It’s just over eight weeks since I quit my job and time is doing that weird thing it seems to do of speeding up and filling up the more ‘free’ time one has. So I thought it might be good to take a step back and reflect on what I’ve done in that period.
I’ve written six new poems and reworked two old ones into much better shape. I’ve submitted a couple for an anthology and I’m deciding where to send the others. I’ve also written three short prose pieces, each in response to a specific call for submissions, so they’re out there now and time will tell whether I’ve hit the mark or not.
Joolz Sparkes and I performed a bunch of our London Undercurrents poems at March’s Fourth Friday and were buoyed by how well they were received. Since then, I’ve been researching ideas for new LU poems, including reading a lot of, and about, Angela Carter.
On Easter Saturday I attended a one day poetry workshop in a small group with Ruth O’Callaghan, around her dining room table, partly fuelled by mini gold-wrapped chocolate rabbits provided by one of the other participants. I’d booked back in January, and didn’t know what to expect, but came away with a handful of rough drafts, and a burning desire to read more Alice Oswald. One of the poems we’d looked at was Oswald’s strange and powerful Autobiography of a Stone.
Last Monday, I went along to my first local Stanza group session, and found it welcoming and stimulating. It’s still fairly new for me to share work in progress, especially with a group of people I’ve never met before, and I’m also not terribly confident in giving feedback on others’ work – it’s hard enough being articulate about my own! – but this feels like something I need to expose myself to. I left with my sense of myself as a writer still intact, and intend to go along to next month’s meeting.
As well as all this, I’ve been to a number of readings and events, one of the highlights being the private view of the Prunella Clough retrospective at the Osborne Samuel Gallery. Clough is one of my favourite painters. I love her muted palette and her subject matter – industrial spaces, overlooked detail, the scraps and discarded elements of mid to late twentieth century England. I’d been excited to read in Frances Spalding’s excellent monograph Prunella Clough: Regions Unmapped that in the 1950s Clough had spent time sketching in the Peek Frean Biscuit factory in Bermondsey and later worked the sketches up into paintings. That sparked an as yet unpublished poem for the London Undercurrents project. In the current exhibition, two of the Peek Frean Biscuit factory paintings are on show, so it was very special for me to see these.
Inevitably, there have been some niggles and frustrations. Much of it is about balance and discipline, keeping on top of emails without allowing them to dominate, not giving in to the distractions of social media, and reminding myself that it’s not possible to fit in every cultural event in London. Not if I want to write. And there’s an ongoing plumbing issue (domestic, not medical), which is tedious but is taking up a certain amount of time and mental energy.
Overall, then, perhaps I’d give myself 7 out of 10. Room for improvement, but on the right track. Now, get back to that poem!