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Contents Page by Stephen Edgar


Beginning by James Wright


Editor's Letter by Matthew Bennett


The Family at Night by Helen Ivory


What the House Said by Helen Ivory


Another 3am Call by Helen Ivory


What the Bed Said by Helen Ivory


Staircase Game by Helen Ivory


A Contribution by Theresa Ann-Moore


I'm Offering You This Poem by Jimmy Santiago



men to watch in all the chimneys on Christmas Eve to catch Santa Claus, but even if they did not see Santa Claus coming down, what would that prove? Nobody sees Santa Claus, but that is no sign that there is no Santa Claus. The most real things in the world are those that neither children nor men can see. Did you ever see fairies dancing on the lawn? Of course not, but that's no proof that they are not there. Nobody can conceive or imagine all the wonders there are unseen and unseeable in the world.

Virginia, your little friends are wrong. They have been affected by the skepticism of a skeptical age. They do not believe except they see. They think that nothing can be which is not comprehensible by their little minds. All minds, Virginia, whether they be men's or children's, are little. In this great universe of ours man is a mere insect, an ant, in his intellect, as compared with the boundless world about him, as measured by the intelligence capable of grasping the whole of truth and knowledge.

You may tear apart the baby's rattle and see what makes the noise inside, but there is a veil covering the unseen world which not the strongest man, nor even the united strength of all the strongest men that ever lived, could tear apart. Only faith, fancy, poetry, love, romance, can push aside that curtain and view and picture the supernal beauty and glory beyond. Is it all real? Ah, Virginia, in all this world there is nothing else real and abiding.

Yes, Virginia, there is a Santa Claus. He exists as certainly as love and generosity and devotion exist, and you know that they abound and give to your life its highest beauty and joy. Alas! how dreary would be the world if there were no Santa Claus. It would be as dreary as if there were no Virginas. There would be no childlike faith then, no poetry, no romance to make tolerable this existence. We should have no enjoyment, except in sense and sight. The eternal light with which childhood fills the world would be extinguished. Not believe in Santa Claus! You might as well not believe in fairies! You might get your papa to hire



The Family

What the

at Night

House Said

Another 3a

m Call

What the

Bed Said



Helen Ivo ry was bo rn in Luto 1969 and n in began to wri Norwich S chool of A te poems at rt the tuitio in 1997, un n o der won an Eri f George Szirtes. She c Gregory Award in and then d 199 is the Norfo appeared into a fiel 9 lk countrys d in id ter two th ousand fr e to look afee-range When she hens. emerged te later, she had two co n or so years Bloodaxe llections w B it with her o ooks and had hel h ped, wn bare h ands, to b several ho uses. uild Has any o f th Words, yo e poets in In Their O ur antholo gy (edited wn George S with zirt perspective es) of thoughts a nd s shared b rary poet s, inspired y contempoyo different a pproach to u to ta ke a writing?
 I have alw ays admir ed and Matt hew Swee Pascale Petit ney, and they prob while ab to ta ke a ly haven't inspired me different writing, th approach ey have g to iv mission, in a sense, to en me perI do. write the w ay Why are a lo Own Word t of the poets in In T hei s known? Yo young or not so w r u have left ellnames.
 out some big We wante d is happen to get a sense of w ing in the world of p hat oetry


right now, an talking ab d also to listen in to out poetry different vo .O we hear th e same vo ften in the poetry ices and while w ices talkin they do it g about p orld desire to hear a littl very well, we just oetry, felt the e variety. tributors to Some of th the conof creative e book have emer ged writing M A program from the glut country a nd m moved ove are just finding thei es around the r way, som r from d e have ifferent fi studied cr elds and ea ogies. On ha in English tive writing at all, some are ven't gies to e must think of who when Eng gether an lish is not w If this bo ri ti ng d their met is putting antholo their ok and, wher ho that there is a teaching tool, first language. e th e A rchive is co dologies and taste is it funding it n ce writer, and more than one way aims to show re rn ce ed iv , how much es to ma ke that proce to progress to pay for new ss is comp means do as a usage of h es lic istoric ones recordings and to one da a published a poem arrive neatl ated and in no y include . The intenti ever y on the p in the Eng a and that p book. We wanted lish Langu y poet who largely on is to show th ge of ect! oetry is a a writes g e o n there. It's living, mo a big projving evolv at flux ing art. You must still Which po work for th admire the classic ets do you s though a e Poetry A like who a ren't aroun rchive? Ho to bring b s you ack oeuvr d today? w importa T h e S er es of forgo bian poet nt is it are not re Vasko tten membered poets I wa reason?
 easily, is it poets? If they s introduce Popa was one of th not for a e art school, d good and who re to by George Szirt first Po es at m p a a in ta s w u The Archiv ght ith e the sparsen me about metapho me to this day. ets, so it's collects both histo r, es a n s d of langua ric not neces of tone. Po ge and th also about poets but sarily abo and living pop e importa drawing a u and his se a taught me about nce ttention to t remembering qu th living ones for Bluebea ences inspired me e poem-world, too. A lot of th to rd w . ri te e rememb Waiting ering is do ne throug What is W h antholaiting for Bluebeard tion, abou , your new t? co the theme? And what came fi rst, the po llecems or The them eo up to be th f the book is how co e woman living in B uld a girl grow It is sem i-a luebeard's house. membered utobiographical, a bo , a stretch o part-imagined child ut a part-ref h I thought living inside an abu ood and then si I stemmed was just writing so ve relationship. fro m write som m childhood. And e poems that e then I sta rted to were actu Bluebeard poems, ally w forty pages about a past relati hich I realised on o there is a lo f those. The book is ship. There are in n together. In ger poem which hin two parts and ges the tw the part o op f the book which hap arts pens






whatever co er to ma ke mes to hand and fe els to go to some kind or metaph g or. One of of narrative or visu ethal pun my spirit g and I like uides is Ba th g stories an e way objects are d ways of re-imagin puss, in Bluebea b ed into ei n g . rd's house , there is a 'The Disa Does your pp se art woman sl earing' threaded th quence called poems mer work inspire your p owly disa ro u g h, where oems, or d ely replace ppears. F pay the ta a o your your artw irst, she n riff of a si ork? eeds to ngle layer threshold, S o m o f skin to cr etimes I and she lo will use m o ses herself points for y artwork thus by deg ss the w s as start rees. Tell us abo workshop riting exercises wh ing ut your art s. I can't projects?

 write from en I am tutoring though, bec th e a u p se ie I went to a ce it feels like the poem rt I have alrea s myself . I started w school in the late '9 dy made 0s which is riting poem wh Gregory A s. Most of th ward and When I left I won a ere e n writing. It collaged in pieces I ma ke will h 's more p began to concentr Eric ave wo from ractical to ate on ma ke art E n cy w , you nee clopaedia the 1950s Arthur Mee rds in too, d fewer m rite poems than s. space. I w I Children's h o p o e that the bjects work ate an stage, and ted to be a theatre rials and less the viewer together and do a words and the for me the designer a little dance 's theatres, lit t one poems I w in poem wou head, just like the ri tl componen side ld. I guess occur. If I e environments in w te are like little ts of a th co e m artworks a e from a si want a wo hich dram nd the poem milar place m as can vamoose . s herself off an to turn into a b ird and -set, then image wit I will crea h words. te that So for yea rs habitually , I had no space to sq w my eye. W uirrel away materi ork but would a hen we m oved house ls which caught ago into an old Co a couple o f -O small stu dio and si p Butchery, I acq years uired a nce then on ma kin have set g assemb to work lages or sh might call ad th vases and em. I use the other ow boxes, you si a as environ lso old jeweller's bo de of box canx ments an d then I p es or Kilner jars opulate th em with



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Thanks and contributors Jesse Auraselo, Kevin Amato, Stewart Bryden, Samuel John Butt, Ira Chernova, Bella Howard, Oliver Hadlee Pearch, Dom Smith, Liam MF Warwick, Nicola Maria Winkler, Peter Adkins, Errol Anderson, Jenna Anderson, Kate Blower, Samuel Breen, Simon Butcher, Katie Chow, Martin Cohn, James Evans, Adam Foster, John Freeman, Oliver Holms, Gareth James, Danii Leivers, all submissions see page nineteen




All of the poems that have featured in this magazine have been submitted by keen and enthusiatic writers that merely want to share the power of words with you. Anyone can write and anyone can be in this magazine which will gladly take submissions for any of the pages within. Send all of your entries to the address below, preferably handwritten to create a much more intimate experience with you and your potential reader. The poems can be on any subject matter you desire but not all will be chosen but may be archived for later issues so be patient and we will try and print as many as possible.

Collectie Magazine Submission The Bicycle Shop St Benedicts Street Norwich Norfolk NR2 4PE