http://duanespoetree.blogspot.com/2019/04/paul-brookes-writes.html

Monet

My Monet

He abandons her as I abandon you.
Day after day strives to better capture

what he must, this sensation too quick
becomes that sensation, this telling moment

of light, of consequence. He lives
in perpetual debt. Scratches what he can

while debt collectors hammer down his door.
Like him all I can give is the family I neglect

to catch this colour of breath, these times
I will not see again as life flits by. Grief

behind and in front and with each step
outside the door a debt, a loss, a given.

2019 Paul Brookes

Monet

She loved vanilla,
eggs & snow.

Every night she

tracked the cusps

of the moon—

she died today;

she was wrapped

in whites as she

traversed the clouds.

By Jay Gandhi

My Monet,
He said Is
Charming adorable shining bright
one but in a constellation ,distant
difficult to decide, I moved  to  Yi
Ching cleromancy, whom shall I fancy?
My monet needs space, no one is
perfect, maybe the typical blonde
the smartest with ‘The Look’ so
loyal smart and an amazing cook
I dream of one, of varied trichitic
impressions, like a painting visible,
unusual visual from distant scape
sparkling in form, a classy inscape,
My monet I found much to my joy
a painted expression, soon discovered
in dismay, colored over lines ‘n contours
was just another classic artistic  impression.

2019 © CER       Anjum Wasim Dar

B Minor

B minor
        Bee is
huMming,
buzzIng—
HoNey
yellOw
nectaR

By Jay Gandhi

A B Minor

I am the key
of patience,
A judgement comes

through that door.
I am the key
to that door.

I am the calm
awaits fate.
I submit

to your divine
dispensation.
You turn my key

to unlock your door
to my judgement.
You use me.

2019 Paul Brookes

B Minor

One by one, they fall, three
in all, more maybe,
silently they wave farewell
To the tree, descending to land on the ground-
over and over they go
round and round,
The tree is still, bravely the loss it will bear, without a sigh without a tear,
submitting to divine will,
ever ready for submission, think a while, what can happen –
surely after Winter Spring will come,
All emerging from hibernation, to begin afresh
A rejuvenation.

2019,CER. Anjum Wasim Dar

The Jug Choir
Mixed media on calico

The Jug Choir

Sing into these Bellarmine jugs
daubed with faces of bearded men,
‘Witch Bottes’, the body of the male vessels filled with urine,
bent nails and votive cloth hearts,
to cause pain to any ‘witch’ that poses a threat.

What colours of song?
Ritual embedded in acts of violence.

2019 Paul Brookes

By Jay Gandhi

The Jug Choir

Bring me the washtub, the washboard, spoons
some bones a jug and a lyre
It is time to blow with the jug choir
A relic from Sirkap Valley
a precious pitcher from Taxila
a blue jar from old Jaulian
Adding  to all these, the Ozark Harp
would make all the A,G,C, minors, sharp
unique antiquarian rhythm with Indo-Pak alap

2019 © CER     Anjum Wasim Dar

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.
The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Emma Lee

was born in South Gloucestershire and lives in Leicestershire. Her poems, short stories and articles have appeared in many anthologies and magazines in the UK and Canada, Hong Kong, Mexico, New Zealand, South Africa, Turkey and USA. She has three poetry collections, “Ghosts in the Desert” (Indigo Dreams Publishing, 2015), “Mimicking a Snowdrop” (Thynks Press, 2014) and “Yellow Torchlight and the Blues” (Original Plus, 2004) with a fourth forthcoming from Arachne Press in 2020.

She has performed her work at The Poetry Cafe in London, all three Leicestershire universities, at LCFC, the Jam Factory in Oxford and Hatherley Manor in Cheltenham, amongst other venues. She’s also read poems for BBC Radio, EAVA FM and joined panels organised by the University of Leicester’s Sociology, Communications and Media department to talk about artistic responses to the refugee crisis arising from her co-editing of “Over Land, Over Sea: poems for those seeking refuge” and curation of Journeys in Translation. Her essay “Spoken Word as a way of Dismantling Barriers and Creating Space for Healing” was included in “Verbs that can Move Mountains” (Sabotage, 2017) and she presented a paper at the Jungle Factory Symposium organised by the Leicester Migration Network. Emma Lee’s poems have been translated into Chinese, Farsi, German, Greek, Italian, Polish, Portuguese and Romanian. Currently she is on the committee of Leicester Writers’ Club and the steering group for the Leicester Writers’ Showcase and has experience in organising poetry readings and live literature events. Emma Lee also reviews for five poetry magazines and blogs at http://emmalee1.wordpress.com

The Interview

1. What inspired you to write poetry?

I’ve always told and read stories. Reading was a quiet activity and I was encouraged to read from an early age. As a child I used to build houses from plastic bricks and invent stories for the people who might have lived in them.  Those stories evolved into poems. I prefer the extra layer of musicality in poetry to prose. I write short stories, reviews and blog articles but prefer poems. In my late teens I decided I either had to take my poetry seriously or write it off as a hobby so started reading and then submitting to poetry magazines. I already wrote music reviews and expanded into book reviews too. Reviewing books is a great way of reading work you wouldn’t necessary chose to read and figuring out what works and what doesn’t and why.

2. Who introduced you to poetry?

School did its best to put me off poetry. We read the War Poets and other poetry by men. I was left thinking that either women didn’t write poetry (unlikely) or women didn’t write poetry worth studying (incredible) so I went to the library. A friend sent me a copy of Ted Hughes’ “You Hated Spain” and I so identified with the subject, I had to read Sylvia Plath and her contemporaries.

3. How aware were you of the dominating presence of older poets?

I started getting published as a teenager so was very aware that I was a young poet. I was also a woman in a male dominated environment, although that’s slowly changing, so had every expectation that I’d feel as if I was on the outside looking in for a long time. It didn’t bother me. By the time I started looking at joining local writers’ groups, I already had a few years of publishing credits behind me so didn’t feel dominated by older poets when workshopping new work.

4. What is your daily writing routine?

Back in my teenage years I wrote secretly, scribbling in a notebook under a desk, writing fragments in margins or grabbing a spare half hour here and there so I can write anywhere: crowded cafes, a quiet desk, on public transport. I’m also in the habit of turning up early and utilise those spare moments waiting for everyone else to turn up. It doesn’t bother me if I write with a pen into a notebook, on my phone or on a computer. Now I write around a day-job (I’m a copywriter) and other commitments so I don’t have a routine as such. I do write most days and when I’m not writing I’m often thinking about writing.

5. What motivates you to write?

I find that a story or image or song will haunt me until I write about it.

6. What is your work ethic?

Workaholic. I have to schedule breaks.

7. How do the writers you read when you were young influence you today?

They taught me it was OK to fail. You will always learn from what you write even if it results in a piece you wouldn’t seek to publish. Nothing is wasted. Writers need to continually learn and develop their craft otherwise you risk becoming stale.

8. Who of today’s writers do you admire the most and why?

I don’t like to single out names, but those, often unsung, writers who support others by mentoring and giving feedback, organising live events, reviewing, organising groups and editing presses and magazines. Those who understand it’s not a competition and are genuinely supportive of others.

9. Why do you write?

I could no more stop writing than I could stop breathing. In my “is it a hobby or serious?” phase, I did try to stop writing. It didn’t work.

10. What would you say to someone who asked you “How do you become a writer?”

Read. Write. Read more. Seeing your name on the spine of a book in a bookshop is a huge ego boost and great target to aim for, but it’s writing that makes you a writer and you can’t be a writer unless you read. Find people who can give you constructive feedback on your work, whether that’s a trusted reader or joining a writers’ group (IRL or online), and who will encourage you to develop and grow as a writer.

11. Tell me about the writing projects you have on at the moment.

My fourth collection, “The Significance of a Dress” is forthcoming from Arachne in 2020. I’m reviewing (I’m always reviewing something) and drafting some poems. 2018 is Leicester Writers’ Club’s 60th anniversary and I was challenged to see if I could get (at least) 60 poems accepted for publication. I’m pleased to say I did.

The Bluebell woods

These blue flowers love mutual company
and yet are free. They reflect sky
and on other days skies reflect them.
The petals spring in spring and leaves
die in summer — a life full of swag! And
I feel what Wordsworth would have felt
when he saw a bunch of golden daffodils.

By Jay Gandhi

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.

The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Benjamin Guilfoyle: The Woolly Hat Poet

is a woolly hat wearing performance poet. His unique brand of wonderfully warm, woolly and often silly words has seen him headline poetry nights all across the North of England. His poetry covers all bases from ‘loud cinema eaters’ to the life teachings of his hero, Mr Brian Blessed. He has two poetry publications; ‘Level Up’ from 2015 and his first poetry collection ‘Please insert disk 2’ from 2019.
Benjamin loves nothing more than to perform his poetry to a live audience and in 2019 is taking his poetry on the road with ‘The Wandering Poet Tour’. The tour will be to raise money for the Lancaster Homeless Shelter and the Lancaster Children’s Library. Benjamin will walk from Lancaster to Brighouse performing poetry in twelve towns along the way with support from local poets and performers.

As part of his other poetry projects in 2019 Benjamin is working with the Morecambe Exchange to make a short film from one of his poems all about ‘Pilates’. He is also animating some poetry with the help of Cumbrian animator Hannah Fox.
In 2018 Benjamin entered his first poetry slam and became the Morecambe Fringe Festival slam champion which was a lovely surprise as he doesn’t usually go in for poetry competitions.

He is also a primary school teacher specialising in the early years.

https://www.facebook.com/pg/woollyhatpoems/

The Interview

1. When and why did you start writing poetry?

I have always loved words, rhythm and rhyme. My mum used to read me and my sister poetry and heavily rhythmic books when I was very young so I think I always had an ear for patterns, sounds and rhythm.

When I was in college, many moons ago when Eminem was big, me and my mate Steve made a pact to be the world’s next big rap superstars. That was obviously a terrible idea as we were, or at least I was, the nerdiest, goofy looking ‘wanna be’ type kid. Kind of like the kid in the ‘Pretty Fly for a White Guy’ video by The Offspring. Steve was way cooler than me. He had a rap name and everything. He was called ‘MC Heat’. I regret nothing. We had an insane amount of fun.

When I moved to Lancaster in 2014 to pursue a career in teaching I was taken to an open mic night in town and that’s where I saw proper performance poets for the first time and I kind of fell in love with what I saw and heard. Until then I’d never thought of poetry as something that could be so hip and funky. I remember thinking to myself “I can do that”. So I went home and wrote a poem. I took it along to the next open mic night and read it off of A4 paper. I was terrified. My hands wouldn’t stop shaking, but people clapped. I went home and wrote more.

I fell in love with poetry and since then it has gotten out of control.

2. How aware are and were you of the dominating presence of older poets traditional and contemporary?

I was very aware that there were other poets on the scene. I was also aware that nearly every other poet had a lot more experience than I had. It was pretty daunting at first to try and get up onstage with people who had been performing a lot longer than I had but I use every performance, whether I’m watching or performing, as an opportunity to learn from other performers. I always find things that I like in other performances and watching and talking to other poets has helped me to grow as a writer and a performer. I still have lots to learn.

I thinks that’s my favourite thing about poetry now, it’s that anything goes. If you want to perform it and you enjoy it then good for you. Poetry is a different beast for different people and no two poets are the same. The fact that performers will to take to the stage and read their own thoughts and feelings in front of strangers is one of the bravest things anyone can do.

So, as for a dominating presence, um, I wouldn’t say it was dominating, I just had to be brave and use every opportunity to learn how to shape my writing and performance.

3. What is your daily writing routine?

I don’t have one. I don’t have time fit a writing routine into my daily life. I’m a teacher. I’m too busy. I just write when I have something to write about. I often carry ideas and words in my head for ages and eventually I find the time and words to make something out of it. I try to write from a place of happiness. I look out for the small things in life that people might gloss over in their everyday life. My emotions occasionally play a part in my writing but I also want my poems to entertain so I try to think about things that people can relate to as well

4. What motivates you to write?

I am motivated by lots of things. I think the main themes I keep returning to are childhood, growing up and having courage. I like to write about nature as well. I quite often draw on my personal experiences from the past and use elements of those experiences to write poems that have a narrative. But on the other hand I have written a poem called ’12th Century Shower Scene’ which is all about that scene in 1991’s Robin Hood: Prince of Thieves where Kevin Costner is completely ‘starkers’ under a water fall so I’ll write about anything.

Songs. I’ll also take inspiration from songs. The words of Ben Folds have been a huge influence in my writing.

5. How do the writers you read when you were young influence you today?

I have inherited a love for rhythm and rhyme from the poems and books I read and was read as a child. The copy of ‘Noisy Poems’ – collected by Jill Bennett and Nick Sharratt – in our house had worn out pages. The first rhyme in the book rhymes Dorchester with orchestra and the book just gets better and better from there. There is also ‘Song of the train’ by David McCord in there and when read it has the rhythm of a train and you feel like you are the train. It’s superb. Repetitive, but for a young child it really is excellent writing.  We read lots of A.A. Milne poems and I think they have been a huge influence on me with regard to adding a narrative in to my poems. Books like Hairy MacLary and the Shirley Hughes poems and her ‘Alfie’ stories were also read a lot.

I have my mum to thank for all that.

6.  Who of today’s writers do you admire the most and why?

I feel as a poet I really should know more modern poets than I do. I’m pretty useless in that regard. There are poets that I have met and seen perform and they have really blown me away with the energy and passion that they bring to the stage. That’s what I love the most. Energy and passion and to see the performer believing in what they are saying. Of poets that I have either seen perform or have had the opportunity to know in some fashion I would say my favourite poets are Dominic Berry, Alex Slater, Rosie Fleeshman and ‘Th’Owd Chap’ George Melling. But really, I admire anyone who will get up on stage and perform their own work and for me that’s the beauty of poetry these days. There is so much great poetry out there. Some I will like and some I won’t but I admire anyone who will read their own work.

7. Why do you write, as opposed to doing anything else?

Poetry was, when I first started writing properly, really a place where I could empty my head and try and make some sort of sense of life at a time when I didn’t have anyone to talk to. I had just moved to Lancaster and left all my friends and the majority of my family back in Yorkshire. Poetry helped me to get my thoughts out and keep me sane. To a point I still use poetry in much the same way. I sometimes find in conversations I am stuck for the right words or I feel I should be able to talk about things much more eloquently than I actually do. Poetry gives me the chance to take my time and find the right words to get my point across. I wouldn’t say I do it as opposed to anything else. I’m never bored and always have little projects going on and poetry has just become one of my many hobbies that I am lucky enough to be able to share with people.

8. What would you say to someone who asked you “How do you become a writer?”

Just start writing and don’t care about if it’s good or not. Just write. Probably about something you’re interested in at first and eventually you will find a writing style and themes that suit you. Every writer is different and that’s what’s so exciting. Every writer will do work that is fantastic and every writer will write pieces that are absolutely rubbish. Don’t be afraid of feedback. If it’s negative then it’s constructive. Use it to learn and develop your writing. Don’t share writing that you aren’t happy sharing. Just write and write and write. And read. You’ve got to be a reader if you want to be a writer.

9. Tell me about the writing projects you have on at the moment.

I am currently preparing for my first poetry tour which will commence on 21/5/19. The tour is called ‘The Wandering Poet Tour’ and is in aid of two local charities; the Lancaster and District Homeless Action Service and the Lancaster Children’s Library. The tour will see me walking 110+ miles from Lancaster to my hometown of Brighouse in West Yorkshire. I will be passing through Garstang, Preston, Wigan, Bolton, Prestwich, Salford, Oldham, Littleborough, Hebden Bridge, Halifax and finally Brighouse. I will be performing each night with support from poets local to each area. Because the tour is in aid of the homeless shelter I will have no place to stay. I will just rely on the kindness of my audiences to put me up for the night or risk becoming homeless myself. More information on the tour can be found at the Woolly Hat Poems Facebook page -> facebook/woollyhatpoems
I am also working on my first poetry collection. ‘Please insert disk 2’ is comprised of 42 poems with themes of childhood, love, happiness and survival. It is very close to completion and I am having to be careful not to rush in the final stages. I will be posting more about my collection in the very near future on the Woolly Hat Poems Facebook page.

Press Release

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.

The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Jacqueline Saphra

Jacqueline Saphra’s The Kitchen of Lovely Contraptions (flipped eye 2011) was shortlisted for the Aldeburgh First Collection Prize. If I Lay on my Back I Saw Nothing but Naked Women (The Emma Press 2014) won the Saboteur Award for Best Collaborative Work. A Bargain with the Light: Poems after Lee Miller was published by Hercules Editions in 2017. In the same year All My Mad Mothers (Nine Arches Press) was shortlisted for the T.S. Eliot prize. Her most recent play, The Noises, was produced at The Old Red Lion Theatre in April 2019. Her next collection, Dad , Remember you are Dead’ will be out from Nine Arches Press in September 2019. She lives in London and teaches at The Poetry School. http://www.jacquelinesaphra.com

The Interview

1. When and why did you begin to write poetry?

My favourite books as a child were poetry books. The Oxford Book of Children’s Verse, Mother Goose, Now We are Six and When We were Very Young were big influences. I loved Edward Lear and Hilaire Belloc. I wrote at school too. In those days there were no targets to speak of and no SATs. Friends and I would disappear into a small spare room at the end of a corridor somewhere and write poems together.

2. Who introduced you to poetry?

I suppose it was my mother, who would read to me every night until I learned to read to myself. I was an insatiable reader of novels too. Certain primary school teachers were very influential too and would encourage us to write whatever poetry we wanted to as part of the school curriculum – it was considered important by those teachers to encourage us to be creative without any objective in view.

3. How aware were and are you of the dominating presence of older poets?

ha ha. I’m an older poet! I’m not sure how much older poets ‘dominate’ these days – I think that’s a bit of a myth now, although it certainly used to be the case. We can learn a lot from our ‘older’ and more experienced poets – they’ve been at it a long time. There is a dominance of youth, if anything: the new, the fresh, the young seems to get a lot more attention and often some of our more experienced and brilliant older poets are pushed into the background. If you are looking for really great poetry there is a lot to be said for experience (of life and of writing). My new book does do a bit of a head to head with the male canon though because I believe that women need to reclaim the space. Being older is a real issue for women poets, who often start writing later because they’ve been bringing up families and often working at the same time but are taken less seriously and valued less than new young poets. I’ve blogged about this. https://jacquelinesaphra.wordpress.com/the-slow-game-women-poetry-and-the-cult-of-youth/

4. What is your daily writing routine?

You’re asking that question at a difficult moment. My new book is out in September and my play, The Noises has just finished its London run so I haven’t been writing much. Fallow periods are important and I have two or three projects in my mind to occupy the next couple of years.

However I normally try to show up most days in case the muse wants to visit. You have to leave the door open for her!  If the writing isn’t happening (and sometimes when it is), I read poetry or poetry criticism. In between writing, I often go the gym for an hour or two.
My other habit is to go away to a friend’s cottage in Suffolk by myself for as long as a fortnight and create my own writing retreat. I find I can work for hours and I take long, thinking walks along the marshes and take my notebook with me.

5. What motivates you to write?

I just have to. I have things to communicate, things I feel strongly about. I can’t write a poem without a feeling.

6. What is your work ethic?

Mainly it’s ‘Don’t wait for inspiration to strike’. Pasteur said ‘Chance favours the prepared mind’. You can always do something. Poetry can be like practising your scales before you tackle the Beethoven Sonata. Not everything you write needs to end up in a book, or even being read by someone else. Lots of it can end up in a drawer or on your metaphorical cutting room floor. Be prepared for plenty of ‘wastage’, knowing that everything you write – especially your (many) failures are contributing to the poems that make it out into the world. Often a whole series of failed poems might be the dress rehearsals for the actual ‘performance’.

7. How do the writers you read when you were young influence you today?

I’ve already mentioned AA Milne, Edward Lear, Hilaire Belloc, but I’d add to them Coleridge, Blake and of course Shakespeare. Then there was Leonard Cohen and also Bob Dylan. From them I learned about metre and rhyme – not very fashionable these days, but rhyme and metre are the historical roots of poetry and often give it a uniquely emotional effect and of course its music. In my early twenties I read many of the 60s, 70s and 80s feminist poets like Adrienne Rich, Alice Walker, Denise Levertov, Audre Lorde, Marge Piercy …  I lived in a flat with three other women and we used to read and recommend those books to each other. Those writers were formative for me because they taught me that politics with a personal perspective can be part of the poetic discourse. And of course they were women. If they could do it, why couldn’t I?

8. Who of today’s writers do you admire the most and why?

I could go on and on so here are a few (I seem to be drawn to American poets particularly): Marilyn Hacker (formal skills and great storytelling), Carol Rumens (unsung beauty) , Tony Hoagland (emotional honesty, understanding the line in free verse, use of narrative, humour), Natalie Diaz (huge emotional courage and skill to harness it), Alicia Ostriker (political, passionate and  brave), Naomi Shihab Nye (both political and humanitarian perspective), Ellen Bass (gorgeous, immediate and great storytelling).

9. Why do you write?

To communicate. Because I have to. Because I love it.

10. What would you say to someone who asked you “How do you become a writer?”

Read, read, read, read, read, read, read, read, read, read, read, read, read and write. In approximately those proportions.

11. Tell me about the writing projects you have on at the moment.

My one-woman play, ‘The Noises’ just finished a three-week run in London after years of development. I’m gearing up to write another one, this time with more characters in it. ‘The Noises’ was accessible to visually impaired and blind people and I’m trying to incorporate access into my next script. It’s a huge creative challenge and opportunity to enrich the work.

My next book, ‘Dad, Remember you are Dead’ will be out from Nine Arches Press in September 2019.

https://ryethewhiskeyreview.blogspot.com/2019/04/im-man-enough-by-paul-brookes.html?m=1