Tuesday, 6 September 2016

"To make an end is to make a beginning..."




I write, and time feels geological. Vast and slow. I move through the hours like a glacier, stilled to a cold and concentrated point somewhere deep in my own centre. And then when I’m done, and the last full stop is placed, I blink, and the world comes flooding back, a rush of quickness and colour, sounds so loud I can almost see them, doubling and redoubling in the air.

The poems in my first collection are poems from the start. Of everything, of my life as a writer. Poems from the tap-root, from the well’s heart. I imagine the book as a map: follow a line with my finger, trace it all the way back. Here, I am twenty, and sick, writing in the bright library between doctor’s appointments. Here I am thirty three, in New York, and in love. Here is  a bedroom I remember every detail of. A classroom. An office. Each poem a snapshot. Each poem a journal. Each poem a lovely anchor, fastening me to a time or place.

Some of the words, I can almost taste: the wine I drank while teasing out the tangles of a phrase; the vending machine cocoa, rich brown silt at the bottom of the cup. I remember the paintings that hung on walls, the glossy books thumbed thin. I remember the essays and articles I read – a spark of interest that caught and leapt, and burned, intensely, in my skull’s crucible. And I wrote while they burned, until all that was left was the ash of black words on a white page. News stories. How sounds were sent on discs into space: human voices, whalesong, nightingales. How a herd of three hundred reindeer was felled by a single lick of lightning in a Norwegian forest.

My friend once saw an exhibition in Manhattan – human bodies, split and cut. The heart, visible. The layers of spongy yellow fat. And the one thing she described to me with exquisite clarity: a red net, delicate as wire, hanging like art behind plate glass. A lattice of blood vessels, removed from a once-living body by injecting the arteries with plastic and then dissolving everything but that. These tiny tunnels that once ran with breath, with life; a tangle in the air describing the place they once inhabited.

That is how my poems feel, now. Like an entity separate from myself. They hang together, hold my shape - but they no longer live in the dark of my body.

There is a tribe in the Amazon whose chief wears a cape made from hummingbird feathers. Imagine it - a wake of blue and yellow that falls like fire and sky from his shoulders. But the cape is so heavy that he cannot walk when he wears it.

I come to my writing desk, find the slate completely clear. The first time in a decade it has been this way. I imagine my book, I imagine that bluegold cape. The shrugging off of all that beautiful weight.


How naked and vulnerable it is to be without it. And yet, and yet: how utterly free, how wonderfully light.


Saturday, 3 September 2016

"Perhaps one day you touch the young branch / of something beautiful. & it grows and grows".




Months have passed again without my visiting this place. The world turns, and the world turns. I have been writing, just not here. I committed to journaling for a hundred consecutive days, so the words that normally spill into this place have been diverted there instead, like a river forking, carrying its water to the same sea, but travelling its light a different route. And the poems have been coming and coming. My body brimming with them, my bones humming with their bright particular music.  

A week now, since I got the news that my first collection will be published in the Spring. I remember thinking, So this is what yes tastes like. As happy tears fell into my beer, as the pub spun. The weight of all that work, the years of words, the book, there and then gone - fallen out of its life with me, quiet and small, and out to live its own life in the bright wild world. Is this how a mother feels when her child is pulled out from that tucked place under her heart? There it is, after all that growing in the quiet -  fully realised, and breathing. A part of the world now, free of your body, free of your blood.

I am flush with happiness. But there is also a part of me that is small and scared. How I want people to be tender with this soft thing I have made. How fearful I am of it failing, of my tiny fledgling falling, not flying. Which would mean I have failed, and fallen. That my words aren’t good enough (and my words are the best thing I have). I need to let go of that sense of dread, and be glad, only, that my words will exist in the world at all. That my mouth will not be their only home.

A confession: on Saturday, C and I went to the bookshop in the city. I found the place on the poetry shelf where my book will fit – after Paterson, before Plath – and tested the way it will feel. To touch a finger to the shelf and find my name. It felt like belonging. Like my life had both shrunk and swelled to fit that slender space. The sweetest of beginnings, which is also the sweetest of returns. The coming together of me, and home.




(title quote: from "Elegy", by Aracelis Girmay)



Friday, 22 January 2016

"We love because it's the only true adventure..."


 
 
This is the last night in this bed under swallows and roses. The last night with sighing pines behind glass. The last time I will hear the neighbour's children cry, and the last I will bend my spine to fit the shape I have hollowed in this space.

From tomorrow, I live in a city again. And not alone. My breath won't sit in my lungs just now - how it rises, and rises, like the sun in the morning, like bubbles climbing the sides of a flute of champagne.

How words can soften and shuffle. How meanings can shift. How home can be walls in one moment, him the next. Two minty mouths in the bathroom mirror. Four lungs breathing the same sweet room.



Thursday, 7 January 2016

"For last year's words belong to last year's language..."





I lie in bed, my ribs bruised from coughing, the wind lashing the wet pines outside my window, so fiercely that it sounds like the sea behind the glass. I can almost taste the salt on my lips. I can almost hear the gulls wheel and scream as they ride the thermals, red tongues flying like flags.

I haven't brought my words here in a while, have been tending them instead in other places. I cycle through phases like the moon. Sometimes, all I can write is poetry, slim little slices that shine in the dark. Other times, I write ripe, and round, and full, and more pages fatten the ever-growing book.

And yet, as always, something eventually draws me back here, the way the moon draws the tide from the sand in foaming sheets, revealing a litter of treasures in its wake: crabs with their hanging claws like picked locks; relics of bottleglass worn smooth and blue; oyster shells, whose insides still swim with that pearly light, like a sunrise is held there, like a secret, like a spell.

I left 2015 with a full heart and a kiss. That was the year I loved deeply, and well. That was the year I wrote poems wrapped in blankets, where my body filled out from all the beer and cheese, and I didn't care, because my belly was happy, and my heart. That was the year I climbed hills wild with heather, saw shooting stars dance on the tip of my lover's finger. The year filled with cocktails, and tender words. The year of walks on the Yorkshire coast with its rolling mists, and sudden tides. The year of New York, and of camping in the Peaks, of pizza and beers in damp, foggy fields, and of laughter, always laughter.

I move in with C in a week or two, and still can't quite believe my luck. That the new year should begin so filled with promise, and with love. Such constant, quiet happiness since I've known him; it still feels like a gift. And so even as I lie here, sweating in my sheets, my chest sounding - and feeling - like it's full of broken crockery, still, still, I feel the wildest, strangest joy. For the year I've just spent, like so many handfuls of gold. And for the next one, already smouldering in my pockets. I can't wait to hold it, gleaming, in my hands. I can't wait to see how it shines.
 
 
 
 
 
 

Saturday, 12 September 2015

"I want to see the Kingdom come / I want to feel forever young..."


 
 
 
 


A twist of red and gold in the leaves of the tree at work, this week; a blazing helix winding in the green, a spiral of fire and heat. Cold lungs in the morning, and frost underfoot, a lace that glitters and crisps where I step. Webs in the fences, the hedges, the gates, stars of silk strung bright with rain.

 
A time of turning, this. The trees to fire, the skies to ash. The clocks turn, too, their fingers spun back an hour into the past. The nights turn cold. Breaths turn to smoke and hang in the air, rolling and fuming like genies let out of their bottles at last.  

 
These days of wiltings and woodsmoke, wool gloves, and leaf-drifts, stars and fogs and fires. The closing out of the old year, a quietness, a settling. It always feels like I'm resting, here, like a bear gone to bed for the season, snug under rugs of earth and fur, dreams full of sunshine and sea-salt and freedom.


The pull is too strong to wait for that last night of December, with its lists of musts and wills, its skies ablaze with noise and colour. The reckoning begins now, for me, as it does each year. The past months gathered in my lap like flowers. I sort with practiced hands through roots and blooms. Some I keep to press into forever. Some I toss, too bitter for permanence, too faded to brighten a future hour.


This, this life: like tending a garden. What do I want to plant in the clean  Spring rains? How will I weather the Winter? I cut and prune, and plan for the coming calendar.


The trees cast off their old greens and burn, and I, too, feel called to change. To rest before the next rising. To contemplate - with clear eyes and a quiet heart -  the next turn.
 
 
 

 

Saturday, 29 August 2015

"Autumn days when the grass is jewelled, and there's silk inside a chestnut shell..."





A walk home from work on Wednesday this week, a walk through the alley overhung by trees. I watched my feet move, dappled with light, sun-coins scattered over fans of bone that flexed and flashed, then flexed again. Then a breeze, and a drift of leaves - and the sudden shock of the falling colours, all yellows and bronzes and reds. Who stole the greens overnight, left changelings rusting in their place? Who took the softness, left parchment-paper sheaves?

I am a watcher, a notice, by nature. I see when the stars begin to hang colder, hang clearer. I notice, every year, the first bluebells chiming quietly in the garden. I see the first breath of frost in the grass. I watch the seasonal clock tick steady, even, through each neat quarter. And so I don't quite know how it happened, this year. How Summer faltered right beneath my nose. How brassy Autumn saw her chance and leapt.

How I worried about turning thirty. About leaving the word girl behind like a clue for someone younger, like dinosaur bones laid down in the dirt, the ghost of who I was preserved under fathoms of fragments and dirt. How I worried that I had spent the best of my days, my twenties, in one wild spree, that all that lay ahead was wistfulness, and thickening hips, and a hairshirt of nostalgia and fond memories.

The truth is: the only hurt of "older" is the seasons turn faster. And each one is sweeter and harder to part with than the last.

The truth is: the only thing I lost in my thirties was my heart.

A reminder to myself: Attend to the moments. The moments are important. They keep the stars, and the Poles, apart.

And so I write it, I set it here. I cast for moments, and I catch them: a wriggle of glitters, like fish in a net; a line of lights in a softly glowing string.

I realise now that the moments are the bones. The heart's-blood, the breath. The moments are the molecules and the moments are the cells. The carbon and the stars. The real, secret shape of every living thing.





 


 

 

 


Sunday, 19 July 2015

"I come into the peace of wild things..."






I live, now, in a city, where the buildings nick the sky, and the streets are quick with chatter and with feet. I live among a million shades of grey, the primary colour of every city - grey pavements studded with gum, grey pigeons with petrol-spill skullcaps and pink club-feet, grey cigarette smoke curling and drifting up to grey dishcloth skies, grey tramtracks in their clean steel lines, which make me sad, sometimes, the way only an incurable romantic can be sad - the way they run alongside each other from beginning to end, but never, ever, get to touch.

I love it, mostly. The lights, the noise. The way the sky looks like a mosaic between the officetops, cut into patches and boxes of blue. But sometimes my heart swells for the quiet, and I ache for wildness and green, crave rolling views of cool blue mountains, water braiding itself neatly over stones.

I forget sometimes how close we are to all of that. Just half an hour on the train, and it's like Alice stepping through the looking glass - everything reversed, the same world, but not the same, full of light and colour.

Yesterday, we went out to where the villages sit in tiny clutches in the folds of the hills, velvet folds of green and gold and brown, patched all over with heather, bright purple. We walked where the air was so clean and clear, it made our shocked city-lungs sit up in surprise, and the water was bone-cold, weaving its gold-green way through the fields.



We drank beer that tasted of lemons in a tiny pub with views as far as the eye could see, and I felt a sudden surge of love for it all, for everything. For C, his hand resting on my knee, traces of silver powder from his work beneath the crescent-moon of each fingernail, so that it looked like he'd been handling frost, or making constellations. The air that made every breath feel like a gift. New freckles like stars on my sunkissed shoulders.

I write these posts, sometimes, and I wonder if I've anything left to say. It's not that I don't love writing them, because I do, truly - stringing the words together like pearls, polishing them until they gleam - but I wonder how many of you still find them interesting to read. Is happiness - the calm, quiet kind that you live in day after day - remarkable enough to read about? Once I wrote like a hummingbird, all frantic beating, wild colour, and fervent heart. Now I am more like a Jersey cow - sureness and solidness, quietness and calm.  

I am at home in my life, and happy in it. It is more than I ever hoped for. But my writing style has changed because of it, has lost its edges and sharp corners. Writing fiction, writing poetry - those things are different. They have their own sharpnesses, their own characters, their own clean points and lines. But I feel like my blog posts have softened like butter left out in the sun, melted into one long lovely golden smear, the same words carrying from one to the next like a smudge pulled by a thumb: I am happy; I love him; I am full of hope.

Blue dusks and gold dawns, early-morning mists that wrap bare ankles like cats, or smoke. Beer in the sun so the glass glows with light like a lantern. His hand on my knee. All the words of the world in my throat. I want to do this forever, even if the readers peel away, in time, like birds in Winter, tiring of the same words, looking for different skies.
I want, almost more than anything, to touch people with my writing. I want to leave something beautiful in the world. But maybe that will happen through writing of a different kind. I write here hoping that people will leave with something - a scrap of truth in their teeth, perhaps, or a thought clutched in a fist - but ultimately, I write for myself - for the pure joy of it, but also to keep something beautiful to look back on from my future, like roses pressed between the pages of a book - yes, look at the petals, I remember this; I can still, if I breathe in deep enough, catch the scent.
Maybe it's her I write for most of all, that future self. I know how she will treasure the moments her own ghosts trapped and kept - the words in the library, the bones in the cool museum halls. This is my way of preserving my life - like butterflies in frames, like diamond-hard beetles pressed in amber, pressed in jet.