In conversation with David Caddy

It has been a privilege to be part of it. Tears in the Fence Poetry Festival gathered this year a multitude of diverse and poignant poetic voices and discourses. With a challenging theme – The Politics of Engagement. This created an opportunity for new paths of poetic inquiry as well as an opportunity to explore the concept of art / poetry as a dynamic and potent channel engaged within, not removed from, the current socio-political issues.

This is a snapshot from the discussion with David Caddy, the festival director. A conversation which looked at the tridimensional concept of a poet as a:

  • curse – he assumes the duty to observe the reality of current socio-economic developments and creatively responds to its imperfections.
  • marathon runner– he is preoccupied with expressing his vision through  long-term exploration of linguistic possibilities. Further, he identifies tensions between his conscience and the world.
  • subversive weapon – he recognises the artist’s responsibility to challenge complacency, to question authority and to, finally, place himself at the heart of what one defines the transformative power of change.

With many thanks to David Caddy and Tears in the Fence group and magazine.

And so many thanks to so many new friends: Valerie Bridge, Morag Kiziewicz, Gerald Killingworth, Peter J. King, Charlie Wilkinson, Steve Spence, Melisande Fitzsimons, Clive Gresswell, Aidan Semmens, Norman Jope, Mike Duggan, John Philips, Jo Waterworth, Camilla Nelson, Ric Hool, Sarah Alice, Nancy Gaffield, Anna Powney, Mandy Pannett.

Look forward to a bright future.

 

Landscape

Photograph ©John Stadnicki

 

 

 

 

 

 

Another midnight storm washes away the cold poetry
born at the top floor.
I balance my whole weight
on long words;
frozen stones on my tongue.

I count the mistakes god has done with me,
just to pass the time.

The violent rain hid a blind dog
inside my very bone.
Here, upstairs, both of us in the same body,
awake and hungry,
listen.

 

©Maria Stadnicka, MMXVII

published in ‘Stride’ magazine, available here

Measurements

 

Photograph: ©John Stadnicki, Calais, August 2017

In Calais. Two years have passed since my visit to the ‘Jungle’ camp. Now demolished. Without migrants. And I get to measure time in a different way. Not as a linear construct or development or progress. In such matters, ‘time’ is not an objective concept. Time is measured in memories, stories which have been told and then forgotten, wasted. In Western political terminology, time is the dissociation from tragedy combined with the hopeless expectation of a historic healing. It is anonymous, evanescent. And so are thousands, millions across Europe and beyond.

Photograph: ©John Stadnicki, Calais, August 2017

Gallery

Shadowlands

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Perspective

 

Photograph: © Maria Stadnicka

 

From afar,

the poetry,

big fat bottles on a kitchen shelf.

 

A collection of colourful glasses,

with human hearts

preserved in salted water.

 

Movement

Photograph ©John Stadnicki 2017

 

If we want the world to move forward,

we must hold hands. Documenting the pain and the joy,

on the same page,

with water, with fire, with ashes

not with ink.

 

Freedom means nothing when the healthy and the sick

eat at separate tables.

Even the trees sit together. They know that life is actually simple.

But once people renounced their entitlement,

it will take more than a revolution

to reclaim such a right.

 

For too long we took the wrong turn.

 

What kind of world is this if

the madman tells us that

we should be ashamed of ourselves?

©Maria Stadnicka, 2017

 

Published today in International Times with illustration produced by Nick Victor.

Stand out

Someone has to. It is easy to follow along. It can feel strange to do or say something different. But without that unease, there is no freedom.‘ (Snyder T. ‘On Tyranny, 2017 )

Photograph ©Harry Oliver / Instagram @harryowns

Sounds

Mixed media: Maria Stadnicka – ‘Sounds’

History vs People

Photograph: @John Stadnicki