Robert Ford–Interview — The Magnolia Review

As well as publishing my poem “Little Grey Cloud” earlier this year, The Magnolia Review was also kind enough to ask me a few questions as part of their series of contributor interviews.

Suzanna Anderson, editor of TMR, has now posted the interview, which you can read by following the link from the original post below. I’m really grateful to Suzanna for giving me the opportunity to share a little of my experience as a writer.

Describe your creative space. Do you work at home, in public spaces, etc.? Although it sounds fun to have an office, shack or cave set up deliberately to facilitate writing, I don’t have one. So I write wherever I am, whenever I can. Which can be inconvenient. What kind of materials do you use? Do […]

via Robert Ford–Interview — The Magnolia Review

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Drawing trees

Drawing Trees


Drawing trees

 

I thought I was doing them properly, the way

you’re supposed to, crayoning out raw shapes

that were, if not quite exactly lollipops, then

certainly something lickable, perhaps clouds

of candy floss wound onto sticks, or ice cream.

I filled them in with a pistachio green to avoid

any ambiguity, ticking in a circle of birds above,

a butterfly the size of a moose. A sun, smiling.

 

Those, she told me would lose their leaves

in the autumn, spend fingerbone winters naked

and heartless. She didn’t say why. I didn’t ask.

Hers were drilled brigades of triangles, isosceles,

getting smaller towards the top of the page

to suggest distance, within which you could

see each and every Starbucks needle, every

chocolate-coloured cone a dangling reproach.

 

first published in Peeking Cat Poetry Magazine Anthology, 2017

Up at Nancy’s

Nancy's

 

Up at Nancy’s

 

You ruminate – as the wheels spin on a mossier stretch

of the cobbles – on how they’d never build a road like this

these days, all the way up the hill to where field and moor

merge indifferently into one another, where the improved

becomes the unimproved. They wouldn’t even build a house.

 

She’ll be long dead by now, of course, so there’ll be no more

of those illicit cans of sweet stout skulking in the refrigerator,

rubbing shoulders with the UHT milk cartons; no more

coal-black surprises coiled in the plastic commode for you

to deal with. No more memories of George, ‘God rest his soul’.

 

She’ll have stopped wondering what might lurk about the upstairs,

where she last went over a decade ago, when her knees

were still behaving; stopped smiling in that borrowed way

of hers, with those flawless dentures, that surely belonged in

someone else’s mouth. They never mirrored the eyes.

 

This property would benefit from substantial modernisation

bleats the brochure from the auctioneers. The images show only

the views across the dale on a high pressure, July afternoon,

and the centuries-old defiance of the stonework. Not the interior.

No mention of the ghosts you know you’d be sharing it with.

 

 

first published in The Interpreter’s House, issue 66, 2017

Saltmarsh thoughts #2

IMG_1493Niggling away amongst the thoughts and notes I collected recently up at the Solway estuary – in addition to those about careful observation, and where poetry comes from – have been some insights into what I choose to write about. And what I’ve realised is that no matter where I am, whatever I’m looking at, the thing I’m interested in is people.

This might seem like an obvious conclusion to reach, but wouldn’t always have been. I can recall a time – back when I first began writing “seriously” – when I was more interested in reflecting on what I would’ve considered “nature”, meaning land- and seascape where human beings were either absent, ignored or unwanted. I was always trying to look beyond people and lose myself in these places, or feel inspired by them with my ego at arm’s length, if possible (reliably not).

I find people and what we do far too fascinating now. I’m one of those irritating creatures you see in art galleries who – after about twenty minutes of wandering around – occupies the most advantageous seat in the biggest room and spends their time looking at what everyone else is doing. It’s not that I don’t like art. It’s just that I find our interactions with art and public spaces more intriguing. Admittedly, art is a human business anyway, but the ways people interact with and imprint themselves into landscape is of equal interest to me.

IMG_1524

I live in a relatively crowded country, where it’s pretty much impossible to find yourself in a landscape that hasn’t been engineered to some degree by humans. The Solway estuary is a beautiful place, but people have been living here for thousands of years – farming, fishing, mining, extracting whatever we need – and helping to shape it, for better or for worse. These days I’m far more likely to be drawn by traces and consequences of these activities, and find inspiration for writing there.

Three poems up at Stickman Review

Anthony Brown, editor of Stickman Review, has been kind enough to include three of my poems – “Driving around town, 2 a.m.”, “Eddie’s” and “In which you are still leaving” – in Volume 17, Number 1, which has just been released online.

Big thanks to Anthony for finding space for these three amongst some very fine poems indeed. I’d particularly recommend checking out David Lohrey’s “Saturday, the 19th or the 20th”.

 

Last view of the island

Islands

Last view of the island

 

The ferry banks, only five minutes out

beyond the stone corral of harbour wall

and into the channel, the broad crescent

of its wake painting plumes across the

glass of the ocean, engines humming a

rhythmless vibrato. Smoke funnels skywards.

Cars hunch like crated eggs on the lower deck.

Over the tannoy, our cheery captain announces

a bottlenose pod, surfing in the bow-waves.

My eyes lock over the stern, watching as

those grey mountains begin to melt on

the horizon, taking a lifetime to disappear.

 

 

first published in Red River Review, 2018

 

Hinterland

Hinterland

Hinterland

 

They say it doesn’t rain here much, often, but

when it does, canopies of merciless cloud snuff out

 

every last square of the sky, hanging about the fields

like a quarrel, forgotten without ever being resolved,

 

and empty themselves in angled swipes that paste

both barley and nettles to the red earth, bleeding into

 

the leather boots and loafers of commuters on trains,

who steam coolly in their seats all the way into Waverley.

 

 

first published in Southlight Magazine, 2017

An apology to Andrew Ford

An apology


An apology to Andrew Ford

 

As things stand, he is the bole of this unsteady tree,

the backmost reaching into the frail chain of records,

through the sporadic diggings of our research, and

 

I picture him taking the days of journey north from Devon,

by the old Roman road, possibly driving one of the carts

or wains he’d made, loaded with what could not be left,

 

bound for a place he’d only heard of, yet believed held

all the answers. This place, that kicked the light out of me

from the moment I could stand. Then every moment after.

 

The one I couldn’t wait to flee. Now the insistent hands of

autumn tear at the leaves, and the bough is close to breaking,

I have no way to tell him what I’ve failed to do, how sorry I am.

 

first published in Forage, 2017

 

The Argument

The Argument


The Argument

 

Sometimes it’s as though we’re cradling it,

nurturing it gently, nomads with a flame,

carrying it with us, between us, wherever we go.

 

How carefully we feed it when necessary:

a dry fist of kindling to make the sore,

red embers burst back into life again;

 

a brooding log to see us through the night;

the quick volleys of our breathing, spat as words,

the oxygen it would perish without.

 

 

first published in Shot Glass Journal, issue #22, 2017