Remembering Blue Nose Poetry events in London

I recently attended the launch of Philip Gross’ new collection, The Shores of Vaikus (Bloodaxe Books, 2024) at the Estonian Embassy (the poems and prose pieces in the book refer to Gross’ father’s Estonian heritage and the poet’s visits to that country). I’ve followed his poetry since Faber published The Ice Factory in 1984. Neither of us could recall when we’d last met up but, after the event, I remembered that Philip was one of the first poets to read at the series of poetry readings (and associated workshops) I helped curate in the late 1980s/early 1990s, the Blue Nose Poetry series in London. I introduced him on the occasion (I still have the notes I made for the event in a Notebook for Spring 1989). I checked out the precise date in The Blue Nose Poetry Anthology (1993) which has sat on my shelves for many years now. The Blue Nose Poets (for personnel see below) invited all those who had read in the series to submit work and it strikes me now that it would be a shame if a record of our endeavours over a number of years was lost to sight completely. So, I’m posting here the Introduction to the Anthology and the full list of readers who appeared (often being paid nothing or a mere pittance) between 1989 and 1993. Interesting? I think so – given we hosted the likes of Dannie Abse, Patience Agbabi, Moniza Alvi, Simon Armitage, James Berry, Robert Creeley, Fred D’Aguiar, Michael Donaghy, Carol Ann Duffy, Michael Horowitz, Jackie Kay, Adrian Mitchell, Peter Porter, Peter Reading, Michèle Roberts, Ken Smith, and many more.

Introduction to The Blue Nose Poetry Anthology

This anthology celebrates four years of Blue Nose Poetry in London. Its beginnings can be traced back to 1988, when Sue Hubbard advertised for members to join a small poetry workshop at her house in Highbury. Amongst others who began meeting regularly were the four founder members of the Blue Nose: Sue, Martyn Crucefix, Mick Kinshott and Denis Timm. At that time, poetry readings in London seemed to be in the doldrums. Uninviting rooms and draughty halls with chairs in impersonal ranks were often depressingly matched by poor organisation. The Blue Nose Poetry activities were set up with the express intention of providing workshops and readings in a friendly, accessible and organised atmosphere for new voices, up and coming writers and the already established. We were convinced that a cabaret setting of tables, candles and a drink with other enthusiasts could make poetry enjoyable. It was only with the discovery of The Blue Nose Cafe in Mountgrove Road, close to Highbury Stadium, that we found a name for the project and the real success of the Blue Nose began.

Our first poets came to the Cafe and read out of the goodness of their hearts. We thank them all once again. The first event with Michèle Roberts was packed and exceeded our wildest expectations. Within the course of one evening we had proved that exciting contemporary poetry could be presented really successfully. Soon, in response to Blue Nose’s track record of commitment and quality, GLA (later LAB) and Islington Borough agreed to support the project. Since then, there have been various changes. Mick Kinshott felt unable to continue as an organiser in 1990 and his commitment and humour was a great loss. His place was taken for two years by Bruce Barnes, whose knowledge of the poetry and arts funding world in London proved invaluable to the development of the project. More recently, Mimi Khalvati and Mario Petrucci have joined the three original members. In the middle of the Spring 1991 season, the Cafe where we held the events went into liquidation and a reading by Tom Pickard and Rosemary Norman sadly had to be called off. Regular events did not begin again until May 1991, when we moved into the more accessible, roomy and centrally located Market Tavern in Islington. Despite the many advantages of this new venue, there are a few who still regret the passing of the old Café which, though tiny, disorganised and terminally broke, did have a superb atmosphere for poetry.

In an appendix to this anthology, we list all the readers who have appeared at the venue/s – a genuinely comprehensive survey of poetry in recent years. This, of course, does not include the many poets who have had the opportunity to read from the floor at Blue Nose events. More importantly, this book contains no record of the hundreds and hundreds of people who have enjoyed and supported Blue Nose Poetry. This book is dedicated to them.

Martyn Crucefix / Sue Hubbard / Mimi Khalvati / Mario Petrucci / Denis Timm

Full List of Main/Support Readers for Blue Nose Poetry Seasons 1989 – 1993

March – July 1989

Michèle Roberts read with Martyn Crucefix; Philip Gross read with Sue Hubbard; Jeremy Silver read with Mick Kinshott; Jo Shapcott read with Denis Timm; Leo Aylen read with Gerda Mayer; Alison Fell read with Hume Cronyn; The Blue Nose Poets; Carole Satyamurti read with Barbara Zanditon; Michael Donaghy read with Rupert Slade; Adam Thorpe read with Al Celestine.

Philip Gross

September – December 1989

Ken Smith read with Mimi Khalvati; Anna Adams and Julian May; Gerda Mayer read with Chris Powici; The Blue Nose Poets; The Performing Oscars; Maura Dooley read with Sara Boyes; Fred D’Aguiar read with Matt Caley; Matthew Sweeney read with Hilary Davies.

January – April 1990

Fleur Adcock read with John Harvey; Dannie Abse read with Myra Schneider; Elaine Randell read with Frances Presley; Hugo Williams read with Keith Spencer; Pitika Ntuli read with Bruce Barnes; John Cotton read with Bridget Bard; Michele Roberts read with Peter Daniels.

Robert Creeley

May – July 1990

The Blue Nose Poets; Sarah Maguire read with Vicki Feaver; Jeni Couzyn read with W N Herbert; James Berry read with Susan McGarry; Simon Armitage read with Chris Gutkind; E A Markham read with Mimi Khalvati; Brian Patten.

September – December 1990

In the Gold of Flesh anthology with Valerie Sinason, Dinah Livingstone, Pascal Petit, Jenny Vuglar; George Szirtes read with Gabriel Chanan; Kit Wright read with Candice Lange; The Blue Nose Poets; Michael Horovitz read with Raggy Farmer; Patience Agbabi and Judi Benson; Jenako Arts Writers; Carol Ann Duffy read with Steve Griffiths.

January – March 1991

Judith Kazantzis read with Mario Petrucci; Robert Creeley read with Mick Kinshott; Jackie Kay read with the Speech Painters; Peter Forbes and Eva Salzman; [Blue Nose Cafe in Highbury suddenly closes]; Lemn Sissay read with Adam Acidophilus.

May – July 1991

Peter Porter read with Elizabeth Garrett; The Blue Nose Poets; Carole Satyamurti read with Leon Cych; Peter Scupham read with Lucien Jenkins; Leo Aylen read with Rosemary Norman.

October – December 1991

Sylvia Kantaris read with Andrew Jordan; Gillian Allnutt read with Helen Kidd; Alan Jenkins read with Eric Heretic; Sean Street and Hubert Moore; Lee Harwood and Richard Cadell; Xmas Party – Tony Maude, Speech Painters and music from Dean Carter.

January – April 1992

Adrian Mitchell; David Constantine read with Tim Gallagher; David Morley with Martyn Crucefix; Sue Stewart read with Bruce Barnes; Glyn Maxwell read with Sue Hubbard; Peter Abbs read with Nicky Rice.

Adrian Mitchell

May – July 1992

Jo Shapcott read with Mick Kinshott; Bobbie Louise Hawkins read with Robert Sheppard; Birdyak – Bob Cobbing and Hugh Metcalfe; Colin Rowbotham read with Richard Tyrrell; Ken Smith read with Eric Heretic.

October – December 1992

Connie Bensley and Felicity Napier; The Poetry Show at Rebecca Hossack Gallery; Donald Atkinson read with Jane Duran; Ruth Fainlight read with Moniza Alvi.

January – April 1993

Peter Reading read with Briar Wood; Ruth Valentine; Myra Schneider read with Mario Petrucci; Carol Rumens read with Daphne Rock.

The Politics of the ‘Daodejing’

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I travelled north to Bradford earlier this week to read from my versions of the Daodejing. For the first time a reader of Mandarin was present to read from something approaching the original texts. Bradford artist Yan Wang read beautifully as well as providing the evening with a couple of large banner-scrolls of chapters from the text. The whole evening had been organised by an old friend, Bruce Barnes, a poet and tireless organiser and more recently translator of long-neglected work by Kosuke Shirasu, a Japanese proletarian writer from the 1920/30s. I read Bruce’s ‘interpretations’ of Shirasu’s work (done with the help of Jun Shirasu and published as Out of his struggles (Utistugu Press, Bradford) on the train back to London and it reminded me that I had wanted for a while to organise my thoughts about the political elements in the Daodejing poems. (Poem titles in brackets are those I have given to the individual ‘chapters’ of the text).

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It’s generally accepted that one of the purposes of the collection of texts called the Daodejing is to instruct about good government. Chapter 46 (Annexation) argues that when government adheres to the Way – the teachings of the Daoist ideas – then its great parades of horses “are put out to grass to fertilise the ground”. It’s when government neglects the Way that its “war horses sire and foal / even on sacred ground”. Such neglect leads to personal and political “unsteadiness” which Chapter 26 (‘Breath-taking Scenes’) identifies as the “loss of all authority”. This is authority in its truest sense because in other poems we read of aggressive, power-grabbing behaviour which is also a way of neglecting Daoist ideas. Chapter 29 (‘What is Fixed’) describes those who grab at “earthly power” who are as liable to smash it as gain any advantage.

One of the key chapters, 67 (‘Three Treasures’) goes so far as to suggest that “only one reluctant to grasp power / is properly capable of government”. One clear attitude in these poems is that busy, hyperactive government – one that “grows brisk full of initiatives” – is an error:

 

those who hope

to rule by dishing out

press releases

a multiplicity of choices

are the con-men

of the nation

Chapter 65 (‘Blizzard’)

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This distrust of big government is compounded when those with power try to ingratiate themselves with those they rule. With very little modernisation, the Daodejing is suspicious of those politicians who “style themselves ‘man of the people’ / sometimes ‘housewife’ / they like to say ‘we are all in this together’” (Chapter 39). What lies behind such cynical declarations is a real hunger for power as an exercise of ego (not true government). Laozi is very clear that such egoistic motives lead only in one direction for a nation: war.

 

–those who govern my teacher says

must oppose conquest by force of arms

 

such methods swiftly rebound

thorn and bramble where troops assemble

Chapter 30 (‘Scorched Earth’)

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Leaders (and the Daodejing never really doubts that human society needs leaders of a sort) need to adhere to the Way and encourage their people to do the same. Chapter 37 (‘Dispassion’) puts it succinctly:

 

—the way enacts nothing yet through it all things are achieved

if the powerful

possessed themselves of it

the ten thousand would be transformed

 

once transformed if they begin

to demand action

they ought to be constrained

with the uncarved wood quality of namelessness

 

the unconditional quality of the nameless

evokes dispassion—

hence it is to be still

 

so the nation pursues its way in peace

 

This idea of ‘constraint’ begins to sound authoritarian again but elsewhere it appears our political leaders are being advised not to over-encourage our expectations. Chapter 19 (‘Fewer Wishes’) advises that a people’s restlessness ought to be dealt with by offering them “simplicity / to behold give them the uncarved block // give them selflessness give fewer wishes”. In our world of unconfined desire and acquisitiveness (the point of being alive?) this sounds suspect perhaps but is perfectly in line with those who choose to opt out of modern life towards simplicity, fewer possessions etc. The uncarved block is a recurring image representing the fullest presence of life and experience before we begin to hack away at it with our self-centred preconceptions. The three virtues of the Daodejing are to be compassionate, to be frugal and to lack ambition.

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The point is that Daoist thinking is optimistic about human nature. There is a Rousseauistic quality to its belief in the goodness of mankind as a noble savage who has for too long been corrupted by interference, too many codes of behaviour imposed from above. This is where the poems’ anti-Confucian elements are most obvious. Chapter 18 (Codes of kindness’) argues it’s only when the Way “falls into disuse / codes of kindness thoughts / of morality evolve”. Laozi argues we are better off without such rules of codified behaviour. This is not quite anarchism but certainly a powerfully libertarian thread runs through the work. In one of the most striking images in the whole sequence, Chapter 60 (‘Recipe’) compares true government to the cooking of a “delicate fish”. It requires the gentlest of touches:

 

no agitation

or any demon

or the fretting

of your own spirit

 

no shuffle or harm

or sudden injury

but aid and attend

gain advantage

 

the power to feed

the common purpose

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It’s this delicacy, gentleness, almost passivity of government that leads Laozi to associate this approach with the stereotypically ‘female’. Early on, in Chapter 6 (‘Valley’) we are told the spirit of the Way is “[a] valley without end / it is female it is called mysteriousness”. This translates politically into government playing a largely passive role (as does the good teacher) to show, facilitate, enthuse, give space, watch and approve. Government must be honest, give the tools, give opportunities, do its job well. Its role is to synthesise and connect (not disconnect or sever), shed light (but without dazzling, even inadvertently), use a delicate touch, be tangential. Its actions call forth responses to the fact it acts, plans, demands. Better back off, do not intervene, don’t use imperatives, perhaps use no words at all. It is better to play the female part, be passive, give space, encourage desired behaviours, neglect all else.

 

Tributaries

chapter 61

 

—strong nations must play the low ground

to which all contributing waters flow

the point to which all things converge

so their invitations issue from stillness

through quiescence they gather power

let’s call that female and the male cannot

resist he brings his watery tributes

and she gains adherents he procures favour

as she looks to embrace and empower

he finds himself part of a greater thing

in this way becomes part of creation

so both thrive both discovering bliss—

real power is female it rises from beneath

Study of a Kneeling Boy Bending a Bow, for Dorchester House c.1860 by Alfred Stevens 1817-1875

Like the cooked fish, another memorable image is the bending of a bow. As it is bent the top (of society) descends earthwards while what is “nearest the earth is raised up”. This is the ideal process of government in the Daodejing. Only in Chapter 80 (‘The Commonwealth’) does Laozi give something of a portrait of the contentedly ruled society. It is small, hard-working, has basic needs met; it has the capability of greater luxury (and also weapons) but none of these are made use of. This little society is aware of others around it (perhaps run on different lines) but its people are so content they feel no desire to travel.

Idealistic without doubt. But does this even sound attractive? It’s unlikely to – given our absorption into our consumerist society, our expectations that government ought to provide and lead. But we don’t need to look far to see systems breaking down and at the least what the Daodejing offers is an alternative vision of the exercise of power in society. It’s a vision that is over 2000 years old which means it’s either well past its sell-by-date or that it contains some wisdom that we ought not to ignore.

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Martyn and Yan Wang reading from the ‘Daodejing’ for Beehive Poets, Bradford