Our recent film-poem collaboration “One Stop” was nominated for best music/sound at Liberated Words III in Bristol, where it premiered. The original soundtrack was composed and performed by Valerie Kampmeier. The film commemorates the 70th anniversary of the D-Day landings.
Do you remember beach-combing
for three-oh-three shells,
our little Easter-egg hunt
for exploding chocolate?
I think of you whenever
I snap the pill box shut.
You called our ride in a Higgins
boat "one stop on a busy tube."
We breathed through our helmets,
begging the spume to ricochet,
then leapt the ditch toward freedom
and cleared the snarling wire.
So this is freedom. This side
contains the same amount
of nitrogen in the air.
We won the race with our fists,
hands down, sound bananas.
What was it all for, Charlie?
Nineteen more minutes of linked
hands and holy prayers
to that bombshell divinity?
How do we know this road
leads back to the invisible base?
Go first. I'm right behind you.
I sourced archival colour footage of WWII, and composited this into an animation that I created using Blender 3D. I recorded journeys on the tube with an X1 Zoom, and mixed this under Valerie's music and my voice reading the poem.
I received my electronic version of Rattle #44 today. My poem “La Campagna, London, Friday Night” appears in it, alongside poems from fellow Pacific University MFA Alumni Daniel Bohnhorst and Kathleen Diane Nolan as well as an incisive political poem by Transatlantic Poetry’s own Janice D. Soderling.
Rattle remains one of my favourite US journals–accessible but thought provoking, enjoyable but complex. Editor Tim Green takes risks, which means that invariably I can find a poem that I adore and another that I can hardly stand all within the same issue. He continues to push the envelope with a new weekly initiative featuring poems written in response to current events on the Rattle website. This week’s poem is a hard-hitting response to recent news and online conversations about violence against women.
I had a great time reading poems at the Poetry Cafe in Soho tonight as part of the Southbank Poetry Competition awards. Valerie and I also collaborated to turn my third-prize-winning poem, “Jellied Eels”, into the following film-poem.
I recorded the poem through a pair of walkie-talkies to achieve the desired vocal effect. When then paired Valerie’s piano composition with morse code sounds. With so much going on auditorily, and because the poem itself is quite visual, we opted for a simple pan-out on time-lapse footage of light on water, which ends with a serpentine blur-cut that seemed to converge upon and reinforce the ending image of the poem quite well.
I received my contributor’s copy of Fjords Review vol. 2, issue 3 today. It is a lovely perfect-bound volume offering such delicacies as Sarah Palin erasure poems and an arresting series of photographs like the one on the cover. My poem “Color Study” should feel right at home.
I have a new poem in the weekly online zine Amaryllis.
I met one of the editors, Hilda Sheehan, at our reading at the Troubadour last year, and discovered a certain overlap between my more quirky poems and her more tame ones. You can decide for yourself which this is. I am also delighted to be taking part in the Swindon Festival of Poetry in October, which she heroically organises.
“And it was at that age… poetry arrived / in search of me”
-Pablo Neruda, “Poetry”
Poems can represent a turning point. Reading Marvin Bell’s “Wednesday” was one such moment for me. I wrote about what it means to me, and why it really matters, for the Prague-based online journal B O D Y. I consider it the anthem of every working poet, and it was to this anthem that I marched forward through grief, back into poetry, back into life.