Sample of Five Poems from ‘Transmissions’ by Elaine Cosgrove

ENDLESS

 
We become adult
on roads, on lines,
on grids, on greens,
on grey spaces —
you cannot zoom in.

We become older
with the city as seer,
decibels the scale
from stepping dawn
to engine rattling dusk,

to clinking night
and walk-back light.
Chiaroscuro lives
in metered hope.

We become in spite
of what happens, and
we are here, still here
becoming with care,
and listening ears.

We become no matter
the distortion that hopes
to confuse our hearts,
and break them.

We become electric.
On and off beings flowing
again and again,
endless in this sudden
glittering world of interruptions.
 

SURFING AT STREEDAGH STRAND

 
Site of a Spanish Armada wreckage
 
During sea-salt of winter surf, remembrance
of lineage acts like zinc on the blood that swells
from a creviced nick beside my thumbnail.

Streedagh Strand pulls out her linen towel
and I become warm dough on the sea floor
when their bodies appear blood-strewn bits on grain.

Five hundred wiped-out sailors beat, robbed and stripped
ashore by local savages hungry for wealthy bones
and soaked goods falling like crumbs from their dying.

A good savage attending only to castles and mountains
De Cuellar said of O’Ruairc who gave the Spaniards
fresh-cut reeds to sleep on, rye bread to eat

in the Breffni mountains where they hid.
My soft hands roughen to withstand whip of board,
cold knife in December tide earthing me straight to the skin.
 
Originally published in Issue 3 of The Penny Dreadful

BOG DISCO

 
It should have been the old bloomeries of love
during the slow-set: disco lights like Morse Code baubles
roaming our sequins, skirts and shirts
but some smart aleck two plastic, parish seats away from me
belches and says: “Boom. It’s the erection section.”
So I make tracks swift, double-door into a true breather of a night.
The Plough, dazzling points floating in the sky.
 

HANDWRAPPING

 
Eventually, you learn to wrap the cloth your own way.
First by imitation—online videos by peers, Master’s
and partner’s real-life instructions. What feels assured
is what you come to make yourself
. The snugger the wrap

to experience, the stronger the hand’s form, just before the strike.

 
HOME
from the festival

 	      z
            z
          z
He is Z beside me
a rise and fall 
of ribcage.
 
He is too humble,
too loyal to be 
assigned E-U-S.
 
Nonetheless, 
he is my god
in this scenario.
 
He does not stir 
to my arrival,
which I am a bruised 
peach about—
all acquired ego,
from the poets.
 
I am home, love,
ready to graft 
my way out 
of the talk-shop. 
 
I want to jab his side
with my finger, 
and command 
an alt universe 
for us, 
 
'Rise and fall 
to the woman 
of your dreaming.' 
 
Instead, he smells 
like a brewery 
and I fen, 
a half-naked sliver
                         s
                       s
                     s
	           s
of tiredness, 
touch-screening 
white light keys 
of Notepad, 
as it extends 
and shines upon 
his face and arms, 
my face too — 
 
a flickering 
         tap tap 
hold down 
        transform
letter
         suggest 
         autocomplete
flicker 
          tap 
flicker 
          tap
return
          tap 
return  
          tap
return 
          hold
          flicker
lightning 
connect 
socket
          charge
wake up	       scoop up 
my body	        become 
my peering 	point

Sample of Five Poems from ‘Transmissions‘,  Elaine Cosgrove’s forthcoming debut poetry collection. Publication Autumn 2017, Dedalus Press, Ireland.

Elaine Cosgrove was born in Sligo, Ireland in 1985. Her work has been published in The Stinging Fly Magazine, The Penny Dreadful, The Bohemyth, and New Binary Press. Elaine was selected for the 2017 Fifty Best New British & Irish Poets Anthology (Eyewear Publishing), and longlisted for the 2016 London Magazine Poetry Prize. Transmissions, her debut collection of poetry will be published by Dedalus Press Autumn 2017.

“Alethiometer” and other poems by Eleanor Hooker

Alethiometer

for John & Fedelma Tierney
 
I have one marble only, glass-curled greens and blue.
It’s kept inside a golden globe with turquoise studs,
I swing it from a chain: my dowsing stone, my truth-seer.
Once it knocked against an ancient head, cracked it so its walnut core
Leaked sepia images of a being lived inside another time, another age,
Before the image replaced the real and the real was more than shadow.
 
Outside the cave I glassed the play of light and shadow,
And when my only marble fell from its golden globe onto a blue
Tiled ocean floor, I swam after. The ancient head, wise with age,
Told me he had too lost his, recalled the studs
Inside the coloured orb, their curled blues, their seedy core
His own two eyes: Learian days that left him sightless and a seer.
 
My ancient friend dismissed the lies of a mummer seer
Whose falsest claim is that to love someone is to dispossess him of his shadow,
To wipe out every trace of him. Is this not indeed a murderous future? Our core
Belief that we are sworn to good and not extremes is not illusory. Those blue-
Eyed boys in ivory towers profess there is no truth, no self, nothings real; the studs
That breed such suasive tales are only there to fill the storybooks of our age.
 
Along the furrows of my brow I found a little pebble, it seemed an age
Since I had lost my marble. This purple stone weighed but a fraction of a seer.
It rattles in the golden globe, its hollow ring dislodging all the turquoise studs.
In the desert of the real, we watched the sun expand and then contract my shadow.
The ancient head has none. Though he is dead, we still talk. When the moon is blue
And the sky is starry nights, we harvest all the fruits of happy thoughts and core
 
Them for their seeds. “Is all of speech deception, all meaning at its core
Inherently unsound?” I asked the wise old head. He’d reached an age,
He said, and no longer feared such things, was satisfied there were no blue-
Prints or master schemes, simple truths apply—it does not take a seer
To tell you that the darkest hour is just before the dawn. All of us are shadow-
Dancing but mustn’t let the darkness intercept the light. The mettle studs
 
He riveted to the heart of my resolve are turquoise studs
In reinforced solutions. I’ve made up two new moulds, hollowed out their core
For curled glass in colours of the universe, whose negatives in shadow
Graphs are images of beings lived inside another time, another age,
Before I was madder than unreason and he mapped inscape as a seer
And gladness had another view, before betrayal choked intentions blue.
 
Talk on this blue-green sphere sets the lens within our glass-eye studs,
Through which the seer sees us stumble through the worth of words, in that core
Bewitchment of every age that cannot tell the real from dancing shadow.
 
First published in WOW! Anthology 2011, and subsequently in The Shadow Owner’s Companion (2012)

Escape Route

 
You fix our ladder in the scorched earth,
watch as the crows crowd round us,
I hear their cautionary caw-caws, but cover
your ears against their thin black sermons.
 
And so we climb. Me. Then you.
 
Runged, we stroke each bird,
‘sedate and clerical’ –
one bestows a molted quill feather,
colour-run like oil-marked silk.
 
Is it an omen? You ask. Should we go back?
I don’t answer; I’m too busy holding up the sky.
 

New Year’s Eve / Old Year’s Day

 
We are the survivors
who wait by the barricade
for the slow countdown.
Some of our dead slip through,
stand beside us, unsteady, unclothed, low –
we cannot take them with us.
 
The cry goes up for cheer,
smile, they demand, be merry.
Fireworks tear the stars
from the moon, pock the night
with dissimulated Armageddon,
the awed throng pitches forward.
 
If not in groups then kinfolk
keep in hailing distance,
their calls, inmost, distinctive,
provisional. My Dad sees me first.
He’s changed; parchment against bone,
eyes gone the colour of vertigo.
 
I am a smashed pane
that lets the rained downpour in,
in to vacant tenure.
As the countdown begins
there’s a clamour for the barricade,
and this is where we’re obliged to live on.
 
“Escape Route” and “New Year’s Eve / Old Year’s Day” are © Eleanor Hooker

Eleanor Hooker in an Irish poet. Her second collection, A Tug of Blue (Dedalus Press) was published October 2016. In 2013 her debut, A Shadow Owner’s Companion was shortlisted for the Strong/Shine Award for Best First Irish collection from 2012. Her poems have been published in literary journals internationally including: Poetry, Poetry Ireland Review, PN Review, Agenda and The Dark Mountain Project (forthcoming). Her poems have been nominated for a Pushcart and Forward Prize.

She is featured poet in the winter 2017 New Hibernia Review, University of St. Thomas, Minnesota. She won the 2016 UK Bare Fiction Flash Fiction competition. Eleanor holds an MPhil (Distinction) in Creative Writing from Trinity College Dublin, an MA in Cultural History (Hons) University of Northumbria, a BA (Hons 1st), Open University. She is Programme Curator for Dromineer Literary Festival.

She is helm and Press Officer for Lough Derg RNLI Lifeboat. She began her career as a nurse and midwife.

Eleanor’s website.

“Nightmare” and “The Fall” by Eleanor Hooker (Poethead)

From “Parvit of Agelast” and other poems by Máighréad Medbh

 

From Parvit of Agelast

(Verse Fantasy, to be published by Arlen House in 2016. The poems below are aspects of the ‘real’ world.)

‘Your face is ridiculous: O. . . . . leeeeee ugly 🙂 ❤ / thanks, sure i know !’ :L’ – Ciara Pugsley, ask.fm

net
whn th little lite shinin frm abve doesnt
n younguns mad fr luv r spected 2 b home
thumbs go drum on magic pads n open windows
so they travel in thr dreambots huntin souls
they go weft upon th crystal warp unshuttled 
hookin up witout a plan 2 build a planet
trances risin tru th base n snare of ask n tell
wot u c is wot u feel n wot u feels rite
tho snot a total giggle when th trolls r out
—no1 knows th cause like with any freakin demic—
bitch please u aint jesus wots wit all the posin
howd u like my cock up ur ass, u cross-eyed ho

som1 feelin tiny in the sprawlin fabric
hauls back in2 her drum for a re-birth much 2 brite
bodys blinded so her double takes it weepin
2 th woods 
		to be an hero 
				wit a reel 
						hank 
							o rope


 

‘…the body of Wafa became shrapnel that eliminated despair and aroused hope.’ – Adel Sadew

 

The Key to Paradise

You will be snatched back from the place of no landmark,
where you wander, scapegoat, under the frozen hot eye,
blister-backed, hairy, and crunching backward to beast.

You will regain the unrivalled kingdom of your source,
your beauty will be unsurpassed, and you will sit
on the right knee of a virtuous king, all-powerful but
for his abject love of you. There will be bright-plumed birds
and four undying springs of milk, honey, oil and wine.

Your lover will adore you under the great tree, and there
will never be a touch without the perfect ecstatic end
that leaves you weak and wed to the grass you collapse on.
There will be no argument and never pain. Balm will drip
from every leaf in this catchment of considerate sun.

Best of all, you will be thought wise, not inessential.
So gird your waist with red rockets and blow your littler self
to the garden of infinite fecundity. Do it. In one starry bang.

 


 

Sleep is the only escape I have. When I don’t dare think, I dare to dream.’ – Jaycee Dugard

Pine

Each autumn, in Lake Tahoe, El Dorado county, CA,
the kokanee salmon turn from silver-blue to vermilion.
After spawning they die and their carcasses are meat for mink,

that some unabused women sport as symbols of perhaps love.
The kokanee is not a native, arrived in 1944, so a mere child
compared to the happy-birthday lake two million years old.

Jaycee’s eleven were a tiny tint to that time spread,
and the moment when her fingertips touched the pine cone—
print to Fibonacci imprint, whorl to spiral—a netsuke eye.

That darkened in the backyard in the small shed where sleep
was the best activity and a gnarled man made her pine and desire
the woody grenade that was the last thing she had touched before.

A pine can last a thousand years, an eye much less; Jaycee eighteen
in the pulp of a small brain, twisted in and round, not knowing
what would sprout when a forest fire melted the resin
and out fell, in hazardous liberation, winged seeds.

From: Imbolg

(Unpublished Collection)

Your Grace

You are alone in what they would call a new life. What they don’t know is that for you
nothing is old. A morning is always a question, as if you were a web living each day in a
different cell of itself, seeking.

Seeking maybe nothing, but in that mode, hiatus behind and before. It has seemed true
to take a sable cloth to the slate of fact and not only wipe but cover, occlusion of
the frame removing the form entirely.

Entirely it might seem, but like minerals that leave a trace in water, small events make change.
Tonight you have remembered a Columbian dress you bought on impulse at a Fairtrade sale,
undyed, handwoven.

Woven into your consciousness now like most of your clothes, but you wore this slinky to a
wedding and people remarked. For the first time you thought your body taut and that of the normal,
not a flop. You flaunted.

Flaunting was your wont in a sub-chador sort of way. Exclusivity was the bait, the prospect of
private vice. But you see in the mirror tonight a shape that could turn heads. There’s a Grecian
curve at the base of your back.

Back to where you sat huddled in a lone hut by a struggling fire, watching the small yellow flame
fight the red. You had crammed a bush into each windy gap of the hedge. Beyond, how could you know
several had gathered to your grace.

Grace was a false thing, you said, being rustic. But many thought you walked like a careless queen.
They took the switch in your hand for a sceptre, wielded fiercely against the meek, shaken at
the indifferent.

Indifferently endowed, you thought you were, and hardly cared, except for the faint sense
of an untried trail. It occurs to your image now that you could have kept your own counsel,
sat straight-backed and been petal-showered.

Showering in what was given, you might have made some plans, not waited for a suitor to tear
at the bushes and tell you your mind.

 

climacteric in the extreme

 

the room darkens. foetal faces draw
	spotlights from the dense matrix. she kneels.
not a whimper but centrifugal quake and strain.
	ovular potentials huddle in lines for stringing
	crowded and frozen onto a tight choke.
she hugs her shoulders, surrogate, unconsoled,
	and a creature leaps out, trailing chains,
	snarls and spits, goes surfing the tidal walls.
he will not come again to her bucking bounty,
	her bawdy talk, her raucous primitive yells;
	she will not be the bright-haired goddess of the barstool, 
	fabled and revered in ten parched villages.
hail of the ripped legend falls in blades,
a thing of flesh flames in the mouth of the monster 
and she recalls a hard prophesy told in the spring grass.
	lincolns rev on the melting brick
	informants crouch in a lonely copse and beg for mercy
	in the torture room the air sparks and yellows
	black seeps into old pictures
	and the girl with the lank dead hair creeps blindly from the screen.
she probes her body and finds a silent blowhole.
	her fingers return a thousand red messages
	that pool and brindle in the cradle of her palms.
if she screams she doesn’t know, but colours
	curry the weather pumpkin, desert and vulva, 
	lunatic yellow, bum-in-the-gutter green.
she crashes, glass and glint flinging themselves too, 
	watches her eyes picked to the veined bone.
	girl, crook and goblet smithered on the lizard-
	dark floor.

 

history

(from ‘the second of april’)

I walk.	
Where is home except in repeated kisses of foot and ground.
I am having affairs.
	With, for one, the bonded pavement, complicit as a slice of river.
I glide on ice,
	step lightly on the unreflecting glass panel of a foyer floor.
Nakedness is rare.
	I don’t tell how I used to take off my shoes and mesh my toes with sand.
But even that was a skim.
	I slyly stepped on a rock and, recalcitrant, took off.
I pause at running water
	and watch its inscrutable fingers take sun to rock in a work of art,
then abandon it, dissatisfied.
	Among a tree I become a stretch of soil and burnt grass and harden.
There are always tears.
	They seem to come from outside and wash me down until, like ivy,
I am again rambling.
	On a tarred path my jaw is jolted by hard, inexplicable haste.
My ankles wound each other.
	I bleed and wonder if I should spancel myself to slow.
There are creatures
	who only pace the one field. Even a hobbled route finds knowledge.
I look at my feet and don’t know them.
	Too long with my eyes on a misted goal has cost me my body.
Happenings are always outside. 
Strange, when I see no walls. Where is the place of occurrence?
I thought life was movement.
	Coming to gravel I have less ground and that brings thoughts of release.
Water is too deep
	and I fear high places. To walk is the freest I can do and I wipe my tracks. 
What will pass is the breeze
of a small body, non-native, a light touch on a puzzled cheek.

Máighréad Medbh was born in County Limerick. She has six published poetry collections, and a prose work, Savage Solitude: Reflections of a Reluctant Loner, was published by Dedalus Press in 2013. Since her first collection, The Making of a Pagan, in 1990, she has become widely known as a performance poet. She likes to explore themes, which led her to write a sequence on the famine, Tenant, published by Salmon Press, and a sequence inspired by astrology, Twelve Beds for the Dreamer, published by Arlen House. Her work has appeared in many journals and anthologies, and has been translated into German and Galician. She has performed widely, in Europe and America as well as Ireland, and on the broadcast media. Máighréad has written three novels and a fantasy sequence for children. The novels are online as ebooks. She has also written for radio, and publishes a monthly blog/essay on her website. A verse fantasy, Parvit of Agelast, is to be published by Arlen House in 2016.

 

www.maighreadmedbh.ie

PDF version of this work

“Sin-Eater” and other poems by Jessica Traynor

An Education in Silence

 
for the women of the Stanhope Street Magdalene Laundry
 
This morning, light spilled into the courtyard
as if God had opened a window.
The light is quiet and can’t be herded
from dormitory beds to morning mass –
it shines where it wants,
blushing the stained glass windows,
washing the priest’s words.
 
My mother doesn’t write.
It’s been three years. My hands
crack from the heat of the sheets
as we feed them through the mangle.
The high windows admit one square
of light, on the word repent
and I am silent like the sunlight.
 
An Education In Silence is © Jessica Traynor
 

Sin-Eater

 
He blows on his hands to warm them;
it looks like some ritual, some totem.
 
Between us, nothing but certainty –
the death-sound in the old woman’s throat –
 
and uncertainty – the priest’s whereabouts.
Our whispers summon only a flutter in her eyelids.
 
Someone had mentioned the man down the road
who lives alone, who gives some kind of absolution,
 
so here we find ourselves with this stout man
in a muddied fleece, who breathes on his hands
 
and places them on the woman’s shoulders.
Tears come first, spilling from her eyes;
 
those milky shallows that have mirrored us all evening
clear for a moment as he bows his face to hers.
 
He doesn’t look at her tears, allows her gaze to travel
to the ceiling above her bed. Only we invade her privacy.
 
He says nothing. Not one prayer or word of comfort.
We give him a fifty, and wonder.
 
Some begin to mutter; one man asks what he did.
He tells us that at that late stage she had no voice left,
 
so he took her sins upon himself,
allowing her to pity him for all he carried.
 
Sin-Eater is © Jessica Traynor
 

Letters from Mount Fuji

 
From the top of Mount Fujiyama I send you letters,
written on square pages, then folded
 
in as many different patterns as a snowflake.
I drop them onto thin air; watch them fall into the world.
 
Open one. In it is a picture from your childhood.
You can look at it, but it melts in your hand
 
like the question I ask you, caught on a breeze,
and your answer, taken by the river to the flat sea.
 
Even through this constant, year-devouring snow,
I will always send you letters.
 
Letters From Mount Fuji is © Jessica Traynor
 

Pearls at Blackfriars

 
For his Winter’s Tale,
Master Shakespeare calls
for a covered stage
with the scent of candle-grease
and orange-peel heavy on the air.
 
There must be torches
to give movement to shadows
and life to the statue;
and for Hermione’s face –
tincture of pearl, crushed.
 
With this bowl of dust
we’ll lacquer her age,
encase her in memory
so only a movement of the mind
might release her,
 
might absolve
her husband’s transgression,
as the jealous moon
flings her light
against Blackfriars slates.
 
Pearls At Blackfriars is © Jessica Traynor

Jessica TraynorJessica Traynor is from Dublin. Her first collection, Liffey Swim, was published by Dedalus Press in 2014. Poems have appeared or are forthcoming in Poetry Ireland Review, The Raving Beauties Anthology (Bloodaxe), Other Countries: Contemporary Poets Rewiring History, If Ever You Go (2014 Dublin One City One Book), The Irish Times, Peloton (Templar Poetry), New Planet Cabaret (New Island Books), The Pickled Body, Burning Bush II, Southword, The SHOp, Wordlegs, The Moth, Poetry 24, The Stinging Fly, and New Irish Writing among others.
 
She is the 2014 recipient of the Ireland Chair of Poetry Bursary. She was named Hennessy New Irish Writer of the Year in 2013 and was highly commended at the 2013 Patrick Kavanagh Award. She won the 2011 Single Poem Competition at Listowel Writer’s Week. She received a Literature Bursary from Dublin City Council in 2010 and in was part of the 2009 Poetry Ireland Introduction Series.
 .
Jessica works as Literary Reader for the Abbey Theatre and teaches creative writing courses through Big Smoke Writing Factory and the Irish Writers Centre. She also works as a freelance dramaturg.
 .

‘Carry’ and other poems by Mary Noonan

The Card

 
What goes by the name of love is banishment,
with now and then a postcard from the homeland.
– Samuel Beckett, First Love

 
I’m looking for a card,
one that holds the oriole
on the black pear tree –
will it be brazen or sweet,
junebug or whippoorwill,
Tupelo or Baton Rouge?
I drape myself in maps,
drift in colours and signs,
sleep on my seven books
of owls, frogs, alligators.
 
I want a card that quickens
codes, spills the secrets
of words, sends letters flying.
We used to name things,
now we travel the lines
past ghost-shack and scrub,
sun-bothered lizards skittering
under creosote and cocotillo.
 
This card must distil the frenzy
of the firefly as it waltzes
with its own blazing corpse.
 
The Card is © Mary Noonan

Carry

 
To clear my head of talk, I walked the beach
and found a pebble, a cuckoo’s egg,
held it and saw it was a map.
 
An oval stone striated with slate-grey markings,
one side bore tracings that arced and criss-crossed:
polka of narrow roads,
 
sandpipers darting in bleached grasses,
contours of a shoreline, the lines on my palm.
A gate opening into a small field.
 
The curve of the stone offered concentric swirls,
a talisman you carry to ward off the evil eye,
or the nipple of a breast.
 
Here it is – an amulet, runes and traces
to light and guard you, a cuckoo’s egg
in the wrong nest, a gate opening
 
into a small field, a circle ploughed
round a lone hawthorn tree, a map
of the way between us. I carry it.

 
carry is © Mary Noonan
 

No Direction Home

i.m. Gregory O’Donoghue 1951-2005
 
I wrote that the final days of August would find me
washed up, propped in a place where the light of day
is tight and mean. You approved, gently tending –
even poems lamenting summer’s end were safe with you,
lines too concerned with the small ambit of seasons
to encompass the impact of a true ending.
 
And so it was that August swept you off your feet,
quenched your breath with ease as she dragged
hurricanes and swollen waters in her train.
In the middle of your fifty-fourth year –
one of the bald facts mourners swapped at the grave,
suddenly aware that they did not know you.
 
I knew only the grace of your yellowed fingers,
that elegant pen, your hand feathering its tender script
across a page, your hooded eyes, your mug of gin,
the small room where we met once a week.
I saw you sometimes, walking lopsidedly in the street;
once, at a launch, we talked about Bob Dylan
 
but in the moment I heard of your death I knew
that you had guided me to a place – a room, a page –
where limping and stammering come into their own,
a vast, airy space inviting me to stand my ground,
to bellow in tantrum, to rampage, to thrive
in my brokenness.
 

No Direction Home is © Mary Noonan

mnMary Noonan lives in Cork. Her poems have been published in The Dark Horse, The North, Poetry Review, Poetry London, The Threepenny Review, Cyphers, The Stinging Fly, Wasafiri and Best of Irish Poetry 2010. She won the Listowel Poetry Collection Prize in 2010. Her first collection – The Fado House (Dedalus Press, 2012) – was shortlisted for the Seamus Heaney Centre Prize for a First Collection (2013) and the Strong/Shine Award (2013).

Mary Noonan at Dedalus Press