And as the world came to be, there was war — war that seems to rage in some part of the world or other. The British Museum has an exhibit which states the first battle was staged 13,000 years ago… in what is now Sudan, long before the advent of written history. This was even before the advent of people who built the ancient Stonehenge which was constructed around 3000-2000 BCE. And battles still continue to rage. The Jebel Sahaba casualties in Sudan 13000 years ago were less than 100. But the current conflicts claim in terms of tens of thousands which prolonged could stretch to millions. The last world war (1939-1945) which lasted for six years had a total of 75-80 million persons who perished. Ukraine-Russia conflict has within five months had a casualty count of more than 14000. And yet weapons and nuclear arms continue to proliferate decimating humanity, nature and towns, destroying homes, erasing ruthlessly and creating more refugees. The only need for such battles seem to be to satiate the hunger of the warlords secure in their impenetrable fortresses while tens of thousands are annihilated and natural or nurtured landscapes lie emaciated, mutilated and polluted.
What would be a good way of ending such wars?
Tagore sought the development of better instincts in humankind as an antidote. He wrote in the last century: “Any teaching concerning man must have human nature for its chief element. How far it will harmonise with human nature is a matter of time.”
With wars getting deadlier and more horrific, we can only try to awaken, as Tagore suggests, the better nature in man to move towards a peaceful world. What would be a more effective way of doing it than writing with the hope of a kinder and accepting future?
For that let us start with translations of the maestro Tagore himself. We have a song about the season — monsoon, ‘Monomor Megher Songi (My Friends, the Clouds)’, translated by Professor Fakrul Alam, a painting by Sohana Manzoor interpreting the lyrics and a transcreation of ‘Nababarsha or New Rains’ was shrunken into a popular Rabindra Sangeet and reduced to twenty lines in English by Tagore himself. The connect with nature is an important aspect that enables humans to transcend petty concerns leading to dissensions of different kinds as evidenced in the maestro’s humorous feline skit, translated by Somdatta Mandal. A translation of Dalip Kaur Tiwana’s ‘The Bus Conductor’ from Punjabi by C. Christine Fair adds zest to this section. Fazal Baloch has translated a folktale from Balochistan involving the supernatural and Ihlwha Choi has taken on the cry for peace on behalf of Ukraine while translating his own poem in Korean. The Nithari column has a story by Jishan in Hindustani, translated to English by Grace M Sukanya, showcasing the struggle of a youngster during the pandemic – rather a sad narrative, which though fictitious has its roots in reality.
Our short story section has echoes of humour around felines by Manzoor, somewhat in tune with the mind frame seen in Tagore’s skit on this issue. Humour rings tinged with an apparition in Erwin Coombs’s narrative – should one call it dark humour or is it just his style? Paul Mirabile goes for gothic darkness in his meanderings around Italy.
Strangely, we seem to have a focus on short stories this time. Keith Lyons has interviewed Steve Carr, a journalist, a publisher and writer of 500 short stories who is questing to create a ‘perfect short story’. Reading out excerpts from her short story at a literary festival in Simla, Bollywood celebrity, Deepti Naval, was in conversation with eminent film journalist, Ratnottama Sengupta. She spoke of her literary aspirations while unveiling her autobiography in verse, A Country Called Childhood. This conversation has been shared by Sengupta with Borderless. It is interesting to see how Naval’s reactions to social malaise contrasts with that of the film director, cinematographer and actor, Goutam Ghose, who was present during the unveiling of her book. He had responded to communal violence by making a film on Lalan Fakir extolling virtues of love and kindness, called Moner Manush (2010) and then made a book on the film called, The Quest (2013) which has beautiful translations of Lalan Fakir’s lyrics by Sankar Sen.
Our non-fiction sections seem to be hosting multiple travel stories across UK by Mike Smith, along the Australian coastline by Meredith Stephens, on the Himalayas with Ravi Shankar and an unusual visit by Hema Ravi to a farm in US where animals that had been used in Disney films in the past are homed. Our environmental columnist, Kenny Peavy, actually wrote about his cycling trip from Thailand to Indonesia on a bamboo cycle made by a Singaporean! And from Japan, Suzanne Kamata explored a museum in the neighbouring town of Mure. The museum on a hill hosts the art of American Japanese Artists, Isamu Noguchi.
We do have non-fiction that moves away from travel: noir humour by Devraj Singh Kalsi and an essay by Candice Louisa Daquin on a very interesting subject – ‘Is it Okay to be Ordinary?’ Is it? Dan Meloche has written a literary essay on Canadian novelist Andre Alexis’s award-winning novel, Fifteen Dogs: An Apologue(2015). While Meloche spoke of how the novel departed from Orwell’s Animal Farm, his narrative brought to my mind a novel closer to our times set in England by Jasper Fforde called Constant Rabbit (2020) – this a science fiction while Alexis’s was an apologue or an animal fable. Fforde did use the rabbits rather well to highlight the current times.
We have book excerpts of two recent books that I would call really outstanding. One of them is Aruna Chakravarti’s The Mendicant Prince, which is being released this week, and is based on the evergreen contentious case of the prince of Bhawal that has even been explored even in cinema. The other, Dadamoni: The Life and Times of Ashok Kumarby Nabendu Ghosh, has been published posthumously and is not a translation from Bengali but written in English originally by this trilingual writer.
Called ‘Dadamoni’ affectionately, iconic actor Ashok Kumar is regarded as “the one personality who symbolises Indian cinema’s journey from Bombay Talkies to Bollywood”. This book has been reviewed by Indrashish Banerjee, who calls it ‘a reflection on the Hindi film industry’ as well as a biography. Rakhi Dalal has reviewed Booker winner Geetanjali Shree’s Mai, Silently Mother, a Sahitya Akademi winning translation of her Hindi novel by Nita Kumar, reiterating the dialogue that had been kindled on motherhood last month by Rinki Roy Bhattacharya and Maithili Rao’s The Oldest Love Story (2022). Bhaskar Parichha has reviewed Prosanta Chakrabarty’s Explaining Life Through Evolutionplotting how life evolved on earth. Parichha tells us: “Meaningful, wide-ranging and argumentative, this is a must-read book. It will propel us to imagine and reimagine life around us.” Another book that sounds like a must-read has been reviewed by Meenakshi Malhotra, Tagore’s Gleanings of the Road, translated by Mandal. She tells us: “ ‘Gleanings’ represents the quintessential Tagore…Ably introduced and translated by Somdatta Mandal, a renowned Tagore scholar, the translation captures the iridescent and luminous quality of Tagore’s prose and its chiaroscuro effects.”
There is more to tempt. Please stop by on our contents page and take a look.
We would like to hugely thank all our contributors and readers for being with us and helping us grow. I would like to thank my team, who despite hurdles they face, always lend a helping hand and wonderful words from their pens or computers to get Borderless on its feet. I apologise for the delay and thank you all for your patience. Special thanks to Sohana Manzoor for her fabulous artwork.
I wish you all a wonderful July and peace in a war-torn world. We are all affected by the ongoing conflicts. Let us hope for peaceful and just resolutions.
Having been a reluctant fan of apocalyptic fiction since I read George Orwell’s Nineteen Eighty-four (1949), I had studied virology when the AIDS pandemic struck and read a great number of virus-related books on infectious diseases. Despite this preparedness and the knowledge that it was not a case of IF, but WHEN, the next virus would strike, I think I speak for most of us when I say we were still all unprepared for Covid-19.
What the pandemic has taught us thus far is immeasurable and I believe it will last several generations, or I hope so. That said, it’s our human nature to want to move on. Not because we don’t care, but part of being alive is putting trauma and suffering behind us and ensuring those who survive, truly survive, which means living. Is that insensitive or just the nature of the beast? It can be insensitive, especially to the millions who have lost loved ones, but it’s also how humans generally operate.
Is it possible to move on and live a full life irrespective of this global tragedy without losing our compassion and responsibility to stop this from ever happening again?
The reality is; it will happen again, and for many of us, in our lifetime. What we can do is be better prepared and all that this entails.
What are the steps being taken to move toward the new post pandemic future? What are we doing differently? And why?
The pandemic divided us, it physically kept us apart. Some who were well versed in social skills and true extroverts, struggled when they emerged from the worst of the pandemic. They found it hard to do the things they used to be so skilled at. From lack of practice. I recall sitting at lunch with a friend who used to be the life-and-soul of any social event. She struggled for, as she put it; ‘her words’. Having become so used to speaking less and not being face-to-face, she said it felt ‘overwhelming’, ‘strange’ and she looked forward to going home.
That is a habit we must break. The comfort of the living room and the immediate family is intoxicating. We can rapidly get used to living in a smaller-seemingly safer, changed world where we see less people, go out less, and become accustomed to an intimate circle. For some of us this was always our life, and maybe not as challenging — a shift as it was for those who previously socialised a great deal.
In a way the pandemic was harder on the extrovert than the introvert. Because while introverts aren’t averse to socialising, they can find it exhausting; whereas extroverts gain energy from it. When you put an extrovert in a forced setting without social opportunity, they may struggle more than someone used to their own company.
But it’s not as simple as extrovert and introverts. Many of us are a little of both, depending on the situation. I can go out with a big group one day. But on other days I want to be alone. Few of us are extremes. Most are like ‘ambiverts’ a combination of extroverts and introverts.
For those who do thrive on socialising, the pandemic was particularly challenging, but there are many ways to be affected, not least the tension and anxiety all of us picked up on or directly experienced.
Fortunately, technology became our best friend as we Zoomed more and met via video chats throughout the world. It opened up an international stage more than we’ve ever experienced and gave children a new normal in terms of how they learned online. Learning solely online had deleterious effects on underperformers. This ‘unfinished learning’  particularly impacted youth who might have already been struggling in the educational system.
Having taught Critical Thinking online for years, I genuinely believe online learning cannot replace in-class learning. There are huge draws to learning from the comfort of home, especially for adult learners who do so after work . “In comparisons of online and in-person classes, however, online classes aren’t as effective as in-person classes for most students. Only a little research has assessed the effects of online lessons for elementary and high school students, and even less has used the ‘gold standard’ method of comparing the results for students assigned randomly to online or in-person courses.” The amount of information retained is drastically smaller and the social engagement of a classroom has benefits that are hard to quantify but necessary for social development. When you rob children of the opportunity to socialize with each other you isolate them at a crucial stage in their development.
Some kids with learning disabilities are particularly affected by this, as are those who come from unsafe or impoverished backgrounds, where they may not have equal access to technology or reliable internet. They may not have parents who can help them if they are stuck or be able to work from home or have access to lunch. All those necessary elements to the education system were lost in our need to stay home and protect each other. A generation of children will always remember this time as a result.
On the other hand, they have mastered technology in a way that few older generations can boast of, and they are conversant in all the myriad ways of communicating with a wide range of technologies and devices. They are adaptable, versatile and fearless when it comes to tackling the rigors of online learning. For some who dislike social settings, it may also be a vast improvement.
Women left the workforce in droves when the pandemic hit, with 2 million less in the work-force. The inverse of this was men began to return to work having been dropping in numbers whilst women rose. The Pew Research Center found “What accounts for the larger labor force withdrawals among less-educated women than men during the pandemic? It is complex but there seems to be a consensus that it partly reflects how women are overrepresented in certain health care, food preparation and personal service occupations that were sharply curtailed at the start of the pandemic. Although women overall are more likely than men to be able to work remotely, they are disproportionately employed in occupations that require them to work on-site and in close proximity to others.” Jobs men traditionally do like physical labor, were in high demand, whilst many jobs traditionally filled by women, were shut down, often not returning.
We can be glad our restaurants are open again; we’re opening borders, we’re flying abroad, we’re living again. But let’s also spare a moment to think of those who lost so much it’s almost impossible to conceive. Covid was the third leading cause of death in America during the height of the pandemic, how did this many deaths become normal? Covid killed an estimated 13% of people over 80. Aside the tragedy of a generation of elderly dying and the loss of grandparents, and parents for so many, we’ve also seen younger people dying from a virus, which has shaken the belief younger people have that they are impervious to viruses similar to the flu, what effect with this have on their sense of safety going forward?
And what of the health consequences of those who technically survived bout of the pademic but developed ‘slow Covid’ or worse, the side-effects and lingering legacy of being seriously ill with the virus? How many lung transplants will occur? How will ‘long haulers’ cope with lingering serious effects? What of those who live in countries where this isn’t an option? How many chronic illnesses will continue for decades as a result of this pandemic? It’s not enough to point to those who have died but also include those who survived but at such a high cost.
Financially we have collectively poured money into research, vaccines, countermeasures and prevention, but where has that money actually come from? And can we feasibly borrow that much money from our coffers without a reckoning? Economist Anton Korinek, an associate professor with a joint appointment in the University of Virginia’s Department of Economics and the Darden School of Business thinks: “People sometimes frame the policy response to COVID-19 as a trade-off between lives and livelihoods, and they ask whether it’s worth killing our economy to save people’s lives. But what they forget is that people won’t go back to a normal life and consumer demand won’t really recover if the virus is spreading through our country and killing people.” But the result of these hard choices and repeat closures, is they now predict an impending worldwide recession of global proportions, which had already been mounting prior to the pandemic, but promises to be far greater in its aftermath. I don’t think we’ve even begun to see the fall out; it begins with massive inflation but that’s just the start.
History tells us when we go through challenging times and survive, ‘the near miss experience’ as it’s known as, we want to live more than ever before, but economically this will not be possible for so many who are robbed of their financial security because of inflation, redundancy, underemployment and post-covid illness. We should be mindful that none of us are all right if many of us are still suffering and if we can support those who struggle, this battle with covid should have taught us all that we should care more about each other.
Perhaps these are the steps we can take to move toward a new post-pandemic future, where we consider ways, we may be better prepared for an invariable future of emerging viruses. We can try to find ways to avoid spilling into areas with high disease potential. “According to a group of UN biodiversity experts, around 1.7 million unidentified viruses circulate in animal populations, of which 540,000 to 850,000 have the capacity to infect humans.” So, we can avoid wet markets, and sloppy scientific research, both of which are vectors for the spread of viruses. We can pay more emerging virus hunters  to seek out those emerging viruses and begin work on treatments before they devastate countries. We can be borderless in our unanimous approach to equity for all, especially access to healthcare.
In America, we learned we were far from unassailable. In a New York Times article about Covid Deaths, the authors wrote: “For all the encouragement that American health leaders drew from other countries’ success in withstanding the Omicron surge, the outcomes in the U.S. have been markedly different. Hospital admissions in the U.S. swelled to much higher rates than in Western Europe, leaving some states struggling to provide care. Americans are now dying from Covid at nearly double the daily rate of Britons and four times the rate of Germans.” Nothing can diminish that fatal statistic or rectify the unnecessary deaths. Our healthcare system, considered superior, proved to be full of holes. Without some type of socialised healthcare our costs and resources are too high and scarce. We don’t value the front-line workers like nurses, porters, assistants and care staff and we do not pay them for the risks they take, and whilst we do pay doctors good wages, we have severe shortages of knowledge and progress. Finding out we didn’t have enough ventilators, masks for medical staff, PCP equipment and beyond, exposed the shame of putting profit over people. 
It is no surprise then that the UK and USA were among the top offenders in the rise and spread of the pandemic and their death rates exposed this. No one ethnic group appears to be at greater risker of dying from the virus based on ethnicity alone, but Hispanic, Black, and native Americans or AIAN people are about twice as likely to die from COVID-19 as their White counterparts and that Hispanic and AIAN people are at one and a half times greater risk of COVID-19 infection than White people. This is caused by social reasons (inequality) not ethnicity, as can be proven by Africa and some AIAN countries having some of the lowest Covid mortality rates. In the article ‘Racism not Genetics’ in Scientific American, the authors point out “the genes that influence skin colour are distributed independently of genes that influence the risk for any particular disease. Given the heterogeneity of groups we call “black” or “white,” treating those categories as proxies for genetic variation almost always leads us astray.”
Even if there are increased susceptibilities related to blood type and age (More than 81% of COVID-19 deaths occur in people over age 65. The number of deaths among people over age 65 is 97 times higher than the number of deaths among people ages 18-29 years). The real risk is how healthy the population is and whether they have safe access to healthcare. Both America and the UK failed because they put profit above people and have large populations of sickly people. Going forward this needs to change, which means redesigning what we prioritise. People need to have access to healthcare and make lifestyle changes that will reduce their risks which they cannot do if they cannot afford to see a doctor or in the case of the UK find it hard to see a doctor because of long wait times and reduced staffing. It’s not as simple as socializing healthcare as the UK proved, this alone doesn’t save lives, what saves lives is considering the larger picture.
But politicians gain from older populations dying, consider what happened in Brazil when the President denied the danger of Covid and for a time Brazil had the highest Covid mortality. This is the harsh truism rarely mentioned: It benefits those in control of a society to lose the most fragile members who will suck up precious resources, much like a form of eugenics, it behooves them to let it happen and there are many examples. For a politician who is looking for ways to reduce healthcare costs, what is better than some of the potentially most expensive ‘customers’ dying? This happened in France where number of elderly people died one Summer, shockingly little was said at the time, but all signs pointed to a collective signal of relief from those in power who benefited from less older people making claim on an already taxed medical system.
When Italy and Spain  and Brazil  became epicenters of Covid 19 deaths, they did so because of ill preparedness and it’s a cautionary tale to witness which countries succumbed to the ravages of covid 19 repeatedly, versus those who learned from them. What we have learned is more, not less, needs to be done and if a country keeps its borders open including air-travel and business-travel, then as much as they hope to save their economy, they do so at the expense of their most vulnerable. For some countries this was a conscious choice (economy over lives) whereas for others it was poor communication and slow response times. For some a lack of money, for others a desire to gain at any cost. All this speaks of the tapestry that is the pandemic’s aftermath (and truly, is it really vanquished?).
I’d love to say a new post pandemic future looks rosy, but the only way that happens is if we learn from our mistakes, which history tells us, we rarely do. The most important thing is empathy, when we saw others take their masks off and simply not care if the vulnerable died, we saw how bad we as humans can fall. But we also saw how wonderful humans can be, including the infinite sacrifice and compassion of thousands who sought to help strangers. If there is a way, we can reward the good and not the bad, if we can get our priorities right and stop paying sports figures astronomical sums but perhaps emphasise on compassion, kindness, and diligence, we can all grow together.
I was particularly moved by youth who in the turmoil of the pandemic created inventions or systems to help others. Believing youth are our future, and thus, our hope, it gives me great faith in the future when I see those too young to vote, care for strangers and seek to do their part. We should always encourage this as we should encourage a continued dialogue into how we can create an international rapid response to emerging diseases. It is not if, but when, and now all of us should know this and have no excuse for putting our heads in the sand again. Yes, it hurts to think of it, yes, we’d rather go off and have fun, but what fun is it if we are only postponing the inevitable return of a lethal virus? Part of being responsible for our planet and each other, is not avoiding the harsh truths; of environmental changes and devastation, global poverty, continued inequality and elitism, and of course, the increasing risk of deadly diseases.
We have within us all, the power to effect change. The steps we should take to move toward a post pandemic future must necessarily include keeping our eyes open and not taking the easy road. Sure, governments don’t want to spend the money on research, science, virus hunters, predictions. And preparedness, but I challenge anyone to say this isn’t exactly what they need to do. It is necessary we keep this in mind when we vote and protest. We should be marching about this as much as any other cause, because it affects us all and equally, brings us all together with one cause.
Thinking in terms of one world, we are less divided than ever before and whilst we were separated, I think we also found ways to come together if we choose to. I say, we should. Because, together globally, we learn more than we ever would divided. With the offensive by Russia on Ukraine, we see the lunacy of war, the futility, the devastation and waste. Instead of pouring millions into wars and keeping the rich, rich at the cost of the poor and overworked, we should consider how we can all rise out of the mire and evolve towards a better future. But in order to achieve this we cannot be complacent, and we cannot let our guard down.
Candice Louisa Daquin is a Psychotherapist and Editor, having worked in Europe, Canada and the USA. Daquins own work is also published widely, she has written five books of poetry, the last published by Finishing Line Press called Pinch the Lock. Her website is www thefeatheredsleep.com
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Strider Marcus Jones wrote these lines about an idyllic utopia that was named Lothlorien by JRR Tolkien in Lord of the Rings. Jones writes beautiful poetry that touches the heart with its music and lyricality and recreates a world that hums with peace, beauty, acceptance and tolerance – values that have become more precious than gems in the current world of war, strife and distress. He has created his own Lothlorien in the form of a journal which he has named after the elfin utopia of Tolkien. An avid reader and connoisseur of arts, for him all his appreciation congeals in the form of poetry which draws from music, art and he says, perhaps even his legal training! Let us stride into his poetic universe to uncover more about a man who seems to be reclusive and shy about facing fame and says he learns from not just greats but every poet he publishes.
What started you out as a writer? What got your muse going and when?
In my childhood, I sought ways to escape the poverty of the slums in Salford. My escape, while gathering floorboards from condemned houses every winter and carrying them through back entries in crunching snow to our flat, above two shops for my dad to chop up and burn on the fire was to live in my imagination. I was an explorer and archaeologist discovering lost civilisations and portals to new dimensions our mind’s had lost the ability to see and travel between since the time of the druids. Indoors I devoured books on ancient history, artists, and poetry from the library. I was fascinated by the works of Picasso, Gauguin, Bruegel and many others and sketched some of their paintings. Then one day, my pencil stopped sketching and started to compose words into lines that became “raw” poems. My first mentor was Anne Ryan, who taught me English Literature at High School when I was fourteen. Before this, I had never told anyone I was writing poetry. My parents, siblings and friends only found out when I was in my twenties and comfortable in myself with being a ranger, a maverick in reality and imagination.
When I read your poetry, I am left wondering… Do you see yourself in the tradition of a gypsy/mendicant singing verses or more as a courtly troubadour or something else?
I don’t have the legs to be a courtly troubadour in tights and my voice sounds like a blacksmith pounding a lump of metal on his anvil.
I feel and relate to being gypsy and am proud of my Celtic roots passed down to me from my Irish Gypsy grandmother on my Father’s side who read the tea leaves, keys, rings, and other items telling people’s fortunes for years with scary accuracy. I seem to have inherited some of her seer abilities for premonition.
Like my evening single malt whiskey, age has matured the idealism of my youth and hardened my resolve to give something back to the world and society for giving me this longevity in it. The knocks from the rough and tumble of life have hardened my edges, but my inner core still glows like Aragorn’s calm courage and determination in the quest to bring about a more just and fairer world that protects its innocent people and polluted environment. Since Woody Guthrie, Tom Waits and Bukowski are influences I identify with deeply, I suppose I am a mendicant in some of my poetry but a romantic and revolutionary too, influenced by Neruda, Rumi, Byron, and Shelley shielded by The Tree of Life in Tolkien’s Lothlorien:
THE HEAD IN HIS FEDORA HAT
a lonely man,
in a strange wind blowing
a gypsy caravan
whose journey doesn't expect
to go back
why everyone's ruts have the same
blood and vein.
the head in his fedora hat
bows to no one's grip
brim tilted inwards
concealing his vineyards
of lyrical prose
in a chaos composed
to be exposed,
perfect and flawed,
songs from the borderless
where no one has domain
and his outlaw wit
that hobo fella
a listening barfly
for a while,
the word-winged butterfly
they can't close the shutters on
or stop talking about
when he walks out
and is gone.
whiskey and tequila
with a woman who can feel ya
inside her, and know she's not Ophelia
as ya move as one,
to a closer and simplistic,
when she stands, spread
all arms and legs
in her Eskimo
sharing mithril breath,
no more suburban settlements
and tortured tenements
just a fenceless forest
and mountain quests
with a place to rest
on her suckled breasts,
hanging high, swinging slow.
war clouds HARP
through stripped leaves and bark,
where bodies sleeping in houseboat bones
reflect and creak in cobbled stones:
smokey sparks from smoked cigars
drop like meteorites from streetlight stars,
as cordons crush civil rights
under Faust's fascist Fahrenheit’s.
one more whiskey for the road.
another story lived and told
as he sang and spoke
You seem to have a fascination for JRR Tolkien. You have a poem and a journal by the name of Lothlorien. Why this fascination? Do you think that JRR Tolkien is relevant in the current context? We are after all, reverting to a situation similar to a hundred years ago.
Yes, on all counts. Tolkien and his Lord of The Rings trilogy have been part of my life since I first read one summer when I was twelve years old. My young mind, starved of adventure and elevenses in Salford’s slums, willingly absorbed the myths and magic, lore’s and legends beguiling me to enter the ‘Age of Man’. This living in a time of relative peace alongside other, more ancient races with musical-poetic languages reflected part of my own reality in living through the Cold War decades under the impending doom of nuclear annihilation where daily life often felt the shadows cast by the Cuban Missile Crisis, war in Vietnam, Pol Pot’s Cambodia, and famine in Biafra.
Sauron’s evil eye and invading armies echo an outgoing President Eisenhower’s ominous warning to curtail the influence and corruption of the banking-military-industrial-complex. Instead, Martin Luther King and President John F Kennedy were assassinated and a surveillance state and gilded slavery ideology is being imposed globally using artificial intelligence. Ancient civilisations in Iraq and Libya have been destroyed for control of oil and to maintain global Petro dollar power. Tolkien and The Lord of the Rings is just as relevant today in Ukraine, Yemen, and Syria and as it was through the slaughters of Verdun, the Somme and Flanders Fields. It is a warning that good must prevail over evil and this burden is borne by those with courage and conviction who cannot be corrupted.
What is your Lothlorien? What does poetry mean to you and your existence?
My Lothlorien is a more peaceful world, with more tolerance of other individuals and cultures. Not perfect by any stretch but a place where people laugh, have their neighbours back and work with each other. A place of social justice and equality, music, poetry and art. It is no place for racism, sexism, ageism, corruption, or war. A kind of homestead with birdsong, forest, mountains and rivers, preferably in the French Pyrenees or Alaskan Bush. A place of words composed into poems and stories read and spoken, passed down and added to by each inspired generation in the Native American tradition. Poetry is all about communication and community in my existence. We are caretakers of our words and the world.
You have used Orwell, Gaugin and many more references in your poetry. Which are the writers and artists that influence you the most? What do you find fascinating about them?
Individuality of expression through fiction, poetry, art and music fascinates me. Now, at 62 years of age so many have influenced my poetry with or without me knowing or realising it. These include:
From the past – Chaucer, Tennyson, Shelley, Keats, Blake, W.B. Yeats, Auden, Langston Hughes, Hart Crane, Sexton, Plath, Kerouac, Heaney, Lorca, Orwell, Dickens, Dylan Thomas, Tolkien, Steinbeck, Heller, Donaldson, P.D. James, Ian Rankin, Vonnegut, Dostoyevsky, Rilke, Rumi, E.E.Cummings, Neruda, Leadbelly, Robert Johnson, Miles Davis, Thelonious Monk, John Coltrane, Dylan, Tom Waits. So many.
From now – They know who they are. I have published their work in Lothlorien Poetry Journal.
You play instruments — saxophone and clarinet? Does that impact your poetry?
Saying I play instruments is a huge stretch of the imagination. I get strange notes out of my saxophone and clarinet that must sound like a hurricane blowing in anyone’s ears. My black Labrador, Mysty, covers her ears with her paws but I enjoy trying to play. I love jazz music, anything from the 1920s to early 70s, but Miles Davis, Monk, Coltrane, Mingus, and Ornette Coleman took jazz music to a level that transcends mortality.
Jazz music continues to be a profound influence in my poetry. I will explain how.
Does any kind of music impact your writing?
In some way, unbeknown to me, jazz music, particularly that of Davis, Monk and Coltrane runs parallel to and interweaves with the rhythms of how I think when I write poetry. It closes my mind to the distractions of the outside world. The sound of those perfect and imperfect notes opens a door in my mind, I close my eyes, float into this dark room and my senses fill with images and words, which hover in the air like musical notes where I conduct them into rhythms and phrases bonded to a theme. Some become poems, others disintegrate into specks of dust, the moment gone. Sometimes, the idea and train of thought sleeps in my subconscious for years. This happened with my poems “Visigoth Rover” and “Life is Flamenco” which come from my sojourns randomly wandering through Spain but were born years later listening to Paco playing Spanish guitar and Flamenco music which is another key influence in my poetry.
i went on the bus to Cordoba,
and tried to find the Moor's
in their excavated floors
and mosaic courtyards,
with hanging flowers brightly chameleon
against whitewashed walls
behind gated iron bars-
but they were gone
leaving mosque arches
and carved stories
to God's doors.
in those ancient streets
where everybody meets-
i saw the old successful men
with their younger women again,
sat in chrome slat chairs,
drinking coffee to cover
their vain love affairs-
and every breast,
was like the crest
of a soft ridge
as i peeped over
the castle wall and Roman bridge
like a Visigoth rover.
soft hand tapping on shoulder,
and beauty older,
the gypsy lady gave her clover
to borrowed breath,
embroidering it for death,
adding more to less
like the colours fading in her dress.
time and tune are too planned
her Trevi fountain of prediction,
or the dirty Bernini hand
shaping its description.
LIFE IS FLAMENCO
why can't i walk as far
and smoke more tobacco,
or play my Spanish guitar
putting rhythms and feelings
without old ceilings
you've never heard
before in a word.
life is flamenco,
to come and go
high and low
fast and slow-
she loves him,
he loves her
and their shades within
caress and spur
in a ride and dance
of tempestuous romance.
outback, in Andalucian ease,
i embrace you, like melted breeze
amongst ripe olive trees-
dark and different,
all manly scent
and mind unkempt.
like i do,
everything about you
when he drew
your elongated arms and legs
around me, in this perpetual bed
for these soft geometric angles
in my finger strokes
and exhaled smokes
of rhythmic bangles
to circle colour your Celtic skin
with primitive phthalo blue
pigment in wiccan tattoo
through thrumming strings
of wild lucid moments
in eternal components.
i can walk as far
and smoke more tobacco,
and play my Spanish guitar
Tell us about how music and language weaves into your poetry — “i’m come home again” — there is no effort at punctuation — and yet the poem is clear and lyrical. I really love this poem – Lothlorien. Can you tell me how you handle the basic tool of words and grammar in your poetry?
In my mind, music is poetry through sound instead of words. Like words, the combinations of notes and pauses have intricate rhythms and phrases. In many of my poems like “Lothlorien” and those above, I weave the rhythms and phrases of jazz music or Spanish guitar and words together with run on lines so there is no need for punctuation. This gives these poems, and many others a spontaneity and energy which feels more natural and real and has a potent, more immediate impact on the senses and emotions when combined with images and happenings. This whole process feels natural to me. It began in my early twenties, when I was listening to old Blues and the likes of Leadbelly and Robert Johnson alongside Dylan, Led Zeppelin, Tom Waits and Neil Young. These are the raw underbelly notes of my pain and anger at the world. Jazz is the mellow top notes. I hope this makes sense. It is hard to explain something that is natural to and part of who I am, so forgive any lack of clarity.
Sometimes, I just like to add a moment of mischievous fun to a serious poem as in these two:
the fabulous beauty of your face-
not always in this place-
it's late, mesmeric
smile is but a base,
a film to interface
with the movements of the mind behind it.
my smile, me-
like Thomas O'Malley
cat reclining on a tin bin lid
with fishy whiskers-
turns the ink in the valley
of your quills
while i sit
with fresh red sepals of hibiscus,
and his Amores
for your stories.
a rest, from swinging bar
and animals in the abattoir-
to smoke in mental thinks
spoken holding cooling drinks.
counting out old coppers to be fed
in the set squares of blue and red
just enough to break up bread in thick barley broth.
Jesus is late
after saying he was coming
back to share the wealth and real estate
of capitalist cunning.
maybe. just maybe.
put another song on the jukebox baby:
no more heroes anymore.
what are we fighting for --
he's hiding in hymns and chants,
in those Monty Python underpants,
from this coalition of new McCarthy's
and it's institutions of Moriarty's.
some shepherds’ sheep will do this dance
in hypothermic trance,
for one pound an hour
like a shamed flower,
watched by sinister sentinels-
while scratched tubular bells,
summon all to Sunday service
where invisible myths exist-
to a shamed flower
with supernatural power
come the hour.
How do you compose a poem? Is it spontaneous or is it something you do? Do you hear the lines or voices or is it in some other way?
Most poems come from life’s experiences and observations of people, places, nature, and events. These can be from the past, or present and sometimes premonitions of the future which often overlap depending on the theme/s and where I want it to go.
When it comes to composing a poem, I am not robotic, and neither is my Muse. I have no set time and never write for the sake of writing something each day which I find disrupts my subconscious process. A poem can begin at any time of day or night, but my preferred time to think and write is mid-evening going through to witching hour and beyond. I put some music on low, pour myself a slow whiskey and sit down in my favourite chair with pen and folded paper. I never try to force a poem. The urge to write just occurs. I don’t know how, or why. It just happens. My subconscious finds the thread, thinks it through and the poem begins to unravel on the page. I care about the poems since they care about the world and the people in it. So, I often agonise for days and in some cases years, over lines and words and structure, crossing out words and whole lines until they feel right. Editing, and redrafting is a crucial part of the writing process and requires courage and discipline. Butchering your own work feels barbaric in the moment but enhances your poetic voice and strengthens the impact of a poem on the reader.
You are a lawyer and in the Civil Service in UK. How does law blend with poetry?
I am a law graduate and retired legal adviser to the magistrates’ courts/civil servant who retired early. I have never practiced as a lawyer.
I never think about law when I write, but I am sure the discipline brings organisation to the orderly chaos of Spinoza’s universe that resembles the space inside my head.
Tell us about your journal. When and how did you start it?
I started Lothlorien Poetry Journal in January 2021. I publish the online rolling blog of poetry and fiction and printed book volumes — currently standing at eight issues featuring established and emerging poets and fiction writers published on the LPJ blog.
We are a friendly literary journal featuring free verse/rhyming/experimental poetry, short stories, flash fiction, and occasional interviews with poets.
We love poems about enchantment, fantasy, fairy tale, folklore, dreams, dystopian, flora and fauna, magical realism, romance, and anything hiding deep in-between the cracks.
I publish Lothlorien Poetry Journal periodically, 4-6 issues every year. Contributors to each issue (selected from the best work published on the Journal’s Blog) are notified prior to publication and receive a free PDF copy of the issue that features their work.
We nominate for the Pushcart Prize and Best of the Net.
What do you look for in a poet as a publisher?
I look for a poet or writer’s distinct voice, that spark of originality in their theme/s, the rhythm and musicality in their language and phrasing. I have no boundaries as to style, form, or subject – prose, rhyming, free verse, sonnets, haiku, experimental or mavericks who break the rules and write about the darker underbelly of society – if it is good and not offensive, racist or sexist Lothlorien Poetry Journal could be the natural home for your work. The best way to find out is to come to Lothlorien, have a read, and decide to submit.
i'm come home again
in your Lothlorien
to marinate my mind
in your words,
and stand behind
good tribes grown blind,
trapped in old absurd
and selfish treasons.
in this cast of strife
the Tree of Life
embraces innocent ghosts,
slain by Sauron's hosts-
and their falling cries
make us wise
enough to rise
up in a fellowship of friends
to oppose Mordor's ends
and smote this evil stronger
for each one of us that dies.
i'm come home again
in your Lothlorien,
to take wing
and un-fang serpent krakens-
while i bring
all the races
as equals in equal spaces
the chorus of crickets
who cheat them from chambered thickets,
hiding corruptions older than long grass
that still fag for favours asked.
i'm come home again
in your Lothlorien
where corporate warfare
infests our tribal bodies
and separate self
in political lobbies
so conscience can't care
worth and wealth-
to rally drones
of walking bones,
to think things through
and the powerless who see it true.
red unites, blue divides,
which one are you
and what will you do
when reason decides.
IN THE TALK OF MY TOBACCO SMOKE
i have disconnected self
from the wire of the world
retreated to this unmade croft
of wild grass and savage stone
set in sea
blue black green grey
dyed all the colours of my mood
and liquid language-
to climb rocks
instead of rungs
living with them
moving around their settlements
of revolutionary random place
for simple solitary glory.
i am reduced again
to elements and matter
that barter her body for food
teasing and turning
her flesh to take words and plough.
slaps the skin
on honest hands
while sowing seeds
the way i touch my lover
in the talk of my tobacco smoke:
now she knows
like all the drops
of my dreams
falling on the forest
of our Lothlorien.
Thanks for your lovely poetry and time.
(This is an online interview conducted by Mitali Chakravarty.)
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