ROY FISHER
STANDARD MIDLAND
Roy Fisher is known internationally for his witty, anarchic poetry which plays the language, pleasures the imagination and teases the senses. But he is at heart an English Midlander. In Standard Midland, he confronts and worries at nuances of perception and the politics of understanding. Many of the poems are concerned with landscapes, experienced, imagined or painted, particularly the scarred and beautiful North Midlands landscape in which he has lived for nearly thirty years. Standard Midland contains work mostly written since his Bloodaxe retrospective, The Long and the Short of It: Poems 1955-2005, and his texts for the artists book Tabernacle, his recent collaboration with Ronald King. Publication coincided with his 80th birthday, and the book was subsequently shortlisted for the Costa Poetry Award.
The personality that emerges from Fishers poetry, for all his influences, is altogether English: ironic, humorous, self-deprecating and unpretentiously local ELAINE FEINSTEIN A poet of cities in growth and in derelictionHis knowledge of urban landscape is formidable, and expressed with an originality of touch which makes these poems, at their best, revelatory HELEN DUNMORE Fishers fineness lies in the extraordinary, intimate communication he achieves. He accomplishes this through the medium of a sophisticated, well-mannered arta real respect for his own and his readers individuality ANNE CLUYSENAAR There is no poet alive whose work has challenged or interested me more AUGUST KLEINZAHLER COVER PAINTING Tangled Pool Number Nine (1948) by Ivon Hitchens
BIRMINGHAM MUSEUMS AND ART GALLERY, COPYRIGHT ESTATE OF IVON HITCHENS VIDEO OF ROY FISHER READING FROM THIS BOOK: http : // www . bloodaxebooks . com / titlepage . asp ? isbn=185224870X To the memory of
Ben Fisher Barbara Venables Fisher
I thank the Authors Foundation for its support during the making of this collection. Some of the poems have appeared in
The Guardian,
The North and
Stand.
Hole, Horse and Hellbox is the text of Ronald Kings artwork Tabernacle, published by Circle Press.
CONTENTS
Ive lived within half a mile of it for twenty years. West by the black iron weather-hen half-strangled with clematis on the garage roof I can locate it. Past a low ridge in the cliff face of a limestone dale theres a cave in the bushes. When the old tigers were long since gone, leaving their teeth, the valley people would climb there with the dead they thought most useful; push them well in, take them out again, walk them around: Theyre coming! Theyre coming!
We Malagasies loveour second burials.We hire a band that comesin a van. Againwith liquefaction almost donewe hold our cherished onesin our arms.
From the grave-clothesthey fall in gobbets as dog-foodfalls from the can. We wrap themin fresh dry linen. Theybless our lives with their happiness. Walk them around the valley. Drop here a finger for the god that is a rat or a raven, here a metatarsal to set under the hearth for luck. And what was luck? The afterlife back then was fairly long: nothing demented like for ever, nothing military.
Wormwood rank grass kids dens: the entire little essay.
Wormwood rank grass kids dens: the entire little essay.
Commons without commoners the Unadopted. A footpath worn from corner to corner. Wormwood. And how at the edge the hoardings paralyse words high up in the common air. John Cage on a bland enough midwestern campus: use random meansto set coordinates thenhang around at the intersectionall day if need be. Therellbe something to interest you!
I like my long shapes, so that I can move, so that one half orpart reacts against, while furthering the purpose of, the other. IVON HITCHENS , 1960 This sump of light draining from no seen source
walk dry no further in a confident sulk that draws the eye in from under the entire weight at my back of the City Art Gallery: no vista, no viewpoint.
But whats been shown shifts, is gnomic from whatever place along the pool at one time or another compels the mind, the unity bargaining for more than one life.
Getting old, living alone, I still talk too much but to myself. I talk my way through procedures like carrying books downstairs. The monologues so stupid I do it in farting Mockney or worse, mincing Estuarian: none of it worth the touch of my own Standard Midland.
In a long canoe sunk to the gunwales to dance on a board as on the choppy water. The tall sea-eagle in feathered trousers and the raven plumed arm-wings waving, beaks agape; salmon and bear stamping saw-teeth snapping at the sky, all with heads thrown back, wild eyes taking in nothing.
Four gods making common cause at the people. Moreover beings of what seemed flesh would lately float on gables or range themselves on a wall, supported by chi in the clear air under them that showed the hillside beyond it. Their burning gaze to rain down still while they faded. Driving down off Axe Edge on the hot afternoon of the day that would end with the full moon hung on the horizon at twice its size, rounding a familiar bend then both of us seeing differently the anomaly ahead, tall brown figure in a limestone landscape. Reared on a crag to command the desolate stock-car track, the quarry and the valley of the Dove. Eyeless, dynamic, brutal, maybe a public sculpture giant in rusted sheet metal, another expensive mistake.
Pass by the threat and it goes back nearer Nature: the three old horses that always amble in the boggy roadside fields have criss-crossed the bluff, growing bigger all the while. Theyve arranged themselves on the naked steps of the summit and stand there asleep as a single conjoined thing against the sky waiting for the enormous moon to land and take them up. Stone horn-shapes above a peaceful enough gateway and in the High Great Chamber a plaster frieze where beasts and tall women walk by among the trees in the woodland above it all. There are parts of kings, brown old thigh-bones, shin-bones, jaws, promiscuous teeth packed out of reach in their own air on high stone rails ready in their chests to travel. Odours of shellfish and salmon rising from marble counters in the pomp of the market defer to the palms ranged above. Masque in the Aquarium tank breasting the view floor up to roof where the skirts swish through the murk and sharks ride up and pass Sunday 6.30 Rev.
Handel Broadbent IF I BE LIFTED UP Indeed. If so he be. The phut and fall of a late firework. Where the Lugg between its alders wriggles and winds fed once for a season or two with the leached-out seepage driven down by the rain out of hundreds of corpses, some where Pilleths ghostly church squats on the dead, others across the cropped slope of Bryn Gls, buffered now with alien fir. The four Wellingtonias planted low down, late and pictorially as if hoping to settle the matter stretching their single dark plumes towards the ridge stopper the sightline along the valley and make us a view.
Two days since I heard you were gone suddenly in your forties and me still not quite eighty and hour by hour today with no whole word all the emptied patterns of your talk come crowding into my brain for shelter: bustling, warm, exact.
Youd be interested.
(for John Lucas)Trumpet-players, all too often beset by narcissism, heroism leadership, hypochondria the flourish, the pain of it all, call for our understanding and deserve it. But the plucky one had to be Eldridge. Even when no sound came out you could still tell what he meant.
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