written and posted by members of Lancashire Dead Good Poets' Society

Showing posts with label guest. Show all posts
Showing posts with label guest. Show all posts

Tuesday, 2 November 2021

Terror - Ghostly Happenings

 



There’s something scary about looking up into the darkness at the top of the stairs. It started at my great-grandmother’s house when I was a little girl. Nothing happened, I was just spooked and the feeling has always been with me. Our landing light stays on through the night. My bedtime reading can’t be anything jumpy or thought provoking since ‘The Amityville Horror’ years ago – the film was bland compared to the book – such stories, and I enjoy reading them, are good for the afternoon. I accompanied my daughter to see ‘The Woman In Black’ at the cinema. This film absolutely terrifies me. I like the story, but I can’t watch it properly, not even on television at home.

“Tell me when this bit’s gone,” she whispered.

“I can’t, I’m not looking,” I whispered back, face covered with hands.

Recently, the stage play was on at The Grand Theatre. I’m told it’s very good and scary. My daughter asked me to go and I would have done if not for the covid situation, even if I was to spend two hours staring at my knees in the darkness.

One of the pubs our family had on the front was a former hotel, full of empty rooms. Most of these rooms were on the floor above our living accommodation and was out of bounds to me and my friends for safety reasons. On the same floor as us but separate to our flat was a corridor of about six former hotel rooms. Two of them were empty until my paternal grandfather moved in with us for a while and made one a lounge and another his bedroom. My dad used one for a spirit store (drinks, not ghosts), one was a guest room where my other grandparents stayed on their frequent visits and one was Joe’s room. Joe came with the pub. He was a live-in member of staff, of some very senior years, and when not working, kept himself to himself apart from watching the Saturday afternoon horse racing on our television, full volume due to his impaired hearing. Once a week my mother or Kathy who looked after us all, made him his favourite steak and cow-heel pie. He was a lovely man and we were sad when he died. I believe he was ninety, or thereabouts. I would guess it was a couple of years after Joe had passed when someone played a trick and scared the living daylights out of me. At some point, I moved into what used to be Joe’s room. The corridor was always a bit dark, but enough to see my way. One afternoon, as I came out of the room, there was a white, waiter’s coat floating in the air.  I screamed as terror gripped me and my dad came running from the nearby kitchen. It was all supposed to be in good fun. It might even have been Halloween. The jacket was on a wire hanger hooked on to a light-fitting. I recovered, eventually.

For a short time, my father took over The Old Hall at Sandbach and we moved to live there. I mention it by name because it was featured on the TV programme ‘Most Haunted’. We were aware of a ghost. Nothing scary, just a woman in a crinoline dress with her hair piled high. She vanished as soon as she appeared and always in the restaurant at night. She wasn’t mentioned in ‘Most Haunted’ but Derek Acorah and his team found plenty of other paranormal activity that we weren’t aware of or been told about.

When our son was about three years old, he had what we recognised as night terrors. The first time it happened I was terrified. It was the middle of the night and his screaming woke me up suddenly. I was out of bed and in his room in a nano-second, heart pounding. He was sitting up, unaware of me, staring ahead, screaming and crying. I rocked him, calmed him down and settled him back to sleep, somehow, while filled with terror myself. The look of fear in his face unnerved me more than anything, like he could see something I couldn’t. Luckily, there weren’t many episodes.

With all this in mind, I suppose it’s odd that I would happily spend a couple of evenings on ghost hunting tours with my friend. We had a fascinating time at The Grand Theatre in the dark and the talk from the organiser explained things that had happened to both of us at separate times on visits to see productions. When the opportunity to do something similar at the Spanish Hall came up, I was full of enthusiasm. Unfortunately, some of it was so scary, the experience was overwhelming fear.

My poem, which features in The Dead Good Poets Haunted Blackpool,

A Ghost Tour in the Spanish Hall

An evening in the Spanish Hall
Fun-time promised for one and all.
Exciting times for you and me,
Paranormal activity!
Hopes and desires, all are risen,
Someone’s speaking, we must listen.
“Enter the rooms with open mind,
And be prepared for what you find.”
The semi-darkness of torch-light,
Anticipation of the night;
Wondering what there might be here
To chill us with delight or fear
We heard a strange and weird sound,
Quiet growling from underground.
Distant laughter, joyful patter,
Ghostly party fun and chatter.
Chink of glasses, bell-like tinkle,
Passing orb gives us a twinkle.
We crept across the ballroom floor
To where we hadn’t been before.
A woman beckoned from her chair.
As we approached, she wasn’t there,
Just vanished, like she’d never been
But we both knew what we had seen.
And later, on the wide stair case
I froze as something touched my face.
I couldn’t scream, I couldn’t shout;
Someone was with me, there’s no doubt
When we sat in the back-stage room
We both smelt dated perfume
Like musky lavender and rose
Stagnant, lingering in repose.
And that mirror! I dared not see
The presence sitting next to me.
I felt their breath upon my cheek
And could not move, too scared to speak!
I must now be most explicit,
Show respect to restless spirits.
Never ridicule, tease or taunt.
It might be you they’ll come to haunt.

PMW 2012
Thanks for reading, Pam x

Tuesday, 29 August 2017

ESP - Second Sight


My mum called it ‘second sight’. She had inherited it from her mother and grandmother. It has come down the generations to me, though mine differs from theirs. The first time I encountered it was at our hotel on Central Promenade. I was a young teenager making myself useful by helping, or possibly hindering, the receptionist.  I was sent to fetch my mum to attend to a guest, a woman who was in great distress. I ran upstairs, along the corridor to our private rooms and found my mother on the settee, waking up from a nap. Before I had chance to speak, she said,

“Her son drowned in a boating accident. I just dreamt it.”

What struck me most was the calm, matter-of-fact way that she said it as she stood up, smoothed her skirt, popped her shoes on, combed her hair and checked her lipstick, all in two seconds before she was out of the door. Sadly, that’s exactly what had happened and the poor lady had just received the terrible news.

I am told that my great-grandmother sometimes dreamt names that matched horses in forthcoming races. I don’t know how lucrative it was for her, but it hasn’t come down the line to me, though I’m not into horse racing.

From an early age I knew that my Nanna could see absolutely everything and she knew what everyone was up to. Her eyes looked like she could see right inside a person’s thoughts. With her, everything and everybody was safe. Things came to her in dreams and sometimes she would sit, deep in thought then tell you what you wanted or did not want to hear, never less than honest and nothing ever ‘wrapped up’. I adored her.

I don’t tend to dream things, I just know, usually out of the blue. My sister was in the early stages of her second pregnancy. Very randomly I told her she was having a daughter and she would be born early, a bit poorly but she would be fine. I could even pin-point the date to either 31st October or 3rd November, which didn’t mean anything at the time.  My niece was born by Caesarean section on 31st October, 1988, spent a short time in the Special Care Baby Unit and has grown up into a beautiful young woman. My daughter was born on 3rd November, 1994.

There was an avalanche in the Alps at a time when people I knew were in the area. I was sure I’d heard something on the radio news, but it wasn’t on the next bulletin, no mention of it on teletext and nothing on the TV news, until the next day when it actually happened. The same thing happened with an earthquake.

I don’t know if it’s connected to ‘second sight’ or an entirely different phenomenon, but I have had ghostly encounters. There are many, but what always makes me smile is the Most Haunted episode featuring The Old Hall in Sandbach. We lived there for a short time when my father was licencee. I hated that move to Cheshire and I’ve mentioned it, not by name, in previous blogs. Yes, it had ‘occupants’, we quickly became aware, but none of our ghosts matched any of the findings in the programme. Strange.

     I found this poem. I can really relate to it.
 
 
    Conjugal Telepathy
    Have you ever noticed when you’re talking with your spouse?
    No matter if you’re out with friends or wandering round the house,
    That when you have a thought you think is worthy to express,
    You’ve scarcely uttered half of it before your thoughts digress,
    And you have quite forgotten what it was you wished to say,
    But there is no need to panic for your spouse will save the day,
    And without the need for prompting, and indeed without a pause,
    Your partial thought’s completed, with an extra thoughtful clause.
    My friends to whom I’ve spoken, and I’ve spoken to a few,
    Have noticed this phenomenon, and so perhaps it’s true,
    That when you live together an extended length of time,
    The need for speech reduces and there's more accent on mime.
    So perhaps there is no worry when your mind begins to go,
    For even out in company, no one really needs to know.
    There is a great incentive to always keep your cool,
    When your spouse's intervention stops you looking like a fool,
    For even if the utterance is not what you would say,
    It is best to grin and bear it and pretend so anyway.

                                                                           By Ian Smith

Thanks for reading, Pam x

 

Sunday, 22 June 2014

Thank you for the words

In recognition of the blog hitting 1000 posts, this week we've been picking some of our favourite lines from our archive of posts.
Trawling through blogs from the last few years has been no mean task but, given that we're out of the world cup and I'm still down in the dumps about it, I've spent the day cheering myself up with the distraction.
The poem below is made up entirely of lines and phrases taken from the site over the last three years. Lines from past and present contributors join lines from guests including Jamie Field, Jo Bell and Jacob Silkstone and if you're wondering why you haven't made the cut- either you haven't written for us yet or I simply couldn't weave your line in. 
Thank you to all of you though, whether a reader or writer of the blog. We couldn't have got here without any of you. 

Poets

We work in different rooms, 
but we occupy the same house.

A spectrum of waste
Exploding in a million ideas
For all worries form a cloud of plankton

There was the bittersweet Karate
Webs so thick we cannot see
Cross Stitching meant nothing to me

But of all the things I miss in light
The moon's smile showing me the way
There was a ‘bang’. A small, dense state 
that expanded rapidly- lulled me into comfort

In the tea-bleached bedroom light
Poets all have Viking blood
We are pirates; travelling across a vast ocean

plundering images, forms, ideas
to find each piece increase in value
simply by the keeping.



Thanks for reading,
S.

 

Saturday, 21 June 2014

Uncreative Writing



Guest post by David Riley


Below is something I made using one of the free word shuffling programs that can be found on the web and a couple of entries from recent Blackpool Gazettes, an idea suggested to me when I read about Kenneth Goldsmith, who had created a piece of work out of the whole day's content from one New York Times paper. This isn't found poetry or even collage but possibly related to it. I haven't moved things around so it's still alphabetical. There's scope here for finding new meanings, isn't there? Something worth trying perhaps?

3am argue blackpool blackpools cash chair class come cost council day deckchair deckchairs emro end forward gazette go golden happen id including just mile modern move need new other place police process prom pub resort say seaside seem shame sight spent stock talk time town visitor vital working year


Indeed, in the 21st c., it is difficult to find poetry that does not have some “found” component, the ne plus ultra exemplified by Kenneth Goldsmith’s Day (2003), which is the transcription of the entire text of a single day’s— September 1, 2000— New York Times from beginning to end, consolidating headlines, columns, and ads, so as to make one seamless and surprisingly novel text. Goldsmith himself calls such works “uncreative writing.” His New York Trilogy of 2003– 5 (Weather; Traffic; and Sports) is entirely found text: its transcription of the specific radio broadcasts in a given time period does not include a single word that the poet can call his own.   (The Princeton Encyclopedia of Poetry and Poetics (2012), Princeton University Press, Kindle Edition)
 

Goldsmith's thoughts on 'uncreativity' are expanded in his interview, Uncreativity as Creative Practice.

Happy 1000th. Here's to another millennium.

 

Tuesday, 14 January 2014

Guest Post - Nigel the Blackpool Bard

18:27:00 Posted by Ashley Lister , , , 2 comments
This weekend we're beyond fortunate in having a contribution from local writer and legend, Nigel the Blackpool Bard

The End of the World - by Nigel The Blackpool Bard

It's all going to stop
The turning of this globe
One day it'll go pop
And we'll all have no home
The food will all be gone
No oil, gas or fire
Engulfed by a dying sun
A mass population funeral Pyre
But life will prevail
Out amongst the stars
The strongest will survive
Safe in the giant spacecraft
All the rich business types
All the top bankers
All of those with regal birth rights
All the political wankers
Will file on two by two
To the massive rocket arch
Laughing at the meek and the fool
Who failed to leave their mark
And off they'll shoot up into the distance
Never to return what they sold
Those left behind will sing and dance
Because we lied about the end of the world

Thursday, 29 August 2013

THE BIBLE ACCORDING TO RUPERT MURDOCH



In the beginning was the Word, and the Word was GOTCHA! And the Lord Rupert said let there be a Royal Family, and let enormous quantities of trivia and drivel be written about them, yeah even unto the point where a lobotomised amoeba couldn’t find it interesting any more, and let babies be born unto this Royal Family, and let the huge swathes of sycophantic, nauseating sludge written about them surpass even that written about their parents, even though these babies and their parents are about as interesting as a wet afternoon watching an endless slow motion loop tape of Phil Collins live at Selhurst Park.

And the Lord Rupert said let there be soap operas, and reality TV shows, and let each and every one be so mind-numbingly moronic as to make a wet afternoon watching an endless slow motion loop tape of Phil Collins live at Selhurst Park seem a truly uplifting experience, and let entire forests be destroyed and the very existence of our planet jeopardised in the endless vistas of retarded outpourings about these unspeakable transmissions.

And let there be enormous breasts, and endless bonking, and days and weeks and months and years of chauvinistic right wing propaganda, so that the people who like the bonking and the soap operas and the breasts and the royal stories get the politics as well.

And let any journalist who tries to stand up to the proprietor and editor in the name of truth, and integrity, and intelligence, and journalistic standards, be summarily dismissed, and cast into a bottomless pit of decomposing chimpanzee smegma, and let those journalists who suffer this fate rejoice at the great career move they have just made.

And the Lord Rupert looked at his work, and even he saw that it was a load of crap, but this was the enterprise culture and it sold millions so it was good. And on the same basis he decided to buy the whole world, and the earth itself wept, and little robins vomited, and cuddly furry animals threw themselves under trains, and the whole thing was filmed by Sky Channel for a horror nature programme, and the most awful thing was that this was just the beginning……

ATTILA THE STOCKBROKER



This guest post by Attila the Stockbroker came with the following introduction which is being placed at the end to avoid interrupting the joy of the work above:

I wrote this some years ago after one of Murdoch's subsidiaries took over publishing firm William Collins, which among other things has the rights to the New International version of the English Bible. Given Mr Murdoch's track record in journalism and publishing - he is like Midas in reverse, all that he touches turns to shit - I thought it was time for a New Revised Version.

Sunday, 4 November 2012

Most Ghostly

00:00:00 Posted by Ashley Lister , , , 2 comments

 by Colin Davies

 I'd always promised myself a trip to a haunted house. As a child I was fascinated by the idea of the paranormal, ghosts and other such spooky shenanigans. That's why, when given the opportunity, I jumped at the chance.
The journey to the house was extremely uneventful. So much so, that I can hardly remember the trip. Everything was about the house: would I feel the eerie ambience as soon as I laid my eyes on it?
Walking up the drive I can tell you now the answer to that question is yes.
The general vista was one of any oldish country house. It had sand coloured rendered walls, large ornate windows and a front door that was begging to be opened by a doorman in pantaloons and a red velvet jacket.
The shadows that hung from the various reliefs in the architecture transformed the clean lines of gentry housing to the foreboding repression of Gothic majesty. Everything about this building in the light of evening song was sinister and intimidating.
The hypnotic effect of this construction held me so captivated, that I found myself staring at the ornate ceiling in the main entrance hall without realising I'd actually walked through the door. The delicate mouldings blended with imposing ease through the Regency decor into the smooth polished redwood banisters that twisted their way upstairs. The chill in the air was amplified by the realisation that I was standing on the spot at the foot of the stairs where Lady Lancaster was found with a broken neck in 1764.
I decided to start my exploration on the upper level. The ascent felt effortless as my mind was filled with the stories that have become embedded deep within the very fabric of these walls over hundreds of years.
The layout was so natural that it was easy to think I’d been there before: like a new song that sounds familiar the first time it’s heard.
I looked down the dark, shadow-guarded corridor.
At the far end, on the right, I could see movement.
I had thought I was on my own this weekend.
Walking into the room I found a group of people, two held video cameras and one had a boom mic. They seemed to be concentrating their attention on two other people stood by an obvious statement of wealth in the form of a fire place.
I recognised these people.
They reminded me of a couple I’d seen on TV called Yevett and Derek.
Derek turned to look at me. "There's someone here," he said. "A man."
"What's his name?" asked Yevett.
Derek repeated the question to me, so I answered: "Colin."
"Colin," he told her.
She responded with another question. "Did you die in this house?"
Again Derek repeated her enquiry towards me.
The question was so preposterous that I was dumbstruck.
Derek asked the question again, only with a little more force. "Did you die in this house?"
I was beginning to feel offended by this seeming lack of respect so I answered "NO!" Only the sound that fell from my lips with a whisper was, "Yes."
Have you ever had a realisation that felt like the entire world around has stopped while a sick empty feeling hits you in the middle of your stomach so hard your arms and legs go cold? Your lips become numb, unable to form words and your vision develops a slight vignette which removes you from the situation, turning you into an observer rather than the player.
Suddenly I was stood at the top of the main stairs. A man was shouting at me. I told him, "You're finished, I'm going to bring you down". I felt his hands on my chest, then panic, like that moment when you realise the chair is about to topple backwards.
I suddenly looked at Derek.
"I'm in the cellar, under the apple barrels"
The TV psychic started wearing an expression of concern.
"And phone my editor at the Mirror." I pause. Sometimes being proved wrong is a strangely wonderful feeling. Like here: years trying to show the world that psychics and haunted houses are just elaborate frauds, and now I am about to help one go stratospheric with his own fame.
"You're about to solve a murder."

Sunday, 28 October 2012

Night Terrors, Sleep Paralysis…Ghost?


 by Sommer Marsden

 It’s human nature to want to explain away what is hard to define with something easy to define. Science is easy to define. So…those of us who like things tied up in neat little packages, tend to employ science as string for tying said packages.
in a fog

If you’re familiar with current culture, you know the term skeptic. And I like to think of myself as a skeptic. Which is a lie. Actually, I like to think of myself as a clever, logical person who isn’t easily duped. When I watch shows about ghosts or go on the occasional ghost tour, I always take into consideration the spook factor. How much scare has been pre-planted in my noggin? How much prep work has the guide or the TV host invested in me? Am I a little on edge before the thing even begins? Like a frozen turkey, have I been pre-brined with fear? Probably.
A long, long time ago (back when dinosaurs roamed the earth) and I was but a young thing of fifteen, I had an experience that to this day I can re-experience, if you will, just by thinking of it. And I can’t tie it up in string or consider myself pre-brined.
Over *ahem* all these years, I’ve had tons of dreams. I’ve had a night terror or two. I have experienced sleep paralysis on a different occasion. But none of those phenomena come close to this one experience in my life. None of them. So the vivid nature of this experience, and the ability to recall it freshly now at *cough* 40, plays a huge factor in me saying, I think I had a paranormal experience.
You can call it a night terror: A night terror, also known as a sleep terror or pavor nocturnus, is a parasomnia disorder, causing feelings of terror or dread, and typically occurring in the first few hours of sleep during stage 3 or 4 non-rapid eye movement NREM sleep.[1] However, they can also occur during daytime naps.[2] (Wikipedia)
You can call it sleep paralysis: Sleep paralysis a phenomenon in which people, either when falling asleep or wakening, temporarily experience a sense of inability to move, similar to when an arm or leg goes to sleep, but not associated with numbness. More formally, it is a transition state between wakefulness and rest characterized by complete muscle atonia (muscle weakness). It can occur at sleep onset or when awakening. It is believed a result of disrupted REM sleep, which is normally characterized by complete muscle atonia that prevents individuals from acting out their dreams. (Wikipedia)
You can call it Aunt Martha, for all I care. But I have to say this: barring one dream that I have had over and over and over again for my whole life and one very odd cartoon dream (where a body lit up from the inside showing the bones. No shit) and one other dream where I was being chased by a demon in a pickup truck while Bullet the Blue Sky by U2 played as a soundtrack (so that’s 3 dreams out of a kajillion)…I can’t remember any of my dreams. Especially not a 25 year old dream.
Furthermore, the memory of the dreams mentioned above does nothing to me when I recall them. If anything, I find the two ‘scary’ ones mildly amusing now. But that’s not how I feel when I think back to that night. My heart rate picks up a little, I can still picture the light. And the shape. The inability to move, and yeah, how incredibly juiced I was after it ended. Every cell in my body has ‘muscle memory’ from that event.
To me that alone says it was something…more.
Here goes. When all is said and done, you are more than welcome to be the judge:

It was 1986 and Steve Winwood was singing about a Higher Love. In fact, he was singing about it as this event occurred. That alone gives me a rough guesstimate of how long it took (there’s a bit of science string for you—time elapsed—it was gauged—the video runs 4:25). I was visiting my aunt in New England and as we were prone to doing when I visited, we stayed up late in her bed talking, watching MTV (back when they actually played music) and catching up while her sons slept in their room. Usually we both conked out sitting there mid-conversation. This time wasn’t much different.
She’d fallen asleep ahead of me, but my plane ride that night had me more awake than normal. I was thinking about going to sleep. Too lazy to get up and go into the guest room where all my stuff was, I rolled on my side and shut my eyes, waiting to watch the new video for Higher Love. They’d just announced it would be airing. I do know I drifted for a minute. But I heard that drum beat start and knowing that was the intro to the song, having heard it on the radio, I figured it was time to open my eyes. When I did, a blinding light was penetrating the door to her room. When I say penetrating, I mean it in the truest sense of the word. The light was coming around, under, over and through the door. And then…voila…the door seemed to be gone. Just like that. It was an amazing whitish blue light and it backlit perfectly the figure of a man. I say man because it was a humanoid figure and it was large. Much larger than me (and at the time I was 5’ 10”…p.s. I am shrinking). Anyway, it seemed like a grand idea to wake up my aunt.
Mind you, in some weird part of my brain—the logical rational not-freaking-out part, I am hearing this song play on her TV and in my very peripheral part of my peripheral vision, I can see some of the video. Why my most peripheral peripheral bits? Because I’ve just realized I can’t move. Not a lick. I can’t open my mouth to scream. I can’t say her name. I can’t even move my tongue. So, obviously my stupid hands won’t work to touch her. I might as well have flippers sewn to the ends of my wrists for all the good those hands did me. My legs are equally immobile, but my brain is just fine. It’s rambling along trying to a) observe this figure through the light, because the thing has not moved. It seems to just be…watching me and b) track that song. Because my brain knows the song is what’s going to save my sanity in the morning (and for the next 25 years).
It seems like an eternity, I admit. But as I said, less than 4 minutes and 25 seconds. I have the video to prove it.
The dark thing never moved and I wasn’t really afraid of it. A control freak to the marrow, my fear stemmed solely from the fact that I was perfectly alert but couldn’t move or cry out. As I watched, the light eventually faded. I thought if I shut my eyes it might go faster, so I made a conscious decision to do so. When I opened them, the light was gone, the dark man gone, and the video was ending. The flickering images still just visible in the corner of my eye. I’d never seen the video before, but when I watched it the next day, there were parts I knew already from having seen them. To me, that proves I was awake. Some may argue, so be it.
I’ve never had something wake me up so much. I found myself too vibratey and wired to sleep. I wasn’t so much scared as rattled. It was tea and my aunt’s big rocking chair in her kitchen until sunrise. I played it over in my mind every way I could and still couldn’t bring myself to think I’d been sleeping. It felt like a cop out. And that was at a time where it felt like any explanation would have been good enough. Except really, saying it had been a dream felt like cheating. I finally gave up trying to explain it, and journaled it instead.
When I told my aunt about it, she asked if I thought it was my dad—he died when I was four. I told her unless my dad’s mission was to scare the shit out of me from the great beyond (a beyond I wasn’t sure I even believed in), then probably not. A friend of hers offered up spirit walking. As in, I had a run in with the spirit of a human still alive, just having an out of body romp. A subject I’ve read up on. I could see why she’d think that. Going on description, I’ve had people toss out “alien encounter”. That feels wrong too—but I see where they’d think that. Fox Mulder would probably agree with them. I have no clue what it was, to be honest. What I can say for certain is, to this day, I can shut my eyes and see that bluish white light. That figure. Feel that horrible feeling of utter helplessness and well, Steve Winwood has never been the same to me.
That’s not a very big and frightening story is it? It all seems rather tame. Even as I try to capture it to tell you. All I can say is, even now, when I say “That time at J’s” my mother knows what I mean and we will launch into a whole new conversation trying to decipher what that experience might have been. And my mother is as logical and tightly laced as they come. But she watched my face as I described it. Read my journal entry (which I tried to find to scan for this blog and failed). Plus, she knows her daughter. There was never a moment where she doubted my sincerity.
Now if you feel brave, tell me what you think it was. I have no emotional attachment to the event beyond its vividness in the tapestry of my life. If you have a theory, do tell!

XOXO
Sommer

***

Sommer Marsden is the prolific author of countless sizzling novels and some scintillating short fiction. 

Author of: Boys Next Door, Restless Spirit, Learning to Drown and Wanderlust.

What's new? Boys Next Door from Mischief Books.

Coming Soon: Lion Hearted from Xcite.


To find out more about Sommer's writing, visit: http://sommermarsden.blogspot.co.uk/

Sunday, 21 October 2012

Viking Blood

 by David Riley

Poets all have Viking blood.

They raid the past as if it were a coastline, digging up the skeletons, making them articulate, singing songs like children playing. They do it with great beauty, rarely looking away from what they find in this history; often from the smallest thing great stories flow. You need look little further than the sections encompassing childhood in Neil Astley's Being Human trilogy of poetry anthologies to scratch the surface of what can be done. They remind us of children and childhood from all sorts of perspectives. Look up Adrian Mitchell's Beattie is Three for eye-watering restrained sentiment and his A Puppy Called Puberty for the laugh out loudness of shared (male) memories.

While these books are full of memories (is that what makes us human?) what passes as recollection there isn't child's play. The stuff of memory is worked and reworked to make it seem as if then is now and is eternal and shared by all. Even when such ideas are born of the uncomfortable or the meaning remains elusive it is something poets won't stop pursuing, showing child's play refracted through their words:

I cannot like the scent
Yet I would rather give up others more sweet
With no meaning, than this bitter one

as Edward Thomas mused on a childhood memory and the mysterious image it recalled. This sort of thing was raised again this week for me, obliquely, at some of the great events at Lancaster Litfest, particularly a talk following a reading by poet and short story writer David Constantine and writer Adam Marek. In response to a question about his writing Adam replied that what people saw in his work was the crust on a great amount that they didn't - but without all of it what was seen would not be as good. Implicitly a lot of what is below the surface was produced in a form of play.

Once again, the idea of memory and reworking surfaced for me. We must have that mass behind us to give rise to what is best. It might be produced in many ways (even play) and can be shared with others - but often it must then be put aside and we must carry on trying to quarry from it the best that we can.

Such things may never be finished but they are rarely ever wasted;Paul Valéry said, "poems are never completed, they are only abandoned." It reminds me of a child's toys and games, left haphazardly while they move on to other things but always there, the skeletons of child's play to support all we go on to do.

Sunday, 7 October 2012

Walking Lakeland Magic

00:00:00 Posted by Ashley Lister , , , , , 3 comments

 by 
 K D Grace
   
Surely there is no other place in this whole wonderful world quite like Lakeland...no other so exquisitely lovely, no other so charming, no other that calls so insistently across a gulf of distance. All who truly love Lakeland are exiles when away from it.
    
--Alfred Wainwright

It was difficult to write this post and keep it under ten thousand words. The insistent call of Lakeland that Wainwright talks about is, for me, a rather wordy call – a trilogy’s worth so far, not counting all the blog posts and emails and stories still in my head to be written.

As a walker, I’ve come to believe that one can never truly know the soul of a place until one walks it. A car can never take you to the heart of the land. I know of streams and springs in Lakeland where the water tastes better than the best wine. At Rannerdale Knots, I’ve walked in a valley that was once secret. Every spring it’s awash in bluebells. According to the legend, each flower represents a fallen Norse invader defeated by the local Cumbrians in the late 11th or early 12th century. There are lots of ghosts in Lakeland, and some take such lovely forms. I’ve been on the roof of England at the summit of Scafell Pike, and I’ve been into the bowels of Cumbria in the slate mines beneath Fleetwith Pike. And always on foot, because there’s something about putting one foot in front of the other that brings the landscape and it’s magic into me and transforms it to story.

One of the things I love best about the Lakeland fells is what can be seen from high places. From the fell tops, I can view a landscape I could never see from the valley below. A big part of magic, and a big part of writing, is to find that place where I can see differently, where I can understand differently than I have before. Sometimes that means not seeing with my eyes.

I got caught in the mist once while walking the Newland Horseshoe, which is a ridge walk near Keswick. Suddenly everything that was familiar was gone. Walking in the mist is like being in another world, an ether-world, a place where any kind of magic could happen. It wasn’t that difficult to imagine ghosts and witches and demons. It was a familiar walk, an area I knew well, a safe place, and yet suddenly, in the mist, it was an alien landscape.
 
The magic of the land is in the people as well, and in what they’ve left behind. Much of Lakeland is a manmade landscape. Forests have been stripped away in ancient times to make way for sheep. Great gouges and mountains of tailings scar the fell sides from a long history of mining and quarrying. Against all odds nature has still taken back her own, reclaimed it and transformed it into bones laid bare, yet still alive and flourishing and achingly beautiful.

I’ve walked the perimeter of Castlerigg stone circle at both sunrise and sunset. Castlerigg is a circle embraced by a greater circle, a circle of fells, a reminder that people were practicing magic in the thrall of Lakeland long before I magicked a story set there. 
I understand why. I understand it with my feet, and somehow understanding it with my feet makes it fit closer to my heart.

***  
K D Grace is a celebrated author of erotic fiction. Her most recent titles have  been set firmly in a magical version of the Lakes and include: Body Temperature & Rising and Riding the Ether - available from all good book shops. 

For more information about K D Grace, and her alter ego Grace Marshall, visit: 


Sunday, 30 September 2012

10 Interesting facts that all writers should know about the colour red

00:00:00 Posted by Ashley Lister , , 6 comments

 by Lee Howell


1.    Red was one of the first colours used by artists in paintings back in 25000 BC, the natural pigments such as red ochre and iron oxide were readily available. 

2.    There are many expressions that as a writer we can use in our writing but are encouraged not to do so because they have been heard so many times before.  Some referring to the colour red are: “to paint the town red” – to have a real fun evening with lots of eating, drinking and dancing.  “Like a red rag to a bull” – to make someone become really angry. "To catch someone red-handed" – to catch someone in the act of doing something wrong. 

3.    Red is a very warm Feng Shui colour that should be used in a writing room to relax the writer.  Red objects lovingly used for this purpose are: lamps, candles, computer, fireplace and artwork containing the colour red.

4.    Writers should watch what they eat.  It has been widely documented that consumption of red meat halves the risk of depression.  Components of red wine help to prevent cancer, protecting also against heart problems and improving brain function.  Red grapes are extremely rich in both fibre and antioxidants which reduce the risks of cardiovascular disease.

5.    For business it became unacceptable to use red ink because red ink will not copy on a black and white office copier with a red laser.  A red laser can't distinguish red ink on a white sheet of paper. When you project red light on something white, it looks red. When you project red light on something red, it looks red. So there's practically no contrast between the ink and the paper so the scanner can't read the marks.

6.    “If one says 'Red' – the name of the colour and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different." -- Josef Albers.

7.    Red is a popular colour for song writers some well-known examples are: "Lady in Red" by Chris de Burgh; "Little Red Corvette" by Prince and “Red, Red Wine" by UB40.

8.    Red is a colour associated and used with vengeance in stories describing poison, passion and seduction.

9.    The colour red is known to increase enthusiasm, stimulate energy, increase blood pressure, respiration and pulse rate.  It can encourage action and confidence and provide a sense of protection from fears and anxiety.

10.  My favourite red item at home is a bamboo plaque with some Chinese writing on it and underneath is a large red Chinese knot and tassels.  The red Chinese knot has come to be the symbol of reunion, luck, harmony, and love.


Every writer should bring a little red into their lives for enjoyment, health and prosperity.
What is your most important red item and why?


***

Lee Howell is a UK based author and writer in the making, as well as an employee, mother and wife. More of Lee's writing can be found on her blog at http://budbin.wordpress.com/

Tuesday, 18 September 2012

The Pirate King

Guest post by Jamie Field

We are pirates; poets travelling across a vast ocean of literature and culture; plundering images, forms, ideas, even whole sentences. We will hijack an ocean liner carrying the complete works of Shakespeare; plundering a sonnet or two or even going to the lengths of kidnapping a character. With no remorse we will take a Greek myth and modernise it, we may even have the brass to imitate a particular writer. We pirates will even steal from other pirates.
Once there was a code, we pirates were a very thankful, modest bunch.  We use to confess our sins in the form of attributions and epigraphs, and in general the majority of us still abide by that law. There once, however, lived a pirate who inspired a generation of Douglas Fairbanks’s to discard their cutlasses and pick up an AK47. There once lived a Pirate King who would drink himself into a stupor before writing; a moderniser who would steal under the cover of darkness, who would take away any text and then change it beyond recognition.  He was a poet of immense technical skill who died at sea, a poet ahead of his time, a pirate called Hart Crane.  
On page 58 in Melville’s Moby Dick there is the following sentence:
‘As morning mowers side by side slowly advanced their sides through the grass of marshy meads even so these monsters swam making a strange de-cutting sound, endless swathes of blue in the endless sea.’
Crane’s Repose of Rivers (1926) begins: 
The willows carried a slow sound,
A sarabande the wind mowed on the mead.
I could never remember
That seething, steady leveling of the marshes
Till age had brought me to the sea.

Crane lifts about six words from Moby Dick and alters or disregards the rest. The poem in its entirety has nothing to do with Moby Dick or Ishmael; the poem itself alludes to something entirely different. He borrows the sound of Melville’s words to start, and then uses his own to finish.
Unlike Pound who alludes to the source of a line, Crane was the first Modernist to do it without attribution; not bothering with the source but primarily with the words. Crane’s poetic voice is primarily an ill-suturing of other people’s words.
Living in London, jumping from one poetry reading to another, seeing the same familiar faces, I have noticed a rise in poets stealing from each other; using the same words and images but altering the context so radically that most of the time the original poet doesn’t even realise. Most of the time this public act of piracy happens subconsciously.  No one ever brings up the issue of plagiary because the new poem is so radically different to the source, to the point where both pieces are in their own way unique. 
To end, there’s nothing wrong about being a pirate, in fact be a Hart Crane and take pride in it, as long as you put your own fresh stamp on the loot.