Category Archives: INKSPILL 2016

INKSPILL Guest Writer Roy McFarlane Workshop ‘Missing You’

Standard

gw

fountain-pen-745308_1280

In this workshop Roy uses the poetry of Abegail Morley roy-abegail-morley and

Sarah James roy-sarah-james information on purchasing copies of their collections can be found in Related Links at the bottom of the post.

workshop-1

Missing you

Wow, after that incredible and powerful poem that you’ve written (Being There Workshop), let’s write I miss you poems, how do we say I miss you, that sings a litany, a beautiful melody so far removed from tireless clichés, this is the one, this is where we write them into life, we go back to those beautiful moments and make time stop or we create a sliding doors (the movie or alternative universe) moment as in this wonderful poem by Abegail Morley from The Skin Diary

Before you write off your imaginary sister

remember how she didn’t take her blunt playschool scissors

to your Tiny Tears doll, didn’t lop off a curl,

how it didn’t make you cry for three nights in a row,

your only consolation, not inviting a mantra to your lips:

You are not my sister, you are not my sister.

Think of that night she wasn’t at the tap-end

of the bath, not blowing bubbles through her fingers,

not sloshing them over your face, how water didn’t slop

over the bath’s rim, how you didn’t slip

when your mother hugged you out in a towel.

Memorise how she didn’t cuddle close for those stories,

clap when they escaped the Gingerbread House. Learn how

she didn’t travel with you on the school bus, wasn’t there

when you rubbed your fingers over the invisible bruise

that couldn’t yellow on your thigh, wasn’t bashed by her bag.

Before you know it, she’s not at your wedding,

taking the posey from your nervous hands, doesn’t smile

when she doesn’t do it. Bear in mind she didn’t

have a look in her eyes when she didn’t hold your son

in her arms in amazement. Learn by heart those miles

she couldn’t take because you couldn’t call her at two a.m.

thinking he might die from colic. Remember how

she doesn’t say she loves you more than ever, and how

desperate that cannot make you feel. And know now

all you can say is, I miss you, I miss you.

Find an arc in your poems from the first stanza that sets up the premise you are not my sister, you are not my sister to the pay back, I miss you, I miss you.

Or this gorgeous (can you hear my Craig Revel Horwood impression) poem from Sarah James Plenty-Fish

Bagging Up

I found it this morning: a single pink bootee

gaping white like an empty shell.

When I see flowers,

or bonnets and frilly dresses

next to the boys’ dungarees

I picture you.

You should be grown tall by know.

But I can still hold you: fosilled

fragments from the scan cupped

in my hand: small as a bullet,

or hole in the heart.

I imagine dark curls and shy smile,

though when you speak,

it’s merely an echo of their toddler talk.

I write this to you,

my child that never was,

yet is,

but

I write it for me –

though words won’t bend

to explain that longing for you,

I love the boys no less.

So, as I fold away bibs and bodysuits

And bag up blue for my friends,

The pink of your bootee creases my thoughts.

I ought to throw it, finish this, say goodbye…

Instead, I reach up, hide it high

In a cupboard my sons must never find.


writing

Exercise

Write them, write their beautiful stories, you don’t need a prompt for this one.

We started with objects at the beginning, so let’s finish with the idea of what we possess after our loved ones have passed away, and again explore beyond the normal aspects of gift, but maybe they left you with a burden, left you with a secret, left you with a joke, left with your beautiful memories; the page is yours.

 


 

RELATED LINKS:

Buy The Skin Diary by Abegail Morley here

roy-skin-diary

Buy Plenty Fish by Sarah James here

roy-plenty-fish

INKSPILL Guest Writer – Introducing Robert Harper

Standard

 

typewriter-801921_1280

DUE TO UNFORESEEN CIRCUMSTANCES we regret to inform you that there will be no INKSPILL exclusive from Rob Harper today. We have decided to include the introductory post anyway so you can spend some time reading his poetry and checking out his websites and of course, Bare Fiction magazine.


gw

Robert Harper is an actor, poet, producer and director of theatre and television. Since the early 90’s, Robert has performed in hundreds of varied productions on radio, screen and stage throughout the UK, most notably as a member of the BBC Radio Drama company.

He is Founding Editor of Bare Fiction Magazine, which started the same year I did (2013) and Artistic Director of Bare Fiction Theatre Company which is dedicated to the production and presentation of new work.

Robert holds a BA in Theatre Studies from RWCMD, has just completed his MA in Creative Writing and runs Shrewsbury Poetry Stanza.

robert-harper-poet-1080x420

Robert Harper – Poet

As part of his MA he recently collaborated with composer Zakiya Leeming on a new piece for four voices based on his poem Hush, along with a solo piece developed especially for the Rosamond Prize.

He regularly reads at Poetry Events and read alongside David Morley and Gregory Leadbetter at the Wenlock Poetry Festival 2014, where his poetry also appeared on the Wenlock Festival Poetry Trail.

His work has featured in The Interpreter’s House, Prole, Acumen, Royal Philharmonic Society and for National Children’s Heart Week 2014. He was Highly Commended in the Poetry Book Society Student Poetry Competition 2014 and performed at ‘An Evening with Carol Ann Duffy and Friends’.

Robert’s poetry can be found here http://www.robert-harper.co.uk/poet/

 

INKSPILL Guest Writer Roy McFarlane Workshop ‘Being There’

Standard

So Roy’s workshops are going deep, for this one you may need tissues (and we should never let that put us off), or as he suggests a shoulder to lean on afterwards. You can always start a conversation in the reply boxes below and if you happen to have the ‘treasure’ of an empty house to write in, you may want to have some connection after this.

We are here LIVE today, so talk to us if you wish to.

In this workshop Roy looks at the poetry of Hannah Lowe.

gw

 

roy-smokestack-books

© 2011 Smokestack Books

workshop-1

Being there

Being there is the toughest journey, you’re a journalist on a battlefield, fighting the inevitable, there’s no turning back, you’re right in the middle of it, seeing blood and fluid, hearing the groans and pains, screaming for help and assistance. The following is the middle passage of Six Days in March by Hannah Lowe from Chick.

*

No dignity in this.

We find you on the stairs,

old child in tears. You want to piss

and so I carry you,

the weightless body folded in my arms

The house is smaller, brighter.

I pass the doorway quickly

where my mother holds your face,

a bowl of milky water on her knee, a razor.

The nurses come, their blue efficiency,

their muscled hands. They twist you on the sheets

and lay you naked, powdered clean, clean.

The shocking body in the light,

bone and paper skin,

the ladder on your shins of buckle scars,

thighs so slight and girlish,

your penis dumb and nuzzled

In its bed of hair.

Old child in tears. You want to piss, the old adage of twice a child once a man, so beautifully put, the fragility of old age, the dependence now on his daughter, search for those juxtaposition, poetry loves juxtapositions.

The house is smaller, brighter. So much is said in these few lines, the child returns as a carer, but the house being brighter fascinates me, maybe she sees her father clearer now, do we see our parents who were hard on us different when their older or in Hannah’s case the father who picked her up at ballerina classes, is no longer the taxi driver (the narrative she shared with friends), she now sees things in a brighter light.

The nurses come, their blue efficiency, their muscled hands. They twist you on the sheets, I love this description blue efficiency, muscled hands, they twist you, there’s no time for sensitivity, there’s a job to be done, a repetition of work that nurses are so use to and this is not a damning of insensitivity but an honesty of the work that nurses have to do, industrious, thankless and tireless.

The ladder on your shins of buckle scars; what more do we have to say, poetry loves new way of describing, condemning the cliché to the bottom draw and bringing out something new, something ladened with a story, history, just go for it and say something new in that one line.


writing

Exercise

I need you to think of that moment, in the hospital room, at side of the road of an accident, at work, those days leading to the inevitable or at the moment of death. I want you for this moment to step out of your body and be the individual going through the pain, suffering; be another member in the room, a child maybe; be the nurse, doctor or any other staff; be the bed, the mirror; and then be yourself and see where you go.

Take your time with this, take time out if you need to and have your best friend, partner or sibling near, by phone or in the house, because you might just need someone to lean on when you’ve finished this exercise.

paper-1100254_1280

 

 

INKSPILL Guest Writer Roy McFarlane Workshop ‘Physical, tangible & unforgettable’

Standard

gw

Welcome back to another Roy McFarlane workshop, get your pens and hearts ready as we explore the ‘Physical, tangible & unforgettable’ – you can almost taste the poems you are about to write already!

If possible you will need a large sheet of paper (A3)

In this workshop Roy uses Stretch Marks from Her Birth by Rebecca Goss and his own poem The Map of your Leg

workshop-1

roy-smokestack-books

© 2011 Smokestack Books

Physical, tangible and unforgettable

Physical markers that connect us to those we’ve lost; the way we might look like an individual or the spitting image, the sayings and proverbs that we promised we would never repeat, the marks we wished we had that would remind of us them.

Stretch Marks from Her Birth by Rebecca Goss

My swims kept those scars at bay,

Two thousand lengths it took, to form

My mapless globe. No trace she was here,

Her travels around me refused to surface

As she divided between poles, lapped

That black belly ocean. Once born, meridian

Of my achievements, she went off course.

I followed her divergent route, but this was not

Her geography. I have wished for them,

A record of her tracks, all snowed over, gone.

Read an extract from Rebecca Goss of the journey for putting this poem together from poetry archive; ‘I did an awful lot of swimming through both my pregnancies to keep fit…and I didn’t get any stretch marks – but after Ella died, I really wished I had some stretch marks…physical branding to prove that I had her…’ please read the rest of this introduction.

roy-rebecca-goss-guardian

© Guardian

My poem The map of your leg begins with;

In hospital your legs are unusually dry

after a weekend lying in bed,

The scene is set for an intimate mother and son moment, where the son creams her mother’s legs and notice her scars, all with their different story to tell.

There’s a survey of marks across your legs

Mapping time and continents,

The basin of scar on your shin bone

That carries you back to the teenager

Daring to backchat your mother…

And the stories that are told, until we’re brought back to the present moment, especially the blemishes of darkness where the most important thing to be said is the most difficult thing to be said.

And you ask me

What have they done to me?

The chemotherapy? The radiation?

they’ve told me that these are the signs

of the cancer returning again.

I continue creaming your skin

But I can’t tell you yet.


writing

Exercise

The easiest way to do this, is to possibly draw the outline of a body on A3 paper and mark the scars on the body you remember, describe how they look, be inventive, and then tell the story.

Remember, think big, we’re looking at stretch marks, scars, beauty marks, (lets stretch this further), have a look at parts of the body as in Elaine Feinstein Hands, or the lack of certain body parts go for it make it unforgettable.

Hands by Elaine Feinstein can be read here

 

RELATED LINKS:

Her Birth is available to buy and is currently on offer (10%) discount. Her Birth Carcanet

roy-rg

Listen to the poem here http://www.poetryarchive.org/poet/rebecca-goss

https://rebeccagoss.wordpress.com/

 

INKSPILL: Guest Writer Workshop Roy McFarlane ‘Writing their presence…’

Standard

gw

Are you ready for more from Roy McFarlane? Today we will be sharing the remaining Workshops he has generously prepared for us. In this workshop Roy uses ‘Hands’ a poem by Elaine Feinstein from ‘Talking to the Dead’.

roy-smokestack-books

© 2011 Smokestack Books

workshop-1

Writing their presence rather than the grief of loss

Talking to the Dead opens with a death in winter, and closes with a grandchild ‘as tender as blossom’. In poems which are moving but never dispiriting, Elaine Feinstein evokes her husband as he was – now affectionate, now querulous. It is his presence, rather than the grief of loss, which is the centre of the book. The next bit I love the truth of poetry, their willingness to be naked; theirs was not an easy relationship. Feinstein registers the difference between them, the ambivalence of a long marriage, and the intimacy of their last month together, this is what you’re going to do but we’ll read a few extracts before we start writing.

roy-talking-to-the-dead

Hands

We first recognized each other as if we were siblings,

And when we held hands your touch

Made me stupidly happy.

Hold my hand, you said in hospital.

You had big hands, strong hands, gentle

As those of a Mediterranean father

Caressing the head of a child.

Hold my hand, you said. I feel

I won’t die while you are here.

You took my hand on our first aeroplane

And in opera houses, or watching

A video you wanted me to share.

Hold my hand, you said. I’ll fall asleep

And won’t even know you’re not there.

roy-feinstein-alma-books

© Alma Books

writing

Exercise

This is where you go crazy, write down, quirks, infuriating actions, sayings, proverbs, habits, things that you pissed you off (be careful), things you loved, something they said that takes you back to a moment, or something said that has echoed over time or generations. Go for it, spend (15mins) just writing as many things as you can.

Ok, step back and see if you can find a refrain, an outstanding statement or action to repeat and build a poem. Here’s something extra see if you can find two strong lines and try to create a villanelle, I suggest the two lines that you’re using should be different, maybe opposites, or complimentary to each other, like;

Do not go gentle into that good night

Rage, rage against the dying of the light.

The greatest villanelle of all is by Dylan Thomas.


 

 

typewriter-1227357_1280

For those who need it find out how to write a villanelle here.

http://www.wikihow.com/Write-a-Villanelle

 

 

RELATED LINKS:

http://www.elainefeinstein.com/

Talking to the Dead is available to buy here

Read the full poem – a preview page showing ‘Hands’ can be read here Roy used the full poem in this post, other poems are available to read in this book preview, should you wish for more from Elaine Feinstein.

 

INKSPILL Poetry Film Night (4)

Standard

inkspill-2016-share-button

POETRY FILM NIGHT presents Alastair Cook

To complete our Poetry Film Night, we have the master of poetry film making – Alastair Cook.

We have chosen Amerika (The Man Who Disappeared)

It was three years in the making, with new writing by twenty of the world’s best poets, sountracked by composer Luca Nasciutia and read by poet Rachel McCrum – screens worldwide from Autumn 2016. New ekphrasis work by poets John Glenday, Vicki Feaver, Stevie Ronnie, Janie McKie, Brian Johnstone, Jo Bell, Andrew Philip, Linda France, Dave Bonta, Angela Readman, Michael Vandebril, Gerard Rudolf, George Szirtes, Emily Dodd, Ian Duhig, Rachel McCrum, Robert Peake, Polly Rowena Atkin, Pippa Little and Vona Groarke.

 

Treat yourself to the full screen, get comfortable, sit back and relax.

http://filmpoem.com/filmpoem-50-amerika-the-man-who-disappeared/

 

 

INKSPILL: Poetry Film Night (3)

Standard

inkspill-2016-share-button

POETRY FILM NIGHT presents Kei Miller

This is poetry and poet on film really. Another favourite poet of mine, Kei Miller, who I was fortunate to watch and meet at Swindon Poetry Festival 2015.

Let us start with the interview.

 

And now for a poem.

 

INKSPILL Poetry Film Night (2)

Standard

inkspill-2016-share-button

POETRY FILM NIGHT presents Pablo Neruda

One of my favourite poets Pablo Neruda comes next in our poetry film night. There are several films on this post.

Three innovative new films – RANT * RAVE * RIFF. Poema 20 was written in 1924 by Pablo Neruda. The poem is recited in its native Spanish by Carlos Alfaro and includes English subtitles translated from Spanish by W.S. Merwin. Perhaps one of Neruda’s most beautiful love poems Poema 20 comes to life with classic footage of Rudolph Valentino. 

 

 

 

The next poem is ‘And Now You’re Mine’.

 

 

 

And finally ‘I Like For You to be Still’

 

 

INKSPILL – Poetry Film Night

Standard

inkspill-2016-share-button

POETRY FILM NIGHT presents Shane Koyczan

Starting off the Poetry Film Night is this video from Shane Koyczan.

I was lucky enough to see him perform at Hit The Ode in 2014, he is an amazing man. This poetry film is part of To This Day Project, confronting bullying.

“My experiences with violence in schools still echo throughout my life but standing to face the problem has helped me in immeasurable ways.

Schools and families are in desperate need of proper tools to confront this problem. This piece is a starting point.” – Shane

RELATED LINKS

http://www.tothisdayproject.com

INKSPILL – Fiction Rules for Writers

Standard

Fiction Rules for Writers. We all need to know this, we are always curious to discover people’s thoughts on this area. As far as people go this list of established writers is not to be sniffed at.

Follow the link to 10 Rules for Writing Fiction published in The Guardian (2010)

Writers include; Elmore Leonard, Diana Athill, Margaret Atwood, Roddy Doyle, Helen Dunmore, Geoff Dyer, Anne Enright, Richard Ford, Jonathan Franzen, Esther Freud, Neil Gaiman, David Hare, PD James & AL Kennedy.

https://www.theguardian.com/books/2010/feb/20/ten-rules-for-writing-fiction-part-one

The second part of the article includes; Hilary Mantel, Michael Moorcock, Michael Morpurgo, Andrew Motion, Joyce Carol Oates, Annie Proulx, Philip Pullman, Ian Rankin, Will Self, Helen Simpson, Zadie Smith, Colm Tóibín, Rose Tremain, Sarah Waters and Jeanette Winterson

and can be found here https://www.theguardian.com/books/2010/feb/20/10-rules-for-writing-fiction-part-two

typewriter-671413_1280

ENJOY! Happy writing x