Like miniature tornados rising up off the page, poems move energy. Working with words and sounds, they carry their readers, or listeners, into spaces which are new to us – hopefully without inflicting damage. By involving us imaginatively, and creatively, they open our consciousnesses to transformative alchemies. Or that’s the aim. For those of us who work with difficult materials, the reader or listener can of course decide how far ‘in’ they want to go, and how much of the created world they allow to come alive. When a poem has an element of catharsis, they can also choose if they want to become part of the shift this precipitates.
To explore how this poem/tornado process might take place, my second bird of winter podcast rides the energy flow of ‘sea level’, which came together on a winter trip to Naples. Specifically, I engage with how the poem imagines worlds to generate forward and upward movement. In this case, it’s from a place of suppression and denial towards a place of comprehension and healing, and from underground darkness up towards the light of day. If you’d like to listen to this as a podcast, with an optional prompt at the end for your own art-making, the link is here: https://youtu.be/pJLPHD5A2sE
If you’d prefer to check it out, developed for the page as an essay, please keep reading. The photographs are ones I took in Naples. As a word of warning – this episode mentions sexual abuse briefly, in the context of the weight of silencing that can arise from this crime, and its potential for continued resonance in our adult lives. I also explore how we can move beyond its heavy legacy towards reclamation. While I’ll be tracking the energy flow through the individual lines of ‘sea level’, to hear the poem from start to finish please follow this link to my recording:
For ‘sea level’s tornado to lift off, it needed both darkness and light. Real tornadoes require warm humid air, and cold dry air, to create the rotating updraft that leads to the formation of the funnel cloud. In this case, I wanted readers to feel the oppressiveness of the silence and denial that abusers, including my own, force onto children. These weights are carried by many of us whose experiences have been denied or dismissed. Having encountered them within the physical landscape of the poem, we can enter into the relief that arises when they are released, collectively, into an act of witness and reclamation.
Back in December 2018, the day before I wrote the first draft of ‘sea level’, (when I still had no idea it was coming to me), I’d visited the palatial Archaeological Museum, in the grimy heart of Naples. The city’s soundtrack is a symphony of car horns but the tight street grid in the old town dates back to Roman times. Extraordinary finds, from statues, to frescoes, to objects from daily life including a charred cradle, were excavated from the volcanic rock that covered the ancient city of Herculaneum. Key items are displayed in room after room, alongside equally dazzling, moving, and mundane, treasures from the neighbouring city of Pompeii. They make you feel as if time is melting and you no longer know quite where you stand.
While Pompeii was covered with ash that was relatively easy to shift when Vesuvius erupted, four metres of molten volcanic materials settled into solid rock over ancient Herculaneum. To rediscover the city, the original excavators had to tunnel down, partly below the modern town of Ercolano, at great personal risk from poisonous gases and cave-ins, beginning during the eighteenth century. Reading about them, and seeing old illustrations in my guide book, called to mind my own painful, stumbling, sometimes dangerous and destabilising, process of excavating my childhood memories. I embarked on this in my thirties, during the 1990s, with the support of a skilled psychotherapist.
Those same childhood memories were moving in the shadowed corners of my thoughts as I walked around the museum, trying to take in as much as possible, and then explored the tiny shops and tight backstreets of Naples while dusk came and people started to congregate in bars and cafes after work. While most people think of December in terms of holidays and celebrations, for me it marks the anniversary of when the penetrative sexual abuse began during my childhood, in 1972. I was eight and a half. With my abuser, who was my mother, I’d just moved to a small village in Wiltshire following the death of my diplomat father. Even decades later, whenever I can, I go abroad briefly at that time of year, to reset the light in England, which can intensify the return of flashbacks and nightmares.
Despite the Southern Italian location, the night after I visited the Archaeological Museum, I woke in the early hours from a dream of being held down in the darkness, as had happened when I was a child. Lying in the dark hotel room, cold and scared, the feeling the dream left me with, after a day of imagining the still largely buried ancient city of Herculaneum, and then walking Naples’ shadowy, narrow twisting back streets, somehow led to the phrase “there will always be the city/ beneath this city charted by no one” dictating itself. This became the first two lines of ‘sea level’. I was thinking of Herculaneum. I was also articulating my own underground memories, nestled beneath the surface of my daily life, but swimming up to its surface again in the crack in time that the December anniversary had opened.
Jotting the words down, on a bedside scrap of paper, but also opening myself to the energy I could feel rising up, I next heard “where column of stone tears/ cling to the ceilings.” As a child, I could neither cry, nor cry out, in bed beside my abuser. When you visit underground cave systems, the stalactites and stalagmites can seem like frozen ghosts, caught momentarily in the electric lights of the present. I knew these stone columns were my own emotions, unarticulated and unacknowledged, until my thirties – when I first started to thaw and allow myself to re-experience them with professional support. Brittle and dangerous until that point, they had hung within me like unwieldy stone daggers, triggering panic attacks and flashbacks, as is the case for many peoples who have experienced trauma. But the image was by no means exclusively sad. Stalactites are also objects of great beauty. Crystalline structures, created from dripping water, they sparkle when illuminated, and make visible the accretions of time.
Seeing the lines on the hotel notepad, I felt again that tornado of energy rising within them, driving the narrative forwards. What came to me next was an image that called back the lost inhabitants of my imagined underground city “whose people were once/ lost or vaporised/ their houses and temples/ buried and forgotten”. This of course happened historically to the citizens of Pompeii and Herculaneum – whose lives we now know in considerable detail thanks to the works of recovery undertaken by archeologists, and scholars. Within the carbonised cradle, the feather-light residue of a baby testified to his or her former presence. In Pompeii, archeologists pour plaster into voids left in the ash where bodies decomposed, to cast out the shapes of the people who fell trying to escape Vesuvius.
By the end of 2018, when I visited Naples, I had begun to share the poems which were my own creative acts of recovery. I was also being mentored by Pascale Petit under the Jerwood Arvon scheme. Through the responses I was receiving from her and other people, I knew that by writing about my childhood, the spell of denial thrown over my own life was being undone. This also happens when other denied and buried histories – including those of enslavement, persecution, and genocide – are recovered and documented.
Writers including Primo Levi, who recorded his experience of Auschwitz, and the long journey home, and Toni Morrison and Maya Angelou, who make work in response to the histories of enslavement and racism, and the impacts of colonisation, were integral to my own process of giving creative testimony, as was Pascale Petit. Also crucial to my ongoing sense of possibility have been works of exploratory witness from contemporaries writing alongside me including Bhanu Kapil, Sandeep Parmar, Isabelle Baafi, Romalyn Ante, Jenny Mitchell, Rachael Allen, Rachel Long, Caleb Femi, Will Harris, Nina Mingya Powles, Troy Cabida, Arji Manuelpillai, Karen Smith, Natalie Linh Bolderston, Holly Pester, Ralph Webb and Cynthia Miller – to name only a very few.
Carried forward by so many powerful examples, scribbling in bad handwriting by the streetlight coming through the gap in the curtains, I felt myself caught up into the process of collective reclamation and voicing. This was the journey of the poem, from darkness to light, from silence to noise. As it took hold of me, with the Bay of Naples moving as a wash of liquid blackness beyond the town, I heard “let these people who are my people/ enter your lives again”. What had been denied and pushed down was rising up now in a way that made me think of a different set of tunnels altogether.
These were the tunnels under the Sicilian town of Ortigia, that I had previously visited with Pen, the younger of my two adult sons. The town has existed since classical times, and its main church is made from a former Greek temple, whose columns are still visible within the walls. Ortigia’s deep network of tunnels were used over the centuries for rituals, burials and shelter, including from bombing during the second world war. They formed places of safety, as we discovered during a guided tour. Going underground in the town square, the musty, twisting passages emerge from darkness into the light of day at sea level, where the white gold rock of the island meets the turquoise waves. It was this memory which informed the next lines – “and hope will shaft passages/ up through the bedrock”. The photograph I chose for the YouTube podcast was taken on that holiday. Being with my own son, by the iridescent waters of the Mediterranean, was in my mind as the last lines of the poem came to me, as you will be able to hear again.
‘sea level’ moves from suppression and denial, into life and community, ending “until we swim free/ within the breathing harbour of morning”. The double sound meaning of its final word – morning – holds within it an echo of the sorrow and loss which is also part of the process of the poem. It gives the journey into the light an element of circularity, echoing the circling of energy which is also integral to the formation of a tornado. Those of us who have known difficult times will recognise how this circling can be manifested in the return of memories and anniversaries of the sort which kicked off the poem for me. While such a legacy is not easy to carry, I understand that it forms the foundation of who I am as a person, and as an artist, and has become one of the deep energy sources that fuel my work and my political consciousness.
If anything in this blog has been difficult, the Mind website has valuable links.
If you would like to read more about bird of winter please go to the page in this blog, where I explain its background, or follow this link to Pavilion Poetry’s website: http://bit.ly/birdhiller.
If you would like to try out putting your own journey poem or artwork together, the following prompt may give you a few ideas.
The first stage of putting your own journey poem or artwork together will be to think of an experience, feeling or memory which will be your starting point. It doesn’t have to be taken from your own life, but it should be something that you can potentially travel beyond to a new place, physically, emotionally, geographically or conceptually. This is what will give your work its forward motion and form its primary energy source.
In my case, the journey was from my child to my adult self, from a crime taking place to its anniversary many decades later, and from an individual, silenced position, to a collective act of witness. Be careful if your explorations start to feel upsetting for any reason, and plan beforehand how to stay emotionally safe. You might want to have a friend you can connect with, or a helpline you can call, or another form of support.
The next stage is to select your recording materials. You might want to write on a sheet of paper or in a notebook, or type into a new document on your computer, or speak into your phone using a voice memo app. All are equally good. Once you’re ready, set a timer for five minutes, and then write, or speak freely, and without censuring yourself, about the starting point of your experience. What you’re looking to capture is the emotional mood and colour of the subject, rather than any formal description. Rough jottings, phrases, and images are great.
The next step will be to repeat this writing or recording process for another five minutes, envisaging and describing the place where the journey travels to. You could do this straight after, or you might want to leave it until another day, week, or even month. Sometimes poems and artworks come quickly, but other times they reveal themselves to us more slowly and gradually. When you’ve got the two sets of material, combine them into a single document, so you can see how they sit together.
Beyond this, or alongside the process, you want to start thinking about a physical terrain across which the emotional journey of your poem or artwork can realise itself. In my case, it was the double set of tunnels in Herculaneum and Ortigia, which became a single joined underground landscape. They could be landscapes you know personally, or ones you have experienced either online or via film or television or books. They could be from the past, or the present.
Once you have identified your landscape, or landscapes, you want to generate some words around them. If they are nearby, maybe visit them with your phone to speak into, or paper to write on. Otherwise, spend some time just looking at them online or in books. As you’re engaging with the landscapes, notice the feelings and ideas that come up, and again jot down phrases and images. Do it as a timed session if that’s feasible and helpful. As before, be careful if this starts to feel upsetting for any reason, and plan beforehand how to stay emotionally safe.
The final step will be to bring together your two sets of words and images – about the experience, and the landscape – in a way that makes the journey of your poem or artwork travel forward through time and across geography to its place of arrival.
Good creating – and thank you for reading. Please sign up to the blog if you would like to be notified of other bird of winter podcasts and materials, and writing and interviews more generally on the topic of working creatively and transformatively with difficult materials.