Judging by appearances

It’s a stupid thing to do, but pretty much everybody does it. It’s how we spot the tiger in the long grass, how we look for the shorthand tell-tale signs and tribal marks that used to tell us ‘this stranger is safe’ or warned us not to get too close too soon.

How average people dressed.
How average people dressed

In black and white films at least, things were straightforward. Proper chaps wore hats, or as their womenfolk called them at the time, hets. That was some time ago and all of those pointers and signs changed a while back. Most days I wear a tweed coat (one does not say jacket, actually) and jeans along with Goretex-lined walking boots, a combination my father would have found baffling. He was never socially confident enough to wear tweed, and denim was something engine drivers wore in those days. And Goretex hadn’t been invented.

The thing is, I make as many assumptions about people based on what they wear and how they sound as anyone else. People make assumptions about me based on my voice. Most of them assume I used to have some money because of it, which isn’t even vaguely true. Last weekend I was freezing because I hadn’t had much sleep so when I went down to the Suffolk Arts Club I threw on anything warm I could find. A grey sweater with red hearts on it from TK Max. A long Musto stockman’s coat that’s kept me dry since 1991. Same old jeans and boots. And a scarf. And two people I thought knew me a bit said they could see I was wealthy due to the clothes I was wearing. Wrong. Flattering, but totally wrong.

Just as wrong as I’ve been about the audience for the stand-up poetry I’ve been doing. I did my 12th gig tonight, two months into this, at The Grinning Rat in Ipswich. I got there late because I hadn’t even decided to go until about nine o’clock when I finished work and by the time I got there it was almost empty apart from a small group of loud people drinking at the bar. Hurrah, I thought, exactly the audience I like, drunk and shrieking at each other at random. And if I’d made more sensible assumptions I wouldn’t have been surprised when after I’d done my set a woman from the group came over and touched my arm and said ‘thank-you, that was lovely.’

Somehow it's never girls like this that touch my arm and say 'thank-you.'
Somehow it’s never girls like this that touch my arm and say ‘Thank-you. That was wonderful. Take me home with you.’

It’s never the sensitive-looking girls. It’s never the artistic-looking men. Always but always it’s the toughest-looking men and to be frank, women, who make eye-contact during the set or at the bar afterwards, who come over making me ask myself ‘what did I say?’ and tap me on the shoulder or physically stop me leaving  the pub. And just as I’m thinking ‘how do I get out of this and what was it I did that’s got me into this?’ they say odd things I’m not expecting.

‘We need more spoken word. Are you coming here again?’

‘You’re like me,’ from a skinhead with a pit bull terrier.

A silent thumbs-up in my face that I thought had been going to be a punch.

I’ve had a tough-looking rockabilly girl massaging my shoulders while I drank my pint, then giving me 20 minutes on why her relationship was so troubled. She didn’t want me to do anything about it, she just thought I was the sort of person she could speak to, after my poetry that I don’t even think is real poetry, just smart mouth and anguish and a couple of rhymes. Almost therapy, at times. You see what I did there? Smart mouth, as I said.

And they touch my arm. This is what I really don’t get. It’s always the same. Apart from one tap on my shoulder to get my attention (I really thought I was going to get punched that time) and one hand on my chest to stop me going through the exit (that wasn’t much fun in expectation either) huge blokes and hard-looking women come and do the same thing: they both touch my left arm (always the left one) above my elbow. Always. I don’t get it.

A lot of the stuff I do is about being upset. With a couple of the poems I sometimes have problems with a couple of lines if I’m thinking too much about why I wrote it in the first place. Maybe it’s therapy. I’ve certainly noticed that when I start to feel ok about things after being dumped (again) I can’t think of much to write about. But it gets through to the wildest, toughest looking people, people who don’t have voices like me, people who I thought from the way they looked would hate what I do, standing in front of a microphone with foppish hair and a voice like mine.

And more fool me, judging people from first impressions and appearance. Just more fool me. These strange, tough-looking people who look as if life hasn’t been its kindest to are my biggest fans. So I’m going to try to stop being an arse and wait to see what people are like before I judge them. The same way they have the grace to reserve judgement on me.

 

 

 

 

 

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Sunday, Sunday

Can’t trust that day, as the Mamas and Papas nearly sang. It’s a special day today, which makes me wish I’d had more than two and a half hours sleep and didn’t have to fix my freewheel on my bicycle, which seems to be all crudded up as it’s come out of winter storage. It runs, but if you stop peddling the chain threatens to come off because – oh it doesn’t really matter because. I’m going to have to take the stupid chain tensioner on the derailleur apart, thinking as I do every year that the complete evidence that my life has gone fundamentally totally wrong is that I can’t afford £900 for a 14-gear Rohloff gear hub for my bicycle. Res ipsa loquitur, as if I’d said for a living I’d have one by now. It speaks for itself, doesn’t it? Ha ha. And bitter tears.

If I hadn't thought about Wendy Sedgewick I'd have one of these by now.
If I hadn’t thought about Wendy Sedgewick I’d have one of these by now.

Oddly, I think of new things when I’m short of sleep. Two new poems, one of which I might try out at the soiree (I know, get me) this afternoon, and remembering I actually have not one but two short stories of a readable length I could do either there or at the pub open mic at The Anchor afterwards.

First I need to get some sleep and fix my bike, but I could get the train one stop instead and cadge a lift back, I suppose.

So would you like a story? Would you? Have you been good? Ok, what story would you like, because we only have time for one before bedtime? What’s it going to be? One about a ghost cat? Or about a teenaged Mexican prostitute I met once?

Sorry? I didn’t say these were children’s stories, did I?

 

 

 

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Being English

It isn’t easy being English. It’s not just the clothes you wear. Sorry, one wears.

Nor the things you think or the way you see things or the way you speak.

But when you hear it, especially when the English talk about relationships – sorry, not a very English word, I meant things like that – you know you really couldn’t be listening to any other people. Especially when you realise that when we say sorry we actually mean pay attention. I meant one means. Sorry.

I drove past someone’s house this morning and had a look to see if the garden furniture was still where I’d put it and the pergola was still there. And I thought of this. I don’t know whether to call it Being English or Things Like That. Or People Like Us, but I want to use that for something else and besides, not all of them do.

Claudia Myatt

Things Like That

It was all quite straightforward.

We both knew

Where we were.

We sort of got along.

Like that.

We liked each other.

Quite a lot rather soon.

That way too.

And then well.

You know.

All sorts of things happened.

And before we knew

Where we were at all

That was it really.

Now I just look

To see if her car’s there.

If you see what I mean.

Thinking back I’m not sure

Either of us did at the time.

Pity.

Actually.

 

 

(c) Carl Bennett

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Last Defences

I was walking yesterday, up along an old path called Into The Light, along the road a little way then north towards the railway, along an old drove road, towards the house of someone I used to know.

A man was burning a tree fallen in the storms and the pheasants shot into the air as I walked along a cart track underneath where they’d roosted. I went and talked to someone else who knew the same person and we didn’t mention her at all. I got back in the last of the light, out of the light and said hello to someone I didn’t know to stop an old man cycling into me in the dark.

An old apple tree, planted nobody knows when on a drove road most people have forgotten. I think someone long ago threw away an apple core.
Unwanted apples on a forgotten drove road. I think someone long ago threw away an apple core.

I thought about a poem I started years ago. I’ve never been able to finish it. I thought about a girl I used to know in Cornwall and I thought about the Spring coming and the old wartime things you sometimes discover walking here, still littering the fields and hedges after what, 70 years or something. Time moves at different speeds in some places, sometimes.

I don’t know whether to call this Walking With Blue or Last Defences. Let’s stick with the second one for now.

 

Last Defences

 

March and the raw wind cradles the rooks calling.

March and the wet wind licks my face

Waiting for the Spring to start

So we can go for a walk together again.

Secret clumps of snowdrops,

Uncleared pillboxes among the hedgerows,

Winter’s last defences mowing down the unwary

As they walk along the oddly empty lane

Unthinking. The sudden burst of flowersIMG_1327

Shattering the grey, reminding you

It really will be Summer again one day.

Cock pheasants clattering,

Calling safe from the guns

Until October now.

Woodsmoke from a bonfire

Clinging to my scarf,

Walking with blue even indoors.

I remember these last days of February too.

Spring term. Mock exams.

Back when everything was new.

And walking with blue

Jeans and dove grey sweater.

It was a poem I’d started then.

I can hear me now, still walking towards me

From the other end of my life

As I walk these different fields,

Too far from home, still walking with blue.

Hello stranger. I knew it was you.

Where’ve you been all this time?

Why didn’t you write and tell me

If you were alright?

If you couldn’t say at least

Why didn’t you write to me?

Why didn’t you write?

 

 

© Carl Bennett 2104

 

 

 

 

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More material

I put Golden Cap in for the Bridport Flash Fiction competition in 2012. It didn’t get anywhere, even though the real Golden Cap, the odd chewed-up hill slowly being eaten by the sea is just a couple of miles from Bridport. I spent a Christmas and New Year near there once. It was cold and snowy and magical. On Christmas Eve what seemed like the whole town streamed out of the pubs, teenagers, old people, the lovers, the estranged, and we all crammed into the stone church overlooking the sea, the same way people had done for hundreds of years there. There seemed to be something in my eye but it was very windy outside, after all.

I got a saxophone that Christmas, a present from a generous girlfriend, in the eighteenth century house we were staying in. One morning we both hunted for the mouthpiece all over the top floor flat we rented, then gave up and went into the town to buy another. We were out of luck; there were no music shops in a town like Bridport, or none selling saxophones. When we got back to the flat the mouthpiece was in the exact centre of the floor of the spare room. It happened in another flat on holiday too, with the car keys.

The rules of the competition were 500 words only; Flash fiction. I’m never sure about that. It’s fun as an exercise, but I don’t buy the line that people haven’t got time for more these days. It’s your job writing it to steal their attention. If you can’t keep it for more than 500 words that’s your fault, not theirs. But anyway.

A decent-ish little short for the forthcoming stand-up set. I need half an hour’s worth of material. And something for the soiree this weekend. What? Want to make something of it?

 

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Late Train Out of Paddington

I grew up a long way from here, not just in terms of years but in distance. Over two hundred miles, a long way in England, anyway. It seems so. I lived in a small town of about 20,000 people but I never felt I knew everybody; I never have. Life started to change when I was about 18. There had been changes before that, but these were changes I was excited about, leaving home. Discovering things. Differences. The idea that not everywhere was like the little town I lived in. That other people had other ideas and some of them had ideas like me. Maybe it was the times, maybe it was just how old I was, but I felt change coming, an idea that things were going to change in a progressively better way. I don’t know people who think that way now.

At the same time as this idea of some non-specific progress I was becoming more aware of the past, from the grass mound at Avebury I’d drive past on the A4 going up to London to the fantastic vision of Brunel’s Paddington station, giving the ultimate lie to the gimcrackery of steampunk. Some of the trains I got back home were ancient, especially on the Sunday service to Westbury, but all of them had a certain feel about them, that they were taking me somewhere special. Not to Trowbridge where I lived, not to Westbury where the fast train junction was. But to the future, by way of the past. I wrote this a couple of years ago, mostly. But it speaks with the same voice I think I had back then.

 

Late Train Out of Paddington

 

Brunel's vision of the West, starting at Paddington.
Brunel’s vision of the West, starting at Paddington.

When I’d been to an interview for university

One year or another a long time ago,

I’d stay with my step-sister in Notting Hill.

She was ten years older than me

Doing Law after her PhD and going back

I’d get a late train out of Paddington.

I’d come up on the Thursday and wait for them to get home.

They had a light for burglars that came on by itself

So I could never tell if they were at home or not.

Often I hoped they were out so I could drink

In the Sun In Splendour, me with a book,

An actor from a TV cop show with his book too.

One night a woman came in asking about her friend

Who’d killed himself; No-one said they knew

Who she was talking about until she’d gone.

I’d smoked strong cigarettes and gone to a Russian bistro

Or we’d go to Geales’s for fish just around the corner,

Like everything else worth doing in London then.

I put my brass Zippo lighter on top of my cigarettes on the table.

I’d eaten broccoli quiche and good bread and butter

Cut with a razorlike old knife on thin antique plates.

I’d done my interview on Friday at UCL or Brighton or City

Or somewhere. I didn’t really care;

District Line tube at Paddington. Everything started and ended here.
District Line tube at Paddington. Everything started and ended here.

But I wanted to be in Notting Hill back then.

I didn’t buy any henna for my hair in Portobello.

I didn’t buy a yak hair coat or a broken Anglepoise lamp

I could fix or 1940s French cordorouy trousers with braces off the stalls

But I saw a woman naked when I walked past her bedroom door.

Ten years older than me, an actress in a film

I hadn’t seen. My bare feet silent on the wooden floor.

I couldn’t mention it then. I still can’t now.

I’d drunk red wine and wondered how I was going to live here,

Before the Tube to Paddington, haunted with the ghosts of steam trains

Under Brunel’s airy iron roof, my train on the platform past the sign

Advertising Harlech Television, “Your Station Back Home.”

Sometimes the carriages were so old they had

Wooden windows pulled up by a leather strap.

After I’d found my seat and stowed my bag

And found out where the loo was

I opened my New Musical Express,

Or Sounds, spreading it out on the table

So people could see but really

I watched the white of the tall old houses

Backing on to the tracks.

I remember the hum of the big train flexing,

Then coasting over the points, gathering itself

While it tugged at the skirts of Georgian London,

Then the big quiet push of the diesel when it

Got the scent of open country,

Settling me into my seat

With a bottle of Special Brew from the buffet car.

Actually, better make that two.

Rain slashed the trees as the sun set around Reading;

I got glimpses of strangers’s lives and tried to remember

The two abandoned farmhouses near the tracks.

You and I could have lived in either of them

If I’d ever known where they were.

First I needed to do university, then when I had a job

Whatever it was, when I got paid and when

I’d learned how to fix-up houses,

When there was a different you

And the you I knew then had become someone else

And you were just an infrequent memory;

When I knew you would be. And anyway

Nothing really happened to go that way.

I can still see out of the window and hear the boom

Of the engine as it winds out towards Swindon.

I can see the naked white backs of Georgian houses

From the tracks that carry the late train out of Paddington

But I can’t seem to find my seat anymore.

 

(C) Carl Bennett 2014

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These Are The Last Things

Another day, another cheery poem. I used this to close the night at the Wenhaston Star. It did the job well. Total silence, then clapping. Which was nice.

Then a bald-bloke barring my way out of the pub who wouldn’t let me go past until he’d said how much he liked it. It’s odd, I’m getting a lot of positive feedback (which I’m almost sure isn’t the kind of thing they’d say) from what look to me like the most unlikely people. Mostly with shaved heads. Mostly a lot bigger and tougher-looking than me. All of them visibly moved by my stuff, delivered by me. It’s been described rather flatteringly as raw and hypnotic. I think it’s something to do with telling honest stories about how people feel, in a way that men traditionally don’t tell them, or not in public, anyway.

That’s just my theory. I might be wrong. You could discuss it with my hard-looking fans if you like, out the back of the pub. Because they liked this one.

These Are The Last Things

This house is going now, 

Claudia Myatt
Claudia Myatt

Boxes packed, the vans booked,

Exchanging soon and these,

These are the last things

From my garden cooking.

Courgettes from the summer

That we shared sitting

Talking until late.

Until really it was much too late

For either of us to pretend,

Or for you to go home again.

This was my best Summer.

The summer of you and your dogs.

And your nose. And your voice.

And your hair. And your bent toes.

And just you, really. Just you.

And now I don’t have any of those things

With me almost every day.

Now I never know if, when I see you

In the street you’ll say hello or turn away;

It’s not just that it hurts me.

Not just that I don’t think

I deserved that. I make excuses for it

To my friends. It’s the way you are.

The way I was.

You’ve been through a lot, you know?

And yes, of course I talk about it.

It hurts so much too much not to

And I find that if I don’t then I cry.

But often, much more often than men are supposed to,

Alone in what will not be my house,

I cry anyway, for losing you.

In the kitchen, mostly.

Near the place between the oven and the fridge

Where you told me that you loved me.

So these, these are the last things.

 

 (c) Carl Bennett 2014

 

 

No, I’m fine, I’m fine. Honest.

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It’s not mine

I wish it was. It’s just rather beautiful, when you’ve got through what relationship advisors call the stupid cow/what a bastard stage depending on gender, when you can think without whatever it is making the wrong connections in your brain and making you not you at all, everyone forgets that Icarus also flew; that there were two of you in this, whatever it was. And if it went wrong for you it went wrong for them as well. And that neither of you meant it to.

It’s Spring soon

Things end. But things begin as well, all of the time. Every day. So deep breath. Head up. Shoulders back. No name-calling. And smile. As Nat King Cole used to say.

Failing and Flying, Jack Gilbert

Everyone forgets that Icarus also flew.
It’s the same when love comes to an end,
or the marriage fails and people say
they knew it was a mistake, that everybody
said it would never work. That she was
old enough to know better. But anything
worth doing is worth doing badly.
Like being there by that summer ocean
on the other side of the island while
love was fading out of her, the stars
burning so extravagantly those nights
that anyone could tell you they would never last.
Every morning she was asleep in my bed
like a visitation, the gentleness in her
like antelope standing in the dawn mist.
Each afternoon I watched her coming back
through the hot stony field after swimming,
the sea light behind her and the huge sky
on the other side of that. Listened to her
while we ate lunch. How can they say
the marriage failed? Like the people who
came back from Provence (when it was Provence)
and said it was pretty but the food was greasy.
I believe that Icarus was not failing as he fell,
but just coming to the end of his triumph.

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The Co-Dependent’s Valentine

songs without musicCo-dependency isn’t fun. There used to be a form of duelling in America where the two contenders were tied together by one wrist and given a knife each. Presumably the knife hand was held until the time to start the duel. Usually, obviously enough, both of them died. It always reminded me of a certain kind of relationship.

 

Roses are red

Violets are blue

I’d rather have nothing

If nothing means you.

 

Happy Valentine’s Day.

Yes, I know it’s late. Well you didn’t give me one at all, so just don’t start on me, ok?

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A Modern Valentine

Someone gave me a challenge the other day. Don’t write about love and romance. Show another side of you. But it was Saint Valentine’s Day. I failed.

 

 

A Modern Valentine

 

Roses are red

Like the blood of my heart

Like the lies on our lips

Like the stain of your kiss.

 

Violets are blue

Like the mould on spoiled food

Like the way we felt

When we knew it wasn’t true.

 

You held my heart

Like a hostage against the dark

Like a caged bird in the park

I was just a walk-on part.

 

Be my Valentine

And I’ll be yours

It could be worse

We’ve both been around for a while.

 

 

 

It’s not catchy. And you can’t dance to it.

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