Echoes of a Season Past

ROGER TABER - POETRY READING
21 March 2017 – Part 2

From Roger’s friend, Graham

Greetings from autumnal Essex, UK,

I’m sharing the second part of Roger’s poetry reading. Again, I’ve embellished the recording with imagery (including the occasional cheeky pun). I’m grateful to the photographers who’ve shared their work (public domain license) on the Pixabay, Pexels and Unsplash websites. Wikimedia has also proven really helpful.

Here’s the link: https://youtu.be/hs3aTILOdtU. Or find it by searching ‘roger taber poetry’ in YouTube if you prefer.

I was reflecting on my previous comments about performance poetry being more expressive than printed form. How it reveals the intensity, passion and human frailty of the poet. And yet, conversely, a soundtrack could be interpreted as the author’s impressing of a particular perspective on his work. I wonder if poetry, art or music is really more about multiple viewpoints…? And written verse, perhaps, remains more accessible to those differing interpretations. Either way, I still think the recording adds an interesting facet to Roger’s published work.

The selection contains some personal favourites – ‘Suggestions’ and ‘The Poet’s Song’ among them. I read the latter at Roger’s funeral as part of a eulogy. Although it’s not sombre - rather a celebration of the artform. After all, ‘look on the bright side’ was his mantra. Even on his poetic postcards from the abyss.

Inevitably, the project has left me with a sense of retrospection. Roger died back in March last year although, for me at least, his presence lingers. His connection to the world endures somehow in a continuum of past-present-future. Like a pebble cast into water, his life-force resonates through a sea of time…

Memory’s warming embers ever glimmer in the shadow of grief.

Thanks for reading/listening.

G x

 

*  *  *

 

‘I am hopelessly in love with a memory. An echo from another time, another place.’
Michel Foucault

‘No one is actually dead until the ripples they cause in the world die away.’
Terry Pratchett

‘As long as there are memories, yesterday remains. As long as there is hope, tomorrow awaits. As long as there is friendship, today is beautiful.’
Billy Joel

 

*  *  *

 

ROGER TABER - POETRY READING
Tuesday, 21 March 2017

PART 2

The Master Baiter
W-A-R, Crucible Of Remembrance
Spring Magic
Logging On To Life
Imagination, Painter Of Dreams or Masochist
National Trust Outing
Suggestions
Shades Of Comic Genius
Engaging With Nature or Living With Prostate Cancer
Patchwork
Ode To Apollo or Profile Of A Life-force
Heartbeat or Waking Up To The Power of Positive Thinking
Poems By Passing Clouds
The Poet’s Song
In Good Company

(CC) R. N. Taber 2017

Painted Dreams

 

From Roger’s friend, Graham.

 

Greetings from a cloudy Essex riverside, and welcome.

Life can be a bittersweet symphony, as the song by British indie band, Verve, suggests. A shifting interplay of light and shade; smiles, tears, triumph and tragedy. How the individual makes sense of it is, like art, a studied interpretation.

Whether poet, artist, or none of the above, the human sees beyond the innate existence or istigkeit of their subject to reveal deeper truths. Capturing aspects of its meaning, its purpose, or even its cultural symbolism. Though a painting or poem merely occupy a veneer, their expositions delve deep. They’re so much more than just visual facsimiles or mechanical recordings.

Although constrained in his early years by familial and societal expectations, Roger, I think, blossomed in later life. He discovered his métier and befriended his muses. He embraced his passion for poetry, daring to rise above naysayers and the sniffy literati. (Just as any self-respecting Impressionist would disregard the strictures of Académie.) In the period that I knew him, he lived a bold, liberated and authentic life. ‘I’m past caring what people think about me’ he might say. Or sometimes (after a vino or two) he was rather more forthright: ‘Ah boll*cks to ‘em!’ he’d proclaim with a wry bardic grin.

I know Roger loved the paintings of British artist William Turner (or J. M. W. Turner). I sense that influence in his impressionistic wordscapes. His mind’s eye conjuring glittering pools of reflection, rolling pastures of rampant joy, and brooding skies of depression. Edges diffused, flowing and pulsing, in a vivid palette of words. A tree centre stage, feverishly worked into a hazy summer meadow. Figurative renderings; intertwining in storms of passion, making love, coalescing into a single entity. Fleeting beauty, captured in all its fragile and poignant intensity. Grotesque demons of blind hatred and heartless sanctimony exposed in their naked form; their monstrosity and absurdity revealed. Intense outpourings of a soul in ecstasy or agony; becalmed or in the tumult of a raging existential tempest. Unvarnished truths… swirling interplays… bold strokes. Lines of time tracing the vigour of youth to the frailty of old age. A life within and without; captured in all its delicate and gaudy hues.

Though Roger’s passions are now spent, his palette dry and his mind’s eye sleeping, his impressions endure. Open to interpretation and fresh perspectives. But most of all – to be enjoyed in that wondrous communion between artwork and observer.

And like his wordscapes, Rog blazed brightly in life too. Illuminating darkness and filling days with colour. Always there for me when I needed sage counsel, shelter, or reassurance. Likewise, I did my best to help him in his times of need. More than that though, he was great fun to be around. We enjoyed many uproarious days out*; consuming far too much ale and jokingly posturing around town as a pair of swaggering Bohemians. I recall our hilarious drunken antics involving spectacles falling into toilet pans, ales inadvertently slopped over crotch areas, and trousers accidentally slipping to half-mast on tube platforms. (Possibly not the sort of exposure an artist craves?) Plus a whole litany of other indecorous displays. It’s a wonder we weren’t arrested! Ah, dear ‘ole Rogie - feet of clay, but his head in the stars. It was a joy and a privilege…

I feel that Roger left this world slightly more picturesque than he found it. His legacy; a gallery of living, breathing landscapes of the imagination. I’ll leave you with one of my favourite poems. (Please forgive this self-indulgence, but I’m hopeful you’ll enjoy it.) It’s raw creative dynamism still paints my daydreams.

Cheers, Gx

* Reference to the period prior to Roger’s nasty fall and subsequent mobility impairment.

*  *  *  *

 

THE POET’S SONG

I am a Painter of Dreams,
my brush, a pen – words
all the paint available, tackling
the unassailable to bring within reach
of unquiet heart, restless soul,
images of life and love,
vision of a goal beyond perimeters
of time, space - humanity’s crude
conception of grace

I am a Painter of Dreams,
bringing you mine, intruding
on yours, winging heaven’s
elusive towers that flicker in a mist
of aspiration, inviting inspiration,
daring us to home in, defy
the rude mentality of a classroom
morality - humanity’s crude
conception of spirituality

See-Hear-Taste-Touch-Smell,
I am a Painter of Dreams, who
means well but often offends
who dare suggest I speak for all
that seek gold where the rainbow ends
for, like Pandora’s Box, our secrets
once let fly - each to their own;
Painter, dreamer, shades of light
or ships in a cruel night

Senses, falling apart at the seams
for a Painter of Dreams

 

Copyright R. N. Taber. From the collection: First Person Plural, 2002.

Arthur Atkins (Painter-Poet) Liverpool, UK/ San Francisco (1)

http://en.wikipedia.org/wiki/R._N._Taber

I love Liverpool but rarely get an opportunity to visit these days. Among many places of interest there is a wonderful little bookstore called News From Nowhere.

Only recently, I got chatting to a young Liverpudlian (in a pub, where else?) initially about the bookstore. He seemed genuinely interested in my poetry and was even familiar with some of my better known poems. However, he was even more interested to hear about Arthur Atkins, not least because he shares the same surname. While he thinks it is very unlikely that he is related to the painter, he promised to do a genealogy search and confirm.

Arthur Atkins is something of a romantic figure to me and one of my heroes, so much so that I dedicated Love and Human Remains - volume one of my poetry quartet of the same name - to him.

Arthur Atkins in Bruce Porter's studio, spring 1898

William Arthur Atkins - known as Arthur - was an English artist, raised in the Liverpool area. He studied art in Paris but never exhibited in Europe. His paintings were frequently on show in the San Francisco Bay area of California before his untimely death at the age of 25. One of a group of painter-poets responsible for an arts magazine called The Lark that was published in the San Francisco area during the late 19th century, this remarkable young man has long been an inspiration to me. His grave overlooks the same Piedmont hills he loved and painted, although now encroached upon by urban spread. A friend of mine in the US (also a painter) owns several of his paintings and has made contact with descendants of Arthur's immediate family.

ARTHUR ATKINS
(1873-1899)

Spirit of Liverpool, 
burning bright like autumn leaves 
in the glare of day,
an amber glow at twilight,
kaleidoscope of each season's 
poetry and art in the discerning eye
of body-mind-spirit...
the Candle Holder, 
blending with shadows, discovering 
here, there, everywhere, 
what the naked eye 
cannot see, visions of the mind 
anticipating eternity

Braveheart, ventures 
to France, Italy, exploring new paths 
of creativity,
imploring mind-body-spirit
let artistic expression 
go free, establish its identity; 
in a New World society
busy chasing gold tales, find art 
and poetry marking out
their own trails across landscapes 
of a land in its youth, 
not least by a young man's
passion for truth

Where life's candle long since snuffed out, 
a painter-poet's passion lives on 
as its art and nature wills in each leaf that falls
among crowded Piedmont hills

Copyright R. N. Taber 2000; 2017

[Note: an earlier version of this poem appears in Love and Human Remains by R. N. Taber, Assembly Books, 2001; rev. ed. in e-format in preparation.]

UPDATE: More about Arthur at: http://rogertab.blogspot.co.uk/2013/05/arthur-atkins-2.html