Tag Archives: Clare Shaw

When you expose a problem you pose a problem

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The title of this blog comes from the book Living a Feminist Life by Sara Ahmed. I made the mistake this week of posting in a public group about my disappointment that the local paper, the Evening Mail, failed in its report on the recent Keswick to Barrow 40 mile run/walk event to name the top three women finishers, despite naming the top three men. To be honest, I didn’t think I was saying anything particularly controversial – just pointing something out that could be addressed by adding one line of text to an article. I didn’t, and still don’t feel that anything negative could possibly come out of including women’s names.

You can cause unhappiness by noticing something. And if you can cause unhappiness by noticing something, you realise that the world you are in is not the world you thought you were in.

I caused a whole world of unhappiness by noticing this. Lots of people – men and women objected to the suggestion that the efforts of the top three women should have been acknowledged. Over and over again people told me that talking about naming women distracted attention from the fact that it was a charity event (doesn’t seem to harm the London Marathon), that the top three finishers just happened to be men (and they always will be unless we get an Olympic athlete rocking up to Barrow who just happens to be female).

Eventually, I had to turn off the comments on my post, and turn off the notifications.

We make things bigger by refusing to make things smaller

One friend posted a seperate post in support – that post was still going three days later and coming up to nearly 40 comments now with people telling her how wrong she is.  My twin sister is enjoying arguing with these people – my beautiful brave twin sister who would not stand and listen and say nothing, even though I told her not to get involved.

I’m too upset to look back at any of the posts now. Does how it felt to me matter? If I use words like bullying, like ganging up, is that an unfair accusation or is that my lived experience? I’m unsure now. If you are one person speaking up about something, and nobody else agrees, then maybe it will always feel like you’re being ganged up on. But thinking back now, without looking back at the post (because I can’t) one man offering his services as a lawyer to sue the paper was a way of getting me to shut up, a way of trying to humiliate me, a way of saying what you are pointing out does not matter. Men (and women) sharing pictures of their daughters saying ‘X did the walk for charity, not to get their name in the paper’ was designed to imply that I was merely interested in glory, and not in the more noble cause of raising money for charity, despite the fact that it wasn’t, was never about my name.  And this is another shaming technique.  Men and women asking why couldn’t I just be happy to be part of a great event – and look how happy we all are just to be here.  And this is another shaming technique

Happiness as a form of emotional labor can be condensed in the formula: making others happy by appearing happy.

There are ways to be a woman, and complaining about a system is not one of them. Complaining about injustice is not one of them. And having an opinion on social media and being a woman is a dangerous thing. It can end with having to turn your phone off because the constant comments are making you feel ill and anxious. I know that everything gets magnified on social media, that people say things they wouldn’t say to someone in person.

My friend N. pointed out to me that it was only thirty or so years ago that the first woman Kathrine Switzer ran the Boston marathon and was verbally and physically attacked because it was thought that women weren’t capable of running a marathon.

She pointed out that sport and the world of sport (and the pursuit of hbbies/interests/passions) have always been created for and dominated by men. I think about my hobbies/my interests – when I was younger, I played in brass bands.  One of the top bands in the country, Brighouse and Rastrick, finally appointed a female cornet player for the first time in their 130 year old history in 2011.  The brass band I grew up in had plenty of women in it and I would never say that brass bands don’t welcome women now (although I would say in my experience you have to be twice as good as the men to be thought of as half as good) but the world of brass banding (and running – my other hobby) was never set up for women, although women move through these worlds now, because of their tenacity and insistence.  And no, we are not told that we cannot join, we cannot run, not in so many words, but the fact that women’s achievement is ignored is one way of making our way through these worlds feel like wading through quicksand.

And what does it matter anyway? There are bigger things to worry about in the world. But how can we talk about rape when we can’t even agree that women should receive the same acknowledgement in a sporting event? How can we talk about domestic violence and helping victims when we can’t stand up for our friends online? How can we talk about sexism when we can’t even agree what it is?

This blog post has sat in my draft folder for over a week now.  At first I thought I wouldn’t post it at all.  Then I started  looking through Twitter today, following the #hometovote tweets from women travelling from across the world back to Ireland to vote to repeal the eighth amendment.  There is something beautiful in these women (and men) coming back home with welcoming parties at the airports – the reverse of the journey many women have to make to have an abortion abroad.  So this is one of the bigger things – bigger than speaking out about a stupid newspaper article – but you know and I know that everything is linked.  Women having autonomy and choice over what happens to their bodies is linked inextricably with women’s bodies being ignored, written out of history.  The silencing of women’s achievement is linked inextricably with the silencing of women’s voices.

I return again and again to Sara Ahmed, who sometimes feels like a lifeline. All of the quotes above are taken from her book Living a Feminist Life.  She talks about ‘Feminist Survival Kits’. This poem, from one of my dearest friends, and a woman who continually inspires me would be in my survival kit, because this week I’ve finally realised that I don’t believe in silence either.  And no, I won’t shut up.  And no, I won’t stop noticing.

To buy Head On, the collection of poetry that this poem comes from, head over to the Bloodaxe website http://www.bloodaxebooks.com/ecs/product/head-on-1046.  Clare also has a third collection Flood, coming very soon.

 

I Don’t Believe in Silence – Clare Shaw

Because, tonight –
however I try – I cannot get downstairs
without waking my daughter
I do not believe in silence.

Because of the Worboys enquiry,
because of the one hundred-plus women he raped –
because of the policeman defending the findings
unable to utter the word –
‘this (herrrm) crime, this (ahem)
assault, this category (cough)
of offence’ –
I do not believe in silence

because of the stairs and the banister’s crack;
the sound of the lock
and my hand on the door – the fifty-tone creak –
the magnificent echo of light-switch and click –
I do not believe in silence.

Because of Neda – and everyone’s sister –
and the man who said ‘Don’t be afraid’;
for the sake of my daughter, because of the burka,
because of the patter of rain;
because of two hundred thousand years of human history,
thirty-seven of them my own –
I do not believe in silence

for the sake of my arms, the wrists especially.
With respect to my legs
and my belly and chest
and the comfort long due to my throat

because of nightclubs at one a.m
and shouts in the street and feet in pursuit
and shops that don’t shut;
because of sirens and the dealers downstairs;
because of Levi and Akhmatova;
because of the itch of the blue-lipped prisoner;
the itch and the scratch of my pen;

I believe in the word.
I believe in the scrabble of claws
on uncarpeted floors.
I believe in my daughter’s complaints.
I believe in the violin, the E-string,
the see-sawing bow; the cello
straining its throat.

I believe in the heart and its beat
and its beep and the dance of the trace
on the screen, I believe in the volume
of colour turned up, and my blood
which was always too loud.

Because of the nights, and the sweats,
and the same rowdy thoughts;
because of that one afternoon
when I nailed my own voice to the air
and because there was nobody listening
and through it all
bird song
and the sound of cars passing –

I do not believe in silence.

Because, tonight –
however I try – I cannot

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Sunday Poem – Tsead Bruinja

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Sunday Poem – Tsead Bruinja

This week I’ve been living on my own as the husband has gone on a hiking holiday – he is walking through Albania, Montenegro, Macedonia and last night he texted from Kosovo.  The novelty of being able to spread my stuff all over the house without being moaned at to pick it up, is starting to wear off now and I’m actually missing him a little bit!

Last week was my first week back at work after half term.  It is always a difficult week, because there are lots of instruments to sort out that have been left to rust over half term.  This has to be done whilst directing a class of thirty children to play Mary had a Little Lamb or whatever it is we’re playing, so by the end of my teaching day on Wednesday I was counting my blessings that the brass teaching week was over.

On Thursday I drove to Bridlington.  It took about four and a half hours.  I had time for a quick change at my B and B and then I went straight down to the library to do a reading – this was another Read Regional gig.  The audience were very nice, a mixture of keen poets and people who’d never been to a reading before, so I hope I didn’t put the latter off poetry altogether! That would be terrible.

I was finished by 4.30 so I went home, got my running gear on and headed down to the prom.  I did about 7 miles and it was the best run I’ve done in ages.  I felt really good – the scenery was beautiful – it was sunny but with a cold breeze and I didn’t get lost.  That is the furthest I’ve ran on my own so I was quite proud of myself.  I then went for a Thai round the corner in Bridlington and then went to bed quite early.

On Friday I had my young writers workshop in Kendal.  We did one writing exercise and then they read the sets that they are going to perform at the festival.  They really are good – I know I’m bias, but I’m so proud of them.  I think they are going to surprise and delight people at the festival.

After the Young Writers group, I went to Brewery Poets and took a poem to be critiqued, and then finally, finally drove back to Barrow and collapsed into bed.  On Saturday I ran my Barrow Poetry Workshop – 12 writers turned up this week coming from Shap, Kendal, Ulverston, Dalton and Barrow. The quality of the work produced was excellent – I took poems by Tim Liardet, Jack Gilbert and Lisa Brockwell to the workshop to use as inspiration, or to discuss before writing.

On Saturday evening we had a Poem and a Pint event at Greenodd Village Hall with J O Morgan.  He read from his new book ‘Interference Pattern’ which is just amazing.  It is a series of poems in the voice of different characters, and when he reads from the book, he changes his voice and his accent as he goes from character to character.  It is extraordinary and mesmerising to watch and listen to.

This morning I’ve been for a 6 mile run and eaten a scone with jam and cream and that is the sum of my achievements.

Tonight I’ve got a rehearsal for ‘Annie’ and then next week is a busy one.  I’ve got meetings about Kendal Poetry Festival, rehearsals, a Read Regional reading in Stockport on Thursday afternoon, and my face-to-face course that I’m running in Manchester on Thursday night, school concerts, musical performances, and somewhere in next week I have to fit in reading and judging 500 school poetry competition entries.  It does sound a bit manic when I write it out like that!

Today’s Sunday Poem is by Tsead Bruinja who is one of the tutors on the Poetry Carousel.  Tsead sent me the manuscript of a collection that has been translated into English – this poem has been translated by David Colmer.  The manuscript is called ‘Tongue’ and it is really good – I’ve not read anything quite like it before – it is lyrical, yet fragmented, using leaps and associations to communicate.

I first met Tsead at a festival in Ireland where we read together, but last year I went over to Holland to read at the ‘Read The World’ festival.  Rather than a normal reading, where I read my poems to the audience, I worked for a day with other poets and musicians to put together a performance where we read our own poems and each other’s poems, where the musicians played songs in between or behind while we were reading, to create a larger performance.  Tsead directed the whole thing and he was wonderful to work with.  I knew I liked the poems I’d read in translation of his, but working with him at the festival, and hearing him talk about the teaching that he does in Amsterdam, convinced me he would be a great tutor to invite to be part of the next Poetry Carousel.

There are still places left on the Carousel, which is running from August 16th-19th at Abbot Hall Hotel, Grange Over Sands, so do please get in touch if you would like to any questions.  If you’d like to book a place, it’s probably best to ring the hotel directly by ringing 015395 32896

Other tutors on the course include the wonderful Clare Shaw, Billy Letford (who will have copies of his new collection Dirt available) and myself.

Tsead Bruinja lives in Amsterdam. He made his debut in 2000 with the Frisian language collection called De wizers yn it read (The meters in the red). Bruinja’s debut in the Dutch language, Dat het zo hoorde (The way it should sound), was published in 2003, and was nominated for the Jo Peters Poetry Prize the following year. Bruinja compiles anthologies, writes critical reviews, hosts literary events and performs in the Netherlands and abroad, often with musician Jaap van Keulen and occasionally with the flamenco dancer Tanja van Susteren. At the end of 2008 Bruinja was the runner up after being nominated for the position of Poet Laureate for the Netherlands for the period of 2009-2013.

You can read more about Tsead over at his profile on the Poetry International website.  If you haven’t come across this website before, it’s a great resource- it includes articles about the poets featured, and has a selection of poems as well.

SHOW-OFF by Tsead Bruinja

not the horse that batters its hooves on the partition
or the horse that bolts across the green world
jolting its cart to pieces
*
nothing about wearing a body out and delivering it
to a metaphysical door
*
but the simple body of this woman
facing you
*
the clear head of this woman
facing you
*
a sea that speaks
and you as the doubting sky above
*
hail
*
she says
*
your legs work
my legs work
*
leave the thinking to hands
*
smiling she moves her fist to my nose
which disappears between fingers
*
the fist pulls back to a grey horizon
*
and there where she squeezed my nose
a little mouse is staring out
*
gotcha
*
she says
and not once in this whole poem
*
did she move her lips

I think this poem is very typical of a lot of Tsead’s work, which is playful, lyrical and manages to find an off-kilter way of looking at the world.  The style of using little or no punctuation also runs throughout the book, but the way he uses line breaks mean that the poems are very clear- it makes me realise how little punctuation is needed.  The lovely surprise at the end of the grey mouse appearing, the colloquial ‘gotcha’, the beginning of the poem which starts right away with the image of a horse which ‘batters its hooves on the partition’ – these are some of the reasons why I chose this poem.

It isn’t clear who is the show off in the poem – is it the horses, showing off just by being horses? Is it the woman with her ‘clear head’.  Incidentally, isn’t that a lovely thing to express admiration for in a poem?  I also love the idea of the sky being a ‘doubting sky’ as well, the sky not knowing who it is, maybe because it changes all the time?

It is a wonderful poem, and I hope you enjoy it – thanks to Tsead for allowing me to publish it here.

Change to the Poetry Carousel

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Change to the Poetry Carousel

Due to ill-health, Saskia Stehouwer will not be able to take part in the Poetry Carousel this year.  I hope she will be able to come and  tutor on a future course, and wish her a full and speedy recovery.

The gap on the Poetry Carousel tutoring team will be expertly filled by Scottish poet William Letford, who has  agreed to join us on the residential course this year. The full team of tutors will be William Letford, Clare Shaw, Tsead Bruinja and myself.

William Letford’s debut collection Bevel was published by Carcanet in 2012. He has received a New Writer’s Award from the Scottish Book Trust, an Edwin Morgan Travel Bursary, and a Creative Scotland Artists’ Bursary, which allowed him to travel through India for six months. He has taken part in translation projects through Lebanon, Iraq, and Palestine, and in 2014 a chapbook of his poetry Potom Koža Toho Druhého was translated in Slovakian and published by Vertigo. His work has appeared on radio and television and his second full collection Dirt will be published by Carcanet this August.

Bevel was one of the best first collections I’ve read for a long time, and I’m not only excited about working with Billy Letford on the Carousel, but also that he may have the first copies of his new collection with him, hot off the press!

You can find more information about the Poetry Carousel here.  To book a place, please ring the hotel direct on 015395 32896

 

Here are the details of William’s workshop

Workshop – William Letford
The beauty in the mundane 

I keep a journal, nothing fancy, just a notebook I can turn to whenever I see fit. No pressure, I don’t force myself to fill the pages but over the years the journals have built up and now I have quite a collection. Looking back over the books and entries has convinced me of one thing. I am boring. And I’m sure I’m not alone. In between the birthdays, marriages, rollercoaster rides and funky dance moves our lives are mostly mundane. But that’s where the beauty is. I’d like to invite you to a workshop on exploring the poetry of the everyday. Bring all your boring bits with you.

 

Workshops at the Poetry Carousel

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Workshops at the Poetry Carousel

Tuesday 16th August 3pm – Friday 19th August at 12 midday
Abbot Hall Hotel, Grange-Over-Sands, To book ring the hotel direct on 015395 32896
£330

This year’s Poetry Carousel will take place from the 16th August -19th August at Abbot Hall Hotel, Grange Over Sands. The cost of the course will be £330 and this includes workshops, accommodation, breakfast, lunch and three-course evening meals.

The Poetry Carousel is different from the usual residential course in that there are four tutors and up to 32 participants, divided into groups of 8 to have a two hour workshop with each tutor.  This year, there will be time in the afternoons to go for a swim in the hotel pool or a walk into Grange along the prom.  In the evenings, the whole group meets for dinner and poetry readings.

This year’s team of tutors includes myself, Clare Shaw, Saskia Stehouwer and Tsead Bruinja.  You can find more information about the tutors here

Below is a brief summary of the four workshops that the tutors will be running.  As you can see, they are very different!

The Poetry Carousel is suitable for beginners or more experienced writers.  Please get in touch for more information.

Clare Shaw
Workshop: Flood. Fire. Storm.
Disasters happen, sometimes on the grandest scale. Poetry offers one of the most powerful forms of language for documenting the experience and impact of natural calamities – at a global and individual level. Likewise, poets have long drawn on the flood, the fire and the storm as powerful metaphors for their own troubles. In this workshop, we’ll draw from examples to inform and inspire us to document natural events we have lived through; and to explore their potential for expressing a truth about our individual lives.

Kim Moore
Workshop: Illuminated Moments
All of us carry moments of experience which stay with us for the rest of our lives. How do we write about those moments without slipping into sentimentality or melodrama? Writing a poem about a moment that is important to us can capture it forever, reaching beyond the bounds of our own lives into the universality of human experience. During this workshop we will be looking at different techniques for using our own lives, and our remembered moments, as material.

Tsead Bruinja
Workshop: Going Dutch
Together with Dutch poet Tsead Bruinja you’ll be discovering the poetry from the low lands by reading, listening to and discussing ten of Bruinja’s favourite poems. This workshop will take a look at different strategies used in modern Dutch poetry. We will focus on ways of using characters in your poems, playing with repetition and how to deal with distraction. We’ll try to include the thoughts we normally try to keep out of our poems, like “ what do the fly and I mean to each other?”

Saskia Stehouwer:
Writing from space
Paradoxically, being in a state of stillness can be very helpful for writing. Quieting the chatter in our minds provides space and stimulates a receptive attitude, so that our own words can come to the surface. By focusing on the breath, the body and our imagination, as well as by being in nature, we can enter a more open, effortless state from which writing flows more easily. In this workshop, we will explore mindfulness, visualisation and other creative exercises to guide ourselves into this space. We will also take a short sensory walk in nature to stimulate the senses and become more perceptive. And from that space, to paraphrase Natalie Goldberg, we will “walk into poetry with our entire bodies”.

Clare Shaw at Kendal Poetry Festival — Kendal Poetry Festival

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When we applied for Arts Council funding last year, our venue, the Abbot Hall Art Gallery had a small cafe on site. However, Kendal suffered terribly in the floods, and the cafe at Abbot Hall is now unusable. Pauline and I have been working hard to research alternative arrangements for food and Blackwells have come […]

via Clare Shaw at Kendal Poetry Festival — Kendal Poetry Festival

Sunday Poem – Katrina Naomi

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Sunday Poem – Katrina Naomi

Today has consisted of an 11k run in the morning, and then stripping wallpaper from a ceiling in my living room.  We started stripping the wallpaper off the actual walls in this room a while ago, which wasn’t too traumatizing, until we got to the ceiling.  Why would anybody wallpaper a ceiling anyway?  And why would they do it 5 times??  The husband decided to use the washing line pole and gaffa tape it to the steamer so that I could steam while he stood on the ladder and scraped.  I can’t stand on the ladder as I get vertigo so his ingenious invention meant the end of my excuses as to why I couldn’t possibly help with this most boring of jobs.  I told him that every time I steamed another patch of wallpaper, a poem was dying, but he was deaf to my complaints.  We have finally finished and now await the whims of the plasterer to sort out the various holes in the ceiling and walls of the room.

So I haven’t done any writing today, apart from catching up with emails.  I’m busy planning for the Poetry Carousel , which will be happening very soon (August 16th-19th).  In case you’ve just started following this blog, the Poetry Carousel is a residential course with a difference.  It ran for the first time last December and was a success, with all 32 spaces being filled.  I hope we can replicate that again this year with guest tutors including the wonderful Clare Shaw, from Hebden Bridge, and international poets Tsead Bruinja and Saskia Stehouwer from Amsterdam.

Each participant will take part in a 2 hour workshop with each tutor over the four days.  There will be readings in the evenings from the tutors and guest poets.  Workshop groups will be limited to 10 people per workshop.  I will be releasing information about the workshops that we’ll be running next week.  The carousel is a bargain at only £330.  This includes all workshops, accommodation, and breakfast and evening meals.

If you can’t make the Poetry Carousel, then I’m running another course at the hotel with tutor Jennifer Copley (October 24th-28th).  This is a more traditional residential course, limited to 16 participants.  The theme is ‘From Ordinary to Extraordinary‘ and costs £424, to include workshops, accommodation and breakfast and evening meals.

Places for both courses have been selling steadily over the last couple of months, and the hotel have advised early booking to get the nicest rooms!

Although today has been devoid of any poetry, last week was filled with it.  I went to a reading in Grasmere on Wednesday, organised by the wonderful Deborah Hobbs.  Six Cumbrian poets reading – Nick Pemberton, Mark Carson, Jennifer Copley, Mark Ward, Polly Atkin and Deborah – all very different, but very enjoyable to listen to.  Then on Wednesday I went over to Lancaster for an April Poets reading – Carole Coates was launching her fabulous collection ‘Jacob’ which I read yesterday afternoon and couldn’t put down – more on that next week.  Meg Peacock was also launching her New and Selected, which was also very interesting.  One of her poems, ‘Thirteenth Night‘ is one of those poems which is enjoyable no matter how many times you hear it, like listening to a favourite song, so I was really happy when she read it to finish off.  The musician who was playing at April Poets was absolutely fantastic, and it would have been worth the hour and a half drive from Barrow to hear him alone, although sadly  I can’t remember his name now.  Mike Barlow and Ron Scowcroft, the organisers of April Poets also read, celebrating a successful series of events, before they handed over the organisers baton to the new April Poets team, David Borrott and Sarah Hymas.  It will be interesting to see what direction David and Sarah take the April Poets event next.

The highlight of my week this week was reading in Chorlton for Manky Poets, run by Copland Smith, another great organiser-poet.  The event started off with an open-mic, where nearly everyone in the 20 plus audience got up and read one poem, the only rule being that the introduction couldn’t be longer than the poem.  The readers were so well-behaved that there was time to go around again – it was a really varied and interesting open mic.

When Liz Berry was here last weekend, we talked a lot about performing, or reading your poetry.  It struck me when I saw Liz read that she really ‘inhabits’ her poems.  I can’t really describe what I mean by this, except to say I know it when I see it.  Clare Shaw does it.  Helen Mort does it, Steve Ely does it.  It feels impossible to put my finger on exactly what I mean – something to do with commitment to the poem, sitting inside the skin of the poem, speaking from within the poem.  Anyway, I want to inhabit my poems more – I think I do it sometimes, but maybe not enough, and maybe it is dependent on circumstances, whether I feel comfortable or confident on that particular day.  I think I must have done something however because I managed to sell 12 books and 3 pamphlets, which I was very pleased about, and I’m sure it is connected, the sales and the inhabiting of poems when you read them I mean.

 

I got a lovely package in the post this week from my editor Amy Wack.  She sent me copies of new collections by Ilse Pedlar, Judy Brown and Katrina Naomi.  I’ve managed to read all three this week and would recommend all of them. I’m hoping that I will be able to feature a poem from all three poets on the blog in the next couple of weeks, so you can judge for yourself.

I read Katrina’s collection first which is called The Way the Crocodile Taught Me.  I’ve been looking forward to this collection coming out for ages, as I knew that Katrina has been working on a Phd on violence in poetry, which I’m assuming this collection is part of. Katrina’s PhD thesis is very readable, very interesting, and available online!  You can find a link to a PDF of the thesis here, on Katrina’s website.

I am interested in the way that violence, particularly domestic violence is explored and portrayed in poetry.  The statistics on domestic violence are grim – 1 in 4 women in England and Wales will experience domestic violence in their lifetime. 1 in 4.  That means of the 16 girls in my class of little trumpet players, 4 of them will experience domestic violence.  That is heartbreaking

I’m glad it’s being written about more now, although I can count the poets who have written about domestic violence one hand.  Katrina explores how childhood can be impacted by domestic violence in her collection.  The poem that I’ve chosen for the Sunday Poem is heartbreaking – the violence is both subtle and explicit.  The controlling behaviour of the stepfather is detailed in the middle of the poem, but the atmosphere of threat and tension is set up right from the first line,  when we read ‘You lie underneath him’, and later, this is elaborated on: ‘his 17 stones/pressing down on you’.

The sadness in this poem is unbearable – the line ‘I can’t talk to you,/knowing he’s also there, listening’ contrasts with the beautiful image at the end of the words ‘in a flotilla of paper boats’.  I love this image, the idea of words being the thing that you send to communicate, and the feeling of moving on created by the idea of the boats.

When I got to the end of this poem, with its lines about forgiveness, I had to put the book down and catch my breath. The idea of forgiveness, of blame, responsibility and guilt is something I’ve tried to explore in my own poems about this subject, and there is something complicated being explored here about responsibility and blame, and victims and perpetrators.

If you would like to know more about Katrina, you can have a look at her website here. She has a background in human rights, was the first writer-in-residence at the Bronte Parsonage Museum and holds a PhD in creative writing from Goldsmiths.  Her debut collection The Girl with the Cactus Handshake received an Arts Council Award and was shortlisted for the London New Poetry Award.  She has also published prize-winning pamphlets.  Katrina is a Hawthornden Fellow and a lecturer at Falmouth university.  She is orginally from Margate and lives in Cornwall.

If you would like to order the collection, you can get 20% off if you order direct from Seren here.  I hope you enjoy the poem, and thanks to Katrina for letting me use it this week.

Letter to my Mother – Katrina Naomi

You lie underneath him,
a measure of mud between you.

This was our final argument – his and mine –
your husband/my step-father.

I’m told of a double headstone,
which I haven’t visited,

since I held my neice’s hand,
threw a lily and a tablespoon of chalky soil

on your lid.  I can’t talk to you,
knowing he’s also there, listening,

as he always did: the click
of the extension by your bed, the reading

out of my letters and your replies.
All these years, his 17 stones

pressing down on you, crushing
the soil between you.

I talk to you when I cross the Thames,
looking right to Shooters Hill –

Kent’s north edge.  I send you my words
in a flotilla of paper boats.  I forgive you,

I always have.  I forgive you
for marrying him.

Information for Course Participants at St Ives

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Evening all – I’ve just sent this email to Treloyhan Manor Hotel and asked them to forward it on to the participants on our course at St Ives next weekend but I thought for good measure I would put it up here as well and hopefully everybody will see it!  The course is now fully booked which is really exciting.    Please pass this information on to anybody you know who is going on the course.

Dear Course Participants

We are really looking forward to seeing you all next week in St Ives on our poetry residential.

To ensure you get the most out of the week, please have a look at the timetable for the course, which you can find on my blog here https://kimmoorepoet.wordpress.com/readings-and-workshops/abbot-hall-residential-course/

Here are a list of things you will need to bring with you:

1.  A favourite poem written by somebody else to read aloud and share with the group on Monday night

2.  If you would like a tutorial on the Wednesday afternoon, please bring 2 or 3 poems that you would like feedback on from one of the tutors.

3.  On Thursday night, course participants will have an opportunity to perform their own work.  You can bring poems that you have written previously (please bring a copy if you would like to do this) or you can read something you’ve created on the course.

2.  18 copies of a poem that you would like workshopped by the whole group on the Friday of the course.

Any questions, please don’t hesitate to get in touch
Best wishes
Kim Moore and Clare Shaw

Poetry in St Ives

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Evening all!  Today I suddenly remembered it is already June and I need to crack on with advertising the next Residential Poetry Course that I’m running with the wonderful Clare Shaw as co-tutor this October.  I can’t believe how quickly this has come round. Apparently about a third of the places have gone already and I am expecting the places to go quite quickly so if you are thinking of coming, get in touch with the hotel and book a place – contact details below.

 

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‘The Call of the Tide’ Residential Poetry Course,
Treloyhan Manor Hotel, St Ives, Cornwall,
27th- 30th October 2014

Course Leaders: Kim Moore and Clare Shaw
Come and join us for a week of workshops, discussions and readings.  The theme of the week will be ‘The Call of the Tide’.  In the beautiful setting of St Ives and surrounded on three sides by the sea, we will explore how encounters with the tide, the coast and the forces of nature can inspire and inform our writing.  There will be two mystery guest poets who join us mid week and time for one-to-one tutorials.

For more information or to book please go to the Treloyhan Manor Hotel website: http://www.christianguild.co.uk/treloyhan/interestbreaks.php

Alternatively you can ring the hotel directly on 01736 796240

There are limited numbers and we are expecting the course to be full, so please book your place early to avoid disappointment

Draft Timetable

Monday 27th October
2.30pm-5pm –Workshop with Clare Shaw and Kim Moore
“What the Tide Brings In” –
As we set sail on five days of creative discovery and development, we’ll meet and greet our fellows travellers in this introductory session. We’ll also start to explore the forces that flow through poetry; and to establish how we’ll discover and develop those throughout the week.  

8pm – Evening Reading in the lounge
Bring a favourite poem to share with the group, written by somebody else.

Tuesday 28th October

10am-1pm – Morning Workshop with Clare Shaw
“What the Water Gave Me”
Inspired by the ocean and what it offers, we’ll examine the principles of powerful language at work in contemporary poetry, and at how we can put them into practice in our writing.

3pm-5pm – Afternoon Workshop with Kim Moore
‘I need the sea because it teaches me’ – Pablo Neruda – Tuesday afternoon workshop with Kim
What has the sea taught us, and what is there left still to learn?  What can we learn from the people/fish/birds/animals/lighthouses/rocks/the moon/the stars/inanimate objects that make their home in or near the sea? We will attempt to answer these questions with poems, which will hopefully leave us with more questions than we started with…

8pm – Poetry Reading in the Lounge with Kim Moore and Clare Shaw
Wednesday 29th October
10am-1pm Morning Workshop with Clare Shaw and Kim Moore –
“The Edges of the Tide” –
From Arnold via Larkin to Oswald and beyond, poetry is created where ocean meets land. Following in their footsteps (weather allowing), we’ll take our inspiration from the extraordinary human and physical landscapes of the coast, and create some poetry of our own.

Free Afternoon – Tutorials available – participants to sign up at the beginning of the week

8pm – Poetry Reading in the lounge with two Mystery Guests

Thursday 30th October
10am-1pm – Morning Workshop  with Kim Moore
Stories of the Tide – Thursday morning workshop with Kim
The ocean plays a central role in the stories and myths that we tell ourselves.  The sea is a part of many idioms and phrases in language.  How can we use these myths, stories and phrases to enrich our own poetry? 

3-5pm – Afternoon Workshop  with Clare Shaw
“its always our self we find in the sea”: …. the ocean, the voyage and and lifewriting.
Ocean is one of the richest sources of metaphor. Whether literally or metaphorically, we’ll go beachcombing and find some version of ourselves to write about. 

Optional “Page to stage: performing your poetry” from 5-6pm with Clare Shaw

8pm – Poetry Reading in the lounge by Course Participants –
A chance for participants to read poems written on the course, or work they have brought along with them.

31st October

10am-1pm – Morning Workshop- with Clare Shaw/Kim Moore
A chance to bring a poem for feedback from the group and the tutors.  This can be a poem you have written on the course or one you have brought from home.