Showing posts with label Roddy Lumsden. Show all posts
Showing posts with label Roddy Lumsden. Show all posts

Tuesday, August 26, 2025

1979 by Roddy Lumsden

 


1979


They arrived at the desk of the Hotel Duncan
and Smithed in, twitchy as flea-drummed squirrels.

Her coat was squared and cream, his patent shoes
were little boats you wouldn’t put to sea in.

People, not meaning to, write themselves in
to the soap that your life is, rise or fall in the plot.

Seems that they were fleeing from the 1980s
much as a hummingbird flies from a flower’s bell.

These were the times when wine was still a treat
and not yet considered a common bodily fluid.

You will have heard that the mind works much
as an oval of soap turned between two hands.

She went round the room seeking lights
that could be off without desire becoming love.

He spread his arms behind his head, a gesture
of libido she misread as test of temperature.

Every carpet has its weave and underlay, seen
only by the maker, the deliverer and the layer.

The year was a dog but the day was as good as
a song that ends with a wedding, meat on the rib.

Evening was folding over the grid, slick walkers
with armfuls of books splendored in dusk’s ask.

The song of the pipes was eerie as a face pressed
to glass, as a basketball with a mouth and teeth.

They lay in the glow of the times and talked of
how people form a queue to exact or escape love.

Each sigh has a sequel, she thought, then he did,
then the whole hotel pulsed through that thought.

Scandal has an inroad, but you must tunnel out;
she rose and stood up counting, all hair and beauty.

Though we do not hear them, beneath our own,
our shadows’ footsteps clatter, they match our dread.


Saturday, August 16, 2025

Biographies / Roddy Lumsden

 


Roddy Lumsden

Roddy Lumsden

1966–2020


Roddy Lumsden was born in St. Andrews, Scotland. He described his upbringing as small-town and working-class. His earliest exposure to literature came from his mother and older brother, who read aloud to him when he was a child. Later, when he attended school, his writing was influenced by the works of W.S. GrahamPhilip LarkinThom GunnT.S. Eliot, and Sylvia Plath, and by song lyrics.

Roddy Lumsden’s poetry collections include So Glad I'm Me (2017), Melt and Solve (2015), Not All Honey (2014), Terrific Melancholy (2011), Third Wish Wasted (2009); Vitamin Q (2005), Mischief Night: New and Selected Poems (2004), Roddy Lumsden Is Dead (2003), The Book of Love (2000), and Yeah, Yeah, Yeah (1997). His work is marked by an attention to formal traditions and a voice both streetwise and regretful. Matthew Smith, reviewing Mischief Night: New and Selected Poems (2004), noted that “the ongoing affair between hedonism and mortality in Lumsden’s poetry is as much context as a subject for his work.” He also observed his “flair for formal roguery” and commented that “although the verse is hopping with linguistic antics, the foci of the language are music and rhetoric.” His last book, So Glad I'm Me (2017), was shortlisted for the T.S. Eliot Prize.

Lumsden received an Eric Gregory Award and was Writing Fellow for the City of Aberdeen. Lumsden worked as a freelance writer, editor, teacher, and writer of puzzles and quizzes for newspapers. He edited Identity Parade (2010), an anthology of recent UK / Irish poetry. In 1999 he cowrote The Message, a book on poetry and music. He also composed a poem, “Bloom,” on the set of “Flowers for Kate”—a photo shoot of the model Kate Moss for V magazine. From 2010 to 2013 he served as poetry editor of Salt Publishing, for whom he was also the Series Editor of The Best British Poetry anthologies.

Lumsden lived in London, where he taught at The Poetry School and and served as organiser and host of the monthly reading series BroadCast. He died in early 2020.


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Wednesday, March 8, 2023

The Damned by Roddy Lumsden

 


The Damned

BY RODDY LUMSDEN
Kitten curious, or roaring down drinks   
in Soho sumps, small hours tour buses,   
satellite station green rooms, or conked   

out in the bathtubs of motorway hotels,   
there you were, with muck-about kisses,   
sharking for the snappers, before hell   

opened up for you and weeping sores   
of after fame appeared, the haphazardry   
and dwindling after three limelit years,   

recognized with catcalls, wads of spit,   
a nightclub fist, the scant camaraderie   
melts fast, like your flat on Air Street,   

the Lhasa Apso pups, the wraps and lines   
of chang, the poster pull-outs, fake tan   
smiles. It’s paunch and palimony time   

on Lucifer’s leash. But for a madcap few   
who cling, thin soup, one pillow Britain   
is simmering with hatred, just for you.




Monday, March 6, 2023

Loners by Jean Follain

 


Loners

BY JEAN FOLLAIN
TRANSLATED BY RODDY LUMSDEN
The door-latch is always stubborn
beyond it dozes a beast
tinged by the fire
they know who is walking
the curve of the road
by their footsteps alone
glance at the fancy lamp
hanging from the sooty ceiling
a green and speckled plant withers
a child who has wandered cries
beneath a long low sky
and at last the snow comes on.

Translator’s Note: “Loners” by ​Jean Follain

The thinkers of Scotland have wasted much energy trying to decide whether Scots is a language, a group of intermingled dialects, a parallel tongue, or a species of English. Poets using Scots generally either opt for a particular dialect or an expansive, inclusive language which incorporates words from all dialects and often curious words which have fallen from common use (in which Scots is especially rich). Our great Modernist Hugh MacDiarmid used the term Plastic Scots for the latter, somewhat inauthentic approach, while W.N. Herbert, the finest poet currently writing in Scots, prefers the term Elastic Scots. But the concept is nothing new—Robert Fergusson, the poet and influence on Burns who died tragically young in 1774, used a version of Scots which included old Scots words he picked up from Allan Ramsay as well as the dialects of his home town Edinburgh and those of Fife and Angus, where he was educated, and Doric words from around Aberdeen which he picked up from his relatives.

Some find this form of Scots contrived, and it would be if you employed it for everyday conversation, but for poetry it can be engrossing and charming, and authenticity is not the foremost consideration. I had a few reasons for choosing to translate Jean Follain. There is, of course, a long history of collaboration between French and Scots—the Auld Alliance. My forebears, the Lumisdaine family, came over from France around 1100. Also, Follain’s adjective-heavy combination of stark image and rural life suits Scots.

Although I grew up in a household full of Scots words, writing in this mode usually means having dictionaries at hand, and an online English-Scots resource for quick ideas. I made use of a French dictionary on occasion but worked mainly from French straight into Scots, making the English version afterwards. The chief problem in translating Follain is his near lack of punctuation, which I feel needs to be replicated, retaining the proper ambiguities and avoiding unwanted new ones. I have been less exact in parts than other translators—the first line of “Solitaires” is strictly “Always their door opens badly”—and since it is in my nature to seek music, I have made more use of sonics, especially rhyme, than in the French.

Originally Published: March 27th, 2008

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Thursday, December 20, 2018

Against Complaint by Roddy Lumsden

 


Against Complaint

BY RODDY LUMSDEN

After the Yoruba

Though the amaryllis sags and spills
so do those my wishes serve, all along the town.
And yes, the new moon, kinked there in night's patch,
tugs me so—but I can't reach to right the slant.
And though our cat pads past without a tail, some
with slinking tails peer one-eyed at the dawn, some
with eyes are clawless, some with sparking claws
contain no voice with which to sing
of foxes gassing in the lane.
                                                         Round-shouldered pals
parade smart shirts, while my broad back supports
a scrubby jumper, fawn or taupe.
                                                          The balding English
air their stubble while some headless hero sports
a feathered hat. I know a man whose thoroughbred
grazes in his porch for want of livery.
There are scholars of Kant who can't find Kent
on the map, and men of Kent who cannot
fathom Kant.
                   We who would polish off a feast have lain
late in our beds, our bellies groaning, throats on fire.
We who'd drain a vat of wine have drunk
our own blood for its sting.
                                                            Each of us in tatters flaunts
one treasured garment flapping in the wind.