Tuesday, 12 June 2012

'This is how amoebas move'





















A nice triad of commissions has come my way. At the moment I'm researching plankton for a piece of writing for Anne Bevan's upcoming exhibition 'Particle' (about foraminifera) in Shetland this August. (See her extraordinary form above. I'm so chuffed to be collaborating with her.) Some happy discoveries already: the Greek origin of 'plankton' means 'errant' or 'wandering.' If something is defined as 'planktonic' it means it is incapable of swimming against the current. And I found this very pleasing youtube of a questing foraminifer...

If you can't swim against the current you have to trust in where the current will carry you...

Friday, 8 June 2012

Just back from Berlin & Bordeaux...













Despite some trepidation, I enjoyed being part of the Berlin Poetry Festival's 'Parliament of Poets' last week. 28 EU poets were asked to comment in a renshi on the state of Europe and the economic crisis: an alarming responsibility, and a difficult commission.

The renshi is a sort of poetic herman. In groups of five, each of us created a poem using each other's last line as a starter. I followed Latvian Arvis Viguls, whose poem ended with the line 'faith will make us stand facing the wall.' I was afraid of getting mired in gigantic abstracts. In the end, the work emerged from the concurrence of three synchronistic experiences: reading Hilary Mantel's 'A Place of Greater Safety' (where she explores the role of the price of bread in the French Revolution), an unexpected visit to a working grain mill in the Shetland South Mainland, and revisiting the idea of Cockaigne/the Fool's Paradise, in which excess beyond imagining is explored by Pieter Brueghel in 'Luilekkerland'.

We're now experiencing the very tangible consequences of the Crisis – and many of the poets I met came from countries who will have a harder time of it than the U.K. However hard I find it to make sense of the enormity of the numbers, it was an inexplicable comfort to see and hear that mill in action: chaff and ground corn accumulating around the churring millstones.

Faith made us stand facing the wall.
But to visualise debt on this scale we had to climb it

and confront bankrupt LuilekkerlandPaís Cucañathe Bankers' Paradise
and witness the mass exodus of the lamed hams –

the pounds melting off them,
carving knifes dropping from their clove-studded crackling – as they cantered

the shattering flats of sour curd. Someone hoisted a greasy pole,
crowned it with a cottage loaf, and it was idolised – it started a riot.

When we'd seen the bonus-trees bust, shrink and canker,
we'd seen enough – we climbed down peerie-wyes

to open the sluice-gate above the little mill –
the sober, brown water clasped the wheel,

a nutritious crater began to accumulate
around the susurrant millstones.

And downstream, this one excess – swans flocked to the inundated pasture,
and up-ended there, flickering –

it wasn't worth anything, but looked just like a bowl
of liquid flame.



peerie-wyes (Shetland Dialect): gently, cautiously

Friday, 27 April 2012

Pop-up Sculpture at the Dam(n) Hotel


Here's my contribution to the Bruck theme. (You'll want to turn your speakers off.) Hope nobody redds it up... 

Friday, 20 April 2012

Sleep Begins in the Mouth

with kind permission of Adam Dickinson, I'm posting his poem 'Sleep Begins in the Mouth' from his collection Cartography and Walking (which you can get hold of here). I stumbled over it again yesterday, and it resonates with all this breath and bone stuff from the 'Freeing The Poet's Voice' course I've been posting about.

Now I think of it, I think I remember learning this poem while I waited at the bus stop nearest the New Westminster Public Library, and I seem to think it played a part in pressing 'Paternoster' out of me...something in the imagery and shape and rhythm...

Anyway, I love it.

Sleep Begins in the Mouth

We've discussed this half-asleep;
our tongues like piled cottonwood
in the dry, open field.
It's hard to know how to give
yourself to someone.
It's the astonished snow
that returns in May as cherry blossoms;
how for weeks the branches had committed
to a brown indolence.
It's the baritone groan of river ice,
a decision without warning to disband,
to dash its bones.
When you let your eyes droop,
the air comes into you
like into a grassland deep in the neck.
Here the horses eat from your hand.
The lump in your throat is flowering grain.

Adam Dickinson