Released on May 15th … this is so, so good.
1989. The year the wall came down. Tiananmen Square. Exxon Valdez. A year bookended by George HW Bush becoming president and Ceausescu being deposed. I remember watching the latter in my grandmother’s house in Portchester Road, as we went there most Christmases. Such. A. Long. Time. Ago. So much has changed. Yet so much hasn’t.
Today’s book from my bookshelf is a case in point. Published in 1989, Peter Reading’s Perduta Gente, with its’ central theme of homelessness is as relevant today as it was then. Perhaps more so, after forty years of the sham of trickle-down economics, and the last ten years of austerity. Even after the magical thinking and ridiculous economic self-harm of Brexit, the UK is still the sixth richest country in the world.
A famous quote from Mahatma Gandhi springs to mind here: ‘the true measure of any society can be found in how it treats its most vulnerable members’. So how do we stack up here in Britain? How do we treat our destitute, our disabled, our ill? We vote for Boris Johnson. We vote for Boris Johnson. We vote for David Cameron. We vote for the rich getting richer. We vote for those who come down hard on asylum seekers. We vote for those who want to commercialise the NHS, who cut funds for social services, welfare and education. Well enough of us do.
I’m not going to try and understand why people vote the way they do. I’m sure that many who vote Conservative are compassionate, caring and kind individuals. However, as Reading states;
Don’t think it couldn’t be you –
bankrupt, batty, bereft,
huddle of papers and rags in a cardboard
bottle-bank cocktails and Snow soporifics,
beg-bucket rattler, no-hope no-homer,
squatter in rat-pits,
busker in underground bogs
(plangent the harp-twang, the Hwaet!
Haggard, the youthful and handsome whom I
loved in my nonage;
vanished, the vigour I valued;
roof-tree and cooking-hearth, sacked).
Bankrupt, batty, bereft –
don’t think it couldn’t be you.
Peter Reading was born in Liverpool in 1946, and was educated at the Liverpool College of Art. After graduating he taught for a few years before obtaining a job as a weighbridge operator at an animal feed mill in Shropshire – where he remained for 22 years until he was sacked for refusing to wear a uniform when a new owner took over. He liked the work because he said that it gave him time to think.
He was a prodigious poet – writing a total of 26 collections. These collections were unusual because they were fashioned more like novels with themes and plots and often featured: characters, newspaper cuttings, letters, found poems, crossings out, different type-faces and pieces of prose. The poems that did appear were often untitled. He once said: ‘The concision of poetry appeals to me, but the novelist’s job – big-scale serious tackling of things, as in Dickens and Smollett – is something I try in a smaller way to get into what I do.’
The above two paragraphs were taken from this biographical post on the Poet’s Graves website.
Perduta Gente is filled with anger, power and compassion. As with his other work, it’s a mix of untitled poems, prose pieces, snippets, collages of newspaper clippings and headlines, and handwritten diary entries;
Some of the poems are written in the vernacular of the street, or at least in Reading’s interpretation of it. I think this is a way to try and bring their voices and experiences to life.
gizzera quiddora fiftyfer fuggsay
tellya da missiziz fugginwell whatnot
afer da nackerup arm
I’m not sure how well they work, compared to some of the others here, but they broaden the scope and language in what is a relatively short collection.
Incidentally there are no page numbers in Perduta Gente. It is a book that is not meant to be read in any particular order. You dip in and out. It is unstructured, rootless, a collision of styles and formatting. Which fits well with the subject matter.
One thing I have tried to do with my weekly blog posts is illustrate the sheer range of poetry available. I know a lot of people who say they don’t ‘get’ poetry, it doesn’t speak to them. My reply is that they just haven’t found the right poet yet. As for Perduta Gente, It’s safe to say that if you are looking for gentle, easy reading, lyrical poetry, then this isn’t the book for you.
Newspaper, wrapped round the torso between the
fourth and fifth jerseys
(night attire proper for doing a skipper in
under the Festival Hall),
carries a note to the Editor, from ‘Ex-
Soldier’ of Telford,
outlining plans to withdraw
DHSS cash from those
Wound round a varicose indigo swollen
leg, between second
and third pair of trousers (which stink –
urine and faeces and sick),
Property Pages delineate bijou
The house prices may have increased, but so has homelessness. Where is the anger? Why are we so accepting of this?
Perduta Gente is out of print, so if you want a copy you’ll have to pick one up secondhand. You won’t find it on my bookshop.org page.
You can, however, listen to an audio recording of Perduta Gente here;
What do you think? Do you prefer poetry that is less angry, less politicised (in the small ‘p’ sense of the world), and conservative (in the small ‘c’ sense)!. Or should there be more writing like Perduta Gente being published now? How does what you’ve read here compare to the contemporary poetry you see in magazines, online publications and new collections and anthologies?
And for those of us who write poetry. Do we take enough risks with our own writing, with the subject matter, language used or poetic form and structure? What if we don’t want to? Does it actually matter? Can it actually achieve anything? Maybe that’s something for a future post.
I enter very few competitions, but will be entering this one as it’s for a great cause. Any other writers / artists / creative types out there, please consider doing the same, thank you!
The Great Cre8 is an arts competition run by the Society of St James who support those without a home.
Entry fees go directly towards their vital work.
Anyone reading these poetry bookshelf posts will have seen that I haven’t, as yet, written much about any of the canonical poets, those who everyone says are the best, the most important, those you must read to get a proper understanding of poetry.
The truth is I’m a little intimidated about doing so. I know that it will expose my lack of reading, my lack of education (I only took English to O Level at school – as part of a misguided career plan to become a surveyor). I have therefore, never properly studied literature, and so have huge gaps in my literary knowledge.
I could, in theory, study for a masters degree, since I eventually got a BA in Humanities, focussing on History or Geography, but due to government funding cuts for higher education that avenue is no longer open to me. I don’t have a spare £10K lying around that I could use for this purpose.
Whilst it’s not a huge issue for me personally, it’s worth thinking about all those other people whose life choices have been shrunk because of this. Not just in literature, but in music, theatre, art. The last ten years of Conservative Party led austerity has been at the expense of the opportunities for so many people to learn new skills, to open their minds to different ideas and experiences, whether for career or pleasure. But we all know that by now.
As an aside, I have to assume that anyone who votes Conservative is perfectly happy with this, as they no doubt must be with austerity policies in general. Still at least the national debt has been reduced significantly since 2010 (allowing for Covid of course). Oh wait.
Anyway, enough of the rant. Back to Shakespeare. I bought this book because I am reading at an event celebrating his birthday next week, and I wanted to choose a suitable poem or sonnet. Apart from the really obvious ones, (Sonnet 18 for example) , I haven’t actually read many of them.
Are they all equally brilliant? Clearly not. But how do we judge what is, and what isn’t good? How much of our assessment is based on our own prejudices, and our own reactions to the previous assessments and criticisms of others? There’s an interesting article on the Poetry International blog which goes into this – it’s about the apparently much unloved Sonnet 145. You can read it here.
I’ve chosen Sonnet 50;
How heavy do I journey on the way,
When what I seek (my weary travel’s end)
Doth teach that ease and that repose to say
“Thus far the miles are measured from thy friend.”
The beast that bears me, tired with my woe,
Plods dully on, to bear that weight in me,
As if by some instinct the wretch did know
His rider loved not speed being made from thee.
The bloody spur cannot provoke him on
That sometimes anger thrusts into his hide,
Which heavily he answers with a groan
More sharp to me than spurring to his side,
For that same groan doth put this in my mind:
My grief lies onward, and my joy behind.
I picked this sonnet because of my own ambivalence towards Shakespeare whilst growing up – we were taken to see some of the plays from quite a young age, usually RSC productions, either at Stratford or the Barbican. I can’t remember much about the ones I saw, though I’m sure this has no reflection on their quality. But I associated going to the theatre with the disintegration of my parents’ marriage. Looking back I’m pretty convinced that it was subconsciously also the reason I chose to take A level Maths , (which I failed), instead of English.
A good few years ago I wrote a haiku which appeared in Orbis Magazine;
On being taken to watch Akira Kurosawa’s version of Macbeth for my twelfth birthday when all I wanted to do was go to the football
deceit and hubris
lead to lengthening speeches
Obviously the whole poem is a joke – haiku’s don’t have titles and my parents never took me to see Macbeth, nor any Japanese film versions of it, but there are undercurrents of truth – about family break-ups, about how we are sometimes blindsided by our own interests and passions to what others want, and how we can over promote something to the point that it can have the opposite effect on those we are trying to share it with.
I suspect this is why my wife doesn’t appreciate Portsmouth FC, Tangerine Dream’s challenging early 70s music, or for that matter the complete back catalogue of Black Sabbath. Though as I sit here listening to Iron Man on this sunny spring morning, I do believe there is still time for her to change her mind.
I think this may well be the first poetry blog post about Shakespeare that also references Black Sabbath. If you know of any others please do let me know!
As it happens I found my own way back to Shakespeare through Akira Kurosawa. I saw the incredible Ran, (his version of King Lear), at a near-empty cinema in the West End of London shortly after it came out. It’s a mind-blowing film that is really worth watching on the big screen if you ever get the chance. There’s a good review in the Guardian of the 4K restoration that came out in 2016. It’s one of my favourite films.
And here’s the official trailer for the film;
Anyway, back to Shakespeare. Sonnet 50 is one of a pair. Sonnet 51 reads as follows;
Thus can my love excuse the slow offence
Of my dull bearer, when from thee I speed:
‘From where thou art, why should I haste me thence?
Till I return, of posting is no need.’
O what excuse will my poor beast then find
When swift extremity can seem but slow?
Then should I spur, though mounted on the wind:
In winged speed no motion shall I know.
Then can no horse with my desire keep pace;
Therefore desire (of perfect’st love being made)
Shall weigh no dull flesh in his fiery race,
But love, for love, thus shall excuse my jade:
‘Since from thee going he went wilful slow,
Towards thee I’ll run and give him leave to go.’
Obviously both poems are about leaving and returning to a lover, but there’s much more to them than that. You can read far more detailed analyses of these poems elsewhere – far more detailed than you are going to get from my ramblings at any point!
The Oxford Shakespeare The Complete Sonnets and Poems does have notes on each sonnet, helpfully shown on the page opposite that of the sonnet itself, along with a 158 page introduction, so this may be all you need, but if you are after something shorter, about say a particular sonnet, then there are plenty available online.
As a starting point should you be interested in finding out more, here are a couple of short ones for each sonnet. There may well be better analyses out there, but these also give suggestions for further reading.
I have come to appreciate Shakespeare’s work far more than I did when I was younger. Maybe I just needed time, to go on my own journey. What about you? As for the sonnets themselves, what do you think of them? Do you have a favourite? I’m still reading through them so any suggestions would be very much appreciated.
Please let me know in the comments.
Actually the same applies to Black Sabbath, Tangerine Dream and the films of Akira Kurosawa. We are all still learning, there’s always something new to see, to listen to, something we have somehow missed. Last week I listened to Tangerine Dream’s Atem, which is a sonic exploration of the history of the Earth in reverse. It’s the album before their most well-known work – Phaedra – and so despite being championed by John Peel on it’s release in 1973, tends to be ignored today. I thought it was brilliant.
I hope you’ve enjoyed this rambling blog post. Most of the books mentioned in My Poetry Bookshelf are available on Bookshop.org – I have a page where they are all saved. If you do buy anything from this page then I’ll make a small amount of commission from each purchase, which goes towards the running costs of this blog. Last time I checked I had made £6.30 in total, so it’s hardly making me rich, but it all helps!
Today, April 10th 2021, is the thirtieth anniversary of the sinking of the Portsmouth based scallop trawler Wilhelmina J.
Wilhelmina J, a 26m beam trawler left Portsmouth on April 9, 1991, to trawl for scallops in the English Channel near fishing grounds known as Horseshoe Bank. But at 2am on April 10, the vessel was involved in a collision during foggy conditions with MV Zulfikar, a 142m Cyprus-registered cargo ship.
All six members of the Wilhelmina J’s crew were lost.
The six men who died were; Jeff Alan Venters, Michael James Bell, Mark Warwick Fitz, Christopher Clifford Thomas, Guy Ransom Davies and Matthew James Hodge.
Their names are on a plaque in Old Portsmouth Fishermans Quay, a memorial in the Old Portsmouth cathedral and a plaque in the Bridge Tavern pub.
I didn’t know any of the crew, but wrote a poem about the sinking a number of years ago. It’s based around the marine accident report summary of what happened that night.
It is one poem in a long sequence of poems, (currently unpublished), themed around my running the perimeter of Portsea Island whilst training for marathons – the circa 16 mile run goes past the small fishing harbour where the Wilhelmina J was based. I thought now was as good a time as any to share it here (it was previously published in South Poetry and on the Places of Poetry website.
I read the poem at an event in Southsea and someone came up to me afterwards saying they knew one of the families who had lost someone, and asked me for a copy of the poem (which I gave them, obviously), so that they could give it to them. I can’t imagine that it helped in any way. But maybe it did.
My thoughts today are with the families of those who were lost. I can only imagine what they have gone through over these years, what they are going through today.
I’ve posted a link at the bottom of this post to the donation page for the RNLI who, whilst they couldn’t have done anything in this case, save hundreds of lives each year around our shores. I raised money for the RNLI the first time I ran the Great South Run. It’s a charity I have a lot of time for.
it is the small decisions that count;
to rely on assumptions,
to check all frequencies
make sure your lookout is on watch,
to see a shape in the swirling dark
in the shifting canvas of fog
a series of coincidences
of misunderstandings and mistakes
this damp wool-blanket of a night
heavy on ship and water alike,
names on a plaque in the Bridge Tavern
in the apportioning of blame.
running past a pile of lobster pots
a chiller trailer and fishing boats,
the time to think of giving in
to aches and pains of inconsequence,
the point to pick up your heels
and live life fast as long as you can.
If you wish to support the work of the RNLI, please go to;
A very quick post to let you know that a recording of me reading my poem ‘Pieces’ , which is about, and for, the NHS team at QA Hospital in Portsmouth, is being aired on BBC Radio Solent tomorrow, between 12 and 1 PM tomorrow.
If interested, you can listen via 96.1 and 103.8 FM, DAB, FreeView or via the BBC Sounds app.
After Bird in Hand was published on the Football Poets website, it got a mention on an article on the Write Out Loud website. Which was nice. The article is primarily about Torquay United’s poet in resident. I wonder if Pompey have one? Perhaps I should offer my services…you can read all about the Bard of Plainmoor here
There’s a link in the article to a recording of me reading Followers, plus three other poems at the Write Out Loud Woking’s monthly zoom open mic – I wasn’t aware it was going to be shown on Youtube – I might have had a shave beforehand otherwise! Not the best readings I’ve ever given, still struggling a bit with technology, but anyway, they are available to view if you have a spare 5 minutes and nothing better to do…I know we’re in lockdown, but still…
Six viewings so far – including one by me, so whoever you are, thank you!
There’s a second Write Out Loud Woking article specifically about the Football Poets website which is definitely worth a read – it’s an interview with one of the founders and covers a brief history of a website that is now archived by the British Library as a site of excellence in 2008. It’s the largest football poetry website in the world. You can read the article here.
The football poets website is at
New poems there every day – so it’s always worth a look if football and poetry are of interest – I notice that the most recent poem is by Greg Freeman (of Write out Loud Woking, and the author of both the articles referenced in this post) – The Battle of Hastings, as Summarised by Roy Keane – I shall enjoy reading that one later!
Right, back to the day job!
…a quick further update – I have just heard that Bird in Hand has been accepted for the next edition of West Wilts Radio’s poetry programme. It will be going out at 4 PM on Sunday, 28th February. Link to the programme and previous episodes here;
A very brief post this morning. I hope, if you are reading this, that you managed to have a happy Christmas.
I’ve not posted anything in December. Reason being, apart from watching the slow-motion car crash of Brexit negotiations, that I got hit with a rather large site-hosting increase charge. So I was strongly considering ending this blog.
Then I received an unexpected windfall from some shares I have held for around 20 years. Rather than buy a half-bottle of Chateau Yquem (one day, one day), I have decided to keep this blog going for another year.
I need to develop it properly. It won’t just be about my thoughts and writing, and will (hopefully) be more consistent and planned in the future. I have a few ideas for more regular features which I’ll try to develop.
If you are reading this and haven’t followed me yet, please do so – it will help me to gauge whether it really is worth it in the long term – and feel free to comment on any of my posts. It’s nice to know I’m not just spouting off to no-one at all!
Have a good day!