Category: Writing

Orford Ness

Some years ago now I visited Orford Ness Nature Reserve, a strange and mysterious place on the coast of Suffolk. Strange in the same way as any place with ‘Ness’ in the name, mysterious because of its history as an atomic test site and before that as a place of experimentation in radar and ballistics. Even though wildlife has reclaimed this marginal sweep of land, the area is dotted with derelict structures and unexplained features some of which are still off-limits to the visiting public.

A few months later my poem ‘Searching for the Police Tower, Orford Ness’ won the Poetry Society Stanza Competition 2014, fuelling my (long-gone) belief that I was destined to be the Next Best Thing in poetry. I had no idea at that point that a zillion poets had already ‘discovered’ Orford Ness. Those were heady days – that period many poets go through, in which you imagine yourself being snapped up by Faber and consequently winning the Forward Prize. Although I now see the folly of it, I would never laugh at anyone for having such a dream. Rejoice in each and every early or small success! Live for that moment, as it may never return!

Anyway, my point is that even your oldest, earliest successes can have a longer shelf life than you think  A few weeks ago I got an email from someone at the National Trust who had been looking for poems about Orford Ness to display in the Visitor Centre there next year, as part of some kind of festival. She’d discovered my poem on the Poetry Society website and would I mind if mine was one of the poems to be displayed. Why would I say no? It’s so nice (and unusual) to get such a request. Will anyone waiting for their ferry ride over to the Ness in 2023 bother to read my wee poem, up on the wall with plenty of others? And will it enhance the enjoyment of their visit? Will they remember (or even read) my name? Who knows. But there’s no harm in imagining it.

Chewing the cud & going off-piste

A small window has opened up between sinus headaches for me to write an overdue blog post… the cold-y sinus-y stuff prevented me from going to Hastings Stanza last week (BOO), but I still have plenty of positive things to report so please don’t leave yet…

The Planet Poetry podcast has kept my busy lately, I think Peter and I have settled into a relaxed schedule whereby we try to produce a new episode every three weeks but if life gets in the way then four is no biggie. It’s very satisfying to research possible new guests, read their work and prepare questions we want to ask them. Then there’s the editing and then recording all the other segments of the ‘show’ in which Peter and I chew the cud and usually go a bit off-piste (interesting mix of metaphors there, are we Tyrolean cows?) If you’re a listener, thank you! We’re certainly chuffed with the quality of guests we’ve managed to ‘bag’. Last week it was J O Morgan. Apart from numbers of downloads, there’s not really any way of measuring the pod’s ‘success’ or otherwise. Ideally we’d like to get mentioned on the BBC Radio Podcast Hour, so if you have any contacts there, let me know.

I’m at a slight hiatus as regards writing. I’ve stopped fiddling with the ‘collection’ poems for now, having had some very useful feedback. Now I need/want to move onto new material. I’m doing a fair bit of background reading at the moment. The other day I was deep into an article about lighting and ventilation in British offices from 1950 to 1985. I know! But it’s actually very interesting. Then there’s the book on Roman Britain. What on earth is on the boil here? We’ll just have to wait and see. I have booked myself onto a untutored week at the Garsdale Retreat in September, during which I want to be planning and writing for the next book.

As for submissions, two poems are still out (since December 2021) to a magazine that said they were ‘still under consideration’ in March. Do I give up now? I’ve also got a few poems out to comps, and had a poem accepted by Prole. It’s a pleasure to have work in Prole – I always enjoy reading the magazine, plus I’m a big admirer of their attitude/ethics – open, fair, considerate, good communication, hard working. And yet there’s nothing po-faced or pretentious about the mag. Hurray!

Thinking about poem and book titles

How easily do poem titles come to you? How about book/pamphlet titles?

I’ve always found titles quite hard to come up with. I’ve been through all kind of exercises to try to break the back of it. I look at other people’s titles to see which ones jump out at me (or not). And I remember Carol-Ann Duffy once reading the title of a poem and exclaiming ‘Now that’s a title that gives me confidence in the poet!’

I know there have been various trends over the years: the Very Long Intriguing And/or Witty Title is still popular, (especially when it comes to competition entries) although I wonder if it’s waning. I’ve done a few of those myself but can’t help wondering if the title can end up being more interesting than the poem.

The good old basic single-word title is surely a classic. But the first line had better be AMAZING if the title is ‘Daisies’ or ‘Evening’ or whatever.

How about the first-line-as-title? I confess I quite like this arrangement and have used it a fair bit – in the sense of the title being the actual first line, so that the poem runs on from the title (rather than repeating the first line, although this is also possible of course).  But it doesn’t suit every poem.

And what about collection titles? I know we’re commonly advised to use the title of one of the poems, or use a phrase or a line from one of the poems. Sometimes Very Long Intriguing And/or Witty Titles are more memorable. When it’s come to pamphlets, I’ve always gone with the title of one of the poems, with the exception of ‘Why?’ which I wanted to call ‘Was it the Diet Coke?’ but that didn’t work out, for fear of a certain mega-company based in Atlanta coming down on us like a pantechnicon of canned drinks.

But now I’m working on a full collection, I’m coming up against two issues. The first is not having a collection title. None of the individual poem titles feel substantial enough to carry the whole book. And yet without at least a decent working title, it’s hard to refer to it and even think of it as an (almost) fully-fledged collection.

My second issue is that I have the urge to change quite a few of the poem titles, mostly because I think that will help them to ‘speak’ to each other in the context of the book. I suppose that illustrates how unwedded I am to my first choices of titles. Perhaps I will change them temporarily, to help with the ordering and also to help me have an idea of the book’s themes firmly in my mind (which will help with selling it/talking about it). And maybe the new titles will stick, maybe not.

Either way, it all feels a little seat-of-pants. I’ll let you know how I get on. And as ever, I’d love to hear how you’ve approached this, if you’ve had similar dilemmas.

PS one of my New Year’s Resolutions was to have a break from Twitter. After nearly 15 years, I find it changed beyond recognition. I haven’t cancelled my account yet, but I’m not active there at the moment.

Readings, decisions, fresh starts

I’m feeling very uplifted by real-life in-person poetry events. Last week in Lewes was the launch of three Frogmore Press publications: The Naming by Jeremy Page, Marion Tracy’s Evidence of Love and Neil Gower’s Meet me in Palermo. Strong readings all round and a cautiously-convivial atmosphere.  Fast on this comes tomorrow’s Needlewriters event, our first live readings since January 2020, featuring Jeremy Page and two prose writers Alice Owens and Anna Hayward.

Peter Kenny’s and my podcast Planet Poetry has restarted, the first episode of Season 2 featuring the wonderful American poet Kim Addonizio. There are several interviews currently in the bag, so it will be great to see how listeners respond. I was a bit sad not to see Planet Poetry in a recent round-up of poetry podcasts in Poetry News, and it was a kick up the bum to finish our new website and make sure it’s Google-friendly. Although having worked in online marketing for decades I find it hard to get enthusiastic about keywords and search terms any more. Anyway, those lovely folks at the Poetry Society offered to give our Season two opener a plug on Twitter, which was nice.

Although I’m on a year’s leave of absence from the University of York, I’m actually still plugged in to Dante and also Chaucer these days, and find myself referring to notes I was making on my core course module last year. I’m loving Mary Jo Bang’s translation of Purgatorio, incorporating characters and language from the present day, although I suspect it might be sniffed at in some scholarly circles!

As regards submissions to magazines, I’ve decided to step away from them for bit. I have half a dozen poems out at the moment, but I’m not sending any more for now. I have a few reasons for this.

Firstly, I don’t need to, in the sense that I have a track record of publication now, and I’ve nothing to prove to myself or anyone else. I think I’ve found my level. It would have been nice to be have published in The Poetry Review or Granta, but it’s OK to accept that it’s not going to happen. I could kill myself trying to write the ‘right’ sort of stuff, or I could write what I want to write, and enjoy honing it as best I can.

Secondly (related to the first point), I have a publisher for my first collection. I don’t have the collection yet, but I have the freedom to complete it, knowing it will have a home. This is a very privileged position to be in and I want to enjoy the moment, not fret about why Publication A, B or C don’t want any of the individual poems. Plenty of high profile poets have told about how the individual poems in their (successful) collections were consistently rejected by magazines. Or even that they never submitted them to magazines.

I can’t swear that I won’t submit the odd poem here and there, but I’ll be very happy not to be constantly putting my work up for possible rejection. I think the course at York has opened my eyes/mind to a lot of things. Perhaps a leave of absence makes the heart grow fonder – I’m starting to look forward to going back, which is quite a turnaround.

Trying to write the next poem

I’ve just been editing an interview I did with the wonderful Kim Addonizio recently, for Planet Poetry. I’m a huge fan of Kim’s and in my keenness not to sound like a goofy fangirl I’m slightly worried I wasn’t complimentary enough or warm enough. Which is probably silly. But there was something very reassuring about hearing her say (when asked what are you working on now) ‘I’m just trying to write the next poem’.

The other day I queried a magazine about a submission I made in March, only to be told the poems had been rejected months ago but for some reason I never got the memo – they were extremely apologetic, which makes it worse in that I couldn’t feel annoyed with them! So that led me back to my submissions record, and the realisation that I’ve had 31 poems rejected by magazines this year so far and only two accepted. In my defence, I’m not sending as many poems out as I used to, because I’m writing more of what I think of as ‘collection’ poems, which don’t necessarily stand alone. I know that placing poems gets harder all the time as the sheer number of poets submitting to mags keeps increasing (and hey! I’ve done my bit to help that! I must be mad!) but I also know that good (enough) quality will out. It’s just hitting that good enough sweet spot is all. And all a poet can do is just try to write the next damn poem.

Anyway, all this takes me back to poets like Kim – both her poetry and her wise words on the craft. Her Ordinary Genius is never far from my desk. When I find snippets that really speak to me I collect them and stick them on the wall: ‘the language we reach for first is the language we know’ (not a good thing, in case that wasn’t clear!)…’if a poem goes nowhere it’s dead’ …. ‘write colder’… And then there are her witty, eye-opening, multi-layered, highly original poems with all their many, many ‘I wish I’d written that’ moments.

Do subscribe to Planet Poetry if you’re interested in hearing the interview (and interviews with tons of other great poets). Look for it wherever you get your podcasts.

titles by Kim Addonizio
Books by Kim Addonizio

Meet-ups, currently reading & other distractions

Nothing wrong with distractions, and goodness I’m certainly welcoming them with open arms. But scroll down if you’re only here for the poetry stuff.

Distraction #1: Singing

A couple of weeks ago I was at Westminster Abbey with members of the Lewes Singers, for the fifth time, where we sang two evensongs in a spookily empty quire. We rather rattled around in there. But it was so fantastic to be able to sing again in one of our magnificent cathedrals. If you’re interested I’ve written a more detailed blog post about it here.

Lewes Singers in Westminster Abbey
That’s my man! Nick rehearsing the Lewes Singers in Westminster Abbey

Distraction #2: London

A few days in London was a real tonic. And it’s still pretty quiet and tourist-free. We visited some more of the fascinating City churches, also the much-revamped Museum of the Home, and just enjoyed exploring London on foot.

We also went to the David Hockney exhibition at the Royal Academy, The Arrival of Spring. It’s two (or three?) rooms of the paintings Hockney did in France during Spring 2020, recording the same trees, plants and landscapes as they transitioned from bare and cold to full greenery and colour. I was quite taken aback – the colours are just indescribably beautiful, and the whole idea of Spring and how it always comes back, no matter what… I don’t know why but I started welling up and before I knew it I was standing in the middle of the room completely in tears. I’ve never had that kind of reaction to any art, so it rather took me aback. I guess the last 18 months have been harder than I thought.

David Hockney number 209, 17th April 2020
David Hockney, The Coming of Spring number 209, 17th April 2020
Gorgeous Huguenot houses in Fournier Street, Spitalfields, London
Gorgeous Huguenot houses in Fournier Street, Spitalfields
The Barbican, Brutalism at its best
The Barbican, Brutalism at its best

Distraction #3: Gardening

Actually I’ve been taking less care of the garden recently other than deadheading, sitting looking at the wonderful hibiscus that only flowers for one week in the year, and picking tomatoes. These are mostly the variety ‘Romello’, and they’ve been so soft and sweet – highly recommended.

Romello tomatoes
Tomatoes ‘Romello’
The wonderful Hibiscus

And so to poetry…

I’ve had a few weeks of full-on Planet Poetry stuff, getting our new website up but mostly reading and preparing for interviews with (spoiler alert) Kim Addonizio, Martina Evans, Di Slaney and Sharon Black – you heard it here first! Series Two kicks off at the end of September. Subscribe in iTunes or Spotify or wherever you get your podcasts.

Recent poetry by Sharon Black and Di Slaney
Recent poetry by Sharon Black and Di Slaney

I’ve also actually been writing some new poems – hurrah! – as well as receiving the odd rejection email, including one addressed to ‘Dear Francesca’ – ! Dear oh dear. Sorry about that Francesca – do you have my rejection email by any chance?

Last month Hastings Stanza had its first in-person meetup since – well – you can imagine – and I can report it felt quite momentous. Glorious in fact. And a few days ago I met up with my Telltale pals in a Brighton pub garden and downed many pints of beer, as well as being very loud and lairy. Sadly I don’t have their permission to share a photo here, though I am sorely tempted!

And finally, not poetry exactly but kind of – my bedside reading is currently A Length of Road by Robert Hamberger. It’s an utterly absorbing and very personal account of Rob’s walk in the footsteps of John Clare. It’s a meditation on Clare’s poetry, and also nature writing but mostly a beautiful and honest memoir, and perfect reading for the quiet night time journey down into sleep. It’s published by JM Originals. Definitely recommended.

 

Not drowning but waving

Did I mention I’d signed up for some swimming lessons? I saw a poster for a six-week long (school holidays) once a week group course, at the place where I swim, and jumped in at it. It’s not that I can’t swim, but I want to swim with style. And I want to learn how to do flip turns. At the first session we split into beginners and improvers. We’re almost all of a certain age, while our young, bemused instructors tell us things like ‘children find it really easy to do this with their shoulders.’ Hmmm. Three of us have an instructor who sends us up and down lengths doing various drills while the others, with their own coach, tentatively launch themselves across widths. It feels quite hazardous – two shipping lanes with great potential for collision. I’ve only had two minor smashes, no-one hurt, although part of me always thinks rather uncharitably that the slower swimmers should look before setting off, as they have a shorter distance to cover! Anyway I’ve now invested in some prescription goggles, which should make it easier to see any impending obstacles, not to mention the instructor waving at me to GO, rather than having to yell R-O-O-O-B-I-I-N! from 25 metres away.

Before becoming self-conscious of all the things I’m doing wrong, I didn’t used to think about swimming when swimming, but I did sometimes think about poems. Some poets like to go walking. Personally I rarely get inspired when I’m out and about. And I have to say I don’t really write anything in my head while swimming, but being in the water is fraught with metaphorical energy, as are (for me and many others I suspect) swimming pools generally. I’ve had a ‘lido’ poem on the go for at least a decade, I think it’s currently out somewhere but I won’t be surprised if it comes back rejected again. Unlike ‘Lido’ by Alison McVety from her fine collection Lighthouses (Smith Doorstop) that sticks in my mind, the swimmer ‘left to plough on’ in the rain, ‘ten years gone and I’m still turning and swimming, turning and swimming’.

I’m now trying to remember various ‘not waving but drowning’ type poems, particularly one by a (currently living) poet whose brother downed… perhaps you can help me out? I think I read it in a magazine some time in the last ten years. I just did a search for ‘poem about a brother who drowned’ and it threw up an extraordinary list of results, all of the ’25+ Heartening Poems for a Deceased Brother’s Funeral’ variety. Funerals are probably the only time 99% of the population ever wants to encounter a poem, to be fair. Anyway, if I ever get to do a flip turn I’ll let you know.

Props

I’d like to give a big shout-out to Dave Bonta, poet, author and indefatigable blogger, whose longstanding blog Via Negativa I can whole heartedly recommend. I’m personally indebted to him for mentioning several of my blog posts in his weekly roundup, but more importantly for his careful curation skills – every week, he re-posts a few paragraphs from a dozen or so blogs. I’ve encountered many a new blogger/poet I’d never heard of, and many really interesting blogs thanks to Dave.

Lighthouse launch: reading a new poem and its prequel

Tomorrow evening is the online launch of Lighthouse Journal #22 in which I have a poem called ‘Let’s pretend to go shopping together’. This poem revisits an older one entitled ‘Closure’ which first appeared in (the late lamented) Envoi in 2014 and then again in my Cinnamon pamphlet All the Relevant Gods (only £2.09 at Abe Books!)

So I was delighted when Lighthouse editor Julia Webb got in touch to say there would be a launch event, and that contributors were invited to read two poems. I hadn’t actually placed ‘Closure’ and ‘Let’s Pretend…’ side by side until just now, and it has been interesting to compare them. The earlier poem refers to the end of a brief affair between two work colleagues, one of whom had had a quadruple heart bypass. At the time of writing I didn’t consider ‘Closure’ to be nostalgic, but placed next to this new poem the wistfulness is unmistakeable. Plus, something weird happens. Actually several things.

First of all I can see much more clearly now that both poems are concerned with the superficiality of not just this relationship but possibly many of the relationships that at some point in time feel real and substantial. I’m thinking of work friendships as much as romantic ones. Another thing is how the memory massages events of the past to the point that misremembered details get re-invented. For example in this case, the name of the hotel changes from one poem to the next. ‘Closure’ ends with reference to a ‘false heart’, ‘Let’s Pretend…’ is a wholly imagined scenario in which even the existence of the first poem is questioned. What exactly was ever true or false? Does the second poem change the first one? Which version of the narrator is the more reliable?

Tune in tomorrow for all the answers (or not!) and of course, plenty of fine poems from this issue’s contributors.

 

A sudden rush of sending out & signing up

Earlier this week I found myself pulling out old poems as well as some recent work, and giving them a bit of a pummelling. As a result I’ve had a spree of sending out to magazines and (yes I’m afraid so) the odd competition.

As luck would have it, I’m booked into a half-day Poetry Business workshop on Saturday with Jackie Wills and Michael Laskey, which I enrolled for months ago thinking by this time I’d be back in the poetry-writing saddle. Good timing.

And as if that weren’t enough, this morning I saw a tweet from Carrie Etter about her Arvon at Home week co-hosted by Sasha Dugdale, and I couldn’t resist an impulse-purchase. I’ve kind of sworn off any more residential courses, which I find rather stressful for many reasons, but the idea of doing it all from the comfort and splendid isolation of my home, with two of my favourite poets, is very appealing. The topic to be worked on is how to get a collection together, something I’ve been noodling around for ages, so that sealed the deal.

I’ve also been inspired by the latest issue (the first of my subscription) of PN Review which just arrived, including a page of poems by Shane McCrae which really excited me. They’re now pinned up next to my desk for inspiration.

A question about ‘poechreay’

I’m expecting my granddaughter to be offered a book deal any time now. Last week she gave me a card with a question written on it, somewhat out of the blue, and I wasn’t sure how to answer, so I did what any diligent nana does, I asked the Twittersphere:

How does poechreay work tweet

I was stunned by how much it was shared and liked, to be honest. Within a couple of days it had had over 100,000 impressions and nearly 10,000 ‘engagements’. But most of all I was touched by the replies. People really took time to answer helpfully, creatively and encouragingly. Someone even said they had thought about it all night before replying. Many of the replies were addressed to Hazel by name, which was lovely. Some suggested she had already written a poem right here. And the spelling of ‘poechreay’ went down particularly well (some read it as ‘patriarchy’ which was quite funny, another said she thought it said ‘peach tree’). Some people wrote their replies as poems. If you want to read them you can see the replies here.

Hazel is of course still only five, and both she and her mum are fairly nonplussed by it all. But I’ve been thinking about compiling the replies (there have been 69 so far and they’re still trickling in) in a little book that I can give her, perhaps when she’s a little bit older and can appreciate the wonder of it. I know it’s the sort of thing that I would have been amazed at if it had happened to me, but almost certainly not at the time.

I hope I’ve managed to thank everyone who replied. It’s the sort of thing that reminds me that lovely things do still happen on Twitter, and why I’m still there after fourteen years.