Where the sun sinks and is caught

By Kenn Taylor:

The city has its grids
This is one where the sun is absorbed

The disc itself fades
far off in the distance
behind towers
behind seas
Here though,
bookended by two busy roads
of bars, restaurants, entertainment halls
Are running
as warps to their weft
smaller streets 
Taking you up and down
one of the city's few hills

A rare space of peace in the city
Quiet streets
some still Georgian
cobbled, mewsed
Punctuated by pubs nestling in corners
Pubs which give it lifeblood
Boxes of energy
in otherwise
often silent
throughfares 

This is one of those places in the city
though,
where the energy lies buried
waiting to be dug up

All the faded red brick
Cracked paving stones
Black painted iron
Even occasional marble
and contemporary pre-fab
capture the sun as it retreats 

As the gold and red bounces off surfaces
Reflects in dark glass
and double yellow lines
Brings brief heat to alley beer gardens and
casts shadows
long and lean 

Sweat pricks brows nearing the top
High enough to watch the disc
slide away from view
Leaving only the vast
blood and honey glow

As you look back down the
long straight vista
and up beyond it
to the distance
the buildings step down beneath 

That energy though
flowing through the streets
warp and weft
The ghosts of dwellers and idlers,
prophets and priests,
of the past 
Remains even after dark 

***

Kenn Taylor is a writer and creative producer with a particular interest in culture, community, class and place. He was born in Birkenhead and has lived and worked in Liverpool, London, Bradford, Hull and Leeds. His work has appeared in a range of outlets from The Guardian and City Monitor to Caught by the River, Entropy and Liverpool University Press.
www.kenn-taylor.com

Everything I Didn't Find in Vancouver

Painting by Jase Falk.

By Jase Falk:

Warm light and wanting circle in through my earbuds. Patterned question marks and safety lights line the aisles of the plane. I’m missing you already as you write poems and drink matcha in Winnipeg. We weren’t steady in our love then and we aren’t now either, but in this distance and exchanged letters it felt like there was a growing—we wanted there to be a growing.

I stepped off the plane, my gender caught up in tangles of hair. The way you used to run fingers through the knots and listen to the slow hum of my heartbeat pulling up through veins traced down the length of my forearms taught me the meaning of safety. A latticework of language formed the shape of us. I needed shape to myself; had I no shape to myself? Years passed through me like how grandma used to whisper stories while the world slipped by, our cups of tea shimmering to its beat, leftover paska bread, eggs dully cooked, yokes a disintegration of yellow in the pan.

Float through Vancouver like a ghost; spectres of me dance down alleyways in graceless imitation of you. I’ve always envied the way linen hangs differently on your shoulders, like soil grew and wove it there. No lack of confidence in your cursive. My stumbling into coffee shops, penning words like you penned down words. My wanting you bore such resemblance to my wanting to be you. Your letters gave me form like the inside of my bones.

Flashes of red and yellow as I travel through the underpass. Loud sigh of my bicycle break’s un-oiled song. This city’s grid is not interrupted by muddy water. I kept peeking over the boardwalks on Granville Island only to see faint ripples of my face return.

Drift back from apartment on Davie street to wet lines and rainbows sliding down Commercial Drive. All is queer at night, but in the day we hide ourselves. All is poured out here, but back home I hide myself.

Night of fairy lights, soft guitars paired with words falling petal-like on the small crowd bundled up in wine stained blankets. There is a kind of softness that knows how to cut out space in a world which does not want it. I’m all broken open up in tasseled fissures. Never knew words that could work their way through such a thicket of skin. Afterwards, a woman shares her smoke with me. We talk by the fence while groups of warm bodies move aglow like candle light nearby. I hope to find identity. I don’t quite identify. Her words cluster and form hickeys above my collar. She knows but doesn’t say. I know, but don’t know how to say. I told myself I would not serve, but here I am passing wine amongst loving faces under porch lattice, vines carry their long bodies down to play on our shoulders. We are graced. We sing grace though we don’t know it. Don’t know who we’re singing to as wax spills over tablecloth, the light almost out. She would have asked for a kiss goodnight, but saw my unknowing for she had known it before. Warm arms fasten body to ground then fall away like the smell of rain carrying me into the night.

Your wanting spurts out in a phone call, alone with its uncertainty. I change my flight and leave a week early. The seat buckle tightens around my waist and the flight attendant asks “sir, would you like a drink?” I gather question marks from around my feet, tattoo them onto skin. You curl loose fingers around my shoulder and don’t know me. I grow into you—toss my questions in the messy corners of your room. Return the fullness of myself; put this body in motion. We tangle into one another, we still don’t have the right words, but brush chalk dust off and name each other till we find a stillness. Vancouver listens, patient in the distance, for anything to awake in the absence of its cedar.

***

Jase Falk is a non-binary writer who spends time in archives daydreaming of cedar trees and different futures where we have a chance. You can find them on Twitter here.

Catholic Ghosts on Vauxhall Road

By David Lewis:

Note:

Liverpool has a small old Jewish community but, as Islam and Hinduism are traditionally not strong faiths in the city, even now there are few mosques or temples.   The religious landscape, fading or vigorous, is overwhelmingly Christian.  Once the division between Catholic and Protestant was deep and strong.  Protestant Orange Lodge marches and Catholic celebrations of St Patrick’s Day could lead to violence.  Schools were segregated on sectarian lines and even the football teams were divided between Catholic Everton and Protestant Liverpool.  These faultlines have largely disappeared. 

The new city can pall; too much glass, too much steel, too many towers.  I turned inland to hunt ghost pubs, the alcoholic ruins along Vauxhall Road, where derelict Victorian public houses stand like broken teeth in a new urban landscape.  The Atholl Vaults, boarded and violated, plaster crumbling; the Castle, alive but closed; the Glasshouse on the corner of Eldon St; and wildernesses of bramble and buddleia behind faded advertising hoardings, the sites of mourned pubs like the Great Mersey, their ghosts silent.

On Eldon Street I turned to the Catholic church of Our Lady of Reconciliation.  Scaffolding and tarpaulins dripped with rain and melting frost, as if the huge church had just risen from the bottom of the sea. This was a strong Irish Catholic district, fiercely political.  The area returned a Nationalist MP to the British parliament for over forty years, and a store of pre-IRA weapons was found in the cellars of a local pub in the late 1800s.   But I found that this pub too had been demolished, leaving only a brick scar.  I thought about taking one of the old bricks, to have a small piece of Liverpool Irish Nationalist history.  But why?  Perhaps one day the sounds in inanimate objects will be heard; the anxious voices, the thuds and curses as the boxes of rifles were manhandled downstairs; but not in my lifetime. 

From lost pubs, I began to see Catholic ghosts in road names and old churches.  This was now a meander across a landscape of invisible parishes, destroyed shrines torn apart in the mechanised Reformation of the 1960s when Liverpool savagely regenerated many of the older districts.  On Titchfield Street I found cobbles beneath the tarmac, stone Victorian ghosts, which took me to Trinity Catholic Primary School.  A trinity of Anglican churches - St Martin’s in the Fields, St Alban’s and St Titus’s - were lost many years ago.  The towers and walls of the Catholic St Sylvester’s survive, but they are embattled, razor-wired against vandals and arsonists, gradually being smothered by buddleia.  St Brigid’s has suffered even more.  Demolished for the Kingsway Tunnel, a slash of Brutalist concrete, it survives only as a place name behind St Sylvester’s, a clustering of Catholic names gathered as if for safe keeping. 

There are deep echoes of the Reformation on these old streets.  St Sylvester’s stands near Latimer Street, named after the bishop who was martyred for his Protestant faith.  Catholic churches, Protestant streets.  Churches stand empty, street names have lost their meanings.  Nobody in Liverpool takes these divisions seriously any more, only rain-tramps like me, trudging these darkening streets; only gutter-historians, church-watchers, people who care for the memories of the city.  And we do not believe, we just remember. 

The people are still here, of course.  Old terraced houses have gone and bungalows and semi-detached houses with gardens and driveways line the streets.  Pubs and churches are the last to go, closed, abandoned to the weather, and then demolished, their love and faith dispersed, forgotten.  But the people remain, living modern lives in a landscape of fading Victorian ruins, architectural, cultural, theological. 

My last ghost was a church that I had watched disappear.  St Gerard Majella’s was a strange brick and concrete church near Scotland Road, and I watched it’s demolition over a month or six weeks.  The brick tides of the city have closed over this sunken church, and the name survives only in a street and a new courtroom.  I contemplated a further walk to Cranmer Street, another martyred bishop, another faded street bookended with ghost churches; but the rain was heavier and the day was darkening.  I turned towards the river, and walked slowly down to the warm shiny truths of the new city. 

David Lewis has written five books of history/landscape/psychogeography about his native Liverpool and Merseyside.  He posts urban/rural images on Instagram - davidlewis4168 and mutters about the world on Twitter - @dlewiswriter

Morning in St. Mary's Churchyard, Whitby

IMAGE: Laura Harker

By Laura Harker:

8.45am in St. Mary’s churchyard. A jogger runs laps around the graves as I try not to lose Polaroid exposures to the wind. There are probably more bodies under my feet than are awake in the town right now on this cold December morning. A rare tranquil moment for the churchyard which, during the height of summer, is bombarded with crowds of tourists and goths. I forgot Whitby takes its time to wake up in the winter. As I ran from the train station through town and up the 199 steps to the clifftop abbey – trying to beat the sunrise – the only people stirring were a handful of delivery men on Baxtergate, the closest thing to a high street in the town. The few low-season tourists tucked up in their guest house four-posters wouldn’t be out for another couple of hours.

Whitby’s streets are riddled with ghosts, none of whom I wanted to bump into. Exes, former friends and old work colleagues. These old ties require more effort to fall back into the previous nuances each relationship had, and any conversations between us now inhabit a strange space between strained small-talk and stale in-jokes. The longer I’m away from the town, the more these ties fade, and the streets of Whitby are increasingly haunted with passing faces that stimulate only a haze in my memory. I felt more at ease facing the graveyard and its ghosts.

The film I’d used in my polaroid camera was out of date by a couple of years, and so the results were washed out and over-exposed. A grainy abbey silhouette; a white Royal Hotel behind the unmistakable arch of the whalebone arch; blotchy patterns on grey speckled sand. Barely-there images to match my barely-there ties to town. A strong wind whipped up over the lip of the cliff, I flipped up my collar and descended back down into town, head down, quick step, running from the ghosts.

Laura Harker is a freelance writer based in North Yorkshire. She blogs at northquarters.com

A lost world at Crewe Station

IMAGE: Alex Cochrane

By Alex Cochrane:

Late night at Crewe station. I wander empty dark platforms where rain drips down and fog drifts through the lights. A non-stop London-Glasgow train arrows past with unnerving silence and speed. 

It’s Sunday night and there are few travellers about which is surprising given Crewe’s renowned status as a major transport junction. Then again Crewe is also smaller than you would expect. The station will interest the railway history buffs with its many firsts, for example the first station to have its own adjacent railway hotel. The Crewe Arms was built in 1838 and is still in use although tonight its dark, foreboding airs make it look like the setting for a 1930s murder mystery novel. Then there are the glimpses, on the approach to the station, of ancient and decaying railway stock clustered around the Crewe Heritage Centre.  Crewe will interest and frustrate the urban explorers with its large swathes of inaccessible overlapping edgelands, wilderness and railway landscapes. One of the platform stalls serves an excellent hot chocolate often needed to warm up passengers waiting for connections. Even at the best of times, with the sun shining through its new roof, Crewe station is a little charmless. At night it is downright shabby and gloomy. But if you’re there on a Sunday afternoon or evening you can imagine a world now lost that does lend Crewe a hint of nostalgia. 

Ronald Harwood’s celebrated play, The Dresser, explores the relationship between a personal assistant and a brilliant but disintegrating Shakespearian actor as they tour the province theatres of World War Two England. In an emotional outburst Her Ladyship, the wife of the actor, Sir, laments life on the theatrical road, a litany of complaints which includes spending Sunday evening on Crewe Station.

In the age before television, theatrical and musical mass entertainment was provided in the variety theatres up and down the land. Every town had a variety theatre and the migrating performers were its blood. Bookings were weekly and on their Sunday rest the performers would travel to their next venue, often via Crewe. The station became a social as well as a transport hub; where the performers caught up with each other, like the railway lines criss-crossing, before separating and heading off for another town and another week of performance.

Tales of Sunday at Crewe, no doubt exaggerated, have been handed down one side of my family. In those days the goods vans of trains carried all the equipment which would be unloaded onto the platforms along with dancing girls, comedians, singers and circus acts. There was chaos and gossiping on the platform, drinking at the station bar, performers dancing and practicing their acts, performing dogs running amok amongst cases, props and surreal looking costumes.

It always sounds chaotic and lively.  Crewe is quiet and this world is gone now, even its ghosts have disappeared and the variety theatres have closed down or been redeveloped into flats and bingo halls. The train for Glasgow arrives. There’s little nostalgic or elegant about these trains with their stale airs, cramp seats, sticky plastic tables, garish lighting and jarring colours. Not unless you pay for the muted, sleek modernity of first class.

The train slides out of Crewe, gathering pace as it heads north.

Alex Cochrane is based in Glasgow and blogs about exploration, travel, history, historical erotica and other curiosities on his website. You can also follow Alex on Twitter at @alexdcochrane.