A Final Note by Paulina Wilson

Well, he doesn’t care much for consistency with names, so I don’t see why I should. You know what they say about signifiers anyway. So, here, whoever I am, I am, all bright eyed & perky, ready to critique the whole bloody mess now so fortunately behind us.

And on what basis, I hear my academic friends ask. On the business of having been dragged through the whole briar patch, start to finish & beyond, that’s how. I’m no follower of any head cults – the fact this name was used to stand for that of a ripped apart toy dog indicates the problem, not a viewpoint – which was a difficult one on that occasion, I can tell you.

Let’s start negative, carrying on from Little Friend Sarah. The whole thing’s relationship to any other people than Our Poet, let alone to the many female people it mentions, is odd – there are acts of calling out to specific individuals, in some world outside the poem (hi there!), as family, friends, poets (hmm? maybe). Do you believe this? I hear nothing. These shouts are silent. These people don’t actually inhabit this poem as it lays its pretensions out. An interesting try, and we can’t blame the poem so much as its instigator. Personal not textual weakness here.

Within the poem, names occur & often recur (like mine and yours, Sarah). Do we have any sense of our existence? Are we used in a way which enables us to inhabit as human beings this space we’ve been put into? I haven’t experienced this. We can have another of your “cunning avant-garde tricks” again here – all demonstrably textual illusion. Yeah, yeah, yeah. Water offa . . . I tinks we knows dis one, squire. Indistinguishable though from wasted opportunities to deal with any higher order complexities than playground games with levels of meaning. There’s lots of stuff, yes, about people – but no people, just names there. No wonder the nearest approach to them is as vagrants, or unlikely revenants, scrambling up a Kentish beach, illegal immigrants in the populist fantasy.

So the whole political line trails off here also. A politics not based on actual living people is just what, to give him his credit, Our Poet warns us against. But if he can’t manage it either, you’d have to be a profound Adorno adorer to find this enterprise worth pursuing any further. He’s not writing an ideological critique of society & culture & poetry, he’s writing a poem (while occasionally indeed pissing worthwhilely on the pretensions of such critiques).

Utopia occurs in pieces, many of them so damaged as to be valueless (a C.A G.T. again). There’s cooking, a far more popular & useful art than poetry. There’s the consequent communal eating. There’s happy hippy child rearing. There are moments of communal action. There’s hanging around in various urban spaces. There are isolated but frequent pretty visual images (some entoptic). There’s a warm sticky cosy messiness of language, which, OK, at times is worthy of note. (Did you really not think that, Mr Veerses?)

Am I (were they?) (were you?) expecting too much from all this? If we think of what a poem can do, does this do it? Well, probably not much. It’s too long, with an excess of glutinous connective tissue produced by the ritual operations Our Poet compelled himself to engage in – a good way of cutting off personal responsibility. “You can’t criticise this, it really is a non human delusion set”: C.A-G.T.#3. It could have been either much more disturbing, a genuinely holothurian experience, or even more boring (also a genuine holothurian experience). I expect, in fact I know, he fiddled his rules too much. But the gamble which might have justified all this non neurotypical glossogenic apparatus failed to come off. The very existence of this piece of writing here demonstrates such, don’t you think?

Think of this then as the stake thrust into the defeated revenant’s heart to still & extinguish it for ever. Or the trepanger’s trident thrust into the bêche-de-mer & uplifting it into a dry & empty eternity. He, Our Poet, had thought (characterologically privileged information here) of a third sequence. Thank god (or whoever, whatever, nameless etc) that’s just not possible now. The returned dead of Old Albion shall be stuck here still, in Our Little Ingerlund (Prime Minister & Lord Protector: Msieur Farage, 1st Marquess of Thanet). The poem cannot prevent that one bit.

Can any poem prevent a future? This tries at times. As Paulina, I feel bound to advise you to take the notion of the recurrence throughout all history of the emergence of high status elites as a larger scale cycle than the class conflict process – dependent on wishful idealist thinking on Charlie Marx’s part. Where we end up is always determined by the application of coercive power, not any other factor. That’s pretty low level & obvious stuff.

So it may not lead now to “our completed expansion.” Whatever might, it’s probably not going to be a poem. It might be some of the emotional ideations invoked in the poem & mediated through its language – though such feelings can lead, & have led more often, to nightmare destruction rather than communitarian paradise. As Our Poet likes to point out, when state structures fail (like beginning now), power usually devolves to those best suited to grasp it – those most willing and able to steal & kill. Might be wiser to try & avoid that stage. And think too, my little friends, of what the 2011 Riots which lie behind much of these poems, & much maybe of your politics, actually achieved: a few deaths, a lot of broken glass, a temporary redistribution of trainers &c. Maybe some urban regeneration projects. And at the end free passes for police murder yet again.

But things are not unavoidable any more than avoidable. Migration, vagrancy, community coming into existence in resistance – OK, these too will exist & survive. Maybe we can applaud how this poem hymns them. That might be worthwhile. And some of the recipes are good. I like the mackerel & cabbage, and would make the Yuletide Pud (but not at bloody Xmas please!). Perhaps, as well, you may get some sense of a writing trying constantly to reinvent itself – following itself but open to (yeah of course, through mere symbolic sampling of) what is around it as language flux, image & ideation & as these drive the process on. C.A-G.T.#4. Some success, at times. Its instability & failure thus laudable. C.A-G.T.#5. Yeah, maybe too easy as much as too difficult. Mere tricks – like all the hard bought canting wisdom of the “socially rejected”.

Despite what he once said, I don’t teach. You learn, from what you will. Take it as you want. No more tricks but yours now.

95. Enochian Translation #6: “You get want I mean now?”

195old

Well, this is fun. I can remember last winter now, with all its crises unresolved. Don’t you? Nothing changed where we are, but after it all, something ridiculous had burst. This first verse is all about the problems of writing poetry in English; true language of the dead who don’t know it yet.

Things, as always, deteriorate, whether left to themselves or fucked up by us; no escape from out of here. The debris of all this, let’s call it culture. Think how desperately far we are from the beginning of time. Unfortunately, there is only this imperfect record of what has led us to this place.

Everyone hopes for personal survival – at the highest order only. They haven’t experienced it yet is the reason: everyone in heaven a princess, a bard, a warrior, a Red Indian chief – the high status elites have taken over eternity too. Stinking rotten mackerel the lot, minimal joy to them always, then off we go, as it’s Monday, again and again.

Are we turtles or men? mice or mandarins, or talking horses & bleeding heads? These compulsions must be uttered by someone, reader. Is it you? the Veer Book Collective (OK, lads, I forgive you & love you)? a small congregation of ale-drinking bibliophiles in Kent (& on our left . . .)? all the young poets in the basement room below (all slightly older)? Just voices then. The laws of avant-garde poetry must be broken up by now – please!1

 

 

1 More stanzas are given in some rather dubious MSS, which can be rendered thus:

92. At Our Back, Disordered Noise:

“children are responsibility, grandchildren our hope”

At our back disordered noise
things get unforgiving here, not helpful
oh children, children, children, are you redeeming
are you collapsing us w/ scarlet rooty-tooting
like the ending of all natural delusions
into need, demand, uncertain laughter
everything changing, yes, into itself & nothing
our bodies’ transformation into tapirs delicious
too much so
            we preserve no possibilities this time

no sense in here, little creatures, no
just infinite hunger & the remains of spittle
our enemies now huge and flaming
“these are ours and therein all that is”
let’s be waving at friends from the future
maybe laughter & perversity make a redeeming couple
glimpses of waterfowl pattering across the quay
what threatens the world will not protect these
only us with what heteroclite fragments
                                        best to use

just typical of this young world
lots of that pudding please
I miswrite here, OK –
like you disordered children
all her smutty fragments
oh Sarah I can’t stand it
just switch attention off the mess
then it’s all about speech
unusable & valueless
                     but a bit familiar to you then

91. A Recipe for Children

for you all

Little noisy children, then, aren’t
you nice?
          – just as you should be, yes
everywhere that we can think of
funny little creatures uncommitted yet
to all that crap we must believe & follow
adult masculine English, say
                             uncertain class & age
what commonplace delusions that you don’t
yet share
          of course now lots
totally fucked up & maybe even lost
but most alive & hopeful still
the future such a grasp of faith
actually here embodied
                       open & illuminating

So what do we need?
                    for more
little children to pass through
                                full
sometimes of life, sometimes of quiet
none of this easy & none of it a recipe
but what we’d need then is something like
                        an openness to your growing lives
                        & a way of adjusting all that is around
                        into your flourishing transformations
                        some sorts of food as varied & as comforting
                        as all that can be managed
                                                   & like too
                        spaces open and enclosed, full up & empty
                        you know, just every possibility
                        – someone1 needs to have produced these
                        & someone needs to carry this all on
                        somewhere to run & someone to turn to
                        softness & feeling totally assured
                        others just like when you’re bibbling & bobbling
                        & others totally unlike so you can learn good things
                                                        – whatever you need
                        time as well, to be on your own
                                                        staying engaged
                        & time to be caught up with others
                                                           a mad laughing mob
                                                           rolling down hills
                                                           little hills
                                                           giggling together
                        & words
                                good words attuned to you
                                           & about you
                                           engaging you in colloquy
                                           engaging you in nonsense
                                a constant gentle rain
                                language softened into mud
                                squidged up & scooped
                                                      all over you
                        & things for your bodies & things
                        for your eyes & things for
                        your ears & nose & your hands again
                        water & sand & mud & stone & wood & paper
                        plastic & metal & everything natural
                        & lots that is unnatural
                                                 stories & love
                                                 music & encouragement
                                                 peacefulness & challenge
                                                 & always
                                                          to listen
                                                          & to respond
                        Chinese feasts & barbecues
                        picnics & Christmas
                                            – all with as many others
                                              as you can gather
                        breakfast at Broadstairs or teatime in Coffee Corner
                        sitting on a sofa w/ everyone around or
                        just as many as fit
                                            on a mat out the back
                                            or even a large cardboard box
– this isn’t telling anyone
anything we don‘t know
                       but
just praising what is good
fall quiet now

Hullo?
       – are you alright?
this place needs noise now
needs everything said again
                            & done
whatever ceremonies are proper
that appear out of nothing
(like this whole ridiculous universe
                                     yes?
                                     & like us)
doing what you do to help the child
                     be what you are
                     & will be
                       a person
                       true person
                       playing yourself
                       as your self
                       just as you are
                       can be

This is
        a revolutionary demand I’d say
        to do this truly & fully
        rushing in as absolute & unforgiving
        like a sundog over Harlow2
        like the digging up of relics
        of who we could have been
        like a poem by Sean Bonney
        like an urgent summons
        on someone else’s phone
                                – oh my god it’s you
                                  that’s who they want
                                  you’re wanted now
                                  to help us all
make this much better
                                  if too late for us
                                  for all our children
                                  & yours for ever3

Thank you – this is
a start again to say
the same words really
(oh thank you constraints of form that chose me!
but I don’t care
                 – for what is good
we can say again & again
with no loss of balance, only
just to do better is a gain
our eyes will burn
unless we open them to this light
of the new world continually around us
utopian hope lurking even in unrented shops
& we risk losing it
letting the old drop onto it
suppressing it into what we are
actually bound here as we are
we think ourselves free still
we carers & we parents
we know that you must be
not as we are4
but as we could be
          should be
in a world that is as it should be
as nothing else will preserve our lives
                                & yours

[So much I must say, so much I must finish with, ending what isn’t a recipe, except as I say it is, disordered as late summer sun collapsing into autumn. We must dig out what we need from it, if we’re to get through the coming winter & you, our children, flourish – rooty-tooting like glad tapirs in an uncomplicated alchemy, changing everything we live within into what will sustain us, especially our children for ever. “Always a good time to rebuild, now,” we say, as we serve you this dish to enjoy & nourish

 

 

1 that is us, dear reader or dear audience

 

 

2 or Mortimer’s Cross or the someone else’s Bridge: cold & luminous anyway

 

 

3 The political is children; the psychological is children. Socialism is children. Everything else is profitable infanticide.

 

 

4 insipid ghosts

88. Enochian Translation #41

188 estrangelo treated copyNothing solid left to return to – that could be a relief. Everything that has happened is irreversible: it’s to do with entropy, rather than iussive poesis. Maybe the triumph of the bourgeoisie, turning out to be the zombie slaves of our new aristocracy (recte: kleptocracy). It is a return, but to nowhere. Think of it as being in hell forever.

Another thingy ran no process on. And what thingy was that? An improvisation of sorts. It can’t work any simple change: it wants the wonder of utter novelty, where something enters from the outside that isn’t there (they tell us). It is gross, disturbing, static in terms of here – in terms of there, a light, casual, generative verb: oh, to tapir, to gryphon, to bleeding head of a dog on a stick, to bird fly out & off at dawn, this dawn, the one that is now. An utter affront to the cryptic smear of events.

A homeless migrant out of nothing is all we are. There are no rights – only the duty of collaborative action to build ourselves a new home, preferably eternal. We’ve landed here, pushed off the boat, & struggled up through the mud & debris of this beach. The first thing we must do is hold a carnival on the quayside to celebrate we are here. Ignore the rain – rather, enjoy how our lights sparkle & waver. Such now is living.

What natural membranes outside to something? Think of sticky interfaces rubbing against your cheeks. It’s at the breaks & cracks, the splits & mirrorings, that something happens. Involutions of boundary layers establish new dimensions, new modes of being. These events form & multiply – OK? We are penetrated utterly through nothingness. What’s here, not here – what isn’t here haunting us & surrounds us. Time to dance thru the wet streets, each single one.

Always the same abased elements here – we don’t care. All our ideals are based on elaborate fakery – hunh? You want divine revelation? Only human, only ever human. Making it up as we go along – tauromachy upon the strand, incantations in the chambers, prayers & ale within the chapel. Bread of heaven, and the people’s beer. These the only materials we’ve got, here in Albion Street: up through the strait gate, turn left.

Again these brief warped children now. Who will they grow up into? Us, us and you. If you’re resigned to this – OK. Let it all breathe as the wind changes & we accept. A friendly cloud blots out the cruel sun. The children still play their violent games. Whoever survives shall be king; but the slaughterer will be the one remembered. It’s hard work, building a civilisation upon this brutish shore. The record is mainly one of massacres & betrayal: all the old giants, ones who’d helped us, put to death. Very well. Here we are. It’s never the right time or place or language. It’s what it is: one actual moment.

 

 

1 Out of the most vulgar of Old Sogdian, I’m afraid, and a very free rendering indeed. Translations do vary widely, especially as the MS is extremely worn & well-rubbed. There is a major alternative reading following.