Showing posts with label British Working Class 2023. Show all posts
Showing posts with label British Working Class 2023. Show all posts

British Working Class Poetry: Guest Editor Preface

Paul Brookes
Immensely grateful to the editors of Setumag for inviting me in 2022, and again this year to curate a selection of some British Working Class Poets. Also, thankyou to Peter Raynard who provided a basic list, and to the poets who recommended others. If your suggested poet is not included, this will be due to them not replying before the deadline, replying that they have no unpublished poems available, or that they felt themselves to be more middle class than working class. 
 
When I worked eight years for The Workers Educational Association as a part-time tutor many of my students were superb writers. Some did not want to pursue a literary career and were just happy to submit work in the workshops. I love promoting, fresh, neglected, or side-lined voices with their vibrancy and urgency, their richness and diversity. I do it on my blog, The Wombwell Rainbow, too. I give a platform in the form of interviews about their creativity and ask in detail about their work. It is important to me that this is not behind a paywall, so any may read it.

These are vibrant, important voices that should be heard. I am glad to be given a platform, to promote their intimate, angry, domestic and incisive accounts, and pointed lessons for us all. In the spirit of the Chartist poets who insisted on being heard, on encouraging and cajoling those without a voice to make themselves heard. 

All F Bombs have been replaced by an X.

Paul Brookes

Paul Brookes is a shop assistant. His chapbooks include As Folktaleteller, ( ImpSpired, 2022), These Random Acts of Wildness, (Glass Head Press, 2023), Othernesses, (JCStudio Press, 2023).  He edits The Wombwell Rainbow Interviews and challenges and has had work broadcast on BBC Radio 3 The Verb and BBC Radio Sheffield. Nominated for the Rhysling Prize, and twice for the Pushcart Prize. thewombwellrainbow.wordpress.com

Forthcoming, Wolf Eye, Red Ceilings Press,

Naomi Wood (British Working Class Poetry)

Naomi is a performance artist merging the circus with storytelling and poetry. She creates pieces that incite riotous acts of joyful disobedience celebrating empowerment and rebellion. Naomi has self published a first collection and regularly runs creative writing workshops online and in the South East of the UK as well as hosting performance poetry events.

 

 

Gobbess


At what point did we become afraid of reality?

We’re more palatable, somehow, as manic pixie dream girls and we were

Busy burning brightly

Trying to tell the world that we were free

But lately it’s occurred to me

That maybe the witch hunters had just got in our dreams.

See what is it about ourselves that we are just so damn afraid of?

What is it about you lately that the world has got you hating?

Got you feeling like you’ve always got to constantly be creating?

Got to swallow down your humanness so being alive in all its strangeness feels just like suffocating.

On every street corner there’s an order that you should smile more.

Lobotomise, self criticise

Until you forget what you are here for.

I want to be in the dirt, face down snuffling for truffles like a pig. Not a xing goddess. Not a Maiden, but a pig.

Snout first soaking in the muck and the mire, rooting out what precious gems have been burnished in the fire and buried deep for us to find in all our stupid humanity.

Beyond the kind and the irreverent  and the world’s blustering insanity.

I don’t want to be a deity if it means I have to keep my hands clean.

Because from what I’ve seen

Divinity lives everywhere you’re brave enough to see it.

 

It lived in my grandmother labelling her sockets and plugs-

A quiet kind of alchemy

Her hands wrapped around a mug.

The way she wielded a power drill every time that we moved house.

It lives in the hands of a farmer I know freeing the foot of a fox caught in a trap

With her weather worn fingers and an axe strapped to her back.

I saw it in my friend who took her paintbrush and cleaned the webs from the wings of a struggling bumblebee-

This endeavour scoffed at by some in the room.

But she knew the secret- that our time here is only worth anything  if all of us are free.

And they say I’m in the ‘mother’ stage of this Three Headed Gobbess phase-

The way women’s bodies have always been subdivided, indexed, ranked and then erased-

And I don’t know what it is I’m nurturing but I think it might be rage.

But this thing that I’m growing seems to be a lot to do with earthing.

Being messy and unsightly, I’m giving names to what I’m birthing.

Because divinity and holiness aren’t about restrained purity

They’re in the hands of the woman at the food bank who cleans and makes the tea.

 

 

Cracks

 

Who are we when nobody is watching?
What are we but the grit and grain
Rolled and polished under the shell
Of the stories we tell about ourselves?

 

Our footsteps were once rich forest deep

Now we’re walking these streets

And I’m meant to be older now

But I still hold my breath when I skip paving stones.

 

Boom box, busy streets and broken locks

This city is full to the brim

With flashing fluorescent smiles

And see-through skin.

 

Plastic epiphanies

Grease wrapped

Fast tracked

Another Amazon parcel

But not robed in rainforest splendour.

 

And the kids were yelling

Telling us for years

But we don’t listen.

Instead we just cup our hands to our ears.

 

Press our faces to the walls

Of buildings and stories

That have grown too tall.

We are too many.

 

Too many questions

About trickle down economics

So I bite my lip

Fold origami cranes out of old bus tickets

And try not to step on the cracks.

And the men in suits are up there

Looking down

Just shifting their weight.

A business lunch, or a trip to the moon

Plate piled high-

It’s just another play-date.

 

And I don’t know exactly what it’s going to take

For us to believe that our borders are

Imaginary and the hour is

Getting late.

 

Your bedtime story read aloud

In the voices of old white men.

They’re reading from an ancient book

But they’re also the one’s holding the pen.

 

While they throw toys from their towers

Over the shape of invisible things

They’re pouring poison in your ears

 

To keep you from believing.

And if you keep splitting the atom

Maybe you’ll find what you already

Knew to be true.

 

That this whole world has many layers

And the divine already lives in you

And you’re not here

To decide that everything belongs to you

When it’s all borrowed anyway

And the sun rises each day brand new.

 

There’s always been gaps beneath the

Fence for the wild ones to climb under

And seedlings growing through

Pavement cracks with voices of rolling

Thunder.

 

So on a day when there’s so much to do

And so little time for play

Will you remember who you really are

Put your hands back in the earth

And turn this dirt to clay?

 

 

On The Morning of Voting

 

I'm getting up early for all the people who couldn't.

I rise in the dark emboldened by the voices of those who came before me

 

Because this may just be paper and I like to think outside the box.

But we've been standing empty handed in the fields praying for a harvest for too long.

 

And they've been pissing on us and calling it rain for some time now

That we forgot to question why the crops weren't growing.

 

Chopped down our forests and carved us into chess pieces that they divide

But won't conquer because we have our hands deep in the dirt now.

 

And if you think your voice is insignificant then

You have not seen how the smallest creatures create their cathedrals.

It's a mess. Things are farcical. Life like a ripe piece of Halloween satire.

TV barking like a dull eyed bear with boulders for fists.

Meanwhile the tide is rising and it's threatening to take back the land.

And we small huddle of fools stand gazing at the sky.

 

But occasionally we look into each others faces,

We make a life raft from each others limbs,

We sail into luminous waters on Wednesday

And transcend velocity at weekends.

 

A girl on the bus smiles right into the middle of you

And you see old ladies laughing

Small dogs don't understand the stock market.

In the end, like them,  we're all just chasing our own tails.

 

 

But trees still get fatter on a full moon and

We are made of the same sap.

A murmuration that would carry us, too,

South for winter following the pull of planets.

While crickets rub their legs together in the long grass.

 

A man on the checkout comforts a teenager

And in the park someone is feeding the birds.

We are grains of sand that snag

On the fabric of each others dreams-

White water rafting

The spin cycle rendering all of us; laundry.

 

Ultimately our colours all bleed into one

On a warm wash.

And I can taste familiarity in a stranger's walk.

Sometimes.

 

There are fires raging and monsters

Living in all of our bellies but

Some days

You see hugs instead of handshakes

Or a grown-up riding a scooter to work.

 

Heidi Williamson (British Working Class Poetry)

Heidi Williamson grew up in rural Norfolk. Her father was a printer and she grew up on a council estate in a single parent family. She is currently interested in representations of women who leave the family home. She has been Poet-in-Residence at the John Jarrold Printing Museum, London Science Museum’s Dana Centre, and RLF Fellow at the University of East Anglia. www.heidiwilliamsonpoet.com

 

 

The lion tamer’s wife in the rain

 

‘We make such a pitiful

sight that the circus-master

is in tears’

Tua Forsstro├╢m

transl. David McDuff

 

Birds won’t fly in the rain,

I think, watching the robin settle

behind the porch oleander. 

 

That it has come to this:

the child asks me a question

and I distractedly shush her.

 

My mother told me that when

a bird sings in the rain

the storm is about to end.

 

The robin stays silent. 

Its red breast sheds breath after breath.

The girl watches the carefree rain.

 

I’m watching nothing really.

That’s what our life has become.

A bird by a stem in the rain.

 

 

The lion tamer’s wife meets a different class of man

 

This one has polished brogues

and a gilet. He’s not prone to top hats

and when he bathes no scars surface.

 

After his regular office hours,

we meet in wine bars for early

evening drinks. His skin is as shiny

 

as his tie. Our wine glasses clink

in agreement but when the dull

roar of conversation stalls,

 

I scan the room as if it were

an audience. The lights

remain dim and unmoving.

 

When I rise to visit the gleaming

bathrooms, clumps of sawdust

trail from my shoes.

 

 

Truth be told, the lion tamer

 

is a mild man, fond of all creatures.

He respects the traditions of his art

and only wishes to demonstrate

the leonine glory of his companions.

 

The fact is, he grew up among felines.

He taught himself to care for them

in their own ways. Later, when they each

deserted him, he was distraught.

 

The lion tamer’s favourite

lioness knows all this

when she leaves him

for another lion tamer. 


Tim Wells (British Working Class Poetry)

Tim Wells is made of reggae, lager top, pie and mash, and Leyton Orient FC.

 

Women Who Like Fat Blokes

Are enthusiastic,
or keep it ‘til they’re pissed.
They prefer a cask ale,
a wine, just once in a while.
If it’s beer in a can
the name better be a pun,
no-one likes fat lads
with no sense of fun.
Be a Gent, be the first
to make the stout joke.
They don’t use the F bomb.
No, not that one.
Cuddly, burly, ample.
I wear a big coat,
do better in Winter than Summer.


Talked Down To
By A Girl On The Up

“Darling,” she wiped,
“your face is so puffy
with alcohol.”
“This is my real face,
Love.”



He Is Risen

Have you heard the Good News?
The Saturday after Good Friday
I’m on a bus that passes the local
Gay Bar, Gay Bar, Gay Bar.
There’s some commotion and people
peer to the street, in the window
of the bar, some blonde bewigged
kween is werking, their bum cheeks
pressed to the glass, pouring a
pitcher down their topless front.
It's all front Missus. The yells of the
punters louder than Kingsland Road
traffic. This is one fab u lous green
light. I’m sat on the opposite but an
African fellow in is late 50s is copping
an eyeful and broad, beaming, smiling.
His wife elbows him in the ribs and
hisses, “You know that’s not a woman?”
Looking from the bus, and smiling all
the more, he whispers: “I know, I know.”
Have you heard the Good News? He is risen.


Sophie Sparham (British Working Class Poetry)

Sophie Sparham is a poet and writer from Derby. They have written commissions for BBC Radio 4, The V&A, The National Forest and The People's History Museum. They co-host the night Word Wise which won best spoken word night at the 2019 Saboteur Awards. Their latest collection 'The Man Who Ate 50,000 Weetabix' came out in April 2021 via Verve Poetry Press. Sophie's work has been published in Orbis, Under the Radar and The Morning Star. Their poem Sunrise Over Aldi won third place in the 2020 Charles Causley International Poetry Competition. They co-direct Derby Poetry Festival.

 

 

Everything aches

 

As if I were a motorbike

lying sideways like a bunion on crutches

of curb, a record collection

boxed up in rain. As if I were a memorial bench

In a pit of clay, a punctured hill, a peeled dawn.

 

As if I were a television

mounted to my father’s wall, his eyes

glazing over the elevator music of my mouth

as if I were a sunset drowning

a jar of wind, a jawful of stones.

 

As if I were a river of broken teeth flooding

bedrooms like a finish line.

As if I were a sea, where every wave was a person

and they just kept breaking 

 

 


 

American Diner in C Major  

 

As soon as we touch down in Seattle

I demand you take me to the nearest diner

where I order pancakes and ask the waitress

to refill my coffee cup five times.

 

This is just like the movies, where they talk

and smoke and scrape the knife against the plate.

 Camera one pans to me telling you my hatred

of tight jam jar lids and how you can never

 

find Coca Cola in a glass bottle anymore.

Camera two zooms in on your raised eyebrows.

You grunt and respond with an anecdote

about a neighbour’s dog who has alopecia.

 

We’re still nobodies, but here we’re international

nobodies. And I think that means something.

Mickey and Mallory, Rizzo and Kenickie, Mr Pink

and White have all sat in these cheap plastic seats.

 

I picture them, staring at the TV, watching scenes

of us from back home. Fade in to me queuing

at the post office, flicking a switch in the fuse box,

hanging out the washing on the line. Don’t lie to me,

 

 you think about the soundtrack to your biopic. Sometimes,

I live in my own made-up film montage longer

than in a conversation. Bruce Springsteen would play

the role of me, and I’d watch as he held his hips

 

in the mirror. Cut to Bruce at the chippy, Bruce stirring

pasta over the hob, Bruce standing in the reduced aisle

of the supermarket, Bruce photographing pheasants

in the Peak District, a smile on his face.

 

No, I wouldn’t pay to see it again either.

 

 

 

Sax at Watford Gap

 

There’s always been something intimate about service stations. 

 

Strangers pissing side by side,

 

 piling together

waste as though building a monument to the straight concrete roads which

 

enable life to slip past the landscape.                               In an era, where speed is the destination,

 

X doesn’t normally mark the spot by a building that fills and empties like the tide,

 

yet here we are.

 

Stood between rows of bumpers

close enough to kiss. He crosses the white line and lowers the case to the concrete

 

before retreating to the safety of his wingmirror. And I, all fingers and thumbs,

 

lift it to my chest, as if new born, and crack open the shell. Inside, a small bronze body, 

reflects the streetlights, swan necked, keys waiting to be touched. He knows that

 

I have longed for you,

 

scaled the corners of my darkness, where slowness is a scripture

held between my teeth. The three of us walk the embankment, stare at the McDonald’s sign,

a landmark amongst the gulls.

 

Two strangers and you, a bucket chain of sound,

passed from generation to generation, between the empty coke cans and the old newspaper headlines.

 

 Headlights stream off your body as he drives into night.

 

I shall never meet him again, but together

we held a gap between us, as fresh and sensitive as the wound a milk tooth leaves when it

detaches itself from the gum.

 

It gives me comfort to think hundreds have sat here,

 

some as unsure as me, feet dangling from the edge of this hour hand, thinking back to a time

where they didn’t have to sprint to the next season.

 

They say jazz is about the silence

 

between the notes.

 
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Matthew M C Smith (British Working Class Poetry)

Matthew M. C. Smith is a working-class Welsh writer from Swansea. He is Pushcart and Best of the Net-nominated and won the R.S. Thomas prize at Gwyl Cybi in 2018. He is the author of The Keeper of Aeons and also edits Black Bough Poetry. @MatthewMCSmith Insta: @smithmattpoet  Also on FB 

 

 

Field X

Trees stand sentinel,

boughs glisten black.

Banks of leaves,

tumble to field’s edge,

a ditch brook murmurs,

orange blood of iron trickle.

 

Scare of crow, sky,

speck of hawk, high;

brook, river

mast, transmitter,

red pulse

on signal spire.

 

Fields tilled, stilled,

a picking bird

tapping a barren bower.

 

Tear-salt winds

bleach a long skull

and whistle wire.

 

 

Somewhere, General Custer Stares at a Cheese Plant

 

My Grandfather is six-foot one and leggy in his tub chair.

I count seven ashtrays on the glass table and countless cups.

The light of the TV flickers on his face and reflects tiny in his white,

 

marble eyeballs. A hunched silverback in a black leather jacket,

he fires up a lighter, dragging deeply. My grandfather talks

about the Americans and how we will fall out with them and ally

 

with Russia. He tells me for the umpteenth time how it wasn’t

Lee Harvey Oswald but someone on the grassy knoll

in suit and shades and about the mafia and Cuba and Castro.

 

He’s drawn stick men on fag packets and saves Benson and Hedges

vouchers – a send-away for Motown Soul Classics. He tells me how he met

Ernest Borgnine in London and how Sophia Loren is the most beautiful woman

 

in the world. He watches Attenborough, eyeing a macaw with suspicion.

and reaches out to a bag of broken biscuits. All around, the smell of cigarettes

is overwhelming, permeating every surface and crevice.

 

There are socks on the floor and a vest draped over a 12-inch Hiawatha

carrying an infant. All over my grandfather’s, there are ‘Red Indians’ figures;

just one General Custer with a rifle staring at a drooping cheese plant.

 

A pair of ‘Y’ fronts, a pack of cards and a coat hanger are strewn across

a Johnny Mathis record and there are saucers and receipts and bits of paper

all over the table and shelves. My grandfather collects us from

 

school in a rattling, thumping Morris Minor, held together inside

with hooks. Wood frames of moss and a battered, sun-bleached

leather interior. My grandfather has a polo neck and a paunch

 

and a magazine under his armpit. Dogs go crazy for him wherever he goes

and somehow, he knows every stranger after a single look. He’s still there

in our photo at home in that jacket, standing like an ageing Roger Moore,

 

one eyebrow raised, his hair high, brilliant ash-white. Three streets away,

his flat is vacant. The Indians are wrapped in paper in our hall. General Custer

is in a bag in a shed covered in ghost-spiders. We play Motown Classics.

 

 

Prometheus Regrets

 

I carried the secret of fire

to the shadowed isles of the earth,

gave them heat and light,

the power of the gods. The people

triumphed with this flame,

retelling my story as if I was a cheat,

satiated by the gore, my innards spilling

with the eagle’s slicing beak.

James Roberts (British Working Class Poetry)

James Roberts is a poet from Bradford who made Glasgow his home four and a half years ago. His poems up to now have explored the social and physical geography of cities he has lived in, addressed the themes of bar work and grief, and have documented both the Catalan Independence referendum of 2017, and the English-French border crisis in Calais and beyond. His first collection, Fragments is available from Glasgow publisher Speculative Books.

 

 

Back Home in Bradford

December 2022

I.
Old warmth and cold beer
meet in the foggy gloom.

The hound nuzzles
patches of melting snow
that mottle his favourite pissing ground

and the crystals change state

as they meet his hot breath.

The three of us sidle through the darkness
duck in and out of glowing orange pools
cast down by the council lamps.

You and I swig, and chat
about whether it has been two years
or four since we last met at Christmas.

Of your life at the seaside now
and mine in the high flats.
Of all we have missed.



II.
Perfect 3pm triangles
of winter sunshine
turn the scrubbed
sandstone golden.

Wedding guests mill
in the light outside
that old nightclub
turned banqueting hall.

They smile and chat in the car park
on this bank holiday in lieu
by the road that is busy
for a weekday afternoon.

Oh the strangeness is still here!
but there is relief from all the doom.



The Bat and Ball
Game

Glasgow, 2022.

“See that?”
                   “Aye”

“Been that way for twenty years, so it has”

Punctuated with a gesture
towards the unlit path, pitch black
where, in the winter months
you can't see your hand in front of your face after three.


“See that?”
                   “Aye”

“Been that way for twenty years, so it has”

Pointing to the vacant land
strewn with bedsteads and rusted metal
odds and ends,
dotted with with sickly yellow lumps

of asbestos tile.

“See that?”

                   “Aye”

“Been like that for twenty years, so it has”

Waving towards
the rotten fencing
that is split and splintered,
and has two inch nails sticking from it.

“And have you spoken up? Got together and complained?”

“Aye, me, Davey, Cathy, Rab; again and again
                                  we care about our bit
                                                 we love it”

“But see the Housing? See the council?
Do you you know what they love?

“They love to play
                         the and bat and ball game”



 
Their Commonwealth

Their Commonwealth
Is glint of gold,

the wink of jewels

and soaring rich fanfares.

Their Commonwealth
Is equality
built on deep foundations

of inequity.

Their Commonwealth
Is a few pockets

filled deep

and many left empty.
 
Their Commonwealth
Is extract, trade,
profit from,

on a loop.

Their Commonwealth
Is a wireless crackled,
tea stained, sound effect

over bleeding heart patronage .

Their Commonwealth
Is the rap-a-tat-tat,
the BANG BANG BANG
before your door frame splinters.

Their Commonwealth
Is being shoved

onto a budget flight in handcuffs
under armed guard.

Their Commonwealth
Is being taken
from your home and left
in a place that never was.

Emma Purshouse (British Working Class Poetry)

"Emma Purshouse is an award-winning writer and performance poet based in the English Black Country.  She often uses her local accent and dialect in her work.  In 2021 she came 3rd in the UK's 'National Poetry Competition' which had over 16,000 entries.  Her poetry is published by 'Offa's Press' and her first novel 'Dogged' is published by Ignite books."

Black Country Doldrums, July 2021

After William Matthews

 

30°. A hiss of air brakes from a council truck.

- Garden Waste Collection Still Only £35 A Year -

Gorra gerrin the shade. A can cracks. Too warm. 

An’ this mask doh help. A lighter clicks.

The bloke eases himself onto a shaded bench.

An oversized dragonfly motif in monochrome

dives down the back of a woman’s top.

A yellowing man passes under cracked signage - 

Square Deal Carpets and Bedding.  Golden Girl

is becoming blue, as some chap kneeling at an altar

of stepladders tears off strips of masking tape. 

Shall you still wear yours? A wench tied in the middle

with a red cardie skips alongside her mother

a sideshow freak in a beard mask.  On the step

of The Screaming Reaper a tattooed woman smokes.

The queue for the 8pm chemist snakes down the street. 

A man on crutches throws back his head to laugh. 

I’ll wear mine.  A pause. There’s people dyin still,

burrit ay bin said.  Two kids skip out the Chinese

become a slap of summer shoes on the square,

the poc poc poc of a tennis ball  bounced. Tossed so high

it becomes a second sun. Now a small planet falling.  31°

 

Baiting Up

 

Two giggling girls in grey are circling the fishing pool.

Boys lean on brick walls, lollop in grass.  Phones ping,

music is distorted by distance and yap yap dogs,

 

a handful of maggots has been cast onto seed heavy

green water.  Adidas striped man with red rod

stands as though he may be No.7 on the sculpture trail.

 

Here, at the quiet end, tight to water lilies a fish back

breaks the surface, rolls like a leviathan might,

sinks again, Nice ‘N’ Spicy’ Nik Naks packet barely shifting.

 

On the Waterfront - 9th September 2022

 

12.40 pm

 

the statue has her tits out for the lads

that sup at Garrison’s Saloon Bar

in their footie tops and baseball caps.

 

A vaping man jangles car keys, checks

his bumper.  A magpie rattles away

to itself in a tree.  The ho-hum

 

of air conditioning.  Mind-numbed

pigeons sit on a roof top unaware

a queen is dead.  Indifferent to kings.

 

                                      12.41pm