Time And Some Words

2005_1231Image0032Somehow it’s been three years to the day since my mother died. The maths is unequivocal on that point and yet the brain seems to stubbornly dispute the fact. That long? That short a time?

On the first anniversary I posted this.

On the second this.

These last three years haven’t been empty: I met Iszi, wrote a variety of books (one about her), moved house, got a cat called Douglas, grown courgettes, but still it’s as if they passed by in the briefest blink.

And my brother and I have still to deal with her ashes. We’ve signally failed for the last two summers. This year, surely, you’d think, we should at least aim to get round to it.

But the problem is, she told him she wanted them scattered on the South Downs, while she told me she wanted them scattered at Cissbury Ring. Or it might have been Chanctonbury Ring. It was definitely one them. I’m sure.

I remember that we only had that conversation once, so it’s not her vagueness or absent-mindedness, simply my shameful lack of listening skills.

We went to both Rings (Iron Age hill forts up on the Downs) often enough on days out when I was a boy, so either one would make sense. They’re both beautiful places (naturally so, since they’re on the South Downs). But she definitely only said the name of one of them and I don’t remember which.

The thing is, of course, she doesn’t care anymore. She’s dead.

And it really doesn’t matter if we never scatter the dust, because we remember her day after day without any need for statue or gravestone or marker to remind us.

After all, dust is just dust.

But all the same… an almost-promise I half-made to a dying woman over three years ago still nags at my brain, but only tiny-ly, only occassionally, only quietly. I don’t lose sleep over it.

We’ll go out and do it, maybe this summer, maybe next. Set her dust on the wind somewhere up on the hills and be done with it. Sooner or later.

Probably later.

Anyway…

In the meantime, a poem.

Lies My Mother Never Told Me

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She never explained how dogs
are just cats in dog suits,

or how elephants are marionettes
controlled by clouds.

She never taught me that ants
can only count to seven,

or that birds are unique
and accidental flying assemblages of dust.

She never told me many things.
For instance, about jam:

how finding a ladybird in jam
means it’s going to rain;

how finding a horse in jam
meeans your lucks about to change.

She never had me believe
north migrates south for the winter,

or that splinters
are a trees preferred mode of reproduction.

She never made me wish
when I saw a pavement,

or a postman,
or a cat dressed in a dog suit.

I wish she’d told me more lies,
set the world spinning like a brick

poised between falling and flying,
distracted in that stomach moment,

butterflies weightless and still
before the humpback bridge

lurches them back into life,
believing moles build mountains, slowly,

believing rock strata’s a decoration
for a world in need of cheering up.

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As Usual, A Mistake

IMG_0455This piece of music is called Save Him. I pluck my titles from words that are lying to hand at the time and tend to get stuck with them. This is one I feel stuck with. I could call it Opus n, but not only does numbering your opuses make it seem you’ve got delusions above your station, but calling them opuses in the first place is hardly going to help. So, a piece of music must be called something and this one’s called Save Him.

It was written for a recent children’s party (thankfully I wasn’t invited) where music was needed not just for a game of musical chairs, but also for a later game of musical statues. The children in question so enjoyed my composition that they wrote letters to the parents running the party each time the music was stopped requesting it be recommenced from the beginning and left to play uninterrupted until the final chord, thank you very much.

I can only praise the parents of the children involved for raising such odd young people.

Save Him

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(It’s played by the ever popular sextet of flute, violin, xylophone, viola, piano and percussion. I can’t help but think it’s always a pleasure to add to their repertoire.)

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Boom Go The Daffodils

IMG_0448Two days ago the daffodils in the garden finally flowered. They’ve been tightly shuttered, but bulgingly ready, for weeks. Eventually they looked up and took the plunge. Jolly well done them.

Last week, and then again just an hour or two ago while walking down by the Thames, I’ve seen these lively, striking lemon curd coloured butterflies flying around. Maybe winter’s done with us for now, for good.

Spring Poem

After winter’s chills
the daffodil’s
spills
of sunbright
yellow light
brush the dust
out of the world’s eyes.

IMG_0451I was reminded, while out walking this morning (by the method of an unexpected, but fitting, spontaneous ipod mixtape moment) of this short, simple, probably never-to-be-finished piano piece that I wrote sometime in the past. Small as it is and simple as it seems, I’m still rather fond of the tinkling old thing.

The title comes from a line in a poem of Brian Patten‘s: He’s like a grasshopper adrift on a blade of grass, / mindless now.

Grasshopper Adrift

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Mountains, But Not Insurmountable Ones

This is a little piece of music (for a handful of players) that I was tinkering with last week.

IMG_0397It’s the final movement (three of three) for an imaginary puppet ballet. The first movement is probably called I Went Up The Mountain, the second movement is likely I Was On Top Of The Mountain and the final section is, quite sensibly, called I Came Down From The Mountain.

In this movement the ballet’s protagonist returns from the mountain. He or she is very tired. The climb has been long. The day has been long. Something happened up there. He or she tries to explain what sort of a day they’ve had to the friend who has been waiting at the foot of the mountain. Being out of breath they attempt to mime their experiences. The friend mostly looks on blankly. There is a rook in a nearby tree watching. It comments on the situation. A cold wind blows. The friend nods their head as if understanding. Finally our hero goes home alone, brushes his or her little wooden teeth, goes to bed and falls asleep almost immediately.

(The fourth movement, which details what our hero dreams, is to be imagined by the audience member on the way home, preferably on foot, but possibly on the train.)

I Came Down From The Mountain

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Silent Movies

floodIn my 2010 poetry collecton, Flood, there’s a poem called Time Travellers Are Already Among Us, which begins:

I see dead people – I see ghosts -
I see the movements and voices,
the looks, acts and decisions
of dead people almost every day.

It goes on to voice the thought that books, films and records are full of the voices of dead people, that they’re still communicating with us, still talking to us. Everytime I pick up a book by W.H. Auden or William Blake or Noel Coward, say, I’m being told things by a dead person.

(There was a fascinating episode of the Philosophy Bites podcast just before Christmas in which Kendall Walton discussed his theory of the transparency of photographs, which bears a family resemblence to the idea in the poem above. (In a very crude precis, his idea says that when you look at a photograph you’re looking through a ‘window’ at the actual object in the past, rather than (or as well as) a picture of the object in question.))

The poem in Flood ends like this, thinking about ‘the dead who aren’t yet dead’, which is to say ourselves from our pasts (for example the me who wrote the poems in Flood, who no longer exists, but who still communicates to us (to me) through that book (which is still for sale in the shop, here)):

Even the dead who aren’t yet dead -
still their voices echo out of the past,
ring round my flat, through my head -

hear this, see that – and I swear
this must be the best of worlds,
as Leibniz still says – since we must know
one another so terribly well by now.

All that made me think recently of a different world where this might not be the case, a world where it works differently and I wrote a new little poem, just for you.

The Dead Die Utterly

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There must be a world
where the dead die utterly.

Where, when the final breath exhausts,
the man or woman utterly departs.

Then it begins, with photographs perhaps.
Holiday snaps empty out of faces.

The First XI has only ten players.
In schools each year class photos thin.

In libraries books erase their contents,
forget their authors, become blank.

In the cinema the latest releases
sometimes have a hole in a crowd scene.

But the further back you go
the quieter the films become.

This actress is talking to air,
she kisses it, misses it when it leaves her.

Give it another year
and this film will join the others.

Those slow silent films of empty rooms
where nothing happens anymore.

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Mother’s/Mothers’ Day

POI coverMy most recent poetry collection (see left, or click the link for the details) is about why I’m at a loose end on Mothering Sunday these days, and I won’t go on about it (except to say why not read the review of the book here).

Instead… Many years ago I used to come up with ideas for things which usually went nowhere. (I still do, except I have fewer of them these days.) What I’m going to share with you is a sort of sketch of a song thing I tried out with my songwriting pal Jason Manners once, back in old 2003.

As he says at the end of this recording, ‘Is it not too…?

I must have agreed. It was ‘too…?’ So I set it aside and it’s sat patient and silent inside a minidisc on a shelf until now, but because it’s ostensibly (if fictionally) a list of advice my mother gave me, I thought it was appropriate to uncover it on today of all days, just for a bit of nostalgic not-quite-good-enough fun.

The Song Of Advice

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The end of the song refers to a ‘popular’ poem of mine from round the start of the century, 37 Ways To Leave A Yak, which listed, well … 37 ways in which you might leave a yak. This song supposes I’d used advice from that poem successfully, but was now having second thoughts. It wasn’t true. I wrote a few things about yaks back then. For no reason.

Anyway, this is the song version of that poem (mostly completely different lyrics, bringing the total advised methods available for leaving up into the fifties or sixties (some, however, aren’t really practical (apologies))). It’s a more successful song we played quite a lot, worth hearing if only for Jason‘s tiny but perfect guitar solo before the obligatory tango.

37 Ways To Leave Your Yak

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This was recorded with the A.F. Harrold Schadenfreude Orchestra at the Edinburgh Fringe in 2003, in our show The Most Boring Man In England (& Other Love Songs).

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Missing Barbara

Two BearsOn the wall in front of my desk there are some pictures. Directly in front is a sketch of Frank Zappa by Cal Schenkel, above that a print of a Leonard Cohen self-portrait. These help me to focus on doing some work, they’re beautiful in their own way. But more important than either of those are the two large watercolours that hang to the right of them.

Barbara Firth, the most wonderful children’s illustrator, the maker of such emotionally engaging picture books, died last week (the link’s to Walker Books lovely tribute (click it)). I’m looking at her pictures now and I miss her already.

I never met Barbara, but I knew her books. I was too old to find them as a child. It was only later, when I was a bookseller at the end of the 1990s, that I encountered Big Bear and Little Bear. I loved them straight off. I like bears, I feel bearish a lot of the time and her bears are the real deal. (I’ve mentioned both this fact and Barbara before.)

It’s the claws that set them apart from most picture book bears.

Approaching BearWhen Logic & The Heart came out in 2004 I sent Barbara a copy, thinking she might like the bear poems it contained, and telling her how big a part her bears play in my mental landscape. She replied by return, enclosing a sketch and a warm note.

We exchanged a few letters and notes in the years that followed. My heart jumped when I saw her handwriting on the envelope. It was instantly recognisable, spikey, black, bold.

She was charming, witty and encouraging. My odd cottage industry novel The Education Of Epitome Quirkstandard felt ‘like a nip of champagne in the head, all fizzy + happy’. The poems in Flood were ‘(mostly) just right’. (The ‘(mostly)’ was an afterthought inserted above the line. I liked her all the more for that.)

I wish I had some anecdotes to tell, some touching, humorous stories to tell, but I don’t. Our contact was brief and fleeting.

I have a nagging feeling that I got into writing kids books with the grandiose dream that one day she might have illustrated a story of mine. It won’t happen.

It’s strange to feel so holed by the loss of someone I didn’t even meet. But I miss Barbara already.

Barbara Firth writing

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Four By Five

Unbeatable Slow Machine CoverI ought to mention, while I’m here, a new(ish) short album of instrumental music that’s available over on my Bandcamp page. It’s cheap and called The Unbeatable Slow Machine. (The cover (see left) was made for me by my very good odd friend Dolly Dolly out of the things that live inside his brain.)

Anyway, I was tinkering at the weekend with this thing (see and hear below). It began life as a string quartet, but after a while I sacked one of the violins and replaced it with a flute, because (a) I like flutes and (b) I’m in charge. It’s made of five very short movements (only the fifth one is over two minutes, the fourth one’s barely a minute long) and today I’ve mainly been fiddling and trying out different running orders. I think this one works fine.

It’s a noisy ugly dying piece, interrupted by some catchy rhythms, a few nice tunes and a dash of silence. I don’t imagine it really being anyone’s cup of tea. (But you never know.)

Two quick final notes. Firstly, I need a string player to tell me whether the glissandi in it are actually playable. And secondly the final flute note of the last section is marked in the score please hold this note for as long as possible until out of breath, but (a) the sound of a deflated flautist is hard to emulate with the computer, and (b) I simply don’t know how long it should go on for (I’m assuming flautists breathe normally, not circularly).

But if you have a string trio and a flute-ish friend and want to try it out, let me know.

The Stages Of Her Illness

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Little Boxes, Little Boxes, Little Boxes Made of Kitty-Katty

Douglas in a boxYou know and I know that, surprising as it is, a fair proportion of the internet is made of cat and kitten. This becomes even more surprising when you consider how bad they are at passing messages on, which is, in a way, what the world wide web is all about.

Last summer, in August, the glorious singing Helen Arney asked for some pictures of cats in boxes to use in her hit Edinburgh show, Voice of an Angle [sic]. I offered the photo of Douglas you see (above) (not the one (below) which came later). He appeared on screen in her show for a fraction of a second (other cats were displayed for longer), but it was quite long enough to see him and go, ‘Oh, look! Douglas!’ So, I guess he’s a star now.

Douglas in anoother boxAnyway, setting all that aside, this poem has nothing much to do with Douglas or Helen.

Instead it simply addresses the fundamental question of cats and cardboard boxes, which has puzzled some of us for so very, very long.

(In the form of an unnecessary poem.)

A Question of Cardboard Boxes

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Flute A Nanny

This piece of music is a duet for flutes, with some percussion. One of the flutes plays in the next room, but with the door left open. It’s part of my Quartet For Five Players. This is the second little movement, the quiet, slow, snowy one. (Here’s the fast, loud movement.)

There is no story for this one, you’ll have to make up your own pictures as you listen to it.

Quartet For Five Players: 2nd Movement, I Heard Much That You Could Not Hear

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