Poem for John Shade

Note on the submission: The following poem (some trivial corrections excepted) was given to me by the proprietor of an Appalachian motel, in the hope that I could publish it, both for its own value and ‘the clever ser’; a “distinguished” patron who orphaned the verse behind a nightstand some years ago along with a ping pong paddle and a few blank index cards.

Oh to the shadow of that dear slain Shade
Laid out by the mind’s drear poet, arrayed
Eternal between sweet incense of Popes
And pale fires; dim pyres that frayed waxing hopes;
Wilting boyish columns that our emblems held
Erect, sublime. Fair crime penned worlds, dispelled
Sovereign charms. Alas your harpy-muse sings
Triumphant, mantled in the cloaks of kings.
Until lyre’s tongue, in rerum of baser sort,
Discharged, premature, the magic we sought
In tallow lanterns for a royal parade

 

 

 

James Lythgoe is an aspiring dilettante and strong evidence for the Victorian belief that too many novels rot the brain. He makes, steals or borrows words for the Undead Poets’ Society, so they can be subjected to inhumane violins:
https://www.facebook.com/UndeadPoetsSoc/?ref=bookmarks

A Few Looks Back and Forwards and Floating

A Few Looks Back and Forwards

‘Life?’ he looks bemused
‘Life is like a swing set
You have it in your garden, and birds shit all over it’.

He nods wisely,
‘Birds-
Those fearless high fliers, fancy dippers
Dive-bombing, spiralling through skies
Swivelling, swooning, riding on air, careless,
Your onetime aspiration, when you were younger.’
‘When I was a kid I was-
I had a bird in a cage, fluttering behind carefully crafted ribs, steel.
Look up at those ones now though, flapping around all over the place
There’s going to be a lot of shit to clean off that swing set later.’

‘I used to have a hold over my heart.’

‘It’s like a swing set you see, it’s got two extremes, two sick-making apexes
And they’re essentially the same from a distance.
But to you, one’s tipping, one’s flying
One’s skipping, one’s crying
One’s slipping and dying and one’s gravity defying
And people say they give each other meaning’. He laughs.
‘There’s a lot of value in stilling it, standing on it
Balancing some way- a great many books you can read on equanimity
Equilibrium? Equidistance? Equipment? All of the above.
And I do value stability but
You’ve got to have a swing
Before you swing, laddie’

‘It’s like a swing set
I’m free to give you a push if I’m nice enough
But it won’t sustain you forever, you’ve got to keep pumping
Play your instincts against gravity
Nobody can replicate the feeling for you’
‘Like a bloody swing set
It’s mostly just good for kids
It’s got a few seats and they don’t tend to stay level with one another
But don’t be the idiot who forgets that they’re all made from the same plastic by the same factory’

‘It’s like a swing set
Who wants a swing set anyway, once they’ve grown up and had a look at the world?
It’s like it’s screaming at you to have children
What’s a swing set got to do with anything? Why a swing set? How am I supposed to use it in the winter, in the rain, in the frost?
It’s ugly from most angles, it’ll get rusty and I’ll spend all my time cleaning it and getting it repaired, I don’t have time for this and it’s blocking my view of the sky and the trees and the pond
I’m not a child anymore
I don’t want this’

‘It’s like a swing set
An escape, an indulgence, for you and whoever you feel like sharing with, just mind the snails
It’s in your garden
It’s right there, it’s so easy, just wake up and open the door
But you’ve got to wake up and open the door’

His eyes grow dreamy

‘Like a garden, full of living things:
Life is full of living things
Yes, I’m quite sure of that’
‘I really do like my garden
I grow tomatoes
I have a pond and everything
But I don’t feed the bloody birds’

 

 

Floating

A bobbling little vessel,
Chained anxiously to the banks,
Swinging to and fro with the weight of every larger body that passes by-
Becomes Christmas.

I overwinter in steel-capped boots and a fishing hat.
On the day of families,
I am started awake
by the slamming weight of a goose.

A foggy green murk,
brewing goose shit and waste from the retail park ,
is keeping me floating.

My laugh, rich and hearty,
Carries clearly from bank to bank
Unanswered but whole:
I am, I am,
I still am.
Like a wave: up and down, loyal to form,
Looser and weaker with each subsequent oscillation.

And as I stride up and down the canal in the rain
With the dirty water smell lifting the air-
As we untie the chains and I clamber on to the roof-
My safeties sink into the space that opens between me and land.

As we slalom through the bigger boats
and wave-by miles of marsh,
doubts linger behind
among those cloudy mists
Which stew atop these
December fields.

Labour limbers the bones,
Leaving the heart a little looser,
Hackney-headed.

 

 

Alannah Taylor is studies Neuroscience at the University of Bristol, UK, and really likes to write.

Three poems by Martin Stannard

GIMBALS

Petal,

Be my pivoted support that allows the rotation of an object about a single axis.

In engineering, that world neither of us understand, a set of three, they are called gimbals incidentally, one mounted on the other with orthogonal pivot axes, may be used to allow an object mounted on the innermost of the three to remain independent of the rotation of its support (e.g. vertical in the first animation).

And so it goes on, incomprehensibly.

 

TOO MODERN

Petal,

So much is washing around me.
I find that trumpets often sound triumphant
but oboes rarely sound obese. I think
nobody is going to argue with me.

When alchemy regains its popularity
as it’s bound and destined to do
we’ll be one of the first couples to frolic
among the nuts and animal skins of ritual
with all the force of forehead of frog
and stone of plum, because modern life
with all its innovations and irritations
is just too modern.

 

THE SINCERITY SONS OF TURIN

Petal,

Between moments of sobriety your latest beau encapsulates all it means to be a sot. Trust him as far as you can hurl one of your uncle’s steers.

I, on the other hand, belong with the pure of heart and The Sincerity Sons of Turin.

 

 

 

© Martin Stannard, 2016

Martin Stannard’s poetry and criticism have been widely published since the late 1970s. His most recent collection is Poems For The Young At Heart (Leafe Press, 2016).
Website: www.martinstannard.com

Poems For The Young At Heart: www.leafepress.com/catalog/stannard/stannard.html

Departure from Carl

Departure From Carl

 

Ellie Barrett is primarily a sculptor, occasionally underpinning this with video and digital work. Her studio practice investigates the unsettling marriage between material and subject, rooting her work in the sculptural frameworks of mass, weight and space.

Adopting a comic stance, she observes existing yet evasive qualities in crude objects by reproducing them as artworks. Lowly substances – plaster/concrete/rubber – are translated into lowly foods, items and objects. These shapes are observed and appropriated into suggestive works and unexpected shapes into objects which are now readable by the viewer. This line of enquiry is embodied in sculptures which are lurid and sickly as much as they are beautiful and oddly kitsch. Ellie wants her viewer to force their own interpretations onto the work, whilst never quite offering up a sensation of clarity.

Ellie is a current director of The Royal Standard, Liverpool and a Lecturer in Sculpture at Lancaster University. Since receiving her Masters from the Glasgow School of Art in 2012, she has been living and working in Liverpool. Recent exhibitions include HOT / FRESH / SLICE, (solo exhibition, AirSpace Gallery, Stoke-On-Trent) Pivot (Project Cafe, Glasgow), Isla Nublar (Constellations, Liverpool) and Treat Yo Self (Bloc Projects, Sheffield).

http://elliebarrett.com/
@EllieCBarrett

Illustration work by Andrea Popyordanova 2

854

 

Andrea Popyordanova – Drawing is my way of recording the world around me, but also making sense of it. I record with pencils, collage, which I sometimes develop into printmaking processes. My primary interest is illustration, and litterature is a big, but not the only, inspiration. I like to create images that can accompany thoughts ideas, to represent music, and feelings. My work is often described as very experimental and free. My favorite subject at the moment are people.

http://cargocollective.com/andreapopyordanova

Lover///Hater (binary faker)

Lover///Hater (binary faker)

 

PSYCHO (manipulator)

LIAR                     (faker)

ACTOR   (masturbator)

DREAMER     (creator)

SCHEMER (insinuator)

HATER             (chaser)

SAVIOUR         (failure)

BREAKER       (maker)

LISTER SISTER

I’ll be your

I’ll be your

I’ll be your

binary faker

 

 

 

 

Clare Marcie is an actor, writer and theatre maker, originally from New Zealand she now resides in Glasgow. You can next catch her performing at Only Skin Scratch on the 4th May. Her website is claremarcie.wordpress.com

Three drawings by Jennifer Argo

 

Jokulsarlon Big Cartel

Jökulsárlón

 

 

Aperon sml

Apron

 

Origins of Synergy IV

Origin of Synergy

 

I am a visual artist currently living and working in Glasgow, Scotland. I come from the North East of Scotland and studied Photographic Electronic Media at Gray’s School of Art, graduating in 2010.

I am now based at Glasgow Sculpture Studios, and employ a multi-disciplinary practice comprised of sculpture, illustration, photography and installation. I work collaboratively with architects and designers, graphic artists + have hosted many workshops around Glasgow and the North East.

My work has been featured in Grafik, Archdaily, A10 Magazine, and The Grind. I have just been awarded a travel award for a period of research and travel in New Zealand by the JD Fergusson Arts Award Trust, and recently, a commendation from the GIA (Glasgow Institute of Architects), alongside architect Baxendale (Lee Ivett), for a sanctuary space in a Stalled Spaces site run by arts organization Wave Particle, in Glasgow. I took part in Pick Me Up Selects 2015 at Somerset House in London, showcasing a series of illustrative work as part of the annual graphic design and illustration festival. I also led a team of students, architects, artists and creatives last summer, along with architect Baxendale, in the design and build of a sanctuary space as part of Hello Wood’s 2015 Project Village in Hungary.

My sculptural and illustrative work explores an amalgamation of various complex adaptive systems in nature, using the patterns that exist in the physical universe as a metaphor for and community.

I create meticulous hyper-detailed illustrative works, slowing down the drawing process to create emphasis on a consideration of time that extends beyond the here-and-now purview of our current economic and sociopolitical climate. These works explore themes of chaos and order, space and time, at both micro and marco scales in the natural world, and their parallels to anthropological relations that exist within sociological, environmental and political dynamics. My work explores, questions and addresses our social and environmental responsibility.

Facebook: https://www.facebook.com/JenniferArgoIllustration
Twitter: https://twitter.com/jenniferargoart
Instagram: https://www.instagram.com/jenniferaargo/?hl=en
Website: http://www.jenniferargo.com

The Cracking Up of Accepted Sculptural Order

02 The cracking up of accepted sculptural order

 

 

Ellie Barrett is primarily a sculptor, occasionally underpinning this with video and digital work. Her studio practice investigates the unsettling marriage between material and subject, rooting her work in the sculptural frameworks of mass, weight and space.

Adopting a comic stance, she observes existing yet evasive qualities in crude objects by reproducing them as artworks. Lowly substances – plaster/concrete/rubber – are translated into lowly foods, items and objects. These shapes are observed and appropriated into suggestive works and unexpected shapes into objects which are now readable by the viewer. This line of enquiry is embodied in sculptures which are lurid and sickly as much as they are beautiful and oddly kitsch. Ellie wants her viewer to force their own interpretations onto the work, whilst never quite offering up a sensation of clarity.

Ellie is a current director of The Royal Standard, Liverpool and a Lecturer in Sculpture at Lancaster University. Since receiving her Masters from the Glasgow School of Art in 2012, she has been living and working in Liverpool. Recent exhibitions include HOT / FRESH / SLICE, (solo exhibition, AirSpace Gallery, Stoke-On-Trent) Pivot (Project Cafe, Glasgow), Isla Nublar (Constellations, Liverpool) and Treat Yo Self (Bloc Projects, Sheffield).

http://elliebarrett.com/
@EllieCBarrett

Illustration work by Andrea Popyordanova

1

 

 

19-2

 

Andrea Popyordanova – Drawing is my way of recording the world around me, but also making sense of it. I record with pencils, collage, which I sometimes develop into printmaking processes. My primary interest is illustration, and litterature is a big, but not the only, inspiration. I like to create images that can accompany thoughts ideas, to represent music, and feelings. My work is often described as very experimental and free. My favorite subject at the moment are people.

http://cargocollective.com/andreapopyordanova