Bolshoi Rehearsal

Photography: ©JStadnicki, ‘Studio’ 2018

 

53.2. Numbers blink, red dots on scales

show my thighs have grown

by two-hundred grams. I open the window.

Adverts for drama productions hang across skies,

a heavy woman squeezes against glass

to make room for me.

 

For lunch, I swallow crushed ice,

wood shavings, a full glass of tap water;

jump on the treadmill: thirty-eight minutes,

three-point-two miles, three hundred calories.

Lost two-hundred grams.

 

A neighbour rings, invites me to dinner

saying the man living at number four died

hit by a bus on the way to the gym.

He was 73 kilos. I am 53.

 

I stop eating protein, google public transport

routes, pick-up times for stones-pounds.

Every day at 9:45, a stout driver reminds passengers:

‘No hot food at the back. Only light snacks.’

 

Indoors. Drawing jogging maps

on steaming shower curtains.

Shampoo waves on my striped ribcage.

Sea splashes away in the bathroom.

Sand grains hide in my shoe.

 

©Maria Stadnicka, 2018

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North

Imagine we are in a train crossing the Urals,

leaning against the back door, watching

spirals of barbed wire spike up towards light.

 

Further, inland, somebody looking like you

climbs up the mountains’ vertical. On his back,

a box the size of your ribcage.

 

Full text, published in Stride magazine.

@Maria Stadnicka, 2018

Laureateship – Champagne Taste but Beer Money

Marx Reichlich (c.1485–1520) ‘The Jester’ ©Photo credit: Yale University Art Gallery

For over two days now, this business with who is going to be the next Poet Laureate has been in my mind. The matter is slowly gathering momentum. The search for a new ‘Nation’s Poet’ is about to start at the end of this week. Social and mainstream media are already speculating possible candidates and appointments. What used to be a process surrounded by secrecy, appears to currently aim for better transparency and diversity. Three days ago, the Department for Digital, Culture, Media&Sport with the Department of Education launched an expert panel to advise on the selection of the next Poet Laureate.

15 experts from all over the U.K. will be working for six months to identify the best poet the country has to offer and suited for such honours. One assumes that a governmental announcement means money; travel, accommodation bills, meals, drinks, commissions paid. Realistically, the named experts haven’t temporarily left their current jobs just to sit in a hotel for six months and debate  without even be paid. This is the case when a pope is elected, for instance, and even in such circumstances it usually doesn’t take longer than a few weeks. [Though, one must recognise, the longest papal conclave took over two years. In the 13thcentury. One assumes that modern times, with the benefit of instant and simultaneous communication, have made the selection much easier. It is the era when everybody knows everything about everybody else.]

The tax payer will gladly fund this laureateship race as the government was clever at publicising, with news of the new panel, the relaunch of the National Poetry Competition in schools. [September next year though.] Parents are, probably, enthused by this and temporarily willing to overlook the black cloud looming over the British arts sector with Brexit ahead. They would have long forgotten 7% budget cuts in the arts sector implemented in 2013. Only a week ago, the government announced a slight increase in budget spending for arts, though it does not reach over 5%.

Anyone noticed the arts are still in deficit, with some museums, libraries, theatres, cinemas in a desolate financial situation?

Six months expenses for 15 experts could save a community library, a cinema, an independent publisher, an old press, a centre for youth; could create poetry bursaries. And the list could go on and on.

And what is all this for? Five thousand pounds a year and a barrel of sherry, for the privileges that come with these? Or is it just for giving the country the sense of ‘normality’ back? For the ‘glamour’? At least one of the favourites, poet Benjamin Zephaniah, has made his position clear this morning, ruling himself out of taking the title.

This development brings yet another question into focus. A question about the relevance of a ‘poet laureate’ as a cultural institution driven by bureaucracy, promoted by bureaucracy and privilege, out of touch with our times and defined by an identity crisis. To add a bit of context, it is worth mentioning that there are  just a few countries which still have a poet laureate. Among them are USA, Canada, Germany, Serbia, India, Turkey, Somalia, Nigeria, Iran and North Korea. The number is even smaller when we consider the countries which allow a prime minister to get involved.

And, finally, if this is about the ‘nation’s poet’ as the government says, has anybody asked the nation? Maybe this appointment, more than others, should be done by referendum, considering we have become experts at this too.

©Maria Stadnicka, 2018

 

Further reading:

https://www.gov.uk/government/news/uk-starts-selection-process-for-next-poet-laureate

https://www.theguardian.com/culture/2018/oct/12/brexit-is-black-cloud-for-uk-arts-says-nicholas-hytner-national-theatre

https://www.bbc.co.uk/news/entertainment-arts-23060049

https://www.independent.co.uk/arts-entertainment/books/news/poet-laureate-2018-benjamin-zephaniah-shortlist-announcement-when-carol-ann-duffy-a8619896.html

Stroud Book Festival Poetry Night, 9th November, 7.30pm

The Stroud Book Festival is thrilled to once again be hosting an eclectic line-up of poets and poetry from Gloucestershire and beyond.

The first poet on the bill is multi-award-winning poet and broadcaster, Daljit Nagra, on Thursday 8th November at Wycliffe College, one of the festival’s splendid sponsors. Nagra, who was the first ever poet in residence at BBC Radio 4, will be reading from his latest book, ‘British Museum’, as well as earlier books, including the Forward Prize-winning ‘Yes We Have Coming to Dover!’

“He’s a marvellous reader of his work,” says Adam Horovitz, who will be introducing him on the night, “and his questing, questioning, witty and politically pertinent poems are well worth discovering aloud as well as on the page.”

On Friday 9th November, the Stroud Book festival Poetry Night offers up a wonderfully varied and immersive evening of readings, performance and music by a hand-picked bill of acclaimed poets, in two parts.

The first part brings together three poets with Gloucestershire connections: Kate Carruthers Thomas, Patrick Mackie and Maria Stadnicka. It closes with acclaimed Welsh poet and singer Paul Henry and will be compered by Adam Horovitz.

“On Saturday 10th November we’ll be celebrating the work of Gloucestershire poet and composer Ivor Gurney with a one-woman show starring writer and actor Jan Carey, to mark the 100th anniversary of the end of World War One,” says the festival’s artistic director Caroline Sanderson. “Author, Composer, Soldier-of-a-sort: The Life and Work of Ivor Gurney is fresh from an acclaimed run at the Edinburgh Fringe this summer and we are delighted to bring the show to Stroud.

“We round off our poetry programme on Sunday 11th November with a magical family event inspired by nature,” adds Caroline. “We hope that children of all ages will come and meet Frann Preston Gannon, illustrator of the poetry anthology I-am-the-seed-that-grew-the-tree.

“It’s a glorious new gift anthology of 365 nature poems for children, spanning over 400 years of poetry, and including the work of poets as diverse as William Blake, Roger McGough, Carol Ann Duffy, John Agard, Eleanor Farjeon and William Wordsworth. As well as a chance to enjoy the poetry-telling, Frann will be encouraging children aged 6 and above to create and illustrate their very own nature poem.”

How to book tickets:

In person: at The Subscription Rooms, Stroud

By phone: by calling 01453 760900

Online at https://stroudbookfestival.org.uk

Somnia

strange how bones hurt

at times of deep uncertainty

…a poetry master said…

… thinnest shields…

fragile body, when winter hits,

we firstly feel pain

with our teeth

 

 

©Maria Stadnicka, 2018

Hollow Wean

 

Dear Sir,

a beauty company sent me an email,

‘We win, you win’ it said, invited me

to purchase youth serum at half price.

There is something I hate about emails

sitting black on white on screen:

comma after verb easily mistaken for

philosophical pause or breath taken

when reading poems aloud.

‘Please, do not reply’

it carried on ‘we hope to see you again.’

I have a hundred things to do but

rush to the bathroom to see how deep

the line cutting my glabellar region

has grown since I last checked.

A fair amount I notice. Others joined

the frontal network, showing people

how much I’ve won in forty years

of living too small, dreaming too big.

 

©Maria Stadnicka, 2018

 

The Gift’s Legacy

Photograph: ‘Studio’, ©JStadnicki, 2018

 

It’s almost a week since I met the author Nikesh Shukla. He was a guest at University of Gloucestershire and he spoke to a group of Creative Writing  students about his journey in the British publishing environment. An inspiring story. The book he edited and published in 2016, The Good Immigrant (London: Unbound), is considered ‘an important, timely read’ (J.K. Rowling) and, earlier this year, convinced me to continue writing when I was at the point of giving up. Shukla’s project is convincing and relevant at more than one level. And not because he gives a ‘voice’ to a minority.

Shukla places the concept of ‘minority’ (in terms of writing) in relation to craft, ability and potency. In literature, we do not see the writer’s skin colour or accent. The name, as such, should not be relevant either. The only signs which should truly speak to us (and a writer should be judged against) are the words. Everything else is just context. I salute this discourse which shapes our conversation about literature and writing without falling into the trap of politics and polarisation.

Undoubtetly, it is important to look at demographics even if it is for their relevance in regional / national / global economic and infrastructural planning. However, in terms of art, one needs to move beyond this and discuss demography in terms of artistic relevance. In this context, the notion of migration is more fluid and it is not necessarily about statistics like ‘them coming here’ or ‘us moving there’. Migration is a human characteristic; one might call it ‘culturally enhancing activity’ and needs to be considered a natural phenomena. We migrate all the time and the technological development has a great part to play here.

It is refreshing to observe Nikesh Shukla taking this contemporary direction and promoting alternatives. You can read about Nikesh Shukla’s work, projects and books on his website.

©Maria Stadnicka, 2018