Month: November 2022

Categories
Poetry

Another day, another book launch!

This post launches my new collection of poems – Book of the Spirit – which was published this week. Further details and a link to buy a copy can be found on the Books page.

In developing this small collection – it was always destined to be a small collection, a chapbook – I wanted to celebrate – to write in praise of – writing, particularly the writing of poetry and love poetry especially, by creating a work in which the medium itself was the message, and by raising that message, that medium, on high. I suppose that I came to see in this venture a similarity with other celebrations. Particularly, in some ways, I could see parallels with that older and special celebration of praise, found in devotional traditions that glorify one incomparable certainty, one supreme entity, and that find their outlet, their medium, in a religious service. Eventually, that comparison shaped both the language and the structure.

Thus, perhaps inevitably, many of the poems merge the secular with the theistic – the word with the Word, as it were – so the language borrows from religions and there are references drawn from religious works.

The seventeen poems are divided into four sections, of which the second, longest part has works which fall into the canon of a service. I should emphasise that I have not tried to create a service, simply that the works are named for the more formal expressions of praise within a service.

  • As most of the poems reference earlier works – both religious texts and poems, or teachings, and some of the connections may not be obvious I shall be publishing a free set of notes in the Resources section of this site in due course.
Categories
Event

Art Trail Magazine

The Ceredigion Art & Craft Trail (CACT) were kind enough to feature me in the Autumn/Winter edition of art trail magazine which can be read online here. CACT was formed to raise the profile of artists and craftspeople in Ceredigion, which it does through their website and through a number of exhibition-sales throughout the year. The next will take place at The Bandstand in Aberystwyth from Thursday 15th – Saturday 17th December. It is advertised on Facebook as a fantastic opportunity to buy unique, locally-made Christmas presents direct from the artists and makers.

I shall be there!

Categories
Poetry

Interlude

An interlude is a short piece of writing or acting introduced between parts or acts – initially of miracle or morality plays – or added as a part of surrounding entertainment. When Trystan is published – sometime next year – readers will discover that there are eight interludes that surround and interrupt the main ‘story’ chapters. I will say more about this when the book is published. Meanwhile – between more important posts – here is a poem.

Ashes in a Wilderness

To you, readers, I say
I am no writer –
these words
placed themselves
on my page
to tell a story

To you, writers, I cry
I am no chronicler –
these tales
spun their web
through my mind
to make a memory

To you, poets, I sing
I am no rhymer –
these lines
etched their pattern
on my paper
to form a psalm

To you, who come, I whisper
I am no voice –
these sounds
lift their hymn
from the book
to sing your future

Categories
Fiction Poetry

What Comes Next?

In The Dark Trilogy, I created a literary alter ego – Trystan Lewis – named Trystan as I had a vague idea when I began writing – all those years ago – to link him in some way with the Tristan in The Romance of Tristan and Iseult. I never found a way to make that work but kept the name! Lewis, the surname, after the old nickname I had been given when I first went to sea, Louis (as in Louis Armstrong or Satchmo). A few months ago I was reading an article about James Joyce which reminded me that Stephen Dedalus was Joyce’s literary alter ego and, in turn, that reminded me of my original plan… and I began plotting… planning… and a new book was born! While I have made no attempt to write a modern version of The Romance of Tristan and Iseult, all of the main chapters are named for the chapters in the Romance and each chapter has thematic links and some reference point to the original. Character names are all drawn from the original: for example, Trystan’s good friend George Knight is named for Gorvenal (the word means knight). The story follows Trystan and George through a twenty-four hour period and deals with fate and the downwards spiral of events caused by drink, much in the way of Charles Jackson’s The Lost Weekend. Although the story is centred in a small Welsh town, as with much of my writing the sea is central to, and surrounds, the story and among many, often hidden, literary allusions, Moby Dick is referenced at both the beginning (Trystan “sailed about a little [on] the watery part of the world”) and the end (“the great shroud of the sea rolled on”) of the story.

So Trystan lives on! 

I do like the idea of extending story lines so, as well as Trystan, several other characters from The Dark Trilogy also appear in, and indeed are the subject of, some of my short stories.

I have a publishing programme planned and expect to publish a poetry chapbook very soon, before – early next year – the short story collection. Trystan and a further collection of poems should follow soon after that. [Order of publication may be subject to change!]

Watch this space!

Categories
Fiction

Anabasis: The Dark Trilogy

https://youtu.be/aq1lnwBvUuI
Categories
Poetry

Zen Reflexions

To discern 
           our place 
To commune 
To see 
           beyond our close shadow of death 
To focus 
           my poet mind 
I need direction 
           a qibla 
Or some beads to tell 
           to take refuge from my life: 
A candle flame 
Only the candle 
Flame 
Flickering 
A journey into quietude 
            begins 
Into that silence 
             comes tranquillity 
And the absence of words 
Serenity beyond words: 
              I become sentient - 
              conscious of only this moment in the flame of a grain of sand 
                           Of the sun shining through golden autumn trees 
                          Of the clearing mists 
                          dissolving in the valley and above the hills 
                          giving way to rain that fills the sky 
                         so that the branches droop, dripping 
                         as the wind rustles the upper boughs 
                         and drops spatter on the window glass. 
                        Of love 
Peace 
Perhaps, now, I am no longer physical 
              But have become a spiritual being 
              having a human experience 
Writing 
              And in the writing 
                                the words return

Originally published in Mostly Welsh (Y Lolfa 2019, pp.51-52)

Notes

  • Moliere: “Without knowledge life is no more than a shadow of death”
  • qibla: Spiritual direction  (the direction of Mecca)
  • Zen Master, Hung Chih, writes of serene reflection in which one forgets all words and realizes – is aware only of – Essence.
  • c.f. Blake: Auguries of Innocence: “To see a World in a Grain of Sand…”
  • “We are not human beings having a spiritual experience, but…” Generally attributed to Pierre Teilhard de Chardin, SJ, a French idealist philosopher and Jesuit priest
Categories
Fiction

Reality and Writing

Laurence Durrell once wrote, “Reality is too old-fashioned nowadays for the writer’s use. We must count upon art to revive it and bring it up to date” (Monsieur. The Avignon Quintet, 1974). Much of my writing – this is true of The Dark Trilogy and the poem at the heart of the novel, as well as of many of my other poems and, as you may discover when they are eventually published next year, also of many of my short stories – is based on (or around) my life.

Which may lead you to wonder if this is suggestive of a lack of imagination, or an unhealthy focus on myself (George Orwell noted that “Sheer egoism. Desire to seem clever, to be talked about” is one reason that people write. (George Orwell: ‘Why I Write’ Gangrel  4 (Summer 1946))… but I think perhaps it is just that writing for me – and perhaps for many others – is a cathartic exercise: such autobiographical writings simply offer their authors – if I may borrow Carlos Ruiz Zafon’s words  – “the chance to look at themselves in the mirror of memory and for a moment believe they’ll live forever.” (The Labyrinth of the Spirit. 2018). I have to remember though that, more prosaically and perhaps rather more negatively, Evelyn Waugh wrote, “Only when one has lost all curiosity about the future has one reached the age to write an autobiography” (A Little Learning: An Autobiography (Vol.1), 1990). Jonathan Swift noted “there is in most people a reluctance and unwillingness to be forgotten… [and] if it be founded in our nature, as an incitement to virtue, it ought not to be ridiculed.” (Charles Peake quoted this in his 1971 essay, “The Coherence of Gulliver’s Travels.” In Claude Rawson (ed.) Swift. London: Sphere Books). But I hope at least that I remain curious about the future!

Meanwhile, like Durrell, I feel the need to revive my life, to embellish the boring facts and to bring them up to date! As Carlos Ruiz Zafon said “no genre is more fictitious than a biography”! Those who know me may recognise autobiographical fact amongst the fiction… perhaps, others will just read a fable!

Categories
Poetry

An Unpublished Poem

There are about a dozen poems quoted in The Dark Trilogy that are not published in Mostly Welsh. Here is one of them!

The Interface

Books make visible the writer’s soul
Which bleeds its angst by pen:  
Spread thin across life’s whited bowl  
A thin red stain of madeleine

Books may offer us an author’s eye
That ensnares the reader within its brail
Or should writers light the reader’s sky
And tear apart the shadowy veil?

Books will hold the writer’s thought
And bridge the gap twixt pen and readers
A mystic link so carefully wrought
To blazon unicorns among the cedars

The writer’s flame burns bright with drama
As ashes from a tortured mind combust
For in the writing there must be karma:
Finding peace in a little heap of livid dust

With thanks to Proust, Baudelaire, Auden and di Lampedusa
Categories
Fiction

The Scholar Critic

The device that I have used in The Dark Trilogy is one also used by Vladimir Nabokov in Pale Fire – that of using an imaginary second person – a scholar – to discuss and explain a poem, thereby narrating the story.

Nabokov’s Charles Kinbote wrote that his friend’s poem was a “sudden flourish of magic” and it will become  evident that my scholar feels similarly about the poem of his friend. He too would of course suggest that his commentary should be read both first and during a reading of the poem as a reference and, like Kinbote, feels that the:

“… reality of its author and his surroundings, attachments and so forth, [is] a reality that only my notes can provide. “

The literary persona of my scholar-critic – a friend of the poet since their school days – is unduly proud of his scholarship and of his writing skills. He is also very much in the habit of writing scholarly papers, so his introduction, his commentary on the poem and even his biographical notes are peppered with footnotes which serve to demonstrate his own knowledge and skill as much as they help the reader!  He also, with some justification, feels that he should be the one to write at length and in some depth about his friend.

Perhaps you will feel that the scholar is writing as much to serve and promote his own aims – a major publication, association with a great poet, evidence of his research skills, and so on – as to respond to the poet’s request:

… You must know that my health is failing and that these days I rarely leave my home on the South Downs, valuing the peace of the rolling countryside and the view of the distant sea above companionship and travel; so when my publishers asked me to work on a new version of ‘Retrospective’ my first thought was to refuse. That was until I re-read the poem and was once again transported back to my early lives and loves. I DO believe that the poem deserves another outing! And what I believe would enhance its brevity are the stories behind it, but I have no longer the energy. I should like to see a commentary to the poem which opens up the histories which underpin my lines. Christo, having known me for most of my life I know that you will be able to unravel the often difficult themes and thinking lying behind the lines of the work I am now calling ‘Dark Ashes’ …

Or perhaps you will see a colleague determined to bring his good friend’s poem to the wider audience it deserves.

Categories
Essay Fiction

Some would argue that no genre is more fictitious than a biography

So said Carlos Ruiz Zafon – it is the lead quotation at the beginning of Book I. In an interview recently published in Poetry Wales, the poet Tim Relf says: “I don’t believe any of us are reliable narrators of events, even to ourselves. My latest collection Same Difference returns to that idea in various forms: how our life is what the novelist Julian Barnes refers to as ‘the story we have told ourselves’.”

I have tried, in The Dark Trilogy, to blend the story that I have told myself about myself, about my life, with an older history that might have been mine. Once. I have dived into the depths of one of my poems and surfaced with far more than I had dreamt was in the lines. ‘Retrospective’ – the poem in Mostly Welsh (Y Lolfa, 2019) that became ‘Dark Ashes’ – was avowedly autobiographical of a part of my life but I never wrote a second, older, life into those lines. Or so I thought! In taking on the role of my own editor and critic in Books I and III of The Trilogy, I allowed the possibility of there being more behind the 326 lines of the poem than I had been conscious of. A second story. A second – older – life. So there are two biographies in Book I. And at least one of them – the one to which Book II adds – is true.

But memory is a curious thing! As some past event is recounted for the first time a small fact – the colour of a dress or the positioning of a piece of furniture in a grandparent’s house – might be added, perhaps hesitantly, doubtingly, in error… but in the very act of speaking about the event that erroneous image is cemented into the memory – fixed to the extent that on subsequent retellings the blue dress is there, in the picture, as your mother stood in front of her parent’s sideboard. And now there is no question in your mind that you are describing things as they really were! An autobiography is the curated sum of our imagined memories.

In The Lady in the Van, Alan Bennett wrote “You don’t put yourself into what you write; you find yourself there.”