Connie Bensleys poems are sharply satirical, often poking fun at social pretence and suburban pretension. They present a comedy of manners in which mismatched characters are bounced between love, death and disappointment. Hers is a seemingly small world but one which spans a whole universe of everyday life.
is a retrospective selection of her delightfully pointed poems drawn from six collections published over three decades, plus new work. COVER PAINTING
This edition includes poems selected from these books by Connie Bensley:
Central Reservations: New & Selected Poems (1990),
Choosing To Be a Swan (1994),
The Back and the Front of It (2000) and
Private Pleasures (2007), all published by Bloodaxe Books.
Central Reservations included poems from two earlier collections originally published by Peterloo Poets,
Progress Report (1981) and
Moving In (1984).
Acknowledgements are due to the editors of the following publications in which some of the new poems in the Finding a Leg to Stand On (2012) section of the book first appeared: Acumen, The North, Orbis, The Poetry Paper, Poetry Review, The Reader, The Rialto, Smiths Knoll and The Spectator.
CONTENTS
FROM
(1981)
I have sat here at this table now for years. I have a race memory of this place; Its formal flora, face-distorting spoons, And the indigenous tribes, of bearers and borers. Sometimes I dance, held hot against black serge, And often I ask, Shouting above the music, About Croydon, or the Common Market, or the children. Before the dancing we had the speeches, And that was a peaceful time. An interval of pleasant stupefaction Infused with coffee and brandy.
Further back still, there was the cream gteau And, penetrating deeper layers of the past, The lamb, the trout, the soup, And, with each, a subject briskly explored, To right and to left, With eye contact and ego projection. In the prehistoric, previous world I was still here, Empty and chattering over gin, And smiling winningly into unfamiliar faces. But, unlike some younger people, I can still remember the world outside, And I know that one day we will all go home And find rest, and the cat waiting to be fed.
Here comes Spring. Season (stirring dull blood) of spots And suicides. Better, those of us who are at risk To skip April, May, Miss the worst of the disorientation, The conviction that life Is coming up with some colossal romantic musical For which the casting director has, yet again, Overlooked you.
The hard light, the sudden knife-like breeze, The grey pallor of those strips of skin So tentatively bared. The tender vulnerability of the pale buds in the hedge. Dig up the garden And stop your mind with your transistor. This dangerous change will soon pass.
Discrete, disconsolate, The heart patients gather in the waiting-room. Drawn together, but facing apart And thinking about their ECGs.
Theyd like to pretend Theyre in the buffet at Kings Cross Waiting for the 6.15: But more serious matters are at stake: Life insurance; or life itself. The nurse is their mother here, Her smiles flow out Bright and inexhaustible as conjurors bunting. The cleaner is having a mysterious mid-morning clean. Dont move love, she says, Dont move. I can dust round you.
In a meadow, redolent of summer, Deep in green, each leaf gilded Against the sky, sit three women Smiling at the camera.
They are fat Beyond the merely Rubenesque. Corseted in folding chairs, Armoured in synthetics; Their considerable legs stretch forward in unison. In the East, they would be collectors pieces. One has a striped umbrella Over her head. She suffers with the sun. Another has the thermos, which shes handing on to Flo, For Flo gets parched; and all of them are kind.
Indeed, if you were lost if you had missed the path That led back round the hill Theyd help you; they would hem you in And wall you round with helpfulness. Such a stockade: No harm could penetrate. Youd be safe there, Safe, and in clover.
Coke tins glisten in the showery gutters, The turd-strewn grass is springing rank and green. Dull glass catches light it had forgotten And I am expected home on the six-fifteen, In the warmth, my briefcase is relaxing; The non-press collar manacles my neck. Steam is rising from my pinstripe suiting, I feel the message, but can I answer back? My hand on the telephone is winter white.
It clams to the plastic. No one answers my call. What can I do but order stones and piping, Get to my garden, build a waterfall?
After the roadworks, After the plastic shops and dusty gutters, The tombstone flats rooted in concrete. After the scrawled walls, The town-grey faces, The hard-edge brick and metalwork Comes the first field: Gold tiger-striped Where the stubble has been burned, Blue pulled right down behind it: Set and enmeshed In cool green places, Dreamed up by the inward urban eye For summer. Yet in winter, Under pewter light, The neon shops and claustrophobic streets Will pull me back to warmth and ugliness; Home again, like a cat to the cupboard it knows.
Newly shaven, your eyes only slightly bloodshot, Your rat-trap mouth smiling up at the corners, You remind me of the Head Girl I used to be in love with.
Its something about your sporty build, The way you seem to be counting the people in the caf With a view to lining them up in teams. Its quite set me in the mood for the evening, And I follow you alertly through the door, Hoping youll turn and snap at me To pick my feet up, and not to slouch.
Music, raucous behind the bushes, Drew me into the graveyard. A man was digging for the next incumbent, Down to his elbows, his trannie by his side. Man and bird, and Presley, Raised their voices to heaven.
I planned to write this thesis, you see, On cooking and personality You know the sort of thing: The exhibitionist who flambs at table, The introvert, who hides his food in pastry, The impulsive griller, The contemplative casseroler, And the rigid, repressed personality Who has to have each ingredient Down to the last grain.
I planned to write this thesis, you see, On cooking and personality You know the sort of thing: The exhibitionist who flambs at table, The introvert, who hides his food in pastry, The impulsive griller, The contemplative casseroler, And the rigid, repressed personality Who has to have each ingredient Down to the last grain.
Unfortunately I overdid the practical work: Became immersed in my theories, Testing, tasting wasting my spirit In a lust for pasta, Becoming, at last, a compulsive eater. Youre trying to fill a void, they said, And sent me up to the Tavistock. But somehow my problems made the analyst hungry. We took to cooking ourselves bijou meals And lying down to discuss them, Whiling away whole nights In psychogastric speculation. That man has really taught me a thing or two, And his light touch with a souffl Has quite made me forget my academic career.
What land is that, stained out Across the wall? I think I knew it when I was a boy.
Twisting my neck on the pillow I can see the coast, And that inlet the grey shading into the shallows Where the village was. My mother wore blue serge Down to her boots. The yard had a sunflower, so high It looked in at my window. There is the river where I used to fish And never thought of time. Here, all our times paid out in tiny sips And clocked by pills, and wiped away with gauze. Yesterday they propped me up in bed.