Picture This - Sarah Butler 'January Morning'

Some exceptional writers have responded to a portfolio of my recent photography for a project called Picture This. I am overwhelmed by the beautiful work I've received. I have also worked with photographer and film-maker Craig Thomas, on a short film entitled Still Life, containing a selection of these images. Sarh Butler's writing has an immediacy to it that works perfectly with photography. In the thoughtful piece below she captures the sense of isolation that was my impetus for taking the picture.

Sarah writes novels and short fiction, and has a particular interest in the relationship between writing and place. Her debut novel, Ten Things I’ve Learnt About Love, will be published by Picador in February 2013.

January Morning

He might have opened the French doors for a breath of January air, to clear the room of last night’s red-wine-cigarette-fog, but she knew he’d gone. There was no point in following, but she stepped out, across the moss-stained patio, onto frosted-grass that gave up its sugar-coating to the warmth of her bare feet. The soil beneath though, that stayed hard and unforgiving. There was no point in looking, but she looked anyway, and when her feet were so cold she had to retreat, she sat by the window and watched the garden – splintered into pixels by her tears.

Picture This - Steve Tasane 'The Purring'

Some wonderful poets have responded to a portfolio of my recent photography for a project called Picture This. I am overwhelmed by the beautiful work I've received. I have also worked with photographer and film-maker Craig Thomas, on a short film entitled Still Life, containing a selection of these images. I was very happy when Steve Tasane wanted to take part in the project, especially as his poem is inspired by a picture of our cat, Happy Meal. Living as he does with two photographers our cat knows his best side and is very happy in front of the lens. The poem below really captures something of that 'cat nature' I have only really fully appreciated since becoming ill.

Steve is Writer-in-residence for Dickens 2012, and his young adult novel Blood Donors is to be published by Walker Books in 2013. He is the master of tongue-twisting poetry with a sharp political edge.

The Purring

The Life Shadow crouches at the corner of a blank page.

A white void waits while the blackness watches – twitches, flexes – a stillness keening to spring

into the scent, the cloud-carried rumour, the rustle, a breeze, a cottoning on.

The Black Cat blinks a green eye, swishes her impatience and at once her poetry is.

Picture This - Jacqueline Saphra 'The Latch'

I invited some high calibre poets to respond to a portfolio of my recent photography for a project called Picture This. I have been overwhelmed by the beautiful work I've received. I also worked with photographer and film-maker Craig Thomas, on a short film entitled Still Life, containing a selection of these images. Jacqueline Saphra is a breathtakingly accomplished poet. I was honoured when she responded with the poem below; a sad and honest descripton of the tug of war that can happen in relationships.

The Latch How long had they stood on either side of that threshold, each willing the other to cross the line? Neither would give ground. Each grabbed a handle. They pushed the door back and forth between them for years until at last, the groans of the hinge alerted the latch, the latch remembered itself and clicked shut.

Picture This - Jocelyn Page 'Shadows Point East'

During my recent spell of ill health I assembled a portfolio of photographs, Still Life. I invited some high calibre poets to respond to these photographs for a project called Picture This. I have been overwhelmed by the beautiful work I have received. I also worked with photographer and film-maker, Craig Thomas, on a short film containing a selection of these images which you can enjoy below. I feel very lucky to know poet Jocelyn Page. I was overjoyed when she chose one of my more abstract photos to inspire her poem here. Her poetry quietly and confidently beckons me in, then wakes me up to seeing the world in a whole new light.

Jocelyn Page is an American poet living in South East London. Her pamphlet smithereens was published by the tall-lighthouse in 2010. She teaches at Goldsmiths College where she is working toward a PhD on the topics of inspiration and collaboration.

Shadows Point East By the time we get to camp and our unpacking, line setting horse staking, fast eating, fireside click-clacking is through - I finally get to the words, blazed in charred shadows in my head, by then the opposite of their brilliance, like the noon sun stamps itself in the deepest black on the backs of the eyes. So nothing I write tonight, dear, will come anywhere near the idea that I had, that I had to tell you this afternoon, out stalking the west.

[youtube http://www.youtube.com/watch?v=9psPlFAEPFE&w=560&h=315]

Pyjama Life

It's taken as a given that writers wear all sorts of things to write in, from top hat and tails, threadbare old cardigans to absolutely nothing at all. OK so I lied about the tails. The point I'm making is that it's broadly acknowledged that what you wear whilst you are writing the great novel, symphony or latest blog post has no effect whatsoever on what you are producing. Truman Capote famously described himself as an 'horizonatal author' saying "I can’t think unless I’m lying down, either in bed or stretched on a couch and with a cigarette and coffee handy. I’ve got to be puffing and sipping."

John Cheever declared "To publish a definitive collection of short stories in one’s late 60s seems to me, as an American writer, a traditional and a dignified occasion, eclipsed in no way by the fact that a great many of the stories in my current collection were written in my underwear.”

Flannery O Connor, who lived with lupus, noted “I write only about two hours every day because that’s all the energy I have, but I don’t let anything interfere with those two hours, at the same time and the same place.”

O'Connor's quote really resonates with me. My ill health means that my energy, and accompanying symptoms, vary enormously. Good (ish) days mean that I can sit here at my desk at 1030 am and begin to write this blog. On bad days after getting up and making breakfast I am back in bed before lunchtime my head spinning, limbs leaden and heavy, exhausted just by sitting up and not able to read or listen to music as everything sets off intense dizzy spells.

And that's why on the days I don't venture out of the house (which are the majority at present) I prefer to stay in my ultra comfortable pj's with my cosy dressing gown bought for me by a very kind friend. Another friend, not alone in his opinion, was well meaning but ill informed. He said he was worried that my experience of ill health (and my attitude to it) could be exacerbated by my choice not to get dressed. I know he was concerned that I would define myself by my illness and nothing else. For him, putting on sweatpants and an old t-shirt made him feel tired and less inclined to do anything.

In fact he does have a point. One of the reasons I wear pyjamas is because it IS relaxing. When my energy drops it feels like the floor has gone from under me and I have to lie down immediately. There's no energy left for undressing or for getting in to something more comfortable. It would be like getting prepared to faint. This way I know that whatever the time of day I am always ready to take care of myself. I am dressed for the job of getting well, or at least not getting more ill.

Conversely I have also managed to achieve a fair amount from my bed. Before this current chapter of ill health I worked from home as a freelancer. One of my many assignments was working in online marketing. I can now confess the majority of this work was undertaken in clothes that would make 'dress down friday' look like I was dressing for the Oscars. These days the majority of my creative output is undertaken without the formality of underwear.

There's an important point to made here about the bridge between those living at home with with chronic illness and writers who often work in solitude. It's this - there's a honesty and self care in both ways of being. For me, the knowledge that I belong to both tribes helps me realise that I'm not alone.

By now you'll have a pretty good idea what I'm wearing to compose this post. I wouldn't have it any other way.

Picture This - A F Harrold 'Just This'

During my recent spell of ill health I assembled a portfolio of images, Still Life. I invited some high calibre poets to respond to these photographs for a project called Picture This. I have been overwhelmed by the beautiful work I have received. I also worked with photographer and film-maker Craig Thomas on a short film containing a selection of these images. An empty chair has a poetry all its own. Today's poet, the highly esteemed A F Harrold, has written a touching and elegant piece that brought a tear to my eye when I first read it.

A.F. Harrold is an English poet who writes and performs for adults and children.

Just This

Autumn days seem longer when the low sun slinks,

before mists rise up and afternoon puts evening on.

There are spaces in them, crisp and airy where no bird sings,

which open simply into a long view of all that’s gone.

Picture This - Aisling Fahey 'Lock'

Since autumn of last year I have been unwell with chronic fatigue and have spent the majority of my time housebound. For someone who spent most of her days doing a hundred and one things (and now I realise a hundred too many) this has been a huge period of adjustment and not one I welcomed. As a writer and a photographer my creative expression has often given me stability in more fragile times. For the first few months of my illness I had little mental stamina and also suffered from 'brain fog'. My usual refuge of both writing and reading poetry was not available to me. I felt like I was stranded on a life raft with no sign of land. I finally had to learn to acquaint myself with stillness and silence. Previously my life had all been about movement and the constant preoccupation that I was not going fast enough. My fatigue put an emergency stop to all my frantic activity. In quieter moments I am grateful for this opportunity to stop and experience what being without doing actually feels like. Other times it is a hellish struggle and I mourn for the pleasure of being busy that, what is now, 'my old life' offered.

On better days I am able to pick up my camera and go in to the garden, or on short local walks. I have found the sublime beauty in repetition, something that I would have never encountered before. I have also began to enjoy getting really close to my subject matter, whether it be a dry twig in winther months or a brass hinge on the garden door. These forgotten details seem to say something about my current emotional and physical state. There is something very meditative about re-visiting the same subject matter and finding new ways to look at the familiar. I am learning that even when there appears to be no movement or change there is still transformation.

As the weeks passed I realised that I had created a portfolio of images on a theme. As any good hairdresser will tell you there is nothing like a good pun and so I entitled this portfolio 'Still Life'. I also worked with photographer and film-maker Craig Thomas on a short film containing a selection of these images. It was not long after I assembled the images in one place that I decided to invite some high calibre poets to respond to the images for a project called 'Picture This'.

The first poet to be featured is the inexhaustibly talented Aisling Fahey. Aisling has a way of telling the truth that breaks through the isolation of pain. I am honoured to have her take part.

Lock Perhaps you know where you are going, always have. Sceptics who call you lost don’t know that the ground is a map underneath your searching feet you will find your way.

Or perhaps this was all rushed - you left without a coat, keys in a heap on the floor, light catching dust particles through the slit in the curtain.

That is what makes me worry, that your compass is now a cross and you carry new destinations on your back like lead weight. You try to plan a route home, but the gravel gets caught underneath the heel of your shoe.

Food for Thought - Writing with Letters

This is the first in an occasional series where I'll be looking at the work of writers, performers and artists I admire. This week it's esteemed poet Karen McCarthy Woolf whose upcoming workshop, 'Inside Art, Writing with Letters' will give experienced and less experienced writers a chance to explore how letter writing can contribute to the creative process. You can hear some of her work on a recent edition of my radio show 'The Conversational'.

Karen has been working with fellow poet Miriam Nash in a creative correspondence. I asked Karen a little about letter writing and what promises to be a very rewarding workshop. What is it about letter writing that is so freeing and expressive for the creative process ?

Writing a letter is inherently intimate and also direct. A letter is about something and addressed to a person. Letters also meander, often quite beautifully. The form seems to prompt people to talk in detail about their surroundings, their emotions, opinions, hopes and desires. I think this happens because letters are like conversations, but they happen over long periods of time. One of the joys of a letter is you get to have your say without interruption! Unlike email, or even text these days, you can't see a trail, and most importantly you have to wait. When you work with letter writing creatively, that waiting, and the letting go of the content as you send something off with no copies, can feel quite liberating.

How did the idea for this workshop come about ?

Miriam sent me an email about some 'snail mail' letter writing workshops she was running and I was immediately drawn to the idea. At the time I was recovering from a traumatic bereavement, and could barely go online. I received many cards and letters from people and I was deeply touched and also inspired by their content. I was also fascinated by the idea that people tend to send a physical object - a letter, card or flowers at these times. So I emailed Miriam with a note and invited her to collaborate with me in a creative correspondence on my blog (which was a commission from Spread the Word), which explores what happens when we share our creative process online. Our correspondence soon became one of the most important elements in my writing practice and Miriam and I have become dear friends. We send each other notes, poems, freewrites, drawings (mainly Miriam's, it's not my strongest suit) and lots of little presents and objects. The other day I sent Miriam a little packet of saffron from Spain. She has sent me sachets of sugar she collected from cafes in Geneva. We both wrote poems about our grandfathers. We also talk about our preoccupations as writers and it has been a very useful process in terms of identifying ongoing themes and concerns in my work. One of my letter poems, 'Wing', was recently published in Poetry Review and the poem only really 'found itself' once it was in the letter form. What can participants expect to get from the workshop ?

I can't promise people will write poems that get published in Poetry Review (!) but I do think that the workshops will be a rich creative springboard that will help writers of all genres develop their voice and to write pieces that are more intimate and authentic in tone. I hope that over the course of the workshops we will kickstart lots of new drafts or ideas for new poems, stories or creative collaborations. We will be corresponding with a group of writers from Singapore who are attending Miriam's mirror workshop. So we will send and receive letters to and from strangers overseas and there will be an opportunity to showcase some of our work on Open Notebooks. I am very excited about the opportunity to introduce letter writing as a creative practice and explore it a little as a form.

Before I Go

Yesterday's poetry challenge was from Malika Booker, and a very touching one too.

http://www.youtube.com/watch?v=be0LSN70iso

1) I would like you to listen to Dolly Parton sing Harper Vally PTA.

2) Then i would like you to write about a time when one of your parents championed you.

3) It does not have to be real, can be imaginary or based on a story that you heard.

4) Write in third person so we do not know it is your parent or you until the end of the piece.

5) if it is imaginary you might also use the clothes and hairstyles as part of your description.

6) See how natural you can keep the voice.

I have also included a link to the lyrics in case anyone wants to take elements of structure from the layout on the page.

http://www.lyricsfreak.com/d/dolly+parton/harper+valley+pta_20041837.html

I am never sure of the real difference between prose and a prose poem although saying that with this 30/30 challenge I am finding myself drawn to the prose format. I wanted to write something for my mother which was not factually true but had an emotional authenticity to it and for it not to sound mawkish. I hope the poem below meets this expectation.

Before I Go

Becca tells me 'Dad's gone off again'. This is not new. Her dad is always 'going off' for a day or two leaving her mum dabbing her tears at the kitchen table and Becca in charge of tidying up Tommy's toys and sometimes even being the one to read him his bedtime story when her mum is really bad.

'Really?' I ask. 'Yes' she says 'Really, really'. It's then I know that our lives are divided into two; not that good and pretty bad, in to really and really really. I live with my mum. It's just her and me. I know by the way she's saying it that Becca's dad is not coming back this time. I sit next to her on the wall and wait for her to say something else.

'In a way I'm happy' she says looking at the ground 'He shouted too much. Sometimes he's the only one not crying. Mum still loves him though.' We sit there for ages, waiting for a bus which should have got here fifteen minutes ago. When it finally comes it's too full to get on so we start to walk home instead.

I know mum won't be in when I get there but she'll be there later and that, as it's Tuesday and she has her class, she'll come back with takeaway. May be some kebabs from the corner or fish and chips if the queue's not too long. I'll do the washing up, the last bit of homework before i go to bed and mum will say 'I love you sweetie' before I go upstairs.

A Postcard From Inside My Head

Tuesday is my day to post a prompt for the poem a day discipline. I have been feeling a bit low over the past few days and I think, in part, I posted such a comprehensive challenge as I know I needed something with a bit of muscle to pull me out of my low mood. I already have a title. Sometimes titles arrive on their own looking for partnership with a poem, and like life, it can take a while to find a fitting match. The, as yet, poem-less title is "A Postcard From Inside My Head". The full prompt is below - if you fancy taking part I'll post your final poems here !

Read this about the Japanese verse form, the haibun, http://en.wikipedia.org/wiki/Haibun.

They key thing to remember about this form is "A haibun may record a scene, or a special moment, in a highly descriptive and objective manner or may occupy a wholly fictional or dream-like space. The accompanying haiku may have a direct or subtle relationship with the prose and encompass or hint at the gist of what is recorded in the prose sections." http://www.haibuntoday.com/ - here are some examples.

Now EITHER choosing from one of the titles on the page of examples (http://www.haibuntoday.com/) write your own haibun. This can be a reinterpretation of the piece, a response to it or something totally new.

OR Choose a headline from one of these online papers or an article you are drawn to and write your own haibun.

http://www.guardian.co.uk/ http://www.thetimes.co.uk/tto/news/ http://www.independent.co.uk/ http://global.nytimes.com/?iht

Good luck ! Naomi x