The dishes I most enjoy are cooked by
chefs who demonstrate an understanding of how flavours and textures work
together, a subjective understanding, of course, that coincides with mine. From
the first mouthful, I know we’re on a similar wavelength. And the same goes for
poetry. Within a stanza, I know whether a poet has a certain feeling for a
line, a cadence, a sentence, that I also share.
In both cases, food and poetry,
there’s always a delight in making unexpected discoveries, either at a
backstreet tapas bar or from a small press publisher. One such example is Paul
Ings’ first pamphlet, One Week, One Span of Human Life (Alien Buddha
Press, 2022). This title might give certain readers the erroneous impression that
the work inside might be abstract or metaphysical. However, it simply serves to
indicate the pamphlet’s structure, which follows the course of a week.
The key moment, however, was when I
started on the poetry itself. By way of example, I’m delighted to have been
granted permission to reproduce the following poem in its entirety, as shorter
quotes wouldn’t do justice to its gradual, subtle, cumulative effects:
After an Hour of Walking Sheer
Clifftops
there’s this reluctant beach has its
back turned towards us;
as we peer down through bracken mesh
up on high
it makes like it’s not there in its
shady surround
but we’ve spied it and we’re coming
down.
Our discovery has an unassuming, laid back
manner
of nonchalance in its expulsion of us;
water laps yet again at our retreating
toes
till we’re all backed up against the
cliff before we know it
where we throw in the towel; but as we
climb
and as the awkward terrain
occasionally allows
we cast glances back down at what is
now
a bay of frothing mashing waves
contained
within its vessel; so vast and
uncompromising this view
that I only happen to glance at my
slapping sandaled feet
and the young adder so discreet that
it merely laps
wavelets at my toes passing off
amongst ferns.
Throughout this poem, an awareness of
form is latent in the background, giving the initial impression that its long
lines are relaxed and free, when in fact the poet has a close eye on syllables
and stresses, alongside a keen awareness of the role of line endings. Moreover,
Ings’ ear for natural language means that the poem wears his craft lightly,
inviting us along with its speaker, never dictating, never overreaching, never
lapsing into poetic preening, allowing rhyme and half-rhyme to merge into the
background.
As mentioned above, Paul Ings’ work
has been a lovely discovery for me. You never know what tapas you might find
off the beaten track, and the same goes for poems too!
Greta /ˈgrɪːtə/ The first Greta is a river she is Griótá, the stony
stream birthed where St John and Glenderamackin conflow in their ancient
beds. The ...
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