Some semi-conductor keeping time
turns his back
as half an orchestra falls flat.
A filament of existence
beyond darkness triggers an enlightenment.

I stare into the void of mystery,
in the pews of ignorance
awaiting the priest,
images of invisible strands
spinning in unknowable blackness
fill my blind imagination.

Others speed by
down the Damascus Road.
On the hard shoulder,
facing the question –
My question,
I open the book and pray.

A TRAGEDY by Theo Marzials. Read by @Oscar_Sparrow  Unforgettable! 
http://www.youtube.com/watch?v=qfXSQ9wj3AI

We are all so excited about FREEZE FRAME and offer heartfelt thanks to Oscar and his team atGallo-Romano for all the hard work they’ve done to come up with what we think is a fantastic result!

I appreciate so much that you have been able to put together this unique collection called <em “mso-bidi-font-style:=”” normal”=””>Freeze Frame. You once said to me,

“If we froze the frame – what would we see? A guy taking an order at Burger King and punching the codes on his till? A girl in the line texting her friend the menu choices? A land mine victim smelling a rose? A guy flicking sports channels. So many layers of interface and distraction! Paul Gaugin asked “Where do we come from? What are we? Where are we going?”

Now that you’re wearing the Editor’s hat, has any of this become clearer to you?

What has become clearer to me is that individuals are very capable of focusing on those moving moments of life. In some cases, moments of experience live on forever perhaps and to some extent define those individuals. It is even clearer to me that this IS the work of poetry in terms of how it stands relative to our minds in this multi-channelverse. As for Gaugin’s question – well, the linear idea of an individual life being a flash of light between bookends of oblivion is obviously far too simple. As for what we are, maybe more than ever I see that we are seekers of understanding. Probably we are trying to understand rainbows by eating mud. Poets deal with what they don’t know but they cook the mud before they serve it up.

You are my favourite living poet, hands down. You peel a subject down to the quantum level, disassemble the atoms, then rearrange them into a veritable feast of multi-layered meaning and social commentary. I find them absolutely fascinating! When did you first realize poetry would take over your life and be your very breath?

What a wonderful compliment – thank you. I suppose that as quite a young kid I did not fit in because I wanted conversation and discussion to go much further and deeper. We use descriptions such as “as hard as stone”. The use of words in this context troubled me and kids and teachers shuffled away when I would ask how you “understood” the hardness of stone. My refuge was poetry – particularly Wordsworth. I bought a copy at a second-hand shop. I hated all that poetry they served up at school – all that dah di dah di dah stuff.  I wandered about a lot, looking at yellow iris and learning the smell of water and advancing snow. I wanted a poem to look out beyond to that place which could not be a place but which my tiny brain can only see in terms of a location. I must say that your own work “From This Far Time” touched me deeply by heading out on this path.

That’s very sweet of you, Oscar! Your own response to that work gave me so much encouragement and hope for the future…you have no idea!! I’m curious as to how you actually work in your “poet’s cave”.  As for subject matter, where does your poetry come from and who has influenced you?

The poet’s cave is a philosophical place quite often of no thought or input. I have to go there just to be.  The biggest fact of the human mind, the universe and everything that binds them together is something we completely ignore. Intuition is the dark matter of thought and the construction of our picture of existence within our consciousness is intuitive. This intuition is very much there in the child. The “system” both ignores and discourages it. Who says to a scruffy kid “I want you to wander about free, not trying to think anything. If you want to – or if you feel you just have to, come back and tell me what you felt”.  Now that is not just a school for poets – that is a school for the world. The sad thing is that once we did have that power and freedom. We have forgotten where we left ourselves. 

As for influences – certainly Wordsworth, the English Movement guys like Larkin. Robert Graves, W.H. Auden, Thomas Hardy, Maggie Huscroft, Elizabeth Browning, Walt Whitman, Les Murray  and so many writers and poets. The work of Gaugin, many films and singers like Jacques Brel. The word play and cleverness of Charles Trenet leaves me dumb with admiration. My biggest influence is that elusive intuition in a scene or moment. Always that question “What words can fit the intuitive signal I am receiving?”

You are one of the best spoken word artists I’ve ever had the pleasure to meet. You have a natural talent for dramatizing the written word and leaving us spellbound! Have you ever worked in theatre?

No theatre I’m afraid. I think a critic would say that I just love the sound of my own voice. Look – we all have depth and nuances within ourselves. The voice can betray/reveal them. Life and poetry are acting jobs. Shyness and uncertainty make us reluctant to risk the true expression of our spirits. If I’m any good, it is because I have grown old enough to let go and just do what anyone could do if they stepped up and grabbed the microphone. 

Remove the editor’s hat and put on the poet’s. What message would you leave the world on your tombstone?

Wow – hmmmm. It would be difficult to not appear righteous if I gave advice about how to live when I know nothing more than anyone else. If I were to try to combine the basic selfishness of mankind yet their ability to elude its grip, I would condense everything to:  “Love yourself –  for your kindness.”

What direction do you think your own poetry is going and where do you think poetry in general should go? Have you ever been part of the poetry establishment?

I have lived through several re-launches, renaissances, second comings and new waves of poetry.  None of them have changed the sales or perception of it. In a rather joking way I dub myself the “Poet Lorry-Park” in order to underline my allegiance to the cause of non-academic people. I feel that poetry was stolen, mystified and separated from the main stream of life by a clique of media connected cronies. They wanted the poetry world to be ten stars <strong “mso-bidi-font-weight:=”” normal”=””>and all the rest of us fawning upon their latest style of line break. To me, this is tosh. You can stuff a sonnet in your rhyming bonnet or ride into Jerusalem on your assonance for all I care. What I want is for anyone who feels a surge of joy, who poses an infinite question or who sees a dog peeing on a cabbage AND who really sees it and reflects on it to realise that they themselves are the poet. I do not believe in any regime or form of poetry. It is the naked honest mind seeking to use this heavy toolbox of words to do a job no one will ever complete. The subject and my intellectual/emotional relationship with it dictate the form of what I write. How can I be bigger than the power of the unwritten poem? The poem is the statue unborn, yet living in the stone.

I have skirted around the poetry establishment because I thought I might pick up some electricity from the overhead wires. I felt the current but essentially they only wanted a coin for their trochaic meter. In short, let there be poetry and let all be poets. Those with the best words will be guides, not stars.

Finally, Jo – my dear friend, thanks for inviting me to ramble on for far too long. I dreamed that one day I would be a poet.  To be so dubbed by a poet I admire so much is a true honour and happiness. 

Thank you so much, Oscar! It has been my distinct pleasure to know and work with you!!