It turned out to be one of the best gigs of the year.
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Two Tilly poems and a lovely walk back through fields to Dónall's youth started the night's proceedings on a gentle note. (Donald did have a brick up his sleeve, however, as Geoff found out later when it hit him with a crash of broken glass and a soft rubbery thud.)
Dónall kept his opening set to three new poems, allowing time to talk about the new open mic night that Greg Freeman of Write Out Loud is starting up, helped by Rodney Wood. It's in Send, on the outskirts of Woking, and will give open-mic-starved poets relief half-way through the month, on the third Tuesday. It starts on 16th May.
Alex Twyman was our first featured poet and it was a real pleasure to hear a whole twenty-minute set from him.
Her style and talent are epitomised in her diatribe about genital cosmetic plastic surgery: her climactic image of a woman "in need of" a cosmetic labiectomy taking off like Dumbo by flapping the offending parts remains stubbornly in the imagination, I find!
Her conclusion (that the men who demand this surgery for their partners are perhaps the superfluous pieces of flesh that need to be removed) is one of the best feminist arguments I’ve heard in a while!
Becky is taking a show to the Edinburgh Fringe this summer and we predict it will be a big hit.
We had a line-up of twelve open mic readers. Michael Cutchey led off with a poem inspired by listening to music in bed and followed up with “The Carcass of a Dream Undone”, his ekphrastic poem based on Wayne Barlowe’s illustrations to Dante’s Inferno and Milton’s Paradise Lost.
Eddie Chauncy had taken the trope of plotting time running backwards and given it a Chauncy slant in “From the Day I Die”. The narrator, dying, begins his loving relationship at that point, passing back to the time when only the two of them exist, to ecstasy and the void. A wholly positive poem. “They are so Small” puts existence into perspective, and “Feeding” neatly observes the dependency between a mother and child, so often reversed by the behaviour of the child.
Geoffrey Pimlott recovered from Dónall's assault with the rubber brick and read his Shakespeare Ultimate Insult, got mainly from the Shakespeare's Insult Generator (available to all on-line), along with Street Wars and became uncharacteristically loud when he read “You Who Constantly Disturb,” giving Dónall carte blanche to introduce Jeremy Loyne in his best Sarf Lunnon voice. (Not before Geoff had received the second ball for his juggling training from Dónall and performed a short demo.)
And so the May edition of the Keystone Poetry Open Mic was done.
There's an open mic as usual and you might like to unleash your own most imaginative poems there!