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Showing posts with label John D Robinson. Show all posts
Showing posts with label John D Robinson. Show all posts

Wednesday, September 23, 2020

New Release: John D. Robinson The Dirty Sacrifice & Other Stories (Alien Buddha Press, 2020) 177 pages

 


John D. Robinson's first collection off short stories The Dirty Sacrifice & Other Stories will be published on 2 October 2020 by Alien Buddha Press. 

To loosen up your taste buds for Robinson's graphic take on working class life in the UK,  here is his title short story. WARNING: the story contains some adult themes:

THE DIRTY SACRIFICE

Sophia awoke in a cold sudden start: she looked around the small room, not looking for anything in particular: she lay there churning over the events of the past three months: things got bad and then worse.

Three months ago, Sophia was let go as a supermarket attendance for continued lateness and frequent episodes of sickness absence. She had pursued half a dozen jobs: she’d prepared herself endlessly for the interviews and on each occasion came away feeling positive only to be informed the next day that she hadn’t been successful: she all but gave up on trying to secure some employment: she didn’t have the energy or motivation: drive, she’d always had pushed, but maybe somewhere along the line it had been lost or taken from her.

Sometimes, for three or four days, she’d lay on her bed all day, barely moving, allowing the constant chatter and images to stream through her mind. She barely ate or drank on such days. Other days, she would feel lighter, warmer, wanting to engage with the world outside. She’d call friends and relatives and arrange to meet for coffee or for some drinks in the evening.

In three weeks’, time Sophia’s rent would be due: she was already three months behind and knew that if she didn’t pay at least two months’ worth she’d be out on the streets. She sat upright and smiled to herself, she then shook her head, dismissing the idea, but again and again throughout the remainder of that day, the ideas kept returning. She knew of the Red-Light district and had only walked through it during the day, when it was relatively peaceful and calm, she had never ventured there during an evening.

The first night she felt like an intruder in a world where she didn’t belong, a voyeur: she looked at girls sitting behind windows, dressed only in their slinky underwear, pouting and waving at the passers-by, the girls who worked the streets, dressed in cheap and sleazy short skirts, close hugging tops and high heels, faces painted with a permanent smile: she watched as the girls would approach the slow kerb crawling vehicles and see them climb into the back and disappear into the city traffic. Over the next four nights Sophia began to relax and had begun to receive acknowledging smiles or nods of the head from a few the street-girls.

The next night she was approached by a big set man, smartly dressed in a sharp suit, as they were passing, he said, ‘Hi, take this!’ and thrust a business sized card into her hand. Sophie tried to smile but couldn’t and put the card quickly into her handbag and continued with her walk for the evening.

Sophie was looking at herself in the full length wardrobe mirror: she hardly recognised herself: a very tight fitting white top and a bright red mini skirt and high black stiletto shoes, face powdered and subtlety painted, she laughed out loudly at herself and then puckered her lips, she was ready to go.

She walked by a couple of the girls and found herself a place to stand and leaned as seductively as she could up against a street lighting column: within several minutes she was approached by a tall menacing looking guy, dressed in smart street-casual wear, his hands and wrists covered in expensive gold jewellery. 

‘What the fuck do you think you’re doing here?’ he barked at her.

He had startled Sophia and it took a few moments for Sophia to catch her breath, she was about to respond when the man cut in with ‘Who do you work for?’ all the girls here on this street work for me, you understand? There ain’t no fucking freeloaders on this fucking street: I take thirty percent from my girls, I protect them, keep them busy, now I’ll ask you again, who the fuck do you work for!?’

Sophia shook her head, not able to utter a word to this aggressive asshole.

‘Well, look, you either work for me, or you can fuck-off and if you don’t, fuck off, I’ll have you taken off this fucking street! You understand me? I’m not going to fucking repeat myself!’ he spat on the ground and then looked hard at Sophia, who nodded her head silently, turned and walked away.

Back in her room, shaken and a little disturbed by the confrontation, she sat on the edge of her bed and wept quietly: in two weeks’ time she’d be homeless, she wouldn’t be working the streets but living on them: she looked up into the mirror and watched as the thin streaks of mascara slowly trickled down her cheeks: maybe, she pondered, that she should go work for that asshole, but something inside strongly refuted this option: fuck him: she moved from the bed and into the kitchen and pulled a bottle of wine from the fridge, she filled a glass with ice and then poured a drink and sat at the kitchen table, gazing out of the window into the hopeless night.

After the third glass she felt loose and relaxed and suddenly remembered the business card that passing freak had shoved into her hand, she grabbed her handbag and found the card.

‘Rio’s is a private adult club: exclusive clientele:  Female erotic dancers always wanted: call this number and ask for Max’

Sophia’s poured another glass and reread the card: erotic dancing: pole dancing: lap dancing, strip-tease burlesque: she pictured herself dancing suggestively, gyrating and smiling and pouting before the audience of the lonely, the curious, the desperate and perverts, of the sexually frustrated: faces dressed in business suits, glaring and staring at her whilst wild pornographic images saturated their minds. Sophia felt slightly aroused by these thoughts, poured herself another glass and replayed the images: ‘Ask for Max’ she said out aloud and giggled. A club environment would be safer than the streets, and she wouldn’t be sexually sacrificing her body for money, she decided that she’d give Max a call tomorrow.

Max sounded warm and friendly, if not a little smarmy and arrangements were made for Sophia to visit his office and discuss her interest further in working for the club: The office was within a seedy two storey building, hidden in the back-streets, surrounded by factories and warehouses.

‘Have you ever done this kind of work before?’ asked Max as they sat at a coffee stained table.

‘No, I haven’t’ replied Sophia.

Max was a man of short stature, clean shaven and suited, but his head looked out of proportion to the rest of his body, giving him an almost cartoon like appearance: ‘That’s not a problem’ said Max : ‘This a private club, the membership is very expensive, any number of public figures will be in attendance on any given night, the customers are strictly prohibited from physically touching the dancers. Any business between a dancer and a customer must be outside of the club, I couldn’t give a fuck, but any such shit inside the club and it’s an instant dismissal. You’ll get paid $150:00 per night, that is giving two performances of about 15 minutes each: you’ll work about three nights of the week. A great deal of money can be thrown onto the stage and the club gets forty percent of this, if there is any suspicion that you’re deep-tanking any of this money, it’s instant dismissal, is that all clear?’ Max asked looking at Sophia.

‘Yes, I think so’ said Sophia, nodding her head.

‘Have you any questions?’ Max asked.

‘When can I start?’ Sophia asked quickly.

‘Okay, I’ve got to see what I’m hiring, strip down to your underwear, leave your shoes on’ said Max coldly.

Sophia stood up, she was prepared for this, she slowly unbuttoned her blouse and draped the garment over the back of a chair and then slipped out of her mini skirt, revealing a black lacy bra and a tight pair of black thongs.

‘Turn around’ said Max and Sophia did so and that feeling of arousal began to rise again.

‘Okay, okay’ Max said enthusiastically, ‘You can get dressed now. You have two days to learn the moves, the routines, the rules of do and don’ts, for these two days you’ll receive half-pay, how does that sound?’ Max said, grinning.

As Sophia reached for her blouse and mini skirt and began dressing, she said ‘That sounds fine.’

‘Good okay, be at the club at eleven o’clock tomorrow morning, good evening’ said Max.

‘Eleven o’clock’ said Sophia ‘Okay, goodnight’

As Sophia exited the building she felt jubilant, successful, she’d be earning money and the potential to make a lot of money in a relatively short space of time: she could literally see her world turning around, she again felt light and flowed with an energy and a vibrancy that she had almost forgotten and she floated home with a future in front of her.

Sophia found the dance routines easy to master, along with the various stimulated sex acts that permeated the routines, the other girls remarked that she was natural, but they probably said that to all the new girls.

Quite naturally Sophia was somewhat nervous and anxious that first night: she looked around the small dressing room to see some of the girls snorting cocaine, she looked away at up at the wall clock, any moment now. The cheers and applause took Sophia by surprise as she stepped onto the stage but she overcame this quickly and settled into the seductive, provocative, sensuous routine: she could sense the burning eyes, the anticipation building behind those eyes, she could sense the excitement, tense, strange and somehow magnetic, infectious, something she couldn’t ignore and was captured by it: when she removed her bra, cupping her ample breasts in her hands, the room fell almost silent, a pulsating quietness that exploded when Sophia exposed her breasts and removed her skimpy panties and slowly walked across the stage and then returned to the centre and turned around, her back to the customers, and bent over, touching her toes and parting her legs a little: the onlookers went wild: all around her on the floor came crumpled notes and a thundering round of clapping and cheering and whooping: She turned around once more to face the audience and finish her time: she saw two guys sitting side by side, masturbating and sat two rows behind them, she saw the ugly fuck-face of her creepo landlord, who was punching the air and screaming out her name.

As she walked from the stage, the security guards gathered up the money that had been thrown onto the stage. Seeing her landlord had unsettled Sophia a little, she didn’t know why, it was none of his fucking business what she did to earn a wage and it reinforced her sense and perception she had of him. This was all quickly forgotten as Sophia entered the dressing room: ‘Well done! Well done!!’ the other girls cried.

Sophia had two hours before her next stage appearance, she sat quietly for a short while but there was too much activity and noise within the dressing room to think and reflect clearly: she decides to take a stroll around the block, grab some fresh city air and clear her head.

Sophia stepped out of the club’s back exit/entrance: it was a beautiful clear night, a lazy half-moon hung from the heavens: she felt good, right now, the world was a good place, not cold or distant, but within her hands: As Sophia rounded a corner, she saw a vaguely familiar figure walking briskly towards her, her urge was to turn around or cross the road but she kept on walking:

‘That was a great performance Ms Parsons! said her landlord, a squat overweight bald man in his early sixties. 

The exhilaration drained instantly as she looked at him, she didn’t know what to say but managed ‘Oh, thank you’ and then began to side-step him and continue her walk: he blocked her pathway, perspiration rolling down the sides of his head:

‘Perhaps, not the right time to mention your rent arrears, but, there are other ways you can settle the debt, you have my number’ he laughed nervously and stepped back to allow Sophia to pass. The thought was initially, utterly repulsive, hideous and an insult but as she walked she toyed with the idea: it certainly wouldn’t last long whatever he had in mind: she’d be shedding the debt and saving her home for the time being, a small but dirty sacrifice, something that she knew wouldn’t stay with her for too long.

Sophia made her way back to the club: she gave a second performance that bettered the previous: the stage, the paying onlookers, were all hers, this time and place belonged to her and despite seeing her asshole landlord in the audience again, she felt a sense of power and liberation, like she was invincible, she felt like a giant and she began to feel aroused: here she was at home, on stage, the spotlight of attention: as she was finishing the crumpled notes began to fall all around her:

Max came into the dressing room with a wide grin: ‘Sophia, you are something! I’ve never known a first night like it!! With your wage and what was thrown onto the stage you’ve made four hundred dollars, he extended a hand holding a wad of notes: ‘I’ve taken my cut of course’ he said: ‘You’ll come back in three night’s time?’ Max asked.

With a slightly trembling hand she took the money: she’d never earnt so much money in such a short space of time: 

‘Yes’ answered Sophia, placing the cash into her purse. That was easy sleazy money she thought as she waited for a cab to take her home: if she could make a similar amount of money in three day’s time, her financial crisis would be over.

Sophia was a little troubled, unable to relax when she got home: she could hear the cheers and applause, she could see the two men masturbating, she could see the money falling like big snow -flakes on the stage, it was an experience that she had nothing to compare it to: she had enjoyed it, she undressed, lay on her bed and pleasured herself before finally falling asleep.

Although Sophia had no grounds to make judgments about her landlord, he had always made her feel uneasy when in his presence, nothing sinister, but his over friendliness and flirtatious mannerisms gave Sophia the impression that he was a lonely lecherous old man, albeit, a wealthy one.

The following morning, Sophia made the phone call, she could hear the surprise and excitement in her landlord’s voice: he gave her his address and plans were made for Sophia to visit early afternoon.

It was a large imposing two storey property with a long driveway and was surrounded by well-kept lawns and gardens: he answered the door in a dressing gown and welcomed her inside: he was unusually quiet as Sophia followed him upstairs to one of the bedrooms: Sophia wanted this dirty sacrifice to be over as soon as possible so she could get the fuck out of there.

‘I’m not going to hurt you, in fact, I’m not even going to touch you’ he said sitting on the side of the bed: Sophia stood before him, breathing lightly and looking around the beautifully and tastefully decorated room, scattered and adorned with expensive objects and paintings:

‘Okay’ said Sophia frowning and feeling a little puzzled as to what was happening here and then she remembered the rent statement card in her handbag and with an air of confidence said ‘Okay, before we go any further, I’d like you to sign the three outstanding months I owe.’ She handed him the card and a pen and with a shaking hand he signed the document: ‘What would you like me to do?’ asked Sophia:

He looked at Sophia before saying: ‘I want you to lift your skirt and masturbate over the top of your panties, after you’ve climaxed, I want you to stuff your wet panties into my mouth, I’ll then, give you something to read aloud, I’ll be lying here on the bed.’

Sophia nodded her head, almost smiling, as she placed the rent card into her handbag: she lifted her skirt and began stimulating herself, she closed her eyes tightly and let her imagination take over and within two or three minutes she climaxed: she slipped off the panties.

‘Here, take this’ he said, handing Sophia a very old hand written letter and then she pushed her panties into his mouth as he lay back on the bed and then she began to read aloud the letter: it was a beautiful heart-rendering, heart-breaking letter written over forty years ago: as she read the letter she could hear him breathing hard and writhing quietly around the bed: the letter written by a young lady, tells of her torment that she must emigrate with her family, she knows that they will never see each other again and that she will carry this pain forever, such love never really dies, she requests that he move forward and finds himself a happy life: on a couple of occasions , Sophia’s voice broke and cracked at the emotions, the sentimentality and the heart felt warmth of the words, it was quite beautiful.

Once she had finished reading the letter, she placed it upon a bedside cabinet: he lay still, sweating, her panties still in his mouth: she turned away and walked out of the bedroom, down the flight of stairs and out into the world: the fresh air was sweet to taste: the world, was once more, in her hands as she walked the streets with steps of exuberance and promise.


The book is available here: https://www.amazon.co.uk/Dirty-Sacrifice-Other-Stories/dp/B08JB7CGBQ/ref=sr_1_1?dchild=1&keywords=the+dirty+scarifice+%26+other+stories&qid=1600678333&sr=8-1-spell

Tuesday, April 30, 2019

Book Review: Doug Draime FIRE ON THE MOUNTAIN (Holy & Intoxicated Publications, UK, 2019) 32 pages


The latest Holy Intoxicated publication features the posthumous poetry of the late, great American poet Doug Draime (1943-2015). The poems were selected by his wife Carol and his son Aaron in this special limited chapbook edition. The book follows the publication of Farrago Soup (Pedestrian Press, 2016), a major retrospective of Doug's poetry.

 In Fire On The Mountain you will find a wide mix of content, form and style amongst the 36 poems in the collection. The chapbook predominantly combines political poems with highly personal anecdotes. Also included is a reflection on Draime's writing life ("Tit ForTat, Or You'll Find Out Who Your Friends Are When You Need $5"), a song parody ("Poem, Love Me All The Time") an Animal Farm fragment ("One Connected And Disconnected"), a creation myth/allegorical poem ("Dragons On The Cliffs"), a philosophical exploration into the notion of reality ("Forming Words Inside And Outside Time", an alternative historical take on Christ's crucifixion ("This Side Of The Mystery/Game") and many other interesting experiments in language and subject matter.

In the political poems, such as, "Slaves Of The Harvest", "What It Is, Man!", "24 Hour Surrender", "For The Movie Star Who Wants To 'Help'", "Professing Love", "Poems For A Political Poet" and the rant "Offing Uncle Sam", Draime deeply expresses his rage, frustration and disgust at humankind's stupidity, insane greed, callousness and hypocrisy.

The powerful poem "Insanity of Peace" is perhaps the best of his political poems in the chapbook. Draine expresses a scathing appraisal of our ability to find a lasting peace. Our apathy, our misplaced faith in our leaders and the worship of "false prophets" greatly diminishes our attempts to achieve  peace.

Yet the poem's message can be read as positive and transformative overall. To move beyond our "continuing nightmare-movie", Draime implies that we need to dispel our illusions and to realise that peace is more than an abstract notion, and is possible, if we act:

Insanity of Peace

We wait for peace in hunched anticipation,  
believing it will somehow come from somewhere, 
at some future time, someday, maybe a Monday.

We wait in pulsating anxiety, ready to lunge forward 
to grab it hard like the proverbial brass ring on the 
spinning merry-go-round we think is life.

We look to our “leaders” hoping beyond hope that
someone will come along who doesn’t lust to cut

our pathetic throats and sell our blood for the stagnant ethers.

We look everywhere in the world, anywhere in the world.

We franticly thumb through thousands of books of false prophets.

We elect liars, butchers, and idiots who worship war, not peace.

We dream it will be brought about by some bloodied hero of our continuing nightmare-movie.

We think that peace will occur in some abstract manner outside ourselves, separate from our own thoughts.

We search for peace in our brutal illusions where peace can never be found.

(all poems have been published with the permission of the publisher)


In the chapbook, you will also discover several intimate, personal poems written about the poet's family, friends and casual sexual encounters. I was especially drawn to anecdotal poems which revealed his joy in experiencing everyday events- watching South Park with his step-grandsons and laughing their "asses off"("Possible Signs Of Life On Earth"), observing tongue-in-cheek, a robin crapping on his lawn ("A Bird's Gift") and quietly watching a woman place flowers around the house ("A Flower For You On Savage Creek Road").

Draime is clever and sensuous in describing intimate relationships. Memorable are the poems "Drinking Wine With A Beautiful, Raving Lunatic", "Dream On Christmas Day", "Memory Of A Place I Have Never Been With A Woman Who I Never Knew", "Sentimental" and the micro poem "Memory of Love Dying".

Perhaps of greater depth and complexity is "Sex With The Hippie Palm Reader" about an encounter the speaker, presumably Draime, had with a palm reader in the early 1970s. What makes this poem immortal is not only Draime's erotic descriptions of the fling but also the associations which the poet draws 25 years after the experience to reflect on the lives of starving artists in general and his own "desperate poverty, even homelessness."



Sex With The Hippie Palm Reader

Now, looking down at the palms of my hands,
I remember one day in the early 70’s
when I was full of mescaline and
marijuana, a beautiful young woman

read my palm. She was high too; and I 
remember the lovely curve of her
inner thigh as her flowered dress rode up 

when she moved forward on
the chair, holding my right hand and she
moved closer and her breath was slightly
garlic, but mainly Scope mouthwash and was hot
on my palm. She told me many things, pointing out
the lines on my palms which indicated them.
I disregarded most of the predictions and openly
laughed at one.: she said I would always be
dependent on other people for money, that I would never
have any of my own. At the time I had a good job running
a bookstore, and pocket change from writing.
But now, I think of the hard times over the last several years 

in Oregon. and I can’t help but think of Dante, Chatterton, 
Poe, Hamsum, Miller, and St. Peter, begging for a crumb of bread,
unable or unwilling to secure a livelihood through their own
efforts, because of their passion, because of their
obsession, because of their worldly perceived
unworthiness, because of the their undeniable destiny.
I thought of these men and I thought of
my former homelessness, remembering her grim forecast,
as I studied the lines of my hand,
as I remembered her dress ridding up on her further
and my hand on her moist warm upper
thigh, and I remember her closing her eyes and shuttering.
And now, nearly 25 years later, yes, there has been
desperate poverty, even homelessness,
but I know that the
big picture on that day was sex, dizzy and frantic,
on the floor between our chairs, not any lines on my hand or

knots on my head. There was just her lovely face
and supple body, with the deep, wet lines of
her vagina, spelling out our destiny for an hour
and this memory.


The cover is designed by the Swedish artist Janne Karlsson, a long-time collaborator of John D. Robinson of Holy & Intoxicated Publications and Wolfgang Carstens of Epic Rites Press. The front cover is minimalist in an abstract, symbolic way. In the foreground a candle burns brightly crowned by crossbones. In the distance there is a black mountain in which a small window appears to observe the candle. 

Towards the end of his life, Doug Draime struggled with lung cancer and a few of the poems allude to death, particularly in the final poem in the collection "This Side Of The Mystery/Game" begins:

Death is the bottomless pit, a ravenous
beast that
gets us all in the
end.

Yet Doug Draime lives on through his poetry and in the rare didactic poem "Existence" he points to the reader how we should lead our lives:


Existence

The lesson 
of this
is to 

prepare 
yourself 
for the 
light
to wake 
from the 
nightmare.

The lesson 
of this is to 
give up
the bloodied 

ghosts of 
your
own 
creations.

The lesson 
of this
is to
let the 

demons go 
watch them 
fade
back
into 

nothingness 
like 
phantoms.

The lesson 
of this
is to
bust out of 

your
shackles
into bright 

limitless 
creation where 
death
is no more 

because
it
never 
was.

The lesson 
of this
is that 

love is
the only 
thing that 
perpetuates 
the breath 
of spirit, 
love
being the 
only 
vehicle
of your 

liberation.

In Fire On The Mountain, Draime Draime shows that he is a witty, playful, deeply human poet. His work is original, highly varied and he seamlessly weaves between the mundane and the big issues: love, politics, time, poetry, death. 


Check out Doug Draime's official website where you find a wealth of information about his writings and where you can buy Fire On The Mountain & some of his earlier work: https://www.dougdraime.com

Buy Farrago Soup: Selected Poems by Doug Draime (the Pedestrian Press, 2016): 

Wednesday, December 26, 2018

New Release: John D Robinson & Joseph Ridgwell The Lost Future In A Pair Of Blue Eyes (Holy & Intoxicated Publications, 2018) 30 pages


This is the latest Holy & Intoxicated publication by UK poet John D Robinson. It combines his poetry with that of the London writer Joe Ridgwell. The title derives from Ridgwell’s poem The Lost Future In A Pair Of Blue Eyes in which he describes in mythic terms the arrival of a son.


The chapbook opens with a series of twenty interlocking vignettes by Joseph Ridgwell in which he poetically documents the rise and fall and the aftermath of a relationship with “Anais”. Asked recently as to whether his work was based on real events, Joe candidly replied, “As always, all my stuff is based on real events. I’m just not good at making shit up, ahahhah. Yeah Anais is an alias. Those poems focus on my relationship with the poet and novelist J, who is the mother of my child. We split a few years back, and some years needed to pass before I could write about that period of my life. The poems came as and when, some are new, some written a few years back.”

For the record, some earlier versions of Ridgwell’s poems originally appeared in Load the Guns: Blackheath Books 2009; A Child of the Jago: Kilog Press 2010 and Fire Island Pig Ear Press 2012.

In his contribution to The Lost Future In A Pair Of Blue Eyes, Ridgwell explores love in its many guises including; love at first sight (“When I Saw Her”), the exhilaration of young love (“On Waterloo Bridge” and “Angel Visions”), the stirrings of romance (“More Beautiful than the Night” and “Looking out over the Harbour of San Vicente”), desire (“Anais”), sexual love (“The Canal”), raging jealousy (“End of the Affair”), the birth of a child (“Miracle on Lordship Lane”), the attempts at reconciliation (“Scotland or No”), the disillusionment that comes with the collapse of love (“Days of Wine and Roses”), and interestingly, the will of the poet to pick himself up from the wreckage of his relationship and to start contemplating  a new beginning (“Fare Thee Well”).

The writing is first person free verse, sensuous, layered and full of strikingly original images. Interestingly, Ridgwell often uses pathetic fallacy, favoured by the Romanic poets, in drawing parallels between how he feels and occurrences in the cosmos.

Here are two of Ridgwell’s poems from the chapbook. They will give you a clearer idea of his writing style and choice of subject matter:

Angel Visions

That damned night in old Soho
The French House, the Wheatsheaf and the Coach
Boozy underground poetry and Ouija
Which we escaped from
And fled across London Bridge
To Peckham’s nocturnal delights
South o the river
There we stopped in the Vale
For more drinks
And possessing a devil attitude
In the devil town
On the swayed walk home
We held each other tight to ward off demons and Ju-Ju
Until I pushed you inside the open gate of St John the Evangelist
Up against a thorny bush
Unsteady footing
And there under the gleam of a streetlamp
William Blake’s vision of angels
Shining down, down, down
And everything spun madly
And in the trees above, a heavenly host
Not seen round those sides
Or in Rye Lane
Since 1757.

Strange Day

Walking to Black Rocks from Crow Island
Thinking about the future
Or what remains of a life
Lived weirdly
On a crystal day
With the tide at its ebb
Is an otherworldly experience
Like walking on the surface of the moon
The sunlight so bright
Glaring
Burning away the remains of a sea haar
Distant people appear as if walking on air
The rocks themselves floating and swirling
Levitating above earth
Endless sands
Riddled by everylasting tides
No life here
As I climb to the top
And contemplate
A relationship in tatters
A confused bairn
A future alone
Away from Crow Island
Whose streets I’ll never walk again. 

In the end, Ridgwell is resilient and reflective in describing the break down of a relationship which appeared at first full of promise: “Basically, I just wrote about that period of my life and the relationship. The relationship was complex, for many reasons, and it was tempestuous. One day I’ll meet a women, who is quiet, stable, and we’ll just get along fine with no dramas and live happily ever after. But hey, that would be boring, right?”


In John D Robinson’s contribution, he includes 14 of his latest poems, including 4 haiku. His poetry is usually first person, narrative in form and in this joint-chapbook, he continues to mine the depth of his working & underclass experiences and recollections. The writing is clear, honest and often brutally revealing. Robinson’s relationship with women (“The Scent”,“ A Key Moment” & “The Question”), his conversations with friends & relatives (“Neil And The Kitty Cat Scratch” and “The Pork Pie”), his view of himself as a poet (“Lit Talk” and especially “Lost Or Fucked-Over”) and as a man (“The Tough Guy” & “Dangerous”)- everything is spilt on the page without regret, or for any yearnings for sympathy, acceptance or success. 

In his poem No Return, Robinson is characteristically playfully ironic:


NO RETURN

Crackling from the Sunday
radio came
“Now let us pray for the
broken hearted and the lost
souls of our world,
the alcoholics and the drug
addicts, the ghosts of our
towns and cities that have
wandered far from the
path of righteousness and
now walk the roads of
sin; let us pray that the
gates of heaven open up
for our brothers and
sisters, for these wretched
spirits let us pray”
after I had finished
rolling a joint of powerful
weed I felt thankful
and good that somebody
was sparring a little time
and a prayer for me
without expecting a return.

In Lost Or Fucked-Over, perhaps Robinson’s most powerful poem to date, he moves from his feelings as an artist to how he perceives how he & most of us are fucked over by the system. Robinson’s anger is genuine, how us ordinary folk, whether we want it or not, are “caught-up in a/ fucked-up way of/ living, the bullshit of/ ambition, money,/ property and power”:

LOST OR FUCKED-OVER

I don’t feel like a poet,
I’ve never felt like a poet,
I don’t know how that must
feel like,
most of the time I feel lost
or fucked-over, I feel
cheated and robbed,
maybe that’s how a poet
should feel,
I’m guessing most people
feel this way,
I don’t feel like a poet,
mostly I feel like an
asshole caught-up in a 
fucked-up way of
living, the bullshit of
ambition, money,
property and power,
no one mentions
freedom these days;
I don’t feel like a poet
but an old man who still,
every morning,
awakes in temporary 
awe that I’ve made it and
will have
another chance of
kicking the faces of the
faceless as they take
another day from me. 

The Lost Future In A Pair Of Blue Eyes is a highly engaging and worthwhile book to read and written by two of the best writers in the alternative small press in the UK. The front cover is designed by the indefatigable efforts of the genius that is the Swedish artist Janne Karlsson. 

Order signed copies direct from John D Robinson- send £10 via PayPal to: johndrobinson@yahoo.co.uk

Thursday, November 29, 2018

Latest Holy&intoxicated Publications releases


Here is a message from my mate John D Robinson in the UK:

The Latest publication from Holy&intoxicated Publications is the chapbook 'scream before they kill your poetry' by Pete Donohue: a UK poet: his 2nd collection. His previous publication was the chapbook 'Tommy Two Guns' Analog Submission Press, UK. Pete is active in the local poetry scene in Hastings on the south coast. He is MC for regular poetry readings and is a literary editor of the 'Hastings Independent Press' free newspaper:

and here is the title poem:

scream

there may
have been one
when i slipped
shriveled & wet
from the uterus
into this
dangerous world
how would i
remember
i do recall
however
later screams
of sibling births
& family frustrations
unable to distinguish
between
those of joy
of surprise
of rebellion
of downright terror
or exclamations
in delight
in frustration
in alarm
in fear of violence
& its aftermath
of pain
& perhaps
a drug comedown
or a eureka
moment
or a vocal
orgasm
maybe
the discovery
of a body
dead
or nearly so
& the incubus
of night sweats
that chokes
all utterances
yet can never
pacify them
until we
slip back
through that
interconnecting
channel
between
the difficulty
of birth
& the ease
of death
to realise
life
is but a scream
until
we know
true
silence.
  

 Also forthcoming is a chapbook from Holy&intoxicated Publications 'The Lost Future In A Pair Of Blue Eyes' Joseph Ridgwell & John D Robinson: Publication date is 15th December 2019: this book will also come with a separate piece of signed short fiction from Joseph Ridgwell and a signed collage by John D Robinson.

Tuesday, August 21, 2018

New Release: John D Robinson ECHOES OF DIABLO (Concrete Meat Press, 2018)



Here’s a couple of poems from UK poet John D. Robinson’s latest collection of poetry: 

A DIABLO POEM
Tonight, I’m with my friend
Diablo,
Casillero del Diablo
‘Wine from the Devil’s Cellar’
it’s not often we meet
as he’s expensive
but when we meet it’s
always good, he never
let’s me down, he’s a true
and loyal friend
who knows of the muse
and often brings her
along:
tomorrow morning he’ll
be gone
to another place
and she’ll be in
the shadows
waiting for another
romance.



ORDINARY FOLKS
The apartment was small,
cramped, grim, unkempt
and a lingering staleness
dampened the air:
he was in his mid 50’s
and was dying of
alcoholism: his daughter
was in her early 20’s and
was making a living 
making home-made porno
movies in sleazy back-
street rooms with perverts,
drug dealers and other
desperados: she told me
that they were’ good
ordinary folk and didn’t
need no fucking help
from anybody’ as she 
pouted, flirted and smiled 
at me with dismissive
eyes: 
the old man
sat sipping brandy,
looking out of the window,
smoking a cigarette:
he didn’t say a word:
2 weeks later he was dead                                          
and his daughter scurried
to the city seeking her
fortune in the sex trade:
ordinary folks was what
they were.


Check out Concrete Meat Press: http://adrianmanning.wixsite.com/concretemeatpress