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CAUGHT IN THE NET 56 - POETRY BY
VIVIEN JONES
Series Editor - Jim Bennett
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Introduction by Jim Bennett
Hello. Welcome to the next in the series of CITN featured poets. We will be looking at the work of a different poet in each edition and I hope it will help our readers to discover some new and exciting writing. This series is open to all to submit and I am now keen to read new work for this series.
You can join the CITN mailing list at
-
http://www.poetrykit.org/pkl/index.htm
and following the links for Caught in the Net.
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In the middle is the non-colour where Jamie died, I stitching all through the dull days of waiting. Those red circles are not flowers but record the spray of his red breath.
from; Log Pattern Quilt. C 1900 by Vivien Jones |
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CONTENTS
1 - BIOGRAPHY
2 – POETRY
Strange Flesh
Log Pattern Quilt. C 1900.
Museum of Rural Life
‘Gardeners’ Question Time’ at Polmaddy
Owl, Himself
Small Bones
Dining with Copernicus
Something in the Blood
The Virgin Mermaid
My Mother’s Poems
3 - AFTERWORD
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1 – BIOGRAPHY: VIVIEN JONES
Vivien Jones lives on the north Solway shore with her husband, Richard. She is a semi-professional early musician in The Galloway Consort. Her short stories have been widely published and broadcast on BBC Radio 4 and Radio Scotland – her first themed collection of short stories,
Perfect 10, was published in September 2009 by Pewter Rose Press. Autumn-Winter 2009/2010 will see short stories published in The Yellow Room, Horizon (Salt Publishing) and Iota Fiction anthology; A poetry chapbook, Something in the Blood, was published in February 08 (Selkirk Lapwing Press) and another, Hare (Erbacce Press) in March 08. She has twice performed as a Poetry Double with Jacob Polley and Jen Hadfield and devises collaborative readings with music in performance at Book and Arts Festivals in Scotland and the north of England. She is currently working on a first poetry collection. Website - www.vivienjones.info
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2 - POETRY
Strange Flesh
I spied a grey log
beached
on a grey pebble shore.
Coming near,
a glint of bone showed
it was not a log.
A glint of bone showing
through a scoop in flesh,
made crosses, a spine.
A jaw with broken lines
of thin teeth,
gums stabbed away
by complaining gulls,
no fins, no tail, no eyes,
no name.
A sea creature wrecked
by a violent tide,
a dry rotting banquet on
hot stones.
Because it is nameless,
small boy like, I take a stick
to punish its leather carcase.
First published in ‘Ginosko 7’ USA
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Log Pattern Quilt. C 1900.
This tells my life, this quilt,
this sequence of incident in
stitches as numerous as the tears
shed for each lack, each loss.
The colours tell a true tale,
brief greens of spring and summer growth,
the splash of the blazing blue stream
gives way to longer dry harvest gold
and the dull grey slabs of winter.
In the middle is the non-colour
where Jamie died, I stitching
all through the dull days of waiting.
Those red circles are not flowers
but record the spray of his red breath.
Three summers old when we buried him
beside his sister, not yet one year.
My forefinger is dented with the
blunt press of the needle,
felt, not seen, in the faint autumn light
as the quilt grows across my knee
and the pile of infant clothes
grows smaller by my feet.
First published ‘Boyne Berries ’(Ireland) March 2008
Obessed with Pipework( Flarestack) April 2009
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Museum of Rural Life Kiltimagh,Ireland April 2008
If you stand just here
And stare across there,
you can just see the print
of a house, very small,
on the hillside.
The woman who lived there,
if she stared across here,
could see this glass
and concrete building,
and wonder what it was.
More amazing than that,
if she saw inside it
and saw that her kitchen
tools were there, roped off,
labelled, forbidden, clean.
She might be puzzled,
if she thought about it,
that so many people
would stare for so long
at things so commonplace.
First published ‘The Eildon Tree’ October 2009
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‘Gardeners’ Question Time’ at Polmaddy *
Maisie Barbour : ‘farmhand and herbalist’
‘So, what can you recommend for a raw Galloway hillside
upon which an abandoned settlement sinks in its own echoes ?
A whaleback horizon, black at dusk, guiding soft constant rainfall
onto earth pocked with rocks and fibrous grasses tough enough
to capture soil in plaited roots, our own shit for manure.
We plant in rigs, sharing the sweet west lie, only the toughest
crops will throw themselves skywards, defying the slashing wind,
onions, small as marbles, cooked whole, make pungent soup.
I gather the healing plants, for bitter gruels and poultices,
called to wounds and vomitings, my wealth in my apron folds,
I keep them from the earth with the fruit of the earth.
The children dig granite stones, stacked in cairns with which
we build an inn, we stop the pilgrims in their path to Whithorn,
faith makes them thirsty, we are rich, we have many buildings.
No more, one summer they brought the sheep and we, like sheep,
were herded away to the barren towns.
Will you make a garden here where once the stripe of the rigs told
where the fruitful earth lay ?’
*Polmaddy is the site of an 18th century ‘ferme-toun’ almost lost among the tough grasses
of the Galloway countryside.
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Owl, Himself
There,
across that space
I made movement
silent. You felt
the air move, not me.
If you were vole
you would be no more,
a single crunch
after the pounce,
a brittle skull shattered.
a pellet later
my frail body,
inside its downy cloak,
with blood lust
beak and claws,
served by marmalade eyes.
You can’t evade
my gaze,
its languid revolution
will take you in,
to evaluate.
I will consider
your smell, your size,
your proximity,
before ensuring
my survival.
The night time
woods are mine,
I sweep the dark,
catch moonlight
on my wings,
Cry to my kind,
startle yours,;
you stagger with
binoculars,
eager to glimpse
quicksilver.
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Small Bones
(Whithorn 1980s)
The first dig I saw,
a holy site in the far west,
under small trees
knocked sideways
by ceaseless wind,
dead priests tended
by archaeologists.
I drew close to the
hunched figures
brushing the ground
with paintbrushes,
bum pockets spilling
plastic bags,
they never looked up.
The keep-back fence
did not stop me from seeing
how small the fragments,
earth caked as they were,
how unremarkable,
not credibly human,
how small the bones.
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Dining with Copernicus
‘Al Brindisi’, Ferrara
Piercing the shadows of narrow alleys,
the dusk sun sneaks a low beam
onto a sign board – Al Brindisi AD 1435 -
yet another ‘oldest tavern in Europe.’
Banquettes, dark wine bottles
behind chicken wire frames,
a wooden board with cheese
spiralled from mild to ferocious,
the waiters whisper and offer
only expensive wine.
My place mat, made of brown paper,
says that Tasso and Cellini ate here,
so did the student Copernicus,
who, on seeing this same sky,
thought up earth moving heresies.
So do I, walking slowly back,
seeing the full moon through
the open oval above a courtyard,
thinking of the curious Copernicus,
a moment’s dizziness may just
have been the angle of my gaze,
but it felt like the moon sucking.
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Something in the Blood
I know he has been nowhere
but inside my body, this babe
who lies in sea anemone motion,
expressing the oceans
of his heredity.
My meek sea empathy
has been to paddle and swim some,
once in deep rough water
with salt smacks in my face,
close to surrender.
So it must be that sea genes
swam from my blood to his,
changing cells that were me
to not me, building a stranger
inside his skin.
We stare into the pool,
at refractions, reflections,
The image seem clear
but underneath, his otherness
stirs small fears.
First published in chapbook form by Selkirk Lapwing Press. January 2008
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The Virgin Mermaid
…and suddenly I saw rocks
and foam thrashing,
Gulls spinning in the air,
the wind smacked my face.
So this was the land.
Creatures moved there,
their cloven tails braced,
balancing their frames
as they picked at nets.
They had no salt smell.
A boat’s wake swept my back,
I rolled and saw him,
a land creature leaning down
to catch my flying arm.
He, fresh from the deep, had salt.
He lifted me from the water,
I flapped in fear and something sweeter.
He touched my scaly tail, he faltered.
We fell entangled, he struck out,
forgetting me, he sank away.
I heard the keening on the shore.
A creature wrapped in sacking
knee-deep and howling, cursed me.
So, cloven-tail her and fishy-tail me,
virgins both empty of love, locked eyes.
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My Mother’s Poems
had the structure of housework
carried out each day, except Sunday,
in rigid order, in pinny and scarf.
No radio presence interrupted
her contemplation of her metaphors,
her broad sideboard surface the world’s
acres covered in dust and anguish.
She figured eighted a yellow duster
to deal with dust, extinguished
the anguish in small measures
of listening and compassion,
an unknown natural healer.
Each day’s dinner preparations
made her feel rich ; her casseroles
of mince and peas and carrots,
bubbling sluggishly in rich gravy,
made her treasure her
personal wealth in a poor world.
Cleaning the mess, messing the clean,
her recipe for good living.
Small philosophies in a good mind
made tame by family; each child
a promise of life after death,
each meal a down payment.
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4 - Afterword
Email Poetry Kit -
info@poetrykit.org - if you would like
to tell us what you think. We are looking for other poets to feature in
this series, and are open to submissions. Please send one poem and a short
bio to - info@poetrykit.org
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