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Monday, 9 December 2019

Pre-Emptive Initial Strike

This poem reflects my own anti-conflict and particularly anti-nuclear weapons, and was written with dismay after Theresa May, then Britain's prime minister, replied without hesisitation that she would be willing to launch nuclear weapons, vaporising hundreds of thousands of civilians. This kind of nationalist and conservative thinking seen in the blasé threats of the likes of May, Trump, Kim Jong Il and others can be said with confidence as they will suffer little blowback from their self-made catastrophe; it is the ordinary person, you and I, whose future is condemned to uncertain anxious doom by these words that ruddy-faced men, desperate to relive a world war, lap up.


Pre-Emptive Initial Strike

She has been crawling up since Spring.
They dropped little boy
They dropped singing songs
Chocolate bars and bully beef
(not for her, not for her)

Tree seeds stratifying in the fridge
One day I’ll make the desert green again
I’ll make the desert eat again
I’ll make you dessert; get you a fat man.

Glad for the winter, for the ash
For the still birth in the pan, for the rash;
All is well, clouds never part, but. Clouds never part, but.

"Are you prepared to authorise a nuclear strike that could kill hundreds of thousands of men, women and children?”
Lips unfurl
Brittle iron
Gotcha gotcha gotcha

“Yes.”



Monday, 9 September 2019

Abandoned Cities 2: Flaw in the Design

I've previously written about what I call 'Abandoned City Ecology' here


            The other day, I went for a walk in Leigh Woods. I’d done this walk a few times before, but this time I got a little lost because I was being lazy and stupid with following directions, and so I got to walk past the Stokeleigh camp twice, and on the second amble past, I really thought about it, and imagined what it was once upon a time.
            The Stokeleigh camp is an ancient site in Leigh Woods, facing out towards the Avon gorge by Bristol. Two crescent shaped mounds are all that’s left of an iron age fort that once kept guard over the banks of the River Avon for reasons so far unknown. All that’s left are the two mounds, surrounded by trees, shrubs, grassland, and themselves completely covered in a variety of wildflowers and weeds.

  Between the two mounds at the Stokeleigh Camp, Leigh Woods.

The Mound Rising up ahead at the Stokeleigh Camp, Leigh Woods, Bristol.

            I’d been thinking a lot lately about the impermanence of all things, especially artifices, and how cities have a lifespan. The abandoned cities archaeologists find weren’t always deserted during some cataclysmic event, rather citizens trickled out as life in the city became less and less viable. The cities we have opted to create in ridiculous climes such as Las Vegas, a city that functions as any other American city albeit in the middle of the desert with strained water sources; similarly, Cape Town in South Africa experienced a water crisis just last year. Whether we like it or not, artifices have a lifespan of usefulness that might be shorter than we expect; everything from a skyscraper to a coke bottle to a city has a timer counting down in its usefulness.
The problem with artifice’s useful lifespans is that, unlike organic features, artifices do not break down or transform on the demise of their usefulness. Where an eggshell, once empty, will dry up, the membrane and residues rotted away, the shell becoming brittle, eventually shattering, and then one day becoming powder, returning the mineral constitution of the shell to the ground. A plastic drinks bottle, once empty, just sits. It might tear or warp, and shed a few shavings of plastic into its surrounds, but generally it will not disappear.
The Stokeleigh camp, re-absorbed into nature being just mounds of dirt, seemed to me the most brilliant, unintentional design, because its demise was factored in, and this isn’t a spoon we’re talking about, but a fort. If we accept that an era’s worth of cities could well be left due to war, climate change, and  resources stress, then we should be designing and building with decay factored in. Nothing is permanent, including unfortunately us as a species; whether we evolve, planetary migrate, or go extinct, I’d hate to wander the globe a spirit, and see city stacks still stood where a rich base of habitats could have instead been fed and allowed to succeed us.



Friday, 6 September 2019

Bolsonaro is Deaf; They are all Deaf.



Brazil is an example of sustainability
- Jair Bolsanaro, televised address to Amazon fires 2019.

Green wood doesn’t burn straight away.
It is rendered dead first; that which makes it has to be ignored.
It has to scream first.
The green woods were never just trees.
The cacophony cries are in every communing.
Listen, because it will be silent soon.

Saturday, 11 May 2019

A Quiet Place: the good apocalypse.

may contain spoilers.
picture from here

Despite the brutality and constraints of their ever present endangerment, Jon Krasinki's A Quiet Place (2018) shows a family that has adapted and learned towards a full and naturally grounded life beyond what's available in modern society, especially urbana.
The Abbott family farm their own food, preserve their produce, have studied up on medicine and various technology, and venture into the lush wilderness to forage and fish. Additionally granted them through the horrific constraints presumably put on all of humanity by their sonically hypersensitive invaders are things so dramatically lost from 21st century life; the Abbotts walk barefoot to avoid unnecessarily loud footfalls, gaining a physical connection to the Earth through the soles of their feet; through their silence, the family are forced to listen, to be patient and sharp to each others feelings and opinions, and also they are forced to hear the natural world.
Amid the slew of apocalyptia before and the films that followed, leeching influence from Krasinki such as John R Leonetti's The Silence (2018) or Susanne Bier's Bird Box (2018), A Quiet Place stands out for the life that beats in it. The main events aren't epic journey's or battles, but family lives in the face of hardship; the core event is a birth. The territory visited throughout is always familiar to at least one member of the family, as they imprint on the landscape and it on them.
We are shown an end to noisy modern life, and a return to a world that booms with bird song, rustling leaves, rushing rivers and slavering waterfalls. Whereas Hollywood's apocalypse is a noisy show that ends all reality, Krasinski shows a gentler vision (despite the horror.) This for me has always prove na vision of apocalypse more intelligent; even the most horrifying apocalyptic film I have seen, Threads (1984), a film about nuclear devastation, goes far beyond the destruction of Sheffield by nuclear weapons to show a society soldier on, stunted and dumbfounded beyond recovery. by the threat being external, and in many animalistic predator/prey ways natural to some extent, A Quiet Place is allowed to show a pristine and hopeful vision of humanity and nature surviving.