Poem by Wendy Pratt

 

WENDY PRATT

 

Half Dreaming When the Storm Breaks

 

Six weeks gone and already I’m letting you

channel her ghost through the pores of my bones;

allowing the tight-fit of plates and fastenings

to drift apart like forgotten continents.

 

Your beautiful ember is scorching my edges;

I am blistered, exhausted in the bedroom light

and the clouds labour on right up to the window

like the blue marbled sides of milling cows.

 

In my dream-cabinet, a tongue sticks

to its palate as thought-words scrabble in the dark -

each one a sink-hole; darkly riddled

with butter-fingered-grasping for your shape.

 

The clouds will spill into the room,

like the sea rushing over the lips of a sand pit.

It is you and your sister, pulling me back;

small hands still cool in the crease of my palm.

 

 

‘Half Dreaming When the Storm Breaks’ was commended in the Sentinel Literary Quarterly Poetry Competition (July 2012)

 

 

 

Three poems by Clifford Forde

 

CLIFFORD FORDE

 

The Party

 

They rushed in dripping wet many long years ago,

their scarves and coats awry, their faces streaming;

the wind shut out beyond the door still roared

and set the house a-flutter at their coming.

It was as if a flock of birds had been drawn in

tumbling, and I, aghast almost, at that roistering

and the tremor of my heart’s confusion.

 

But what a joy it was when they were there,

to smell the damp of woollens steaming

by the fire and see the frothy porter rising.

Barnbrack and orangeade laid on for the young,

and I, their servant, every minute of it loving,

from the coy Come up and sit beside me, sure 

to severer tongues against the weather clacking.

 

At last the No harm done prefaced the moving

of chairs aside, with the bright accordion prattling,

then the dizzying heat and glistening foreheads

of eager dancers, forever laughing and twirling,

or the singers, rapt to tears in their ancient yearning;

and I, ensconced in the corner, watching the fire dim,

one ear cocked for the driver’s cart -

                                                             wishing it would never come.

 

 

Serendipity

Serendipity:  n. the faculty of making fortunate discoveries by accident.

                                    

for Hana

 

You asked me to define serendipity that evening,

remember? Or to put it in a poem for you some time.

That was before you did your own research online,

your voice astonished, your eyes wide and bright

at what you learnt. And so much cause for merriment!

rendipité would not do, you said, the French equivalent,

discovered in your dictionary – not to your taste at all.

That union of French and English, despite our amour-propre,

was yet a birthing-pool to you for wonder and méprise.

 

But might not looking for it too intently be the answer,

in the way a casual glance at sunset from your window,

brought that lush fanfare of colours to our sight,

or the curling, scented smoke from your wood fire

teased our sense with vivid memories of a more distant

time, redolent of forest warmth and summer gaiety;

or the rainbows we beheld, shimmering through mist -

all of which caught us unawares, and happily so?

All found by us, I mean, when not deliberately sought for.

 

Serendipity is a word I cannot easily set down in verse:

those tripping rhythms rarely suit my sober lines,

and a glossary does  not give me exactly what I need.

An example, you want. I know. But when I think about it now

it is laughter I get from that word – the laughter of friends

drawn close together round the table of an evening. As ever.

And there all the time, though not what I was really after.

Yet a more fortunate discovery I cannot find – and a surprise for me.

Serendipitous, I might add, for you. Serendipity, you see!

 

 

Swans at Evening         

 

That evening we came back by the Water Meadows,

buoyed up by memory and that rediscovered path;

our heads nodding at wild flowers, calling out names -

a scattering of seeds we might once have sown there.

Circlets  of gnats were still flourishing above the water

where the brown trout lay in their gravelled beds.

The sun drowsy too, slipping down in the distance

and  for just one moment lost to us completely,

until it reappeared round the bend where the river

stretched away to a  ballroom flickering with light;

and there a cob and pen appeared, ghostly white,

it seemed, almost as we remembered them -

necks mutely intertwined, until the current drew

them apart, before nudging them together again.

And we having stopped to look, rapt by the sight

of so elegant a movement, as it appeared to us then,

went on, arms entwined, waltzing into oblivion.

 

‘The Party’ and ‘Swans at Evening’ were commended, and ‘Serendipity’ was highly commended in the Sentinel Literary Quarterly Poetry Competition (July 2012)

Aisling Tempany reviews Vermeer’s Corner by Graham Burchell

Poems on paintings are an interesting concept, but the success depends on the artist or paintings in question. This collection of poems on the work of 17th century Dutch painter Johannes Vermeer highlights the limitations of this as an idea, particularly for the whole collection. Vermeer, after all, painted only around 40 paintings in his career, and many of these are painted by the same studio window – Vermeer’s Corner, as the title suggests. Not much is known about Vermeer’s life. What is known though is that he was mainly a working painter, doing art on commission for money. As descriptions of the paintings, they are vivid, but the limitation of Vermeer’s subjects comes through quite soon. I have only seen a few Vermeer paintings, but the rest, I can imagine more or less from Burchell’s detailed descriptions, and the similarity.  This is even highlighted in ‘Judgement Day’, as if even Burchell was becoming exhausted by the repetition:

 

Same corner    same room    same woman

you see some alchemic transaction perhaps

made mystical with drapes

 

The most interesting poem is certainly ‘In 1944′, a poem discussing the x-ray of Vermeer’s Woman with a Lute, revealing further details of the scene that were painted over, ‘so many/lives rolled over/so much dust to smell.’ Of course, this is not an uncommon occurrence for artists, so while interesting, any painting could be the subject. Burchell, with a degree in Art and Education, misses an opportunity to divulge some technical aspects of painting and art, for which some of his paintings are quite notable. ‘A View from Delft’, a close second with ‘In 1944′ for the stand-out poem, also fails to draw upon the false nature of the supposedly realistic seventeenth century view, which is highlighted elsewhere. So often, Burchell attempts to give a voice to the women of his paintings, but gingerly avoids certainty. ‘Mystery’ suffers the most for this. Based on the painting ‘Girl with a Pearl Earring,’  where the girl asks ‘who am I do you know.’ Considering this painting was already the subject of a novel by Tracy Chevalier, and a film in 2004, which solved the mystery of the painting by saying ‘You’re Scarlett Johansson, who really loves mixing colours and the butcher’s son.’

 

To people familiar or interested in Vermeer’s paintings, this could be an interesting read, interpreting the paintings with more flair than an art book, or blurb in a gallery could do. To anyone else, it is a concept that suffers because of the limitations of the original artist, as opposed to the poet. The poems are too repetitive, and alike to really accurately reflect the poet’s work. Individually, many poems are fine, but together, they cancel each other out. Every poem repeats the words ‘pearl’ and ‘light.’ Vermeer’s obscure life means there’s nothing being said about the artist, there is perhaps nothing to say there. When the last poem, ‘Finale’, begins ‘so finally we come to this’, I hear it so exhaustedly, with a sense of relief that the book is finished. Burchell may be a fan of the artist, but the many girls in pearls and yellow window light make for a collection much like Vermeer’s paintings – technical and skilled, but mostly lacking excitement.

 

Vermeer’s Corner published by FootHills Publishing is available here

Sanya Osha reviews A Review of Basil Diki’s Two Hangmen, One Scaffold Book 1, Baiting the Hangman by Basil Diki

 

An Underground Country

 

Zimbabwe, since its independence in 1980, has produced an interesting crop of prose stylists. Dambudzo Marechera, Yvonne Vera and Tsitsi Dangarembga are all known as trail-blazers. Lately, Brian Chikwava, Petina Gappa and Noviolet Bulawayo have emerged to carry on the illustrious tradition. All the names just mentioned have had considerable international impact. However, there is much more to be said about contemporary Zimbabwean literature than we are presently led to believe.

 

Basil Diki is another engaging and energetic novelist and playwright that should be added to the interesting list of Zimbabwean literary artists. His novel, Two Hangmen, One Scaffold Book 1 (2012), centres on the lives of Binga Jochoma alias Akar Muja, his wife Matipa and their son, Peza. Akar works in a mine enduring a punishing work schedule that brings very little by way of monetary returns. We get to know he is a far more conflicted personality than he presents to his wife and family. He lives with his customary law wife, Matipa while he has a common law wife, Nomathemba, living in another city. Finally, he has an undergraduate girlfriend, Gillian to complete a complicated emotional picture. By some sort of schizophrenic twist he is able to keep the separate strands of muddled emotional existence apart. He convinces himself he needs Gillian to serve as an antidote for his creeping sexual impotence. His main dream in life is make enough money to keep his women in different metropolitan centres of world namely, Oslo, New York and Johannesburg so as to be as far as possible from each other’s throats. Clearly, his job as a menial mine worker cannot aid the realisation of his dream and so he has to resort to a Malawian sorcerer to assist him in his quest for unparalleled financial wealth.

 

Akar plans on stealing Leonardo da Vinci’s Mona Lisa from its fortress in Europe which he hopes to sell. Indeed Akar is a mess of contradictions: down-trodden mine worker, ex-soldier, a fervent adherent of juju practices,  a lover of literature and the fine things of life who plans to come by wealth through art for good measure. But alas, there are even more head-spinners. He is sexist though he somehow never beats on his wife. However, there is a secret his wives and family do not know. Akar is a cold-blooded murderer who haunts derelict mines in order to dispossess illegal miners of gold and money. He disappears for many days on end prowling through underground tunnels in a bid to supplement his meagre income. If he doesn’t, it would be impossible to buy Christmas gifts for his loved ones and earn their respect. One of his disappearances earns him the sack from his bosses and which is when his hobby becomes his main source of income.

 

Diki unveils a multitude of graphic images on the Hobbesian world of illegal mining that make the world illustrated by Emile Zola appear rather humane. The realities of illegal mining in Zimbabwe are peopled by desperate souls, ghouls with broken dreams and ruthless killers. Accidental falls down shafts and man-made pools that rip off flesh, hair and bone are a common occurrence. Poisonous snakes lurk in crevices and machete-wielding killers lie in wait for victims in all manner of places both within and outside the mines. Indeed the concealed turf of illegal mining is more gruesome than one would expect:

 

There were many ways to die in the tunnels. Gangs roamed underground and robbed the illegal miners of rich and ore and gold. When thugs floored a victim with fists and machetes, pinioned him to the ground and pressed a knife against his Adam’s apple, he invariably yielded all the gold or ore on him. Venomous snakes in the tunnels killed those who stepped on them (p.103).

 

Diki’s Zimbabwe is many leagues away from Marechera’s and his contemporaries. The seizures of white-owned farms, a national economy experiencing rapid implosions coupled with foreign economic sanctions have severely devalued human life in the country. The Marxian axiom that religion is the opium of the masses is granted especial force. Matipa lives under the perpetual guidance of Prophet Jatropha and personal religious dreams, nightmares and visions. For her and so many others who belong to her sect, when all else fails it is only natural to turn to the phantasmagoria of charismatic Christianity. Unfortunately, she does not often recognise when her rigid faith threatens her marriage. Her husband’s life lurches jerkily under the compulsion of a sordid and absurd mix of animism and vaunting machismo. There seems to be no respite for anyone as everyone writhes within the relentless grip of personal and societal melt-down.

 

Diki’s highly descriptive novel manages to say quite much with not too many digressions and indeed there are some which is not unusual for a book of such considerable length. Zimbabwe isn’t only Diki’s sole point of reference even though it is the main one. Current affairs such as European soccer leagues and events and lifestyles of Euro-America often crop up for mention. Perhaps this isn’t always very effective. Indeed the finely assimilated products of his powerful imagination are really what would bestow his art with a transcendent quality.

 

It is a pity that this work which is a perceptive and honest critique of the political situation in Zimbabwe cannot be entered for the Commonwealth literature prize by its publishers Langaa, as the country remains suspended from the body. As a result, not only Zimbabwe but the entire world suffers.

 

Two Hangmen, One Scaffold Book 1, published by Langaa, Bamenda, pp.346, 2012, is available here: amazon.com | The Sentinel Bookstore

 

 

Sanya Osha is an author who lives in Pretoria, South Africa. His latest novel is An Underground Colony of Summer Bees (2012).

Susan Skinner reviews All the Invisibles by Mandy Pannett

Mandy Pannett’s poetry has its own musical quality that threads through each poem and leads each one to its natural conclusion. On the back of these rhythms we are taken through time and space to varying landscapes:

 

He know a rock upon the moors

That legend says was once a Troll.

From Stunted

 

to animals:

 

All he can tell is that his world

His scary and stinking-of-animals world

From A Mesolithic slant.

 

to Nordic mythological beasts and people, such as Ask and Embla who were created at the beginning of time out of driftwood. In this collection we can also find a variety of painters and poets (Durer, Ravilious, Seurat, Keats) and historical events – we even hear the voice of a horse from the Bayeux Tapestry!  We are in an illuminated world where viewpoints allow all the invisibles to hide in-between.

 

To read these poems is to peep through a kaleidoscope where colours and objects shift and shake and where momentary illuminations of scene and feeling are juxtaposed by images that make a prism for the poems.

 

Mandy Pannett uses many forms of poetry, from sonnet to free verse. She excels in choosing the right form for each poem.

 

All the Invisibles published by SPM Publications is available here: amazon.com | amazon.co.uk | The Sentinel Shop

 

Eilidh Thomas reviews All the Invisibles by Mandy Pannett

If you only buy one poetry book this year – buy this one. A collection so sumptuous and full of wonder, that I hardly know where to begin.  In her poems, Mandy explores the breadth and depth of human history and the natural world as vignettes of time.

 

Here you will find a myriad of images and themes, mysterious and complex yet at the same time striking and simple. Each poem offers the reader the opportunity to enjoy the poet’s love of language for its own sake, or to scurry and research the meaning and back story to so many of the poems. I shall pick out some of my favourites.

 

The first poem ‘Best After Frost’ is a perfect opener – succulent and almost decadent in suggestion of the medlar as a “smutty fruit” it impacts on all the senses from the smell of ripe cheese “like Camembert” to  “the feel of rainfall in Montmartre”. By the end I really wanted to “suck this flesh and luscious rot” for myself.

 

A millennia of time is contained in the twelve short intimate lines of ‘A Fossil’s Chirp’ where the reader is compelled to stop and listen “I have heard them at dusk, those crickets,” and consider their existence back into the Jurassic age.

 

With a poet’s insight ‘Heartwood’ empathises with the “Firescar” of a burned out wood and like a lover, concludes at the end “There is still sap/ in heartwood   fecundity/    in roots.” This poem is filled with the longing of a ballad and the acceptance that life goes on.

 

‘Later, All at Once’ seems to me to be the heart of the collection – a capture of its essence – a story within a story if you like – a microcosm nestled in the middle like a Russian matryoshka doll. The poem ranges backwards and forwards across history. Don’t try to know everything that has gone on in the poet’s head, but relish the journey on which you are taken.

 

 And so to the title poem – ‘All the Invisibles’. It sits enigmatically as the third last poem in the collection. Who or what are the Invisibles? They are everything you have been reading in this collection; they are nowhere and everywhere, mysterious and imponderable “as we wander the way of the shell”. Behind the landscape you are looking at is the landscape which you cannot see – everything that is under the skin, in the depths of the oceans, around the next corner, in the darkness of history and in all human emotion.

 

But I have only begun to tell of what is on offer in this marvellous collection. Dip in again and again – a book at bedtime in each and every poem. It is a collection that you will go back to for years to come, and continue to find something new and fresh every time.

 

All the Invisibles published by SPM Publications is available here: amazon.com | amazon.co.uk | The Sentinel Shop

Mandy Pannett reviews The Border by Miles Cain

‘One hand holds a rose but the other forms a fist’ says the poet.  For me this line epitomises the shifts and contrasts in tone and theme that are the signature marks of these distinctive poems. In ‘The Border’ we are truly on the edge – a frontier world of debris and rust, a modern, urban space of disillusion and ‘unfinished zeroes’  where emotion is downtrodden and insights and visions ‘drop like coins in a well.’

 

Poem titles reflect the atmosphere of these edgelands. Some are terse and throw-away (‘Bins’, ‘Runner’, ‘Sax’).  Others enhance both shadow and sadness (‘All The Grey Men’, ‘The Man Who Lived In Shadow’, ‘Last Train To The Estates, ‘The Bricklayer’s Lament’).  Several introduce vivid elements of the surreal as if this is the only way imagination may cross over the border and escape from an impoverished world. (‘Instructions For Downloading The Human Heart’, ‘One Night I Dreamt I Was God’, ‘Car Crash Set To Music By Joni Mitchell’).

 

Many skills are displayed in this collection. Miles Cain is a storyteller and musician as well as a writer and is adept at the orchestration of language. He shows himself to be a master of detail and precision: ‘Sour day. Job lost. Four pints/dropped to a crater of stomach;/I sprayed my borrowed confidence/on a damp alley wall.’ (Slowing Down The Moon). Equally effective are the perfect, laconic phrases: ‘Your mouth reeks/of lame coffee’ (Last Train To The Estates), ‘We were 18, full of bones and sex’ (1977), ‘Something red rushed past the house (All The Grey Men).

 

The tone of the poems is as varied as the content. Sometimes they are chatty, conversational: ‘It’s easy…Make yourself comfortable… Ready now? (Instructions For Downloading The Human Heart). Frequently the writing is lyrical: ‘I plucked/ a small, blue-green gem, held it/ … thought of mountains/and rivers, cold and glistening oceans’ (One Night I Dreamt I Was God).

 

I have been trying to select my favourite poem out of many. Maybe ‘Twelve Weeks’ where the narrator observes the movements of an unborn child on a scan screen and muses on being inside two worlds: ‘the one of colour I want to share,/the one of shadow I want to hide’. Or possibly it’s ‘Car’ where a man is rescued after years in a broken down vehicle but is apprehensive, like one suddenly freed from imprisonment or exile, at the thought of return. ‘I want to stay, he said’.

 

Probably my favourite must be ‘With The Scent Of Rare Leathers’. (An evocative title in itself). Here the protagonist wanders through dimensions of time as a cowboy ‘sleeping under chains of stars’ or as a knight who can ‘smell the horses,/new from carnage’ while ‘a bowl of olives and a woman/wait in his tent.’. Although this poems ends with the would-be-hero striding into aisle fourteen/and hunting for frozen pizza I like to think the imaginative, feeling part of him remains, not on the edges of a grey borderland, but in its own space where the Mediterranean ‘lines jewels on the horizon’ and ‘a boar turns in the courtyard/as monks leak Latin in the chapel.’

 

‘The Border’ by Miles Cain published by Valley Press ISBN 978-0-9568904-4-3 is available here: amazon.com | amazon.co.uk

Alison Lock reviews City of Memories by Richard Ali

‘Long stretches of road were poorly maintained and every now and then the highway broke up into vague stretches that threw up geysers of dust…’ (p10)

 

We are in a world of heat, scant vegetation, where nomads herd their cattle. Faruk is driving along a highway in the Nigerian northeast. He has been rejected by Rahila, the love of his life, and now he is on a quest to find the key that will keep his country at peace and bring back the woman he loves. 

 

This is an impressive and ambitious novel. Using the device of parallel stories, Ali reminds us that events can repeat themselves over generations and that retaliation and revenge can move in ever-increasing circles with the potential to envelop a whole nation.

Ummi al-Qassim, Faruk’s mother has died several years before the novel begins but the impact of her life continues. Hussena Bukar writes with regard to the nature of the love triangle that enveloped her, describing it as:

 

‘A hopeless love that had spewed forth feud and violence and death.’ (p235).

 

Ali is a writer of great breadth and vision and his love for his country is evident. He gives voice through his characters and they are capable of deep intellectual discourse. The themes are interwoven with precision and often the flashbacks are described in meticulous detail.  The issues raised are complex and unsettling.

 

As illustrated on the front cover (a battle fought against a burning sky) the novel reveals a city that is bruised by the ravages of colonisation, consequent industrialisation and ethnic and religious diversity.  It is forever on the cusp of internecine riots and violence.  Ali dwells on these serious issues and although distancing the reader away from the romance, he maintains interest.

 

The novel tackles many themes including religious disparity and conflict. When Brother Ponsahr is preaching, Rahila believes he is:

 

fighting a religion for the benefit of another religion and that, Rahila thought, was bigotry. Religion was like a battlefield; it would never be sated, no matter how much blood was shed on it’. (p270)

 

This novel is an epic journey about identity, political and religious affiliations and above all, mistrust. But is it ultimately a story of hope? Certainly, women are given a strong voice. When Maryam sets off for university we are reminded of the cyclical nature of the novel as we return to the highway.

 

‘She did not see herself as the trees of Bolewa saw her, as a spot of calm moving on, a closure borne safely by the wheels of the Peugeot which turned up little geysers of dust as they spun sedately out of town to the highway. (p293).

Whether there is hope for the ending of ethnic and religious conflict is uncertain but Ali believes that love is a given.  When the two lovers finally reunite:

 

‘The trial of their education over the past six months and its terrible burden were lifted that moment in the presence of an attraction that transcended culture and religion and politics- their love was uncontainable…’ (p290).

 

This novel is by no means an easy read for those who are not familiar with Nigeria or its history but it serves to open a window into a fascinating and diverse world. Politics are central to the novel and the author uses his knowledge with erudition. In his Acknowledgements, Richard Ali says that the events described in his book are:

‘…used for fictive and not factual, purposes…’

 

Nevertheless, the reader will no doubt be drawn to seek out the ‘facts’, and consequently wish to broaden their knowledge of contemporary Nigerian Literature.

 

City of Memories is published by Black Palms Publishers, 2012

and is available here: amazon.com and amazon.co.uk

 

 

nnn mmm
mmmm 

 

 

 

 

 

 

 

 

mmmm

mmm

Sentinel Literary Quarterly Poetry Competition (March 2013)

Oz HardwickClosing Date: 31-March-2013

For original, previously unpublished poems in English Language on any subject, in any style, up to 50 lines long (excluding title). Poems entered should also not be entered into another competition running at the same time. Poets of all nationalities living in any part of the world are eligible to enter.

Prizes: £150 (First), £75 (Second), £50 (Third), £10 x 3 (High Commendation).

Publication: The winners and commended poems will receive first publication in Sentinel Literary Quarterly magazine.

Fees: £4/1 poem, £7/2 poems, £9/3 poems, £11/4 poems, £12/5 poems, £16/7 poems, £22/10 poems.

Judge: Oz Hardwick

Enter online and pay securely by PayPal or download an Entry Form for postal entry at:

http://sentinelquarterly.com/competitions/poetry/

Send Cheques/Postal orders payable to SENTINEL POETRY MOVEMENT with poems, Entry Form or Cover Note to Sentinel Poetry Movement, Unit 136, 113-115 George Lane, South Woodford, London E18 1AB, United Kingdom.