Tag Archives: Writing

Mr. Simpson

I want to take this blog entry to tell you all about the man I knew as Mr. Simpson. The problem is, I don't know that much about him, so instead, I'll tell you what I remember.

Mr. David Simpson was one of my high school English teachers. He was really Dr. Simpson, yet he seemed to go out of his way to avoid the title that he had earned. He was a tall, bespectacled,  dark-haired man whom I always remember wearing a suit and tie. He was always impeccably groomed and he had a razor sharp wit.

Mr. Simpson somehow got me to connect with Shakespeare. He had us creating a cast list for our own Romeo & Juliet movie based on whichever contemporary actors we wanted. All mine were from Whose Line Is It Anyway (I was never going to be a casting director), but somehow, his discussion about my justifications for Tony Slattery and Josie Lawrence to be the lead roles was never condescending (it probably should have been). We even watched Romeo & Juliet[1] on VHS, so that we could experience Shakespeare through the actors rather than just from the text. Because of Mr. Simpson, The Taming of the Shrew is my favourite Shakespeare play.

Mr. Simpson encouraged me to write. He gave me access to the Apple Mac in his classroom so that I could spend more time writing my homework with a computer to overcome my poor handwriting. He pushed me to write for the school newspaper (though much to our lament, I never made it to print). I wrote a short science fiction story on my Amiga 500— it was 20-something pages long once printed from the dot matrix printer my Dad had bought me from a bric-a-brac store in Blackpool. When I gave it to him to read, eager to hear what he had to say, Mr. Simpson took it home and read it, and he gave me feedback.

Mr. Simpson helped me cope with bullies.

Mr. Simpson and I had our first trips to the top of the Eiffel Tower together. I know because as we made our journey to the top, he proclaimed to the elevator full of other sixth formers from school, "My first time up the Eiffel Tower, and with Jeff Yates too!" Everyone laughed and though I felt a little embarrassed at the time, I look back on it fondly now. And when I subsequently got left behind at the top of the tower for 30 minutes, Mr. Simpson and the other teachers were happy to let me tag along with them for dinner when they found me alone, waiting at the rendezvous point an hour early[2].

If my memory were better, I'd be able to tell you more, if my memory were better. The thing is, this might be the best my memory will ever be when it comes to Mr. Simpson. I found out today that sometime in the last few years, he passed away aged 47 years old. I don't know when or how, just that he's gone, that those imagined emails or conversations where we got to reminisce as adults, where I got to thank him for everything that he had done for me— all the things he knew about and the many he didn't, where I got to try and pay him back for his lessons and support will not exist.

It's cliché, but don't wait. Take the opportunity to reach out to those who have influenced your life for the better and thank them. Do it before that opportunity isn't there anymore. I am still crying as I write this. I wish I could take every tear back just to shake his hand and say, "Thank you."

Mr. Simpson was a great teacher and though we hadn't spoken in over 15 years, I will miss him.

Footnotes    (↵ returns to text)
  1. The version from before Leo.
  2. The journey to get there is another story.

Learning Poetry: Exercise 2

This is the second part in a series of posts documenting my efforts learning more about prosody:

In the last post, I explained how I was learning to be a better poet. I also included my attempts from the first exercise in Stephen Fry's book, The Ode Less Travelled: Unlocking the Poet Within. Now it is time for the fruits of the second exercise. I would love to hear your thoughts on my attempts – what works, what does not, where you think I've gone wrong. Perhaps you might get a copy of the book and have a go yourself. If you do, I'd really like to see your results.

The exercise

Write five pairs of blank iambic pentameter in which the first line of each pair is end-stopped[1] and there are no caesuras[2], then write five pairs of blank iambic pentameter with the same meaning, but using enjambment[3] and at least two caesuras.

The topics for each of the five pairs are:

  1. Precisely what you see outside your window.
  2. Precisely what you'd like to eat, right this minute.
  3. Precisely what you last remember dreaming about.
  4. Precisely what uncompleted chores are niggling at you.
  5. Precisely what you hate about your body.

The results

End-stopped

  1. The blur of trees is racing out of sight,
    As speedily the train ploughs down the line.

  2. A pack of tasty chips from in my bag.
    The ones I bought last night inside the store.

  3. A crazed outlandish woman blocked my path,
    Demanding love and drinks from all my friends.

  4. I really must repair the door and step,
    And take the time to see the naked earth.

  5. My gut has grown from laziness and food,
    It hurts to walk upon my foot as well.

Using enjambment and caesuras

  1. The trees, in blurs of green that race beside
    the train, demark the path we travel on.

  2. Some chips, perhaps a drink of something, I bought
    selections from the store last night. Thank God.

  3. So drunk, the girl accosted me, she asked
    if anyone would like a kiss. We ran.

  4. The earth is bare, it waits for seeds, we might
    sew grass or herbs. And still the door needs work.

  5. From food, my gut has grown to fill the space
    beyond my pants. Yet still my foot, it aches.

Footnotes    (↵ returns to text)
  1. A single thought that finished with the line.
  2. Pauses, which break up the flow.
  3. Where the meaning runs on from one line to the next.

Learning Poetry: Exercise 1

This is the first part in a series of posts documenting my efforts learning more about prosody:

If you've been following my blog at all, you may have noticed that I have posted a poem or two. These attempts at prosody are remnants of songwriting attempts – lyrics that never gained a tune. Though I enjoy writing lyrics and, on the odd occasion pretending they're real poems, I've never taken the time to learn about the art of poetry. Because of this, much of what I write lacks the structure and care that would indicate or more learned authorship and I expect to some I may just come across as nothing but a poetaster[1].

With that in mind, a couple of years ago I bought a book by Stephen Fry while I was on vacation in San Francisco. It's called The Ode Less Travelled: Unlocking The Poet Within. Allowing for the appropriate length of procrastination, I started reading it this weekend on my trip to Chicago for St.Patrick's Day and I've really been enjoying it. Each concept is introduced with examples and analysis before the reader is given an opportunity to put their newly acquired knowledge to work in simple exercises (Fry's view is that we're each capable of poetry if we only try).

I won't recreate the book here, it would be a poor facsimile, but I would like to present my attempts from each exercise. Whatever you think of my poetic prowess (or lack thereof), I hope it will be fun to follow along as I learn and improve my prosody. I'll begin with a brief explanation of the exercise and then provide my attempts[2]. As I don't intend to explain the terms in detail, you may want a copy of the book or a dictionary in order to understand the exercise.

The exercise

Write 20 lines of blank[3] verse in iambic pentameter[4].

The results

When Mrs. Wilson claimed she was a bitch,
Miss Chrissy said it was not really true.

Tonight, I slept inside an apple core.

The night is young and eager for some fun,
but what to do, I'm bored and losing time.

This exercise is rather dull for me.

The driver stopped to get another fare.

His face was low, without a look of love,
yet some might say he's clearly lost in thought.

I'm learning all about iambic lines.

My friends will all be quite impressed with this,
I know a term or two about the moon.

It burns to think she left me all alone.
Where will I find a girl as bright as her?

Another dog falls fould of Sergeant Crow.
The pound is where he locks them all away.

Tomorrow takes a darker turn for me.
The crows come home to roost and bury me.

A line or two of prosody to write.

I stole a pack of mints from Mrs. Brown.

Footnotes    (↵ returns to text)
  1. A word I learned from my new poetry professor, Stephen Fry. It means 'bad poet'.
  2. Each exercise is actually introduced with some rather detailed instructions in the book that provide additional guidance and challenges than the summary I will provide.
  3. Non-rhyming
  4. Verse with the metre 'ti-tum ti-tum ti-tum ti-tum ti-tum', also known as the Heroic Line.

Shattered

I go to sleep and dream of broken glass.
It sparkles in the sunslight like diamonds,
And dances across the floor like a million tiny bells.
Such beauty in something so painful.
Walking barefoot across it is like being close to you.
You're beauty is all devouring as you cut deeply,
With the words and actions you choose to employ.
Like a thousand tiny fragments of glass in my feet, you slice,
And I can't walk away.
Like the glass is stuck in my feet, you are stuck in my soul,
The pain following me no matter where I tread.
It's comforting to feel it, I should miss it if it were gone,
But oh, how it cuts, how I bleed.
I don't know how you came to be so broken, so shattered,
But like the glass, I don't think you can be repaired.
I wish I had the strength to turn and walk away,
But the pain would be too much, so like you, I stay;
Slaves to each others flaws and free only to do what we've always done,
Carry one another's scars as our own and dream.

October 2006

Furious Fowl

If your birds are upset,
And some swine are snooping round,
It makes total sense,
That a catapult be found,
Into which you place,
The angry avians you see,
And watch each porcine face,
When hit by flung poultry.

Now you may be in wonder,
Why it is the birds don't fly,
"Why a catapult?" you ponder,
Instead of wings to get them by,
But it really doesn't matter,
I really wouldn't ask,
They're each mad as a hatter,
They might take you to task.

So with careful aim,
Teach the pigs what for.
These birds aren't tame,
They are angry, out for war.
No wooden tower,
Or icy outcrop will be safe,
When wrathful feathery power,
Lays the porky land to waste.