Sunday, 13 May 2012

Featured Poems by Alistair Noon

Alistair Noon was born in 1970 and grew up in Aylesbury. Besides time spent in Russia and China, he has lived in Berlin since the early nineties, where he works as a professional translator. His poetry and translations from German and Russian have appeared in nine chapbooks from small presses. Earth Records (Nine Arches Press, May 2012) is his first full-length collection.
Photo credit: Clare Jephcott




from 'EARTH RECORDS' 


3
For many years I’ve been researching eagles
that now patrol what once were no-fly zones:
roadside grass, the roofs of Safeways and Lidls.
Exiles back on their European thrones,
sure as if gliding over Asian hills
and skeletons left in scraps of cloth,
it’s rare that they plunge. Are those circling drills
on the ascending thermals work or sloth?
How did the eagles come to be the thieves
of my attention? The regal rodent-eater
soars over the results its prey achieves.
Take the Petersburg serfs. As they served Peter,
they built but never nested in royal quarters,
names lost from the list of authors.


4
Hey look, a written word! It flaps and lands
with its fox-red back, grey head and zebra wings.
For several quick seconds it simply stands
under a North German Buche. It blinks
and flies off. I fetch your plank-thick book
of still shapes. Gotcha, fringilla coelebs.
This call you reply with, “Buchfink”, I took
to mean the Book Finch. Its habitat? Webs
of print. And beech turned into book. The rules
for naming species breed and grow, begin
to evolve along with the writing tools
we’ve found: inside our onward circling din
surrounding the sudden chaffinch, each faction
of names feeds and drinks from its interaction.






FACETS OF A SOVIET BATTLETANK


Defending Socialism in thirteen states,
it redirected the traffic in Prague;
then, in rows at the Afghan border,
improvised its own car park.
A press-out cardboard piece
for a weeklong boardgame.
Its pilot-capped driver impatient
to do skids on the North German Plain.
Mass transit for passengers headed
for the English Channel with no ticket.
Produced and counted by plan,
estimated in foreign statistics.
Descended from the wild dogs of Kursk,
bullet-shield and tankbuster’s target.
Till tipped to one side in Wenceslas Square,
not, not assuredly to be photographed.
The Age demanded an Image:
a ploughshare beaten into a T-54.
Brezhnev’s tractors, Yeltsin’s stage,
in the Museum of Threatened War.





EMAIL FROM COLERIDGE IN BEIJING



Recovering from a plate of dodgy Fried Prawns, the Author drifted into a hallucinatory Haze. He recalls being suddenly reinvigorated and having an intense Vision of responsible Urban Planning, and rushing to the nearest Internet Café to write it down, where he cannot, by his own Admission, have composed any fewer than 300 Lines, complete with Technical Drawings. In his inspired Ecstasy he forgot to save his Work, and when it came to sending the Plan to his own Email Address, he clicked back at the wrong Moment and found that his Vision had been lost.


William, it’s hotter and colder
by turns than at Nether Stowey.
Concrete smothers the rivers
that in any case breathed no water,
and in the shambling lanes’ low-rise
twistings the demolition notices
are daubed as crosses on doors
that will vanish. One must is to visit
the Empress Dowager’s houseboat,
her gaudy steamer of pale stone,
and the sixth ringway’s now finished,
circling the Northern Capital
like the Great Khan’s cavalry.
For dietary reasons I passed
on the dumplings and duck.
The cycles give way to cars.
I miss our hilltop walks.






SHELLEY IN BRANDENBURG


Cycling along a concrete track he saw
a slab inscribed with red Cyrillic letters,
a radio operator’s diademed head
and lightning flashing round. The scripture read:
Without radio links we cannot give commands
and without commands we cannot win.
Upright and stony, it stood in all weathers
across the plain and did not withdraw,
and from the lips above the jutting chin
there seemed to slur the voice: ‘Menya zovut
Alexandr, and I control who lands
and leaves this base.’ All else around was mute:
a hut graffitied FOG and FUCK, disloyal;
the flat grass rippling from the sandy soil.









Tuesday, 1 May 2012

Back in the Saddle: Poetry Rodeos and forthcoming events...

Apologies for the lack of posts on the Nine Arches blog throughout April. The reason behind this is it's been an incredibly busy time, with all five summer poetry collections from Alistair Noon, C.J. Allen, Andrew Frolish, Maria Taylor and Daniel Sluman being readied for print.

As well as getting through a small mountain's worth of typesetting, proofing and final polish, we've also been busy planning a wide series of readings all around the UK to promote some of these very exciting new books. And with recent readings at Cheltenham Poetry Festival (the Poetry Jukebox went down very well, and good feedback on it here), and a forthcoming appearance at Chipping Campden Literary Festival this Thursday, there's not be much time for resting on our poetry laurels.

Anyway, further blog posts are forthcoming with poems from some of these forthcoming poetry collections in the next few days and weeks (I promise). And in the meantime, here's a run down of some of the forthcoming poetry readings and general frivolities coming to bookshops, cafes and pubs near you:


· Poetry and Pints Thursday 3rd May 2012

9pm at the Church Rooms, Chipping Campden. £5.00

Angela France is back by popular demand for a third year with Nine Arches Poets Daniel Sluman, Matt Merritt and Maria Taylor.

Open mic spots for audience members to read their own work, or much loved poems by others.

Please sign up on the door.

Book tickets: 01386 841 222

Campden Literary Festival





Nine Arches Press and Sidekick Books present…

· Poetry Rodeo (London)

Thursday 17th May 2012, at 7.00 p.m.

Big Green Bookshop, 1 Brampton Park Road, Wood Green, London N22 6BG

FREE ENTRY

To celebrate the launch of Alistair Noon’s Earth Records, we welcome you to the Poetry Rodeo….

With special guest poets, Alistair Noon, Andrew Frolish, Nia Davies & Edward Mackay



The Big Green Bookshop: http://www.biggreenbookshop.com/

Sidekick Books: http://www.drfulminare.com/publications.php




Nine Arches Press and Nottingham Writer’s Studio present…

· Poetry Rodeo (Nottingham)
Sun 20th May 2012 at 6.00 p.m

At Jam Café, 12 Heathcoat Street, Nottingham NG1 3AA


With guest poets Alistair Noon, Sarah Jackson, CJ Allen and Aly Stoneman


To celebrate the launch of new publications by four extra-special poets, we welcome you to the Poetry Rodeo….

FREE ENTRY

More details here >



Nine Arches Press & Crystal Clear Creators Present:

· Leicester Shindig!

Bi-monthly Mondays at The Western, 70 Western Road, Leicester LE3 0GA



NEXT EVENT: Monday 21st May 2012 at 7.30pm.
Guest Poets: Julie Boden, Alistair Noon, Robert Richardson and C.J. Allen.


FREE ENTRY

Open mic & Celebration of the launch of Alistair Noon and CJ Allen’s new Nine Arches Press poetry collections.

Alistair Noon was born in 1970 and grew up in Aylesbury. Besides time spent in Russia and China, he has lived in Berlin since the early nineties, where he works as a translator. His poetry and translations from German and Russian have appeared in nine chapbooks from small presses. Earth Records is his first full-length collection.

Robert Richardson: as well as appearing in CCC's Hearing Voices, he has been published in Agenda poetry magazine and also co-edited Homage to Imagism (AMS Press, New York). As a visual artist, he was recently included in Artists’ Postcards: A Compendium (Reaktion Books, London).

C. J. Allen’s prize-winning poetry (in the Arvon, Yorkshire, Lebdury, Ilkley, Ware, Nottingham & English Association competitions, amongst others) has been appearing in magazines & anthologies in the UK, USA, Ireland & elsewhere for what feels to him like hundreds of years. His most recent collections are: A Strange Arrangement: New and Selected Poems (Leafe Press, 2007), & Lemonade (a red ceilings press e-book, 2010). Violets – winner of the Templar Press Short Collection Competition – was published in November 2011. He currently edits the reviews pages of the literary magazine Staple.

Julie Boden is Symphony Hall’s Poet in Residence and she explores the frontiers of poetry and music in collaboration with a ‘meticulous eye’ and an ‘ear for the mellifluous’. Accomplished on both stage and page, her sensitivity, warmth and humour have endeared her to a wide audience.

· What the reviewers say about Leicester Shindig:

Matt Merritt at Polyolbion >

Alan Baker at Litterbug >

Gary Longden >


Further 2012 Leicester Shindig! dates for your diary:
Monday 16th July 2012

Monday 17th September 2012

Monday 19th November 2012


All Nine Arches Press poetry events are also listed here.

Tuesday, 13 March 2012

Never Mind the Windsors: Leicester declares 'States of Independence'

As last week's royal frolics fade into the chip-paper news print, there's something far more exciting taking place in the fine city of Leicester this weekend on Saturday 17th March at Leicester De Montfort University:




Yes, it's States of Independence time again, and Nine Arches are thoroughly looking forward to partaking in this veritable celebration of all wonderful things independently published in the region and beyond. States of Independence (run by the excellent Five Leaves publishing and supported by DMU's Creative Writing department) also includes a packed programme of readings, talks and discussions. So pretty much a literary festival in a day, and an eclectic range of topics are on offer; everything from the future of books, the puzzles and pleasures of happiness to Romans in the East Midlands and fiction of the Second World War. Our very own Deborah Tyler Bennett and Maria Taylor will also be giving a reading, which should include a sneak preview of poems from Maria's forthcoming Nine Arches Debut collection, Melanchrini.

There will be plenty of publishers present and taking part in the book fair, so make sure you bring some spending money and be prepared to be tempted into your overdraft by a smorgasbord of independently-produced books, pamphlets and magazines. Full a full list of presses and publishers taking part, and a run-down of the day's events, please see the main States of Independence website.

It's also usually a great chance to catch up with poets, fellow publishers and readers, and the only challenge is not to spend all your day's takings on the other stalls. Hope to see you there, do drop by the Nine Arches stall and say hello.

As if this wasn't enough, we'll also be lavishing Leicester with further poetry treats on Monday night at the next Leicester Shindig! open mic and poetry night at The Western.

Taking place on 19th March from 7.30pm, we have guest poets Aly Stoneman, Michael W. Thomas, MulletProofPoet and Jonathan Davidson. See the poster below for full details.



Shindig! is an event put on jointly between ourselves and Crystal Clear Creators, who will also be launching their handsome new range of Crystal pamphlets on Monday. Audience numbers have been ever-increasing at the last few Shindigs, so make sure you get there early to get a good seat and sign up on the open mic list. The Western also does a fine turn of local ales and is a perfect, cosy pub venue for this kind of poetry event. All are welcome and entry is free of charge.

So a packed weekend ahead for Leicester, one of my favourite cities and one that always seems to have a lot of literary activity going on and a very loyal and friendly poetry audience. Hopefully see you there to celebrate independent publishing, writing and reading... more exciting than any regal visit, with decidedly less bunting and no heavy security presence!

Tuesday, 6 March 2012

New Under the Radar magazine Issue 9 - out now

The latest issue of Under the Radar magazine is hot off the press and has hit the streets!



The latest issue includes poems by: Deborah Alma, B.W. Archer Graham Burchell, David Calcutt, Basil du Toit, Josh Ekroy, Cliff Forshaw Sheila Hamilton, Terry Jones, Milorad Krystanovich, Charles Lauder, Jr., Rupert Loydell, Richie McCaffery Afric McGlinchey, Ben Parker, Rennie Parker, Angela Readman, Rosie Reynolds, Aidan Semmens, Laura Seymour, Henry C. Smith, Jayne Stanton, Tony Vowles, Holly Walton and Chrissy Williams.

It also features two short stories by Siddhartha Banerjee and Daniel Barrow. Plus our usual selection of poetry pamphlet and book reviews by Charles Whalley, Michael W. Thomas, Matt Nunn, Maria Taylor and Matt Merritt.

To get your hands on the issue, just pop over to the Nine Arches Press shop. Subscriptions are currently £15.00 for four issues, and £4.00 for single copies. A steal, quite frankly....

More details about Under the Radar, including how to submit your poems and stories, can be found here on the magazine homepage. We pride ourselves on making it an ecletic and stimulating mix of new and more established poets. We only go to print when we think we've enough great poems and stories, and the magazine is very much at the heart of operations here at Nine Arches. It's also a gerat way of finding out more about some of the best contemporary poets writing at this time, and we hope each issue is a small snapshot of the current poetry climate. We try to keep cover costs low and teh conetnt quality as high as possible, as we're aware this is what readers are after, and there's been some great feedback about the latest issue already.

Friday, 24 February 2012

Interview with Tony Williams

Tony Williams' first collection of poetry The Corner of Arundel Lane and Charles Street (Salt, 2009) was shortlisted for the Aldeburgh First Collection Prize and the Portico Prize. A book of short stories is forthcoming from Salt in 2012. He works as a lecturer in creative writing at Northumbria University. His pamphlet, All the Rooms of Uncle's Head was published by Nine Arches Press in 2011 and was awarded the Poetry Book Society Autumn Pamphlet Choice.


All the Rooms of Uncle's Head reviewed:



Nine Arches: All the Rooms of Uncle’s Head combines ideas about outsider art and questions about sanity and madness, as well as representing themes of freedom and incarceration both in the form and content of the poems. Could you please tell us a little more about the pretext and the concept behind the collection and what initially inspired these ‘broken tile’ poems?

Tony Williams: What inspired them was my discovery of outsider art, and in particular of the great body of art produced by inmates of mental asylums around the beginning of the twentieth century. As I understand it, there was a period when such people were beginning to be allowed to do art (the beginning of the art therapy movement, for one thing), and this coincided with the art world’s interest in primitivism, so there was this flowering when work as being produced and some of it was getting serious attention. Because of the nature of their illnesses – and, one suspects, their circumstances – the art they produced tended to have certain features. In general terms, they weren’t trained artists – insiders in that sense; and I think it’s also pertinent to say that many of them weren’t social insiders either. So the work they produced might not do what we normally expect art to do, or might do it in a surprising way. There’s a lot of bathos, of naffness, but in the best cases it’s delivered with such zeal and conviction that it transcends those judgements and enters another sphere, where the viewer seems to have crossed into a parallel universe with another artistic tradition. More specifically, there’s a lot of schematic work, use of text alongside images, idiosyncratic and convoluted visions, and a horror of white space – if the space is there, you have to fill it. There’s an amazing, strange beauty about some of the work, and a tremendous sadness too. You can find examples by googling ‘Outsider art’ or ‘Hans Prinzhorn’, who was the major figure in recognising and cataloguing the artwork of the mentally ill. In book form, Colin Rhodes’ Outsider Art: Spontaneous Alternatives is a good place to start.

It was the sense of moving outside tradition into a strange alternative that fascinated me, I think. It isn’t that these artists were consciously experimental or original – there’s a lot of childishness and trying to be traditional, it’s just that they don’t get it quite right. And yet the results do appear to speak of human experience, as if tradition has been rewired so that bathos does the job of pathos. I started to wonder what an equivalent poetry might be, that looked longingly at tradition but didn’t understand it, and had a go anyway. In many ways I’ve always been a traditional poet not necessarily in the sense of being stylistically conservative, but in being conscious of literary traditions and learning from them in a rather deliberate way. So it seemed a useful exercise to try to write in ways which cut against that tendency.

That was the motivation; I’m not quite sure how the tiles evolved from that. But I knew that the main text would not be enough, that the voice I was imagining wouldn’t be able to resist adding commentary to amplify and add to the poems themselves (filling the page, again), so that’s where the marginalia came from. I think from there I started to wonder what the texts would be written on – pages in a book seemed too dull – and somehow I came to these ceramic tiles. Maybe he tiles his room with them, or chucks them at jackdaws. Eventually that led me to the cover story where these fragments of tile have been found in a basement, and I’ve come along and put some of them back together. That’s suggestive in various useful ways.




The poems capture the voice of their narrator both powerfully and respectfully. To write both about mental illness, and in the voice of someone who is mentally ill, raises issues of authority and the necessity to avoid parody or exploitation. There is also an interesting power in giving a voice to the powerless, which I imagine has to be carefully balanced. How did you successfully navigate these concerns?

Yes, I was nervous about this whenever I thought about publishing the texts – but not in the writing. I think I was fairly clear in my own head that I was doing this absolutely respectfully, not as a pastiche or a parody but really to learn from these artists as artists (‘What do they do? What can I do that’s analogous?). Of course I’m not an inmate, and I’m not an outsider – I do on the whole know what I’m doing when I write a poem. But looking at these pieces which mentally ill people had produced seemed to loosen something in my head, giving me glimpses of an imagery which connected with an obscure area of memory and experience, and I wanted to know if I could develop a writing technique which enabled me to reach that experience for myself. In the event, of course, the answer is mainly No – but I was able to move towards it, getting more glimpses. What began as a kind of ventriloquism, taking on somebody’s else’s voice – which I think is ultimately the dangerous thing you refer to – actually did develop into a way of approaching my own experience, albeit in a fictionalised and highly changed way.

When the pamphlet was coming up for publication, I did get nervous, and anticipated that, if it did get reviews, there would be some who disapproved of the project on grounds of exploitation. So far, though, I’ve been lucky; people haven’t challenged it on an ethical basis, so hopefully that means I did it in a suitably respectful way. The way I look at it is that I’m trying to learn from some wonderful artworks, which seems to me a defensible relationship to strike with the artists that produced them



Why did you decide on the use of the sonnet or ‘broken’ sonnet form for these poems?

That was easy – so much of the art that inspired me is highly formalised or schematic, with calendars, diagrams, labels, etc. It’s very symmetrical and often clearly intended to illustrate a world-view or allegorise or ‘mean’ something, however disastrously it fails to achieve this intention. So I felt that an overtly formal poetry would be the literary equivalent. These texts are supposedly being written at the high modernist moment, but of course they completely ignore it. What could be more attractive to someone attempting to communicate a fixed, elaborate world-view than the sonnet?



Do you regard All the Rooms of Uncle’s Head as a poem-sequence or not?

Well, in an obvious way the answer is yes. Certainly each tile has a poem at the heart of it, however you define the marginalia and the graphical presentation as something inside or outside that. And in pamphlet form – well, Nine Arches is a poetry publisher, and I write poetry, so it must be that, right?

On the other hand, it’s lovely to think of the tiles not quite fitting generic definitions. I was continually hoping to not quite write poems, so it’s apt if the result is not quite a poem sequence. And I do have this pipe dream of producing an edition which is actually printed on ceramic tiles, which are then smashed. You could put them back together and frame them, or just put all the pieces in a tea chest and let people rummage through. Art-house literary Lego. In that form of course it would be more like fine art, and the read–viewer’s experience would be very different. If anyone’s got a couple of grand to spare to pay for printing the tiles, do get in touch!

And, taking that back to the idea of the sequence, although we did think a lot about the best order to print the tiles (and I’m grateful to Nine Arches for your help with this – actually the order is mainly yours, not mine), actually the fiction says that the fragments were discovered mixed up – so any order we present them in is imposed afterwards, not by the original creator. Maybe it makes more sense to think of it as a series, rather than a sequence.



The poems themselves in All the Rooms of Uncle’s Head are beautifully designed and intricately laid out; they have an innate physicality and presence about them. You are a graphic designer as well as a poet – so is it something you’ve wanted to combine and experiment with for a while? And do you think is there enough attention to the visual aspects and layout of poems in contemporary poetry?

Thank you. I do, or did, some graphic design work over the years, although I was never formally trained. My dad was a graphic designer, so he showed me stuff and then I learned on the job. And when we were bored as children my mum would say, ‘Read a book. Write a book. Paint a picture.’ So yes, the impulse to do something was always there. Apart from anything else, it’s nice to make nice things, and hold them in your hands. Doing the tiles was a completely playful thing, going back to those childhood activities. I was supposed to be doing a PhD, so what could be more fun than to mess about with Adobe Illustrator and InDesign on these preposterous tiles? (I put them into the PhD submission, but neither of the examiners liked them.) Obviously when it came to the publishing it was important what the end result looked like – I’m very happy with it turned out, and very grateful to Nine Arches for the work you put in to making it look and feel right.

As for attention to the visual in contemporary poetry – sometimes. There are some wonderful productions from people like Nine Arches and Salt, my other publisher (I’m very lucky in that regard), Donut, and so on. I do like the austere Faber tradition, although I may be in a minority. It is personal. I remember loving Etruscan’s production of Tom Leonard’s Intimate Voices, but loathing the look and feel of his Voices in the Silence. Some poetry publishers, who I had better not name, have house style which I find appalling – and not just among the smaller presses. But you know – I may have been a professional designer, but I was never an expert, so no one should listen to me.




As we’ve mentioned, the poems are presented upon the page. They also present the reader with a combination of challenges and choices in terms of how they approach and read them – with text running around the sides and alongside the poems, cracks across the text and so on. Did you have to balance the aesthetics and readability carefully? And how do you choose to read them?

Yes, I don’t quite know how the poems would be read. Do you start with the main text and then look at the rest for afters, or do it the other way round? Mix together the marginalia and the rest of it? I don’t know – not my problem, and actually I hope part of the fun, making the reader think about what they’re doing. In that respect at least it’s more like a piece of art, in that it’s just there and you can choose to look at it how you like. It escapes the tyranny of the page. Of course I do have to tackle the same problem when I read from the tiles – do I read out all the marginalia, or just the main poem, or what? I haven’t quite solved that one yet; I tend to read the main text, but it feels as if more could be done in performance to help the tiles reach their potential. I think though that it’s in performance that the project could start to become disrespectful – if I play a mentally ill person, that feels much more problematic.

With the cracks, I was rather conservative – there are very few places where much of the main text is invisible, so you have to work sometimes but there are no tiles where you just have half the poem and you have to imagine the rest of it. Steven Waling took me to task for that in his review, saying that more gaps would have been good, and I think perhaps he’s right. The premise is that the tiles only exist as fragments, so maybe some of them should be less complete. At the same time, the idea is that this is a selection of the tiles, so by implication there are gaps in between the tiles – whole tiles missing.


Read an extract and find out more about All the Rooms of Uncle's Head 

Buy a copy of All the Rooms of Uncle's Head

Tuesday, 14 February 2012

Featured Poem: Milorad Krystanovich - The Palm Tree Shedding Stars

Milorad Krystanovich was born in 1950 in Dalmatia, then part of the former Yugoslavia. He studied literature at Split University before becoming a teacher. After conflict engulfed the region, Milorad was sent to safety with relations in the UK in 1992. He learnt English and later joined The Cannon Poets, becoming a founder member of Writers Without Borders and an active and well-respected figure within Birmingham’s poetry and writing community.



Hailed by Jonathan Morley in 2007 as “Birmingham’s finest émigré poet”, Milorad’s  published work includes three volumes published by Writers Without Borders. Heaventree Press published the bilingual Four Horizons / Četiri Vidika (2005) and, in English, The Yasen Tree (2007). His penultimate volume, Improvising Memory, was published by Nine Arches Press in 2010. His final collection, Moses' Footprints, will be published in March 2012.

Jim Crace wrote that “Milorad Krystanovich demonstrates superbly what can happen when a good ear, a good eye, and a good heart are applied to the challenges and opportunities of poetry”.

Milorad also taught Croatian, Bosnian and Serbian at the Brasshouse Language Centre in Birmingham and wrote numerous plays and novels for children and young people. Milorad Krystanovich was diagnosed with a brain tumour in 2009 and died in September 2011.




THE PALM TREE SHEDDING STARS


I.

Waiting for the shape of a spirit
to come, my brother,
I look through your eyes
by which you entered the enigma
of death:

the tree bathes under the shade
of many others still growing
and spreading their green, more mysterious
than the secret of greenness.

Imploring sunlight to come closer
to my view from the river bank,
I stare at the reflection
of what once was your figure –
the world of undeleted agony:

as present as water
streaming slowly through its discovery
of the midday, my presence cleaves
your never-unifying hum,
the end that could not be nearer than it was.


II.

The seagull carries the layer
of snow on its wings
equally to me and to the tree:

I see the feathers in the air,
not the bird flying,
as fatal as last sleep
amongst the ruins of my father’s memory.

I land a frail boat,
far distant and far close to the port;
how the past pours itself
from daylight into dusk.

With white in their gravity,
snowflakes miss his ripped-off roof,
one by one, they cross his window
to reach the others on the pane.

The beginning of the clouds’ flow bends
over his home, his looks ascend
into the mountain of the heavy sky
he lives beneath and whose name he forgets.

Wrecked between the evening and the night,
the palm branches are not distant any more. If I say
they are like a hammock full of stars,
he hardly recognises
that my voice is that of his son.


III.

Sand and the shallows persist
not along the beach
but within my footsteps
while my sandals draw water off
from the sleepy silence of the surface:

in order to recall the words
she has forgotten,
mother stares at the empty page
of my notebook.

While her shadow is stretched
beneath the shade of the palm tree,
she looks not beyond
but from beyond to see me leaving:

in order to approve itself,
sunshine flows easily through daylight;
where are you going?
her voice is tuned like a flute’s wonder.

Not knowing where the sun
commands me or what for,
I’m silent –
a handful of soil in my mouth:

She waits to hear me
through the sound of the language
she taught her son,
but my way of no return is
more never-ending than Dalmatia itself;

although she isn’t blind
her eyes are like shutters tightly closed,
the string of her sight is broken
and the watery beads roll down her wrinkled face.


IV.

The streetlights begin their descent
in front of the house
empty of my family:

no-one looking out the window
can entirely save the bareness
of the garden grass outdoors.

Nobody has survived;
the war ripples lengthening
the spell flooding the streets.

Cast by the lantern light,
my shadow glides across the terrace
and darkens the stone’s enigmatic plain:

to collect the stars
I shake the sky, the clear night sky
over the palm tree,

but my eyes are not open
to see the stars falling
to be gathered.

I wait for that which was long ago
and once again it can be
my destination – the tree
safer with my silhouette:

I listen to a blackbird on a branch
as regretful as a self-portrait in the mirror,
the black feathers never still enough
to be properly pictured by my eyes.

I cannot paint the air
better than the sky drawing a rainbow
for itself;
no raindrops, no sunlight,
just my daydreaming of water

and, under the tree branches with the wet leaves,
I turn my outlines into night
and my tears become the star-bringers.


From Moses' Footprints by Milorad Krystanovich



About Milorad Krystanovich’s Moses' Footprints:

In the shadows of war, loss and longing, a poet seeking his homeland finds his memories and dreams of its distinctive beauty refracted through a second language.  These subtle, elusive and potent poems build bridges of imagery and language between the past and present, the lost and found.

"Here is a rich legacy bypassing Milorad's difficult final years. The poems seem driven, necessary; Croatia and its language call him back, his distinctively developed English finds image after pertinent image. The book is a bounty of metaphor as he is led by Moses and by delight and necessity of observation and discovery; the natural world seems to come to him to be named. I wonder if the frequent 'you' is himself or an other - or heightened to an Other - or these variously. I understand from this book that if we do not see, hear, experience in our own truthful way and make poems with the openness of these poems, then in some crucial sense many of the human world's possibilities cease to exist."
 - David Hart.

"I can't stop reading these poems. This is work of atmosphere and tone first, narrative second, but it's a narrative that combines deep melancholy with a hard-won sense of joy in the slightest shaft of light, and the thought it provokes. At times it's like trying to recall a receding dream or encountering an oracle with an urgent, impossible message for you alone. It's difficult for me to separate the poems from Milorad's generosity, gentleness and intense imagination, and in a sense that doesn't matter as these are so clearly poems by a man who found beauty, saw mystery and took dignity even in confinement."
- Luke Kennard. 

Moses' Footprints is launched as part of the event 'Milorad Krystanovich: A Celebration' on 2nd March 2012 at the Moseley Exchange, Birmingham.
Full launch details here.

Thursday, 2 February 2012

A Celebration: Milorad Krystanovich

You are invited to join us at:


More details about Moses' Footprints here.

Featured poems by Milorad Krystanovich will be posted up on this blog a little later on this month.