r*a*t*e*.

NaPoWriMo - 2019 #9 - Safeguarding the chain of evidence

Safeguarding the chain of evidence

The police has started putting crime scene tape
round places where no crime has ever been.
It's Captain Rawlins who explains to me,
while he's fencing off my cat, that the Universe
is both quantum indeterminate and yet

also subject to chaotic effects
and thus incalculable on the classical level.
"The problem is we can't assume that time
flows only forwards from the crime," he says,
"and wily defence lawyers can make much

from that."  And now a team's dusting my fridge
for prints, and making an infinity
of possible chalk outlines down the stairs...
Hey guys!  I need to eat, or use my chair...
Guys...  Guys?  What? Oh sure, I can hold the light.

Sept 7th - When there's a murder in an old, old movie...

When there's a murder in an old, old movie...


Please try to keep sand off the body!
The SOCO shouts
for the seventeenth time.
However, with great solemnity,

and at one quarter speed
Wilson, Kepple and Betty continue dancing
the sand dance just outside the crime-scene tape.
Oy you!  Screams DI Blenkinsop,

I saw you hook that glove up with your cane,
Chaplin!  He fumes.  Let's have more happy/sad
clowning from you, and less sneaking off with clues
to check out in your own time.

In fact, he concludes, why don't you go
find Laurel and Hardy
and ask what's taking them so long
fetching me a bloody stepladder...

NaPoWriMo - 2017 - April 20th - Identity Cards

The official prompt for today is a poem using the imagery of a sport or game.

I'm not 100% this one works.  It's not using the imagery so much as the rule structure of a trading card game and as the rules on the cards take effect, the protagonist's life gets changed.

It's yet another one I've had around for a while.  It's been sort of "finished" for a long time but I was never sure whether it needed completely rewriting, e.g. maybe with a different outcome or even a different conceit — I have wondered whether the framework could come from a scriptwriter changing things about the events in a drama, rather than a game...  but for the moment it stands as it is.

I would vote for Edward, any day...



Identity Cards


Set-up — deal sixteen Terrain Cards into the city grid.

            The city is warm tonight.


Populate — draw a Neutral Card and place in each Terrain.  As you place each card, perform any special actions.

            The lights are on, and Edward Wu walks tired
            but overall content, through rising dark;
            echoey conversations from just a way
            away, traffic, someone bounces a ball

            against a metal shuttered door; and all
            of this is far enough removed.  There's peace
            in the canal-side market, it's intimate;
            warm summer air, the idea of crushed flowers,

            a hint of rotting food.  Ed loves this mood,
            this end-of-day-and-all-work-done moment
            although the latter's not entirely true
            he has much homework still to do

            the grading on; a weight in his backpack,
            a thought in his mind of kneeling sipping tea
            at Auntie's low down kitchen table, bright
            lamplight circling the paper as he marks.


Dimension Door — draw a card, deploy for free in any area you control.

            Moments are moments and suddenly
            happens not in the moment, but half a second later
            when mind wakes up.  Edward's brain acts all surprised;
            lightning punctuates the sky and by the time

            he realises something's up, the dark-
            cloaked figure blocks his way... very tall,
            quite female, dressed Sunday Best Lord of the Rings;
            she seems, behind her furrowed brow, also confused.


The Sorceress — when played, draw three cards.  You may immediately deploy any of these (at usual cost) adjacent to the Sorceress.

            Everything happens at once: a second moon,
            a dragon drifts in front, briefly it rains
            clockwork men...  A wagon of police arrive,
            take turns to shout incomprehensibly

            through bullhorns.  Tasers are brandished; a weirdling mist
            creeps in; there's howling; ultimatums; an angry
            and extended speech nobody understands;
            a mobile incident unit parks; a shout...


They don't know what they do — When threatened by a neutral card: you may destroy one artefact, then every player draws two cards from the Random Deck and plays them immediately.

            the haft of a staff slams on the ground.
            How often does a moon fall down?  How frequently
            is your young adult world unmade; remade;
            flayed by shrapnel; the sudden change of life

            or heart.  The world has many moving parts
            and every single one of them hits Eddy
            in just a minute and a half.  It's a kind
            of Armageddon.  A werewolf eats his homework.


Promote Leader — move any friendly or neutral card from controlled space into the Palace.  Usual promotion bonuses apply.

            Edward runs the city now: there's more homework.
            It is an indeterminate time later;
            which is the only kind of time he owns—
            the clockworkings with which the ticking men

            repaired him in the ruins of the fallen moon
            keep perfect beat but do not feel the moments
            as they fall.  This must be what it is he says
            to be a mountain with a million drops

            of rain upon you every day.  Each drip
            exquisite and unique, but you barely feel
            the river.  You don't know change at all.  Edward
            keeps the city safe, best as he can.  He keeps

            the mutants in the broken lands. He stamps
            quite carefully but firmly down on crime,
            and once in four years finds its time to tell
            the voters once again.  I am stability,

            he says, I tick.  I am reliable
            as only clockwork minds can be.  A vote
            for me, is a vote against moons falling ever
            again — this is my oath: not on my watch.



 

NaPoWriMo - 2017 - April 17th - Of tea and politics

The challenge here was a poem about a closed door.  I've taken that figuratively again.  The real door in this poem is glass and the characters can easily see what's behind it.  What's unknown is the door of the future, but it's slowly creaking open on disturbing possibilities...

There is obviously nothing.  Nothing whatsoever.  In today's world that makes me feel like this.

Move on citizens.  Nothing to see here.



Of tea and politics


They have now hanged the suspect spy
just outside the door.  He's swinging
from the cast iron sign
shaped like a teapot.  It creaks alarmingly.
This afternoon is waxing quite complex.
The police chief's voice still thunders from the kitchen.
He's on to topics wide as loyalty, respect for law,
and macaroons, and fear.  I beckon the waitress near
and ask:
Could I just have another scone?
The afternoon moves on towards an evening,
which no-one present dares to guess.
The hanged man stills.
I shall bury him, he was my servant.

NaPoWriMo - 2017 - April 6th - You need to have a plan

You need to have a plan


You need to have a plan and its first part
must say the cutting edge of the state of the art
can't hold a candle to you.  Investors love
that short of thing.  Secondly, say you'll move
the goalposts, redefine the market, break
the paradigm, already have the stake-
holders saluting ducks all in a row
and never show your working.  Although, you know

that faking rumours of a prototype
can rocket-boost the most slothful share price
and drive your competition into fits—
so that is when you sell off all the bits
then make some sort of statement in the press:
how federal regulation caused the mess.

Courtship

A risky proposition,
earlier today

I went to a launch event for Deadly, Delicate by Kate Garrett, who I'd never met before but who is just as interesting in person as she'd seemed via the internet (this is not true of everybody...)

This is a pamphlet of poems centred around the theme of female pirates (with a degree of historical accuracy plus a dollop of poetic imagination; there's a LGBT angle too.)  It's a great pamphlet, and I recommend it.

(If you wanted something more solid, I also recommend Kate's previous book The Density of Salt; I reviewed it in Antiphon and it was one I really enjoyed...)

Anyway...  there was an open-mic aspect to the book launch and I read Girl, Unaccompanied — which I shall post in a week or so — and also The Man who Ate the World which was in retrospect a mistake, because it's quite a complex poem and the pub (poets in a pub, who'd credit it) was quite noisy by then.

I should have read the following.  Hopefully it will mislead you until the very last line.

---

---

Courtship

I need you -- she is blushing, closer now;
this is in the limo, en route to the hotel --
to take me in a hostile way.  Tell me how
you'll own me.  Talk dirty.  Say you'll sell
subsidiaries and drive your staff
to penetrate my org chart, stripping
assets and rationalise the hell from chaff
in the top brass.  Her breath is hot.  She nips
his ear.  Expose me in the press
where my practices aren't up to scratch
then tie me with injunctions.  I confess
that being in legal knots makes my breath catch.
Slap me in jail...  He's eager for the deal.  It's hard
to think.  She has already cloned his credit cards.

---

Originally also published in Antiphon

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?

---

---

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.

The police in different voices

He Do the Police in Different Voices was T. S. Eliot's working title for The Wasteland.  Eliot was quoting Dickens:

...Sloppy is a beautiful reader of a newspaper. He do the Police in different voices.

The idea for this poem sprang to me fully formed one day.  The idea being to take a narrative, such as might feature in a detective or police procedural genre novel, and tell it using different characters to provide the different voices.

I'm not sure whether the idea of using historical characters was there from the beginning...  I think so, because I started looking for a suitable philosopher very soon.  When I hit on Heidegger, who was infamously sympathetic to the Nazis, then that gave me the fully formed idea of using European historical characters who lived through WWII.

Magritte lived in occupied Belgium.  Stanley Unwin was a Morse code operator at the BBC.  Marcel Marceau (Marcel Mangel) was a hero of the French Resistance and claimed to have first developed his miming as a way of keeping children quiet while smuggling refugees.

Unwinese is a marvellously expressive language (marvespress languicity uply grail) and I recommend its study to all those who are truly serious about linguistics.

---

---

The police in different voice


DS Martin Heidegger

Must crime imply a criminal?
—is what we need to know.
Let us consider evidence,
the crime, the criminal,
and the theory of the crime
as separate ontological domains.

Let us bag the remains
and also these fragile fragments
from the floor.

The body is being dead,
the knife is being on the ground,
the fragments have a quality of brokenness...

...however, I shall show
that evidence is not fact,
fact not real,
and reality is not "Being"
in any sense I can relate to
and also the witness may have lied.

DI Rene Magritte

Ordinary objects in extraordinary light:
some object did not hang, unsupported,
and when it hit the ground it broke—

why?  Did the victim or the assailant smoke?
And if so how?  We may believe what we perceive
paints a picture of what took place
but this image is treacherous
as any other, and these fragments
are not a pipe.

DCI Marcel Marceau

(Because the Chief Inspector is a man of actions
more than words, his statement will be read
by the renowned criminologist,
Professor Stanley Unwin.)

Observe the chiefspector looksee the crimescenery
and glassnify large-up the tiny bits
the sergeant found. Indeed not a pipesmokey
but a woodflute! Commency source
this crime outside the buskstreet. Where

nothing for but bravely clamber the roadlength as the wind
puff to blow him back the way he first strole in
and at the finial end bang slap
straight into the suspicial stranger
lurking the other way.

But what now?  Oh no!  The criminole
somehow identitheive the chiefspector
and he's carriage of misjustice slap bangy locked up
trying to find his way out of the invisicube
for thirty years without parade.

The girl who...

As you may know, I'm something of a fan of Nordic Noire dramas.

Not an fanatical fan.  I'm not the type who can obsesses about a TV series (for the purposes of this discussion, Dr Who isn't a TV series, it's a religion...)  However I do check new Nordic Noire series out when they appear, just to see whether I'm going to enjoy them.

One of the frequent features of these series is strong, eccentric female leads, and this is where this particular poem stems from.  At the time of writing, I was thinking most about Saga Norén from The Bridge (which was on at the time).  However the direct references in the text are to Lisbeth Salander, the original Girl Who... (the films don't 100% do her justice: read the books.)

These are very different characters in several ways, but the big thing they have in common is minds found some way out on the autistic spectrum...  which is another place this poem is coming from.  I often relate strongly to autistic characters.

What else...?  (1) This is skirting the edge of being a sonnet...  (2) Remind me sometime to rattle on about "normal" human psychology and the various spectra within which we are all so carefully positioned.

---

---

The girl who...


tattoos dragons, kicks hornets etc and stands
in the half-furnished apartment smoking/staring
through the picture window while the world
fades monotonically into twilight and snow
takes the evidence. Somebody calls and she grunts,
eyes, hand and cigarette unmoving. Feel the cold as if
we were close, as if there were a closeness here.
We brush a hair from her temple, and click:
the side of her head opens to reveal the steel
wheels spinning and a quiet persuasive hum. Come
back to the front, see the eye, see the smile not for kissing
the face not wholly numb, and rapid-fire summations
of an intellect that takes no prisoners, sees no need,
but speaks: put the body-parts on ice for morning.

Focus

It's good to have a hobby.  It's good to have an interest.  An over whelming passion can be a good thing too.


Then there's the ones with something of a bee in their bonnets, shading all the way up to the ones who are, frankly, obsessed—I mean Dave Dee, Dozy, Beaky, Mick & Tich there's only so many hours one can devote...


Then there are the people whose item of interest has that slightly more urgent a grip upon their minds, a compulsive, unforgettable, compelling, all-embracing matter that holds their attention approaching 100% of the time; a thing which for them is almost a physiochemical necessity...

---

---

Focus

No spaj is left in this vehicle overnight.

The whole gang view the sign
and Roddy puts the case
that this is what they have to say
to stop you breaking in. He finds a brick
but there's wire mesh
inside the van's rear window.

Rod is no philosopher
but if he was, he would call it an axiom:

There is always mesh between you
and a place where spaj might be.


Lisa's twenty-three and feels
that she should live more cleanly
at this time, but the need for spaj is refined.
She's invested much in making it so,
hours of evenings devoted
to chasing freak-angels.
When she didn't have them,
she looked, and when she wasn't looking,
she discussed the matter,
or thought on it.

She's had to stop reading the leaflets which say:

Exposure to spaj during pregnancy
can harm your unborn child.


Wendy isn't beyond begging,
or bargaining with sex
but none of the gang
on the loitering corner
is any better fixed.
In her head, she is a philosopher
but her thoughts at length have shown
there are days that are nowhere
and life's just like that. She stands back,
smokes, and leans on a poster reading:

Spaj—just say no.


With which Ed can't agree, he's always known
a craving. Even before he tried it and even before
he heard the word. He remembers
a day...

...a day as a child
in geography class. The substitute teacher
leaned across the board
with a curve of her arm
and the chalk broke—ping—
on the "a" in "continental". There was dust
in the beam of stuffy sunlight,
on the swell of her blouse.

It was pure spaj.

A police spokesman said it had a street value
of twenty-five million pounds.

The greatest what on Earth?

The elephant declined to comment...

Who doesn't like the circus? 

(...or "socially inclusive, family oriented, non-animal, international circus event" as was advertised locally a couple of years ago...)

Well there's agoraphobics; claustrophobics; people afraid of crowds (Enochlophobia); people concerned about the treatment of animals (if animals still feature); people concerned about the treatment of performers; people yearning for the old days when things were proper, with tigers and everything; people who prefer ballet; people afraid of spangles; and people who can do all that stuff anyway and don't see what the fuss is about (show-offs.)

But dwarfing all of these factions, the number one group of people who are never going to be happy with:

*
Stanchion and Pouldron's

Grand Touring Extravaganza!

—
Fresh from Performing
Before the Crowned Heads
of Europe!!
—
One Night Only!!!
* 

—are the people who hate clowns...

---

The greatest what on Earth?


The circus came;
the big-top billowed, unexpected,
at the edge of town.

The clowns were terrible,
not like from a children's party,
all patchy make-up
and no affinity for balloon animals,
but more like strutting devils
accidentally released
and looking for revenge.

They executed the juggler
with a callous custard pie
coloured clubs crashing down;
and the top-hatted man,
unmastered in his own ring,
was driven into exile
with whitewash and a ladder.

A totalitarian regime
of unfunny large-trouser gags
began to take shape,
and things would have gone hard for the audience
had the elephant
(who must have been God)
not sat on the chief clown.

By the book...

Funny isn't that easy to do in poetry, and sometimes isn't productive.  Amusing is easier to achieve, and I think less likely to get in the way of the poem.  That's what I've done here...  or so I think.  I hope you agree...

Kidderminster is a town in Worcestershire.  Croydon is a place in London.  The British Museum is where we keep our loot, and well worth an afternoon's perusal if you are in London.

In this there are two characters, represented by being left justified and right justified, respectively.  There's also a occasional narrator, who is centred, but then aren't they all?

Feel free to read it in three distinctive voices.

I had forgotten, but this was another poem from Making Contact...

---

---

By the book

She reads books,
this is where it all begins.
"Planning the crime of the century,"
was just a way to pass a rainy day
in the library
in Kidderminster

but here she is
leading Crusher, Sparks and The Countess
through the British Museum at three a.m.
with a silenced pallet truck.

He reads books
this is how it all begins.
He read "Lives of The Real Detectives,"
which seemed harmless enough
waiting for the 7:15.

The radio coughs nervously,
a glance at Constable Granger,
a nod to Dave from the Art Squad.
They've all seen the shadows moving
behind the glass.

She's read: "Alarm Systems Explained."

He's studied:
"Weakness of the Criminal Mind"
at some length.

"Transport of Art Treasures."

"Traps—their design and construction,"

"The Great Escapologists."

"Anatomy of a Manhunt."

"Losing Yourself in London."

"Forensics for Beginners."

An abandoned factory in Croydon—
armed police converge.

But she's memorised:
"Victorian Sewers Revealed."

And he's left
flipping the pages
of "Sealed Room Mysteries,
Volume 4."

She opens a small bookshop.

He's in there buying
"Should you Trust Books?"

They nod.