Showing posts with label Illustrations. Show all posts
Showing posts with label Illustrations. Show all posts

Friday, 28 January 2011

UEA Writers #5 - Andy Spragg w/illustration by Natalie Orme

lois scélérates


The first to be heard
is scattering coins
before the pipes and plaster
give way.


Our braves are caught in the foundry gaze,
an irradiated fat quench of things -
as foot-notes go it's all
prepped papers,
and faultline economics
and an absence of trust.


Beleaguering, the yelp does not get tied
down in specifics – the day doubles,
then stretches beyond remand.


In the past a mistake was made,
there are over a hundred
ways to clarify butter.


Running down on under-privilege


an ill judge of statues, he stands to one side and tries to measure
the space by sight alone. Where would alabaster best serve his
composing eye? In the alcove there is a leaden shade, brush it
out - a fill of scraps, an acquirement of novel depths, the sum of
his diagram. Meanwhile, a chorus is shrinking from the foreground,
a few muffled expressions, musical tongues forward to find a
mooring in amongst the clutter.



Taking in edges


The shape is an uproar of angles – there
is a spit-shine rise in its proportions
alleviating one acoustic shape after
another. Ducking monuments and
a matter – those shades in granite
are strict or serious relief.
--

Andrew Spragg is a poet, performer and critic. He has a blog at http://www.brokenloop.blogspot.com/ He is a founding member of the Norwich Poetry Choir and writes regularly for Rhythm Circus and Bonafide Magazine. In recent months he has completed the script for SHOEBOX, a performance piece staged by The Effort in 2010. He was Literature Coordinator for this year’s Norwich Fringe Festival.


He is currently working with flautist Julie Groves as performance group 'Between Soundings'.

He studied at UEA and obtained a BA in American Literature and Creative Writing. He remembers Norwich fondly.




Friday, 17 September 2010

Three Poems - Nancy Devine w/illustration by Natalie Orme

Less of this


Cold crawls my back while I drive home
January night. No darkness like this,
except on prairie where I have
invested most of my time.
Cars wait along streets’ edges,
some on peninsulas of ice
rutted from melt and freeze,
others on their chassis’ shadows,
countless black pixels of night’s edge.

I am too stupid to wear my gloves,
maybe too interested
in touching zero,
at least resting on its curve,
that bubble where water is solid,
more solid than I am---
something I’ll try to forget, leave
on the stiff upholstery of bucket seats
after I pull into our driveway again.


Gurgling


Wine we’ve drunk still skunk-crazy,
bathwater to a crayfish collection
or something dying in a pot.
But we’re 17, been living
to live like this since middle school
when the halls smelled like cumin was roasting in every locker and
in each arm’s pit.

Now: prairie sky, an over-turned bowl of dark Red River soil;
the flap of the truck’s box down, a metal tongue
where we sip and say stories
we’ll tell 20 years from now:
Remember when or back..

I suspect nothing can ever be like this
not even this;
and because there’s no harm in being young,
we take another swig
of just about anything that’s bottled up inside.




We Do


Hip to hip, we floss;
the chaff of our meals
splatters the mirror
like the beginning of a Pollack painting.
Mascara streaks border
the country of my cheek;
around my eyes,
skin’s puffed like yeasted dough.
Age has softened my husband’s face
to some beauty before liquid,
before this night’s rest.
--

Nancy Devine teaches high school English in Grand Forks, North Dakota where she lives. She co-directs the Red River Valley Writing Project, a local site of the National Writing Project. Her poetry, short fiction and essays have appeared in online and print journals.

Natalie Orme is a freelance illustrator, co-editor of Etcetera and recent graduate. Her work has been exhibited in various places in Norwich and London, and includes drawing, printmaking and lots of other non-digital design. She is currently working on expanding her portfolio, highlights of which you can see on her blog.

Tuesday, 10 August 2010

Three Poems - J.R. Pearson, w/ Illustrations by Tom Moore

from '8 Equations'

3.

Tumco Mine & the Inability to Find Integers

Capable of Containing Human Emotion

What's left?
The automation of an omen older than fear coiled in the silver-cursed call of gunshots gone blind over radio static. All night we taste the stars & sand caught in shattered rain blown downwind from Castledome's abandoned mines haunted back to life. Imagined stain of gas-masks against skin, sun-faded gasoline cans & animal femurs littering the glitter-gold floor of square shafts angled thru mountains. Stakes in a heart. Stories tope-tinted with Tequila & greed by proxy. Stories of stories of older stories. Steel bleeding beneath the sun. Rusted bones & forgotten gears buried or ground under a heat that dances all night. We walk, looking for something, awed by nothing and flashes of what-- Combines with comet tails eat green until the night is full of eyes. We sleep in the open. Our bodies sing silent decibels above desert syntax, above planetary code-pulse, above the stars humming in harmony. There's something here in the silence: 4 primal forces, she's the fifth chord song-spun from nothing. The words of a dream: in my head I know we're old but my heart is young for her.



5.

Heroic Couplets with Karma & Unfound Human Talents

for Raising Dead From the Already Dead


Your space is here here & here,
just keep your fluids to yourself.

Don't bleed on me.
Tourniquet tourniquet!

Turn dagger's volume up past maximum
amperage in the mind's electric fingers.

My my what have the planetary corpses
left us. A brain full of rain & fire's

unspeakable talent for renewal minus finger-lightning
or belted teeth still stingy white

from laughing & laughing at us at payback.
And Karma you bitch, We still owe you a kick in the face!

How about we settle up with our secret Rx for raising maggots
miraculously out of dead bodies--

Abracadabra & presto chango!
worms have wings & even these thump

flight in bosoms with vacuums
where hearts vanished long ago.

This is spontaneous generation of myth-making.
Concept concept! Build me a theory,

take one electrode
place it beyond sight

& lance streams of plasma
thru the last cortex curtain cut--

I see a thousand claws burnished
to a single sun, alternate space speaks

in heartbeats & bass patterns &
random noise picked up on the highway.

Says: something unseeable moved
in subtext: what the universe

says about re-returns & reverse psychology:
stand five minutes face up in shotgun sleet

& mouth it verbatim:
what you always thought you never knew

about the easy strength in an unwound blade
about the symbioses of human flesh & the fanatical

gleam in sharp teeth
about what "fuck" means to retractable fangs

& why secret maps baked
in limestone are buried

under the last place you'll ever look



6.



Sonnets to Symmetry


There are things beyond rationality
& the warm pull of gravity. Scale models
of pyramids that keep steel razors sharp for centuries. How an owl's
wings silent as yellow smoke
in a valley of wormwood drift
weight-gone
over your sleeping eye. How every civilization finds people
in the sky. Hard to believe the face on a nickel. Believe flash-drunk
blindness & a homeless man's need for possession. Believe retractable fangs

coiled & sun-spent in heat's best swing of the hips.
Believe eyes full of sweat-stained shade
on the sheet's underside & blister resin
left white until it fills with starlight. Believe flesh waltzing the fine line
between live-wired to spinning wattage & cold-spit dead ends.


Let's unrehearse the facts. We've all slept in beds made before we're born,
headboard names & dates, predictable "plate-glass sheets"
& dreams of a miracle that slit your throat. Truth is they carry sniper rifles
& plant your prints on murder weapons. Pose as witnesses. Said I heard it all.
Said it was suicide. Toe fingering the trigger.
Said you never listened. There was something out there, salvation
with your name on it. Another second chance. Last minute misplacement
of I. O. U.'s. Truth is every morning we dig fingernails into flesh
under running water to get clean. Again. Try to leave behind thoughts

we thought were buried deep enough to forget.
The sight of our faces, throttled splayed to the earth.
Finally a toast: here's to symmetry!
Here's to falling face first into wet cement.
Here's not to death per se just a rational failure to exhale.






--
J.R. Pearson played "Jonny B. Goode" in 1st grade with an audience of 15 people.
Once, I seen him eat a whole case of Elmer's Glue. He was terrible at finger painting
but he's proud of these poems. Read his stuff in A Capella Zoo ,Word Riot,
Ghoti, Weave, Boxcar Review, & Tipton. He recently was included in an anthology:
Burning Gorgeous: Seven 21st Century Poets.

Tom Moore is from Grimsby, Winchester and South London. He graduated from Camberwell College of Art's Drawing degree. His work has been in several group and solo shows in London and Edinburgh. He won The Pictures first film prize. His book, Politicians, is published by Monster Emporium Press. tommoore.eu

Tuesday, 22 June 2010

Four Poems - Jos Smith w/ illustrations by Ira Joel Haber



WOLVES

The trap was set from the start, never will the Wolf-Man speak. Talk as he might about wolves, howl as he might like a wolf, Freud does not even listen, he glances at his dog and answers, “It's daddy.”
- Deleuze and Guattari

i

There comes a time when you spread your wings and step
from the family parapet and realise, they are not wings,
they were never wings, they were always only handfuls
of beads, - and you are not flying, it's all over, you're in
that fast red space of nose-break semi-unconsciousness
trying to reach a surface on loose ropes of bubbles.
Bright, hot silence. Working those limbs like a pedal-bike.

But if you remember - not that you noticed at the time,
you ran for cover, pawed the nearest lit window and lied
your way into bedrooms, drawing rooms, parlours -
if you think back, carefully, out on the periphery (can you see?)
there were six or seven white figures, luminescent,
glaring and arching their backs as you came slowly apart.
And can you feel it in your chest, that low, background growl?

ii

There's Dad and I out in the Glyders.
We take a path up beside the waterfall into mist,
rocks hissing and rainbows wafting about.

An ice-shelf like a balcony
cracks loose in the thaw, and skids
shattering down over the water and rocks.

We are nervous. We don't see anyone all morning.
Up and up, until the climb levels out on rubble
and we hit a foot or so of snow. No compass or map.
It's cairn to cairn in the white, speeding wind;

the way those rocks point every direction
up on Glyder Fawr! like a fistful of kindling
blindly swiping this way and that in the mist.

Dad tells the story about ridge-walking with Hugh,
a rope tied between them so if one fell
the other would jump in the opposite direction.

But we don't have a rope; we are lost.
In that moment I can see right through to his childhood.
It is a very clear and beautiful thing.
We survive, though there are paw-prints about us in the snow.

iii

Do you remember that June day
laid down on your front on the beach towel,
the sun pressing its hot hush through your hair?
Whoops, cries, gull-calls, washed
through the wind. You were half asleep.

You put an ear to the beach, prickling
with sand, and slapped down a hand, and heard
the hollowness, that cavernous boom
of the empty earth below, as if it all
might give with one false move.

It was the space between the grains of sand,
grains packed and propped against the air
vibrating freely between them;
it was the dream of a vertigo lurching
open-mouthed through the dark.

How your eyes widened. Hairs
on the back of your neck bristled hungrily;
you gulped, listening as the pressure
descended and dispersed through your veins.
You were looking up at Mum, Dad, your brother

drained of colour in the glare of the sun,
who couldn’t have been further in the din of the beach
not looking back, utterly absorbed
where they tilted and teetered on a rolling
wavecrest line of foaming light.

In the back seat, driving home, you drifted
in and out of sleep, half-aware of the boom
in the empty earth below, the background growl
reaching out through the glinting day
holding you like Mowgli in your private dark.





HARBINGER

While the earthworms are sleeping
And the mad little gorseflowers are
Twinkling their bashful yellows
Under the greater stars this winter night

I hear a packhorse coming,
Hoof after hoof all night, heaving
A cartload of amplifiers over the fields
Flooding the air with deafening sex:

Love made in last year’s month of May
Screechings and moanings and
Yowlings of wrung-out song
Sounding like a tannoy through the mist.



IMPLICATED

He came to the house and felt redundant,
and went to the barn and the barn was busy
and they gave him a cup and they told him:
‘Bring water, cup by cup, from the river.’

The winter was long and the summer
was brilliant. He slept in the flowers and walked
in the breeze, but something wasn’t right.
They all chewed on a tough black meat,

and put this meat in the horses’ feed
till the horses went blind and couldn’t sleep.
Horses, who must run, cannot run
without sight or sleep.

One broke loose. She bolted downhill
head first into a rock-face, snapping
the gristle and bone of her neck.
He watched her buckling muscle shining

brown as she slid from the riverbank
into the river and drowned, and drowned
in the weight of her own collapse.
This hush fell over the valley.

Wind-chimes clonked on the side of the barn.
Clouds flew and flowers ruffled
as water boiled over her big blind eye.
And he could not fill his cup anymore.





FABLE

Come crunch time, I’d always known
I’d holler your name for help.
Up balustrades and cobbled hills
Or over the river and into the blowing grass.

Your name alone, and soon enough
Push came to shove and the need arose
To send out that cry
Into the atmosphere.

So with all my chesty heft,
Its hollow, fibrous noise,
With all of a toe-shaking red-faced
Bellowing godless bawling out

I tried, but come crunch time
I wasn’t shouting your name at all.
Exhausted, emptied, sat on the ground,
I had forgotten the name to call.
--
Jos Smith lives in Exeter, Devon where he is writing a PhD looking at contemporary British and Irish landscape writing. He has had a number of poems published in small magazines and has received an Arts Council bursary for the outdoor installation 'No Man's Orchard' along the Pilgrim's Way in Kent.
Ira Joel Haber was born and lives in Brooklyn New York. He is a sculptor, painter, book dealer and teacher. His work has been seen in numerous group shows both in USA and Europe and he has had 9 one man shows including several retrospectives of his sculpture. His work is in the collections of The Whitney Museum Of American Art, New York University, The Guggenheim Museum, The Hirshhorn Museum & The Albright-Knox Art Gallery. His paintings, drawings and collages have been published in many on line and print magazines. Over the years he has received three National Endowments For The Arts Fellowship, two Pollock-Krasner grants and most recently in 2004 received The Adolph Gottlieb Foundation grant. Currently he teaches art at the United Federation of Teachers Retiree Program in Brooklyn.

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