Not that much earlier. I sent it because I'd referred to it in a reply to
St Patrick of Raynes Park.
I might not write like that now; but then I might well not take that
subject again. (It goes back to my exchange with Patrick where he remarked
how many stations there are. When would I stop? I remember one day sitting
down by the sand bar and looking across at the flower fields and sea weed
and wobbling my mental cat's arse for the jump into a poem -- and it came
to me that maybe I had done enough. I'd approached it every which way both
in content and from loose prose to quite tight verse. Enough already!)
But perhaps that's also how I was writing a few years ago. But a different
situation too as I traverse the overground. I like to use an approach
appropriate to the task.
I wanted to get that sense of the potential tumble or imaginative
simulation down from the height. It's all terribly municipal with
contained flower beds and Hepworth sculptures; yet so large one hardly
sees it there's this tilted danger between a wall at the top and a Great
Western fence at the bottom.
That interests me and it needs I feel that broken descent in the verse
The you is a disguised a colloquial third person
and a bit of this originated in a conversation between a young boy and his
mother re his prowess in running down hill - and her calming doubt as she
withheld prohibition until and if necessary
L
On Wed, August 3, 2011 16:15, Douglas Barbour wrote:
> I see this is earlier, Lawrence.
>
>
> But the 'you' is interesting, as well as the cut down format...; & the
> punning shifts that still tell....
>
> Doug
> On 2011-08-03, at 6:27 AM, Lawrence Upton wrote:
>
>
>> a tilt you’d run down from white houses
>>
>> not run down at all
>>
>> quite a long way and there ís a wall on which you’d hurt yourself
>>
>> you could do
>>
>> blue paint left here and there on the bridge
>>
>> banks of sub tropicals too big for the conservatory
>>
>> sea mostly grey between sky charcoals and vermilion rain clouds
>>
>> two gulls above a monkey puzzle
>>
>> foreground more sub tropicals
>>
>> sea commencing blue further north metallically
>>
>> blobs of white cloud streaks of it helicopter in front Christmas star of a
>> pine tree pollarded to bushiness and a pile up of rain cloud and white
>> fluff
>>
>> 2008
>> -----
>> UNFRAMED GRAPHICS by Lawrence Upton
>> 42 pages; A5 paperback; colour cover
>> Writers Forum 978 1 84254 277 4
>> wfuk.org.uk/blog ----
>> Lawrence Upton
>> Dept of Music
>> Goldsmiths, University of London
>>
>>
>
> Douglas Barbour
> [log in to unmask]
>
> http://www.ualberta.ca/~dbarbour/
> http://eclecticruckus.wordpress.com/
>
>
> Latest books:
> Continuations (with Sheila E Murphy)
> http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
> Wednesdays'
> http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10
> .html
>
>
> It is natural to speak of your own weaknesses so winsomely they will seem
> strengths, as if everyone else is inadequate if they do not have your
> inadequacies.
>
> William H. Gass
>
>
-----
UNFRAMED GRAPHICS by Lawrence Upton
42 pages; A5 paperback; colour cover
Writers Forum 978 1 84254 277 4
wfuk.org.uk/blog
----
Lawrence Upton
Dept of Music
Goldsmiths, University of London
|