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Poetry
Consequence
By alandavidpritchard
01 March 2006
An evocative slice of life with some deftly-drawn characters. We liked it.

So this is how it happens then:
 

a hunchbacked crow perched upon the pylon
cackles obscenities at the hobo kicking
a skull as if it were a metaphor  
along the street. The hobo
aims for the goalposts of his mind but
he won’t score.
 

The girl with the scruffy face and tangled hair,
the one who misses her cat,
looks up once at the black bird scooping down
onto the half open garbage can, and then looks away as
the can wobbles like her restraint -
its contents  tumbling onto the already-littered pavement.
The bird, squawking like a disapproving stepfather,
flaps to the fence. The boy
 

who lives next door, the one with whom she is not allowed to play,
the one with the home-made stolen catapult, takes aim.
Such is our scene.
Such is the Saturday afternoon sun
that it sticks to the flesh like the smell of sweat.
Pensioners draw their blinds so they can better watch
their televisions, eager not to miss
the repeat of a conundrum on Countdown.
 

The hobo tries to justify his lifestyle to the skull
while the pavement wobbles before him. It is not a human skull.
It used to answer to the name Titbit, but now bears the scars of the boy’s prowess, and explains the dried-on tears that the girl never wiped away.
 

It would be fun to make the skull suddenly come alive and talk back
to the human, but hobos probably have weak hearts.
The girl finds a fragment of glass near her bare feet, and almost wishes it were a diamond.
The crow thinks it’s a miracle the hobo manages to kick and stay upright, the skull thinks
it’s a miracle it hasn’t shattered by now.
 

The boy has chosen a rusty Pepsi bottle top. The teenager
to whom the catapult had once belonged,
had made it from the rubber of a tyre tube he had found at the scrapyard around the corner. He doesn’t miss it much.
The boy moves out of the shade to take better aim.
He watches the bird. The bird watches the hobo. The hobo stares
at the skull, and the girl watches the pensioner drawing the blinds while the sun glares at them all.
 

The skull of the cat which once belonged to the girl
now sitting wondering what it would be like to have grandparents
has tumbled into the gutter and cracks into five pieces. Five.
It lands next to a weathered elastic band
which the hobo mistakes for a bracelet.
 

The girl holds the shard of glass to try to catch the light.
The hobo holds the elastic band and tries to catch his balance and begins giggling at his mistake. The boy squints
as he releases his missile.
 

Had the pensioner stayed at the window,
she would have seen the boy dart back into the shadows.
 

The crow had gone by the time she got up to check on the commotion. All she saw, she said later to those who never tire
of hearing of such things, and even those who do,
was the little girl clutching her bloody eye,
and the drunk man laughing with an elastic band in his hand.
 

“Awful,” they’d say, “to have missed the end of Countdown.”
 

Reviews

Written by amboline (183 comments posted) 2nd March 2006
This is really very good. It reminds me of some of Carol Anne Duffy's longer, storytelling poems ("Model Village" springs immediately to mind). Having said that, I did start wondering about half-way through if it wasn't perhaps a tad too long, I felt particularly in the middle section that you were lingering just a bit too much on the pauses between the action. I also wasn't sure how your line breaks were constructed. In the first 3-4 verses they happen fairly easily, and make a nice shape of the poem, with every line break corresponding to a new idea. Somewhere around the middle they start to lose their coherence, and you have some great rambling sentences that would break up much better into 3 or even 4 lines at a go, for instance: 
 
The girl finds a fragment of glass 
near her bare feet, and almost wishes 
it were a diamond. 
The crow thinks it’s a miracle 
the hobo manages to kick 
and stay upright, the skull thinks it’s a miracle 
it hasn’t shattered by now. 
 
The shorter lines help with the flow of ideas (and consequences), and although you'll be increasing your line count, you'll probably find that they make the poem itself seem shorter. 
 
Hope that's helpful. I don't want to be too critical, because I really enjoyed this.

Written by alandavidpritchard (59 comments posted) 2nd March 2006
thanks for your words...and your kind response...and yes, i deliberately lingered on the pauses and delayed the action to create the atmosphere i wanted.  
Thanks for responding with such detail. 
alan
Ah
Written by shadowplay (41 comments posted) 2nd March 2006
This reminded me of something completely different, of Ferlingetti and particularly Ginsberg- generally, the Beat poets. You've chosen an unconventional way of describing the objects in the poem and the way you dedicate each stanza to a particular character creates a sort of tension as if because they're in the same poem yet seperated by lines that something will happen. 
 
It does of course, and you deal with it well, but the killer line is the last. I don't know whether you want to introduce some sort of time detail like 'afterwards' though, as I had to go back through it to really get the same effect. 
 
I enjoy the longer lines as after all it is a narrative, but remember you can manipulate their lenghts to make the poem read quicker in certain places, a technique that I think would come in useful here (although you should choose carefully where to use it). 
 
Stop writing so many great poems that I feel I must comment on. Now.

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