Introducing Chrissy Williams

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The Burning Of The Houses

 

Tottenham is on fire and I work in an arts centre

where the sky is blue and I can hear birdsong

from a sound installation of birds

cooing outside my office window.

This is London. Hackney is on fire now

and Jamie is looking up from his desk.

He stops working. He tweets that he can see

people smashing up a bus. He says there is a car

being soaked in petrol. He asks if there is someone

in that car. He tells us that car has been set alight.

This is London. Croydon is on fire now

and Anna is Facebooking furiously from Manchester

calling everyone bastards for doing this.

I am watching the BBC and reading Twitter

flicking between #LondonRiot and my friends.

Sometimes you can be proud of your friends.

I remember when Bianca came to stay

and we got tickets to watch The Night

James Brown Saved Boston in the QEH.

People are getting hurt. Television isn’t going

to save us. But it’s okay now, some of my friends

are linking to videos of kittens which must mean

everyone is fine. This is London. It is on fire.

I go to bed while it is burning. I wake up

and parts of it are still burning.

 

Chrissy Williams

from Flying into the Bear (Happenstance, 2013)

 

It is good to see a young poet tackling a topic of such heavyweight, political interest as the London riots. In its slightly offhand diction and demotic-heavy reporting of the caged minute, it appears to be doing nothing of the kind. I also like this in a poem.

‘I am not going to roll up my sleeves and get my hands dirty’, the poem wants to tell us, and then proceeds to do exactly that.

Look at that first sentence. ‘Tottenham is on fire and I work in an arts centre/ where the sky is blue and I can hear birdsong/ from a sound installation of birds/ cooing outside my office window’ (my italics). Look how long it runs, all made possible by the choice of that ‘and’ in the first line. Thus the facts of Tottenham being on fire and the speaker working in an arts centre are put on an equal footing right from the off, presented without commentary, the two ‘spaces’ of riot and art juxtaposed, if not merged completely.

This reminds me of what Seamus Heaney talked about in the opening essay of The Government of the Tongue, ‘The Interesting Case of Nero, Chekhov’s Cognac and a Knocker’, where he highlighted of the conflict between ‘song and suffering’. His context of course was the Troubles in Belfast, telling the story of the pressure he and his friend the singer David Hammond felt not to make a recording of music and poetry on a night when bombs were going off mere streets away. The context, tone and idiom could not be more different, but I have no doubt Chrissy Williams shares exactly the same awareness of that tension in her own material.

The arts centre is described with the prepositional ‘where’: ‘where I can hear birdsong and the sky is blue’. Things are upside down. The indoors has become the outdoors, the world outside brought inescapably to the interior. We may not be safe. Later the poem will tell us ‘it’s okay now’, but really we knew this already, because of the ‘birdsong/ from a sound installation of birds/ cooing’.

‘Playfulness’ is an overused word to describe poems which have such sudden shifts of tone, place and idea,  and where seriousness runs the risk of masking itself with references to Facebook (as a verb) and Twitter. But in this poem, and for this poet, it really is what she is up to. At its heart the poem is not so much about burning houses and cars, but the way we look at culture, from cooing birdsong installations, to James Brown concerts, to using the right hashtag so that your looking can be looked at by others. It is not enough to look any more, it is what your looking appears to be.

This is what makes the reference to James Brown so poignant. The notes at the back of Flying Into The Bear tell us that the singer was responsible for halting the Boston riots of 1968 with a single gig. But in the poem this is presented as memory of travel to a place of high culture to observe a performance of popular culture that was loaded with political significance : ‘I remember when Bianca came to stay/ and we got tickets to watch The Night/ James Brown Saved Boston in the QEH.’

In its refusal to make judgements (look at the deliciously neutral ‘Sometimes you can be proud of your friends’) and overt lack of trust in a single narrative to describe an event of real, not poetic, suffering, the poem can properly be called postmodern.

I think Chrissy Williams is the future.

*

Chrissy Williams was born in 1978, in Guildford.  She is a freelance editor living in London and is director of the Poetry Book Fair. She is currently working on a project with the Bloodaxe Archive at the University of Newcastle and teaching poetry at the University of Hertfordshire. She is half-Italian and once sailed across the Indian Ocean. She has three has published four poetry pamphlets, most recently Epigraphs (if p then q); The Jam Trap (Soaring Penguin) and ANGELA (Sidekick Books), both created in collaboration with comics artists. Her pamphlet Flying into the Bear was published by HappenStance Press in 2013 and was shortlisted for the Michael Marks Awards.

Chrissy Williams is part of the New Voices reading at the Aldeburgh Poetry Festival on Sunday 9 November, in the Britten Studio at 12.00.

2 comments

  1. Jeff Schwaner

    Wow, that’s a great poem, Anthony, thanks for sharing it with us (with your insightful commentary) and introducing this powerful poet. There really should be an amazon worldwide fulfillment site just for poetry publications–in two minutes I have frustrated myself at half a dozen book sites trying to find a copy of Flying into the Bear.

    Like

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