Reflections/poem biography for Raindrop on a Red Leaf

P1050378 raindrop on red leaf smaller“His hand cupping a spider, wrist trembling;
a thin branch in the wind,”

The main story behind my plenty-fish poem ‘Raindrop on a Red Leaf’ starts with a photo of such a raindrop on a leaf. I took this picture on a walk across a local park in September 2011.

But this 10-line poem has an unwritten epilogue that starts much further back in time. This pre-poem story has two angles. The first is the literary influence of Jacques Prévert, whose work first got me hooked on poetry. (This influence also features more explicitly in my plenty-fish poem ‘The je ne sais quoi of it’.) That Prévert was a screenwriter as well as a poet can be seen in his poems’ imagery.

The second influence is part-literary – the “What is this life if, full of care, |We have no time to stand and stare?” of William Henry Davies’ ‘Leisure’, and William Blake’s “To see a World in a Grain of Sand…” (‘Auguries of Innocence’). But it is also part-mindfulness and the notion of living in the moment as a way of dealing with, or reacting against, the otherwise generally fast pace of modern society. Writing the poem, I set out to capture snapshots of some of those moments in life that cause an inner gasp and leave a lasting mark in the memory.

The resulting poem was one of three chosen, along with corresponding spectrogram (sound wave-forms) art that I created from their lines, to be displayed on Worcestershire buses as a Worcestershire Arts Partnership/CBS Outdoors/First Capital Connect commission in June-Aug 2013.

The poem, based on emotionally moving moments, and physically moving when on the buses, also has another element of movement. It is one of a few poems in plenty-fish where lines move, or shape-shift, according to their medium.

‘Raindrop on a Red Leaf’ concludes with a couplet circling back to the title image metaphorically. On the page, in the collection, the final line is: “on the wet leaves of two tongues.” But, read aloud without the words on the page visible, “tongues” is easily misheard as “tongs” or “tonnes”. Fortunately, the poem is free verse and not welded to a fixed metre. So, in readings, I often add an extra two-syllable word right at the end, to help clarify on the sound front and also make explicit what lies between the lines of the page version: “on the wet leaves of two tongues, kissing.”

Electric Questions - lit version smallerDiscussion Points

1) How closely does the central image in each couplet link to the other couplet’s images/moments? Does the poem leave enough space for the reader to make their own connections?

2) What relationship does the title ‘Raindrop on a Red Leaf’ have with the poem’s contents? Is a connection between the two clear when you first start reading? If not, when does some linking/interpretation become possible? And does it take on new meaning(s) by the end of the poem?

Inspiration/Writing Prompt

Imagine a photo album of five important snapshots from your/a fictional character’s life. Can you use these to create a narrative, or a bigger snapshot of your/their personality? Try to use either the final image or the title alone to hint at the most important snapshot or a way of reading all these snapshots.

plentyfish cover (1)At poetry readings, I often enjoy hearing about the background to a particular poem. ‘Wednesday Reflections/Sometimes I smile’ is my attempt to share the inspiration, frustrations, pain, philosophies and thoughts that lie behind my poetry collection ‘plenty-fish’. Each Wednesday, this blog will contain one of these ‘poem biographies’, as well as points for potential reader discussion and also writers’ prompts. My collection ‘plenty-fish’ may be bought from Nine Arches Press, here, or my website, here. More Wednesday Reflections on other poems in the collection can also be found here.