Tag Archives: poetry

Home Thoughts From Abroad

It was a dismal April afternoon, even by the standards of Hopeless, Maine.

A cruel wind roared in from the Atlantic, bringing with it driving rain and freezing temperatures.

Reggie Upton had planned to do a spot of flaneuring that afternoon, but it would clearly be out of the question now; in order to flaneur properly one would need clement weather, preferably with a spot of sunshine.

“You definitely won’t be flanneling anywhere today,” stated Philomena Bucket, as if reading Reggie’s mind.

The old soldier had long ago given up correcting Philomena’s pronunciation.

“But if you’re at a loose end, I could do with someone tidying up in the top attic,” she added.

Reggie sighed. While he was always happy to rummage in any of The Squid and Teapot’s several attics, tidying up sounded like too much of a chore.

“What is up there that so desperately needs tidying?” he asked, imagining piles of clothing, curtains and bedding, all unwanted, even by the less than affluent residents of Hopeless.

“Books, mainly,” she replied.

Reggie brightened. He liked books.

“Very well, m’dear, I’m always happy to help,” he said.

Philomena Bucket is no fool. It was obvious to her that Reggie was going to mope around all day, getting underfoot and feeling generally sorry for himself. A few hours surrounded by a small mountain of books would do him the world of good.

From the earliest days of the Founding Families, successive landlords of the inn had salvaged every shipwrecked item that they could lay their hands on, simply on the basis that, one day, these things would eventually ‘come in handy’. By and large the policy worked well, but the number of unwanted books grew and grew each year. It is sad to relate that, with one or two exceptions, the islanders of Hopeless are not great bibliophiles.

 Reggie was sitting on a pile of slightly mildewed volumes of the Encyclopaedia Britannica, happily thumbing through an anthology of Victorian poetry. He smiled to himself at the familiarity of some of these verses, many of which he had been required to learn by heart as a schoolboy. His eye fell upon Robert Browning’s ‘Home Thoughts from Abroad”.

“Oh to be in England, now that April’s here…’

He spoke the words aloud, and as he did so, looked out through the tiny attic window, rain-lashed and grimy, on to a cheerless vista.

“Oh to be in England, now that April’s here,” he repeated to himself, “I wonder if I shall ever see England again?”

By the following morning the storm had blown itself out. Taking advantage of the change in the weather, Reggie decked himself out in his best three-piece tweed suit, put a shine on his shoes, set his Homburg hat at a rakish angle and went off flaneuring, sword stick in hand. The true flaneur has no definite destination in mind, only a desire to watch the world go by as they meander on their way. Reggie adhered to this philosophy to a degree, but making sure that his aimless wandering would cross the path of Mr Squash, the Sasquatch who was temporarily visiting the island. In recent weeks the two had become firm friends, close enough, in Reggie’s estimation, that it would not be too impertinent to ask Mr Squash for a small favour.

 “England? No, I have not been there.” said the Sasquatch. “I hear that there are no great forests anymore in England.”

“My dear chap,” said Reggie, “there is the New Forest, the Forest of Dean, Sherwood Forest, Epping Forest…”

“These are little more than copses, compared with the vast forests of North America,” said Mr Squash, “and far too small for someone like me to live in.”

“But, even so, is there a chance that you would take me there?” asked Reggie.

“Sorry,” said Mr Squash. “Taking a human through one of my portals is perilous beyond belief – Winston was close to death, so I took a chance with him. And anyway, any portal I might have had to your homeland is long disused and dangerous. Besides, the country has probably changed a lot since you were last there. You may find that the England of today is far removed from the one you left in nineteen-twelve.”

“Nonsense,” said Reggie, emphatically. “England will never change!”

Reggie had known for a long time that Philomena was the last of a long line of powerful witches. It did not surprise or bother him. He had seen enough of the world to know that there was far more to it than that which is visible to mortal eyes. The love of his life, the Theosophist, Annie Besant, had taught him that much in India. Maybe Philomena had some means to let him see his beloved England again.

Philomena shook her head.

*I am sorry Reggie,” she said. “If I had the ability to help people to leave Hopeless, the island would be empty by now.”

“Is there nothing you can do?” Reggie was almost begging. “I would love to see the place where I grew up, just one more time.”

Philomena thought for a moment, then held out her hands. “Take my hands, close your eyes and visualise where it is that you wish to visit.”

Reggie did as he was told, and to his surprise a wonderfully vivid picture immediately came into his mind. He could clearly see the meadow where he played as a child, with the little stream running through it. It was springtime, and the grass was starred with daisies and scatterings of soft yellow primroses. A blackthorn hedge separated the meadow from an ancient, majestic beech wood, which looked dark and cool in the light of an early April morning.

A tear escaped from Reggie’s closed eyes, then he gasped.

The picture was changing.

Little by little the meadow and woodland disappeared beneath a sprawl of streets and brick-built houses; the little stream was lost forever.

Reggie could take no more, and opened his eyes.

“Is that really..?” he could not complete his sentence.

Philomena nodded and squeezed his hand. “We need to get back to The Squid and Teapot,” she said. “It’s time to go home.”

Insidious

A new piece from Keith Errington!

Insidious

On the isle of Hopeless, Maine
The weather is always insane
There’s never rhyme nor reason
Pointless is the weathervane
It’s insidious and perplexing
At the very least it’s very vexing
But there’s one peculiar thing
Whether autumn, summer, or spring
A dangerous weirdness does persist
The mist, the mist, the mist.

The Hopeless Maine Scientific Society
(Not known particularly for its propriety)
Has studied the phenomenon
Using tests of great variety
Despite their efforts most fastidious
All they can say is, “Well, it’s insidious”
Their experts are dumbfounded
Astounded and confounded
Even Arkwright the anthropologist
The mist the mist the mist.

It’s a certain kind of fog
That smells of soggy dog
Weird faces lurk within the gloom
Too many to catalogue
There are eyes and things that hum
And things that brush your bum
Dark tendrils reaching out
Taking hair and casting about
Like a demented hairstylist
The mist, the mist, the mist.

It affects your mood and makes you sad
Or melancholic or occasionally glad
But there’s no escaping its devilment
Stay out too long and you’ll go mad
It gets in your hair
And your underwear
Always growing
Always glowing
A cloud with a Lovecraftian twist
The mist, the mist, the mist.

When returning from the Inn
After all the medicinal gin
You’d better watch your step
And make sure that you’re within
For if you are outside
When the mist it does betide
You’d better beware
You’d better take care
Especially if you’re pissed
The mist, the mist, the mist.

Alicia Poe – a Hopeless Ghost

I am the ghost of the girl you killed

Over and over when you silenced me

Every time you deprived me of peace

Told me to be nice, say nothing of anything

That is not nice even as it happened to me.

I am the ghost of the girl not allowed

To cry in the night, in pain, in fear.

Shut up or I’ll give you something to cry about.

I am the ghost of the woman you killed

Over and over, when you denied me

The right to be myself, to have my feelings

When you shut down my thoughts,

Ignored my needs, turned my pain

And my despair into irrelevant nothing.

Locked me in the house for my own good

Then in the attic since I could not be trusted

To act in my own best interests.

Saying only you knew what was right for me

Only you could say what was good and proper.

You said nothing is more tragically romantic

Than the untimely death of a beautiful

Young woman. And how you smiled

When you said that to me.

I am the ghost of the woman you killed

And I have all the time in the world

For my revenge.

(Art by Dr Abbey, poem inspired by the art, and a bit of a snarl at Edgar Allen Poe, who really did say something to the effect that the death of a beautiful young woman was the only real subject for literature)

A girl with no name

One of the main characters in the first half of The Gathering is never named. She’s deliberately a manga satire, she’s the big eyed, be-ribboned innocent,  but she’s also something else entirely, and nasty with it. In the script, she’s The Poor Little Me – a reference to the Eliza Carthy song that inspired her. Where that was too clunky, I’ve also called her Ribbons, but she doesn’t really have a name, she’s not that sort of girl.

Ribbons

I will be your friend, your best friend

I bet I’m the first pretty girl who

Ever wanted to be friends with you. I bet

Even the unpopular girls mostly do not want

To be friends with you. You’re so alone.

You are so odd, so awkward, so unlovely

It is as well I am so good and kind.

I’m very generous, everyone says so.

And now I take pity on poor you.

Poor little you, unloved, unwanted. Here I am

For you, here to be yours and in return

You’ll be so glad to do what I want

So happy with anything to make me smile.

Poor you, not much to smile about, is there?

But I can put up with you, I’m so kind

And you will be my best friend, my most

Loyal, devoted, trusting, obedient friend

So grateful because you know you don’t deserve

A friend as pretty and lovely as me.

I will be kind to you and you will say

How kind I am, how nice, how sweet

You will say I am the best, the very best.

I will be patient with your mistakes and failures

You are so slow, and clumsy, and sad.

Poor you. Poor little you. So hard, being you

Never happy, are you? Poor you. So sad.

So hard for me, being around you all the time

So tiring, with never enough joy to feed on

Never enough life in your marrow for me.

But I try, I do my best, it’s so hard

Being your friend, you are so useless

So weak.

Poor me.

Poor little me.

Art by Dr Abbey,

Upon arrival in Hopeless

From

The ongoing works of Algernon Lear

(and Pulvis)

(Really Craig Hallam)

 

Upon arrival in Hopeless

 

A veil of mist covers the screaming shore,

smoke pouring into a drowning maw.

A sea of green glass

laced with antique foam

rattles the bones of the beach.

 

The sea tastes the shore and the beach bites back,

splintering hulls and breaking backs.

Hopeless’ dark beauty

looms like a threat,

and a dream sweat prickles the skin.

 

Crawling from the surf to clandestine shore,

paying forth the brine from our lungs,

the island gifts rotten breath,

we arrive in debt

to a ledger writ in abyssal hand.

 

Nightshade

By Craig Hallam

 

 

 

Nightshade

 

Pale ankles buried in the brine,

the sand washing against your roots,

you were timeless there,

the hem of your skirts

floating on the ebb tide.

O, let me never see the ocean again

if it does not caress your sweet self.

 

The wind gave birth to the sea breeze

that it might play in gentle fronds

loosed from your tress.

The scent of wood smoked fish

comes on the wind.

O, let me never breathe again

if your scent is not in the air.

 

With dulcet command the horizon obeys,

the midnight ocean bows.

Blade summons your rich blood,

and shocked arousal

from this onlooking thrall.

O, Nightshade, strike me down.

This life is lived at your behest.

Gary Death by Poetry

“It was undoubtedly the poetry that killed him.” So said Edgar Melon Foe, the infamous blind poet of Hopeless, Maine.

(It is to be noted that Infamous Blind Poet of Hopeless, Maine, is Edgar Melon Foe’s official title at this time.)

Sources close to the recently departed Mr Gary Death have suggested to me that it might have been because he recently tried to set up a rival poetry event. Or it might have been because of the satirical pamphlet he printed last month. All three copies of it, because that was all the paper I could spare him. Perhaps it was his insistence on driving rhythms and the use of rhyme, suggested another observer who wished to remain anonymous. Edgar Melon Foe supports unstructured, free verse and is staunchly opposed to anything that smacks of traditionalism.

I have always said that it is better if what goes on between poets, stays between poets. It seems that most of the island agrees with me, as in the days since Gary Death’s death, Edgar Melon Foe has continued unimpeded in his business. I can’t say I’m surprised – although it seems to bother the newcomers. This island has a fine tradition of treating murder as a personal, private sort of matter so long as a person doesn’t make too much of a habit of it. And while Edgar Melon Foe has smacked a few people around the head with his cane, he usually considers it sufficient to cause a few bruises.

Gary was, on the whole, quite a popular islander and his humour and helpful inclinations will be much missed. But not missed sufficiently for anyone to consider a revenge attack, by the looks of things.

It seems fitting to end this obituary with the elegy written by Edgar Melon Foe who insisted I also mention that the elegy is a specific poetic form that he has entirely ignored.

I did not like him

He is gone

We do not need poetry obsessed with rhythm

And I find rhymes annoying.

Free verse triumphs again.

Because sometimes the cane is mightier than the pen

And you have to stand up

For what you believe in.

I was merely the instrument of fate.

The hand of the universe.

It was undoubtedly the poetry that killed him.

 

Gary Death brought this upon himself by being an early bird funder of the Hopeless Maine kickstarter. https://www.kickstarter.com/projects/countrostov/tales-of-hopeless-maine

Those of you who have been following the Vendetta for a while may recall that Gary wrote us a poem about the blind poet of Hopeless, Maine… https://hopelessvendetta.wordpress.com/2018/06/08/the-blind-poet/ 

Why Do I Paint Monsters?

 

They say I am veiled as the paintings in my attic

that I keep my life concealed like skeletons beneath white sheets

that only hair pins hold me together and a spinster’s habits

that I am pale because only tentacles touch my heart.

How little they know what goes on in my secret place,

my haven, where I keep my paintbox, my paints, my easel,

which always tells the truth whoever steps from behind the curtain

into the frame and by the steady brush of my hand coalesces.

Why do I paint them? You ask. Why do I keep their faces

emptied out with a candle above as a nod to their puttering souls

lit without a single match by flames that grow ever brighter

as this island gets more hopeless and I grow wiser?

My life has not been easy. Read this in my downturned lips –

this would not have been my first choice, but now they want me

to oversee the rules of a new game I am hiding my damp brushes

and paints away and smiling a small smile like a masquerade.

 

Words by Lorna Smithers, who we welcome to the island with this piece. I have had the honor and pleasure of doing the art for two of her book covers- The Broken Cauldron and Gatherer of Souls. It is beautiful writing of the sort that will change your internal landscape.  Please visit Lorna here.

 

Art- Tom Brown