Pulling Down The Wheel

Pulling Down The Wheel

‘Pulling down the wheel is dangerous’ says this sonnet. Which wheel? The wheel of death and rebirth? Are we talking about a ferris wheel, a funfair ‘roller’? (There’s definitely a whiff of Harry Lime in the air.) Is someone murdered here? I’ll leave you to decide exactly what’s going on but on one level this poem is based on a true story from the early 20th century East Coast American fairgrounds, a story told me by someone whose ancestor went through a very extreme experience.

The big rim scrapes a thunderhead;
midnight flickers to the north.
Taking a chance under the hazard
he spits from blue lips an oath.
Pulling down the wheel is dangerous
a lightning-strike could be serious.
Against a young girl’s ghost-howl
again his gruff, sarcastic growl:
‘A roller is made to be ridden!’
Far below in a red caravan
flagrantly a man and a woman
fornicate with abandon.
Now Fortuna flicks a switch:
‘Burn in hell, son-of-a-bitch.’

An Alchemical Perspective

An Alchemical Perspective

Quite soon our misguided governments will announce a War on Death. Then, having obediently eaten our artificial immortality pills, we will be face-to-face with a nemesis far more dangerous than any traditional narcotic.

In ancient China scholars and poets who wanted to experiment with opium as a tool of consciousness would have to go before a panel of wise elders, a ‘central committee fo the consumption of drugs’ if you like. These elders would decide whether someone was a fine enough poet or a serious enough scholar to warrant an unlimited supply of Class A narcotics. They would also evaluate whether the individual was spiritually and psychologically able to cope with the terrifying addictivity of opiates. I would only agree with the de-criminalization of all drugs if similar arrangements were in place. Otherwise societies will be destroyed by epidemics of dependency among people who believe that by taking strong drugs they will suddenly be transformed into great artists.

But why spend time on the difficult question of enslavement to chemical stimulus (which should really be achieved from within from an alchemical perspective). The poem which follows explores the idea of death as the ultimate psychedelic journey.

Imagine a drug in the brain
sweeping away all logic
coming on like a hurricane;
the body lost, or so lethargic
as to seem nonexistent
yet habitually persistent
in old pattern and routine
as cells dependent on morphine.
And the pining for salvation
keen as a mysterious hunger
like craving for love, but stronger:
the need for transubstantiation.
Overwhelming, mind-amplifying:
the powerful drug known as dying.

 

The Triad in Granary Square

The Triad in Granary Square

Some time in 2008, when the redevelopment of Kings Cross was green-lighted, I painted two triads from a long poem called The Brill on the walls of soon-to-be-demolished Battle Bridge, a place of very special significance to me. Then the bulldozers moved in.

The first poem read:

Huge terrain of Kings Cross, an emptiness.
What will fill this proud space tomorrow?
Out of the present we lean forward, listening.

The second poem ran like this:

Kings Cross, dense with angels and histories
there are cities beneath your pavements
cities behind your skies. Let me see!

Photos by Minnie Weisz

A few months later I got a call from the developers Argent. They said they had seen the poems on the walls and asked me if they could inscribe one of triads in brand-new Granary Square.

I agreed and forgot all about it, thinking my little three-line poem would be stuck on a plaque on the backside of some office-block.

In 2012 the new square was opened and I was asked to give a short speech. I went down to give that speech still unaware of how the poem had been used. Just before I got on the mic someone showed me the triad running 60 or 70 feet along one side of the square within a formal grove of lime trees.

Here’s the text of my speech on that happy day.

Greets in Kings Cross Central. My name’s Aidan AD, aka Voice of Kings 
Cross.
I didn’t come down here today intending to recite epic
 poems so don’t go stampeding for the exits just coz there’s a poet on
 the mic. But I am gonna talk about (impersonating Gandalf) 
psychogeography! (Now that’s got you really worried!)

Don’t panic, the psychogeography of Kings Cross is straightforward.
 High places and fire-hills surround this ancient zone of London. We’re 
talking about Primrose Hill and Barrow Hill beside it, Parliament Hill
 to the north, St Michael’s Mount of Highgate in the north-east, and
 under the sunrise Merlin’s Penton of Pentonville. These were significant 
beacons of power in the old faith of pre-Christian times.

And guess what? A long time ago The Old River of Wells flowed through 
Kings Cross, aka the Fleet. Healing waters once upon a time; the sacred 
river of England. She’s still there, but 20-foot under
 street-level.

Here’s something else for you to consider. The oldest church in the western hemisphere, I’ll repeat that, the oldest 
church in the western hemisphere, the ‘Head and Mother of all Christian 
Churches’ still stands where she has always stood in Kings Cross, beside
 the holy river. I’m talking about Pancras Old Church, believed to have been constructed by Christ at the same time as he built the church in Glastonbury.

William Blake knew all about this and much more; he was Voice of Kings Cross in his day. That’s why he wrote: ‘And 
did those feet in ancient times…’ Blake knew the 
psychogeography of Kings Cross backwards. That’s why he said:

‘The fields from Islington to Marybone, 
to Primrose Hill and St John’s Wood
 were builded over with pillars of gold
 and there Jerusalem’s pillars stood.’

W B Yeats had access to similar information, he had worked on decoding Blake’s Prophetic Books. As a result he became Voice of Kings Cross at the turn of the 19th century, living in Kings Cross for 23 years creating his masterwork: A Vision.

Then out of the blue comes Arthur Rimbaud, poet, psychogeographer, 
teenage prophet, the guy who put modern poetry on the map, the dude who 
invented literary surrealism at the age of nineteen then washed his 
hands of artistic ambition.

Like Blake, Rimbaud knew Kings Cross because he spent 
his great year of wonders here (in 1873) writing his Season in Hell and 
Illuminations. Arthur Rimbaud called this place `the miraculous valley 
of art’.

The house at 8 Royal College Street where Rimbaud and Verlaine stayed in 1873

And that’s exactly my point.

The arrival of the University of the Arts in Granary Square means that
predictions about Kings Cross Central are coming true. Predictions which
 promise that one day we will see a small image of a new world, a city of
 the arts here at the heart of future London. In my wildest dreams I call
 this zone The Brill, Intelligent Playground, Vale Royal.

So, to conclude with a more personal narrative. A month ago in Pancras
 church I married an angel on this earth. And two weeks after marrying my
 dream-woman Lucie I heard that my little verse about the angels of Kings
 Cross had been installed in Granary Square just over there. You can check 
it out among those trees just over there! What a wedding
 present!

But I very nearly never made this gig tonight because, long
 ago, I barely survived two blocks away in the squats of Somer’s
 Town. Could I have imagined way back then – down on the killing floor of the
 derelict houses – that in 2012 I’d be standing here to give y’all a poem set in 
stone?

Kings Cross, dense with angels and histories, 
there are cities beneath your pavements,
 cities behind your skies. Let me see!

Big up & increase the peace! Let’s have it large in Kings Cross Central!
 Straight ahead with interesting curves! We dance therefore we exist! Have a great night! 
Big love!

From ‘Camden Journal’ on Granary Square’s opening

2009

2012

Honeyland

Honeyland

The poem is dedicated to Cedella Marley Booker  (1926-2008),  the mother of Bob Marley. In her biography, ‘Bob Marley, My Son’, confessing that times were tough bringing up Bob on her own in the hills of Nine Mile, ‘Ma’ Booker mentions a green mountain-retreat where she found solace and comfort when times were harsh: the place she called ‘Honeyland’.

When clouds are low
and valleys of the city
full of mist.

When my spirits
are depressed by an absence
an absence.

When a sentimental deathwish
will not be straightened out
by detachment.

When I’m down and judgement
is razor-sharp while drive
is stone-dead.

Then go looking for old
Honeyland in the distance
Honeyland in the hills
Honeyland inside.

When heaviness radiates
from my disenchanted being
like a fog.

When thoughts grind
tortuously around some small
ancient mistake.

When possible
heavens of doctrine
are the hospitals of dementia.

When three-dimensional
fallen-angels lecture
in subconscious whispers.

Then go looking for old
Honeyland in the distance
Honeyland in the hills
Honeyland inside.

When the heart is an Antarctica
because her sunlight
has vanished.

When your dream-lover’s
gone travelling
in the Golden Triangle

When any given
romance is only
the ultimate status-symbol.

When the whole hyperactive
human panorama is
a disturbance of the peace.

When you would hurriedly-hurriedly
open up the floodgates
of the afterlife.

Tired and sick to death
of any search for Edens
in the dust.

Then go looking for old
Honeyland in the distance,
Honeyland in the hills
Honeyland inside.

The poem features on the album ‘Honeyland’, published by Ravello Records, with poems set to music reflecting early 20th century influences, through minimal impressionistic settings of poems to piano. 

Stream / download the album: 

Kandinsky at Dawn

Kandinsky at Dawn

The sky has come down
to lie on the grass.
A low sun looks on
in wonder, sidelong.

Pale-blue intersecting
ice-kingdoms extend.
Someone has patterned
the lawn with diamonds.

Sapphire worlds flash.
Criss-crossed figures
coincident heiroglyphs
interlink, dazzle.

‘Everything comes too late’
say those who see nothing.
Concealed from them
the crystalline fields.

Luminous geometries
blue-green tartans of frost
snowclouds, tropospheres
carpeting at dawn.

Loomings of paradise
lapidary-work, last night
laid across the countryside
the frosted-over land.

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