poetry

PAD/ 017 – for god’s sake, we must stop this coloured invasion

| Sheree
Stop the Coloured Invasion Protest Meeting, Trafalgar Square, London, 1959. Taken from Black Britain: A Photographic History, Ed’s. Stuart Hall and Paul Gilroy

a white banner shifts against Nelson’s Column, ‘KEEP BRITAIN WHITE.’

a bright white suspension of unwelcome and hate

ladies and gentlemen with heads turned up as if taking direction from God himself, listen to the message

from a man, on the platform, with Union Jack legs

as if whiteness and rightness runs through him like quickening sap/

the threat is real murmurs through the crowd/ a gathering searching for answers to stop the invasion

let me enter the scene/ from the extreme right/

let me mingle at the back/ near the man in a flat cap

let me feel the heat of the air/

let me sense the crackle of fear in their white, wholesome bodies

my body would be one of those coloured they want to stop

my body would be one of those aliens they want to exterminate

but what they don’t care to know is that this body belongs to a love evangelist

who’s at pains to show them how love can save us all

if only they’d part their ways and let me through

PAD/011 – Carnival, 1976

| Sheree

Each August Bank Holiday weekend,

Notting Hill’s West Indian community 

celebrates Caribbean culture. Calypso.

Crates of records. Stacks of speakers. 

Reggae, ska, groove, and samba 

vibrations of Carnival.

Mid parade, sweaty bodies wining

bodies growing, red stripe flowing. 

Pure joy seen as suspicious. 

The boys in blue are sent in, in force.

Black batons meet black arms, legs and heads.

Slicing through bodies like cutlass through cane. 

Cutdown revellers hauled into hospital 

or prison cells. Carnival; a unique

expression of love of self, freedom 

and resistance. Therefore it’s spirit

has to be demonised and destroyed.

PAD / 010 -trying to love your two mothers is a dangerous game if you have to put your life on the line in the name of justice

| Sheree
Black Britain: A Photographic History edited by Stuart Hall and Paul Gilroy

PC Gumbs, London’s first black policeman
image 09/09/68

My mother says to rub vaseline into my neck
and the collar, to stop the rub; soften the wool.
They say make sure you wear the white bands on your arms,
otherwise they’ll only see ya teeth in the dark.
Only good enough to direct traffic, they roar with laughter.
Brillo pad hair. Toilet set lips.
I say nothing. I recognise the privilege
to wear serve Queen and country.

They say I’m a coconut, sell out, slave
to the white man and Babylon.
They do not spare their vitriol against me.
I survive in the liminal spaces, in the shades of grey.
No one admits the fight has to be from within.
The ranks have to unfiltered by difference.
My mother brought me up on wishes
from velvet green isle;

always with an eye and heart on the other mother.

My birth mother is proud even if this adopted mother
chooses to turn her back, allowing my brothers
in blue to kick the shit out of me too.

PAD/007 – History Repeating Itself

| Sheree

“There can be no repetition because the essence of that expression is insistence, and if you insist you must each time use emphasis and if you use emphasis it is not possible while anybody is alive that they should use exactly the same emphasis.”

“That is what makes life that the insistence is different, no matter how often you tell the same story if there is anything alive in the telling the emphasis is different.”

Gertrude Stein—from “Portraits and Repetition”

the sky feeds us continuous greys and harsh words from ugly white mouths, and yet we enter the frame

clasped hands in lap or right hand on chest, like in allegiance, mouth forced upwards as best clothes stiffen backs and resolve;

a practised pose, easy to send back home as proof of promises made good, mother country come good, it’s expected

the camera will point and lie for generations; the flash will blind us, to our naivety, to their hate and ungratefulness

PAD/005 – Protest

| Sheree

Cinnamon sky rumbles
as electric clouds jag
over glass shop fronts.
Scarlet waves fire street

corners, claiming them forever.
Coppers and politicians
worry the faultlines
left behind.

PAD/ 004 – We are here, because you were there

| Sheree
Magnolia Tree

In pursuance of the powers vested in me by section 32 of the Police Act 1964, I, Right Honourable William Whitelaw, one of Her Majesty’s Principal Secretaries of State, hereby appoint the Right Honourable Lord Scarman to inquire urgently into the serious disorder in Brixton on 10 to 12 April 1981 and to report, with the power to make recommendations. *

Stories keeps being told, this is a tolerant country. It’s official.

Britain is tolerant, fair and just. There isn’t a race problem. Never was.

People who are different are treated the same. Tolerated. As long as they don’t make a difference.

Small minorities are accepted as long as they stay small.

Get to ‘swamping’, and then these minorities become a threat.

They start to threaten the whole fabric of the superior British characteristics.

Tolerance, liberty and civic duty. Values out the window, when the nation’s anxieties are raised.

Fear. And the country’s doors are closed.

The drawbridge raised.

Their shields are driving them back.

* The Brixton Disorders, 10-12 April 1981, Report of an Inquiry, By the Rt. Hon. The Lord Scarman, O.B.E, November 1981

Reading Poetry Too

| Sheree
Filling My Pot

Writing comes from reading, and reading is the finest teacher of how to write.

Annie Proulx

April is National Poetry Month. Yes and as I’ve mentioned a good time to write poetry. But for me writing and reading/ reading and writing goes hand in hand.

Not only am I inspired by other people’s words, I’m invited into other worlds, internal and external worlds. Possibilities around structure, themes, ideas and voices are opened up for me.

Reading feeds my soul. Something I forget from time to time when things go awry ( I love that word ‘awry’. I first came to this word through Lucille Clifton’s poem, ‘Signs’).

You see what reading can do to my writing? Introduce new vocabulary. Expand my horizons. Make me smile.

So along with the writing this month, I’ll be reading poetry. I usual read at least one poem a day, after signing up to Poetry Daily , a few years ago now and not unsubscribing as I have in the past.

Add to that one poem a day, collections of poems, whole book collections and then you’ve got yourself a sweet honey pot of inspiration and ideas and joy.

So look out for the poetry I’ll be reading and sharing here over this coming month.

Today, I dive into Katie Marya’s debut collection, Sugar Work, which came to my notice through Poetry Daily, with her poem titled, ‘A Response to the 2018 IPCC Report’.What I loved about this poem was how issues about the environment through the report were being looked at from a slanted angle. Through our bodies and babies and families and friends. How in order to see what we are doing to the planet it has to come to our doorsteps, our bodies first. But of course we are all connected.

I’ll let you know what I think as I go on with Marya’s collection. I’m looking forward to diving in.

PAD/001 – A Month of Poetry

| Sheree

Happy April. Time for showers, blossom and light. Oh and poetry.

Forsythia

As I mentioned last week, I’m honouring National Poetry Month with the challenge of writing a poem a day.

I’ve set myself this task many times over the years, and I’ve always been amazed at the creations along the way. Poems have emerged onto the page that I didn’t even know were in me and needed expressing.

So today I come to the page with an open heart and a rough idea of the themes or issues I want to explore. But who knows with the creative process. Anything could happen.

Anyway day 1 – PAD/ 001

Trying to understand “the difference between poetry and rhetoric”

After Audre Lorde

The contested site of black settlement in England

is shrouded a heavy fog of amnesia. The wrong colour,

the wrong body, the wrong sound.

Read the history books, you’d think we just landed

the day before last. 400 years of being here, lost

in the mire, weighted down with size 10, Dr. Martens.

Like transplanted birds of paradise, West Indians

struggled to put down roots. Alien soil. On corners,

skylarking and limin’, jobs, homes and a little bit of peace

denied; harsh whispers on the bitterly cold wind.

The contested site of black settlement in England

is captured in stills. Images speak for themselves.

Black faces filling the frame; black blooms pressed

against hothouse glass. But still an absent presence in failed memories.

Black Motherhood, Conjure and Poetry

| Sheree
Wallpaper created for A Country Journal of a Blackwoman(Northumberland)

I recently talked about the coming of April and how more poetry would be appearing on here as I attempt to ‘play with words’.

You can not imagine the delight as well as confirmation I received this morning while reading an article for the commissioned essay I’m writing at the moment around (Black) Motherhood.

A bone of contention with me is when I see the words ‘mother’ and ‘motherhood’, even though I have birthed children, I do not see these terms applied to me. ‘Mother’ and ‘motherhood’ come with the connotations of white and whiteness for me.

Test it yourself. Be honest. When I first mentioned ‘mother’, what image came to mind for you? If not a white woman and child. I’ve seen image after image of the idea of motherhood, the natural beauty of ‘The mother’ and nine times out of ten the image is of a white woman and child. As if a Black woman is not/ cannot be seen as a mother, even though a Black woman is the source of the whole human race. Go look that one up!

Anyway, I’m going off topic here ( but not in terms of the hybrid essay I’m writing for the forthcoming special Demeter Press collection, The Mother Wave: Matricentric Feminism as Theory, Activism, and Practice (2023)).

Reading this article this morning, ‘ Conjuring the Ghost: A Call and Response to Haints’ by drea brown, there is a mention of poetry lying in the body, coming from that dark place within where our true spirits lies hidden and growing, argues Audre Lorde. But poetry is also our way, Black people’s way, or theorising and making sense of things. Through our stories, narratives, riddles, poetry; playing with words and language, we not only gain an understanding and reimagining of our lives but these are also tools of surviving.

As Black women, speaking from my lived- experience here, through our creativity, through our playing with language in such a spirited way, we enter in the process of not just theorising and strategising but also self-making and through this practice passing this on to others. Passing on this power to others. It’s what we do, have been doing through time. Starting with the mothering we do of ours and others babies