camouflaging speakers,
a climbing frame lighting rig, a portable
orchestra pit. Neighbours talked about it
all afternoon, claimed indifference: the baby
to put to bed, something on the telly,
but by half-six, everyone was gathered
in their best clothes. Money changed hands
for seats in the front row, while at the back,
there was something approaching an insurrection
over whether one arse cheek means possession.
Quiet settled as the performance time came
and went, and nothing happened:
by seven-thirty we were restless and thirsty
and some fella started hawking cans of beer.
The first of us stormed the stage an hour later,
swaying slightly, ready to have a go at
an a cappella Swing Low, Sweet Chariot,
got a can to the cranium for his efforts.
That started it: an industrial speaker
was put through the butcherâs window,
a lily was rammed down the vicarâs earhole,
some kid made monkey bars of the lighting rig,
until it collapsed and smashed, setting fire
to the now obviously polystyrene pillars.
We finished up cracking the stage with our seats:
all in all, it must have made a sight
for the workmen who then came around the corner,
with their mops and brushes, their mirror ball heads,
speaking no English, whistling to themselves.
Holiday
Unable to sleep for the fourth night in a row,
I get up, say Fuck it, drive to the nearest hotel.
The receptionist looks twice at my pyjamas,
the hot-water bottle thatâs my only luggage,
but money is money, and business is business.
The room has a double bed and double pillows.
The walls are white; thereâs a carpet I wouldnât have chosen.
I fall asleep before Iâve brushed my teeth.
It works for a week. Then the porter
calls me by my name. At four that morning,
still awake, I look for the Gideonâs Bible, and find
my address book in its place. The final straw
is when I hear Room service! at the door.
Opening it, I find, holding silver trays,
my wife and daughter, my parents and my boss,
asking me if this is what I ordered.
On the Overpass
I like the one above the local bypass,
my parentsâ farmhouse lit up on the hillside,
traffic rushing under at all times.
Also, the fence is dead easy to climb,
the outside ledge just deep enough to stand on.
Donât worry. Look, Iâm always sure to hold on:
now with my right hand, now with my left.
I like that moment when Iâm teetering
and free. This is the second time this week.
I get so bored. Listen, hereâs a lorry:
it goes Woosh. Then the wind goes Wuh-huh.
Itâs too cold to stay up here for long, really,
but I like to make up stories in my head:
is this you, lovely boy, speeding your Corsa
towards me, your friend in the passenger seat
big-eyed, looking up now through the windscreen?
Acknowledgements
Some of these poems have previously appeared in 14, Agenda Broadsheets, Cannon Poets, Cheval, The Frogmore Papers, The Interpreterâs House, Iota, The Lightship Anthology 2, Magma, New Welsh Review, The North, nth position, Obsessed with Pipework, Orbis, Other Poetry, Planet, Poems for a Welsh Republic, Poetry Review, Poetry Wales, The Reader, Red Poets, The Rialto, Roundyhouse, Smiths Knoll, The Stinging Fly and The Warwick Review.
Some of these poems were included in a collection which won the Terry Hetherington Award in 2010. I am very grateful to Alan and Jean Perry, Aida Birch and Amanda Davies.
âEvel Knievel Jumps Over my Familyâ won second place in the Cardiff International Poetry Competition 2012. âGregory Peck and Sophia Loren in Crumlin for the Filming of Arabesque, June 1965â was commended in the Basil Bunting Award 2012. âBrothersâ won third prize in the Cannon Poets Sonnet Competition 2012. âHow to Renovate a Morris Minorâ won first prize in the Newark Poetry Competition 2012. âBampâ was commended in the flamingofeather poetry competition 2013.
The author wishes to acknowledge