‘feathery chest forcing out song
… like a cassette tape on fast forward’
In the poem, the narrator finds a great oak, which has been felled by the hurricane-force winds. The ‘bluebell bulbs thrown up in a vomiting of earth’ contrast with the colour and texture of the soil. These fresh white bulbs look ‘more naked than snowdrops’. The narrator crouches in the shadow of ‘the secret, dusty roots’ of the fallen tree to replant the bulbs.
Liz workshopped a poem simply titled, Winter 2014. She says the fierce storm sounded:
‘like the 1812 Overture
like a mad bow drawn across endless strings.’
She describes ‘puddles’ turning into ‘ponds’ and ‘fields into lakes.’ She then makes a comparison with the terrible floods in Bangladesh and highlights that our lifestyle choices carry ‘consequences.’ She finishes the poem by saying, we should ‘search for a rainbow’ and start naming our sons ‘Noah.’
Heather wrote a sweet tribute to her mother called Farewell. She illustrates the scene by saying that when her ‘time came’ her breath became fainter and her ‘rasping softened.’ Her mum seemed to unexpectedly come out of her coma and her eyes ‘suddenly shot open.’ In the final stanza, ‘hi’ and ‘bye’ are fused together and become interchangeable puns. The cleaver wordplay, combined with the simplicity of language helps to heighten the poignancy of this Farewell eulogy.
Mary’s poem Cathedral was also a very interesting poem. It was created using a free associative technique called 'object writing'. The idea is that one picks a word and then free associates on it using all five senses. The writer or poet then uses imagery, which include not only the senses but also bodily movements, feelings and sensations. There was some good stuff in this work – it was a very mystical text.
I liked many of the phrases used in this poem; ‘air that is/capped with the arc of myth,’ ‘topaz dusk,’ ‘chimes… cascade down the spiral staircase,’ etc, etc. The vision finishes in an ineffable vision of light.
Sadayo brought in a poem about herons. She described their incredible beauty – their delicate and graceful bodies, perched on their stilt-like legs. In this poem, the protagonist – a farmer is overcome with the wonder of the natural world. In this text, Sadayo tries to animate language to illuminate the sublime.