JINGLE ON MY SON!

JINGLE ON MY SON!
A doughty champion of his local culture.(Poet Tom Hubbard)Your performance at the city hall was soooooooooo good! Christoph thought it was excellent! (Carolyn)

19.6.09

herman hesse in tuebingen














































The cycle of discontent and early rebelliousness seemed to temporarily subside when Hesse began an apprenticeship in the Heckenhauer bookshop in in the university town of Tübingen on October 17, 1895. Hesse's literary career was about to begin.
While learning the publishing business, Hesse engaged himself with self-education, and to a degree, the many evening hours devoted to quiet thought and contemplation accorded deeper insight and clarity. Although Hesse on occasion attended social gatherings and went out with friends, overall the years in Tübingen were devoted to solitary activities. Hesse wrote at the time, "It's the work I do on my own that makes life worthwhile." Hesse spent much time reading alone, absorbing and forgetting himself in German Romantic literature, primarily Goethe who utterly captivated him.

During the Tübingen years, Hesse increasingly became enveloped in an atmosphere of aestheticism, finding faith and comfort in the world of beauty, and specifically the world of poetry. Hesse strived to familiarize himself with the history of literature, and the world of romanticism, and aestheticism was of key importance.

Heckenhauer's bookshop had a collection specializing in theology, philology, and law. Hesse's assignment there consisted of organizing, packing, and archiving the books. After the end of each twelve hour workday, Hesse pursued his own work further, and he used his long, free Sundays with books rather than social contacts. Hesse studied theological writings, and later Goethe, Lessing, Schiller, and several texts on Greek mythology. In 1896, his poem 'Madonna' appeared in a Viennese periodical.
In 1898, Hesse had a respectable income that enabled his financial independence from his parents. During this time, he concentrated on the works of the German Romantics, including much of the work from Clemens Brentano, Joseph Freiherr von Eichendorff, Friedrich Holderlin and Novalis. In letters to his parents, he expressed a belief that "the morality of artists is replaced by aesthetics." This newfound faith in aestheticism formed the background of Hesse's first poems. It dominates in An Hour behind Midnight, as also in parts of Hermann Lauscher, and was finally beginning to fade away in Peter Camenzind.

In autumn 1898, Hesse released his first small volume of poetry, Romantic Songs and, in the summer of 1899, a collection of prose entitled One Hour After Midnight. Both works were a business failure. In two years, only 54 of the 600 printed copies of Romantic Songs were sold, and One Hour After Midnight received only one printing and sold sluggishly. Nevertheless, the Leipzig publisher Eugen Diederichs was convinced of the literary quality of the work.
As Hesse later suggested, the title, as well as the collection itself, "was the kingdom in which I lived, the dreamland of my
working hours and days that lay mysteriously anywhere between time and space."


I Know, You Walk by Hermann Hesse

I walk so often, late, along the streets,
Lower my gaze, and hurry, full of dread,
Suddenly, silently, you still might rise
And I would have to gaze on all your grief
With my own eyes,
While you demand your happiness, that's dead.
I know, you walk beyond me, every night,
With a coy footfall, in a wretched dress
And walk for money, looking miserable!
Your shoes gather God knows what ugly mess,
The wind plays in your hair with lewd delight-
You walk, and walk, and find no home at all.



HERMANN HESSE IN THE GUTTER


‘We are all in the gutter,but some of us are looking at the stars’ (Ocar Wilde).



Headlong, headstrong

Hermann Hesse

fell, flat on his face, in the Tuebingen mud.

“That’s it! Get stuck into the shit!”,

an ageing Swabian yelled.

And the church-bells throbbed along Lange Gasse,

and the dust fell on Heckenhauer’s Bookshop.

And, as young Hermann slithered to his fumbling feet

and cleaned his shitty glasses,

his first poems

shone in the moonlit gutter.




Keith Armstrong,

Tuebingen




Hesse:

Eternity is a mere moment, just long enough for a joke.

Happiness is how, not what: a talent, not an object.

If you hate a person, you hate something within him that is part of yourself. What isn't part of ourselves doesn't disturb us.

It is not our purpose to become each other; it is to recognize each other, to learn to see the other and honour him for what he is.

Knowledge can be communicated, but not wisdom. One can find it, live it, be fortified by it, do wonders through it, but one cannot communicate and teach it.

People with courage and character always seem sinister to the rest.

The middle class prefers comfort to pleasure, convenience to liberty, and a pleasant temperature to the deathly consuming inner fire.

Words do not express thoughts very well. They always become a little different immediately after they are expressed, a little distorted, a little foolish.

16.6.09

tuebingen/durham exchange report




















just to let you know that the recent durham/tuebingen literary exchange programme went very well.

we had 40-50 people at clayport library on wednesday 13th may for the reading by eva zeller and local counterparts and eva's visit to ryton school went well too.

following that, my own visit to tuebingen from 19th to 24th may was a great success, both culturally and socially, and i made a number of new contacts, as well as meeting old friends. i performed my poetry at a school, in the historic local bar 'the boulanger' (with eva zeller and singer chris simmance) and at a poetry slam, as part of the buecherfest, which was attended by over 200 people. i also attended the launch of the buecherfest.

i had lunch with friederike hoyler and colleague from the kulturamt and, with the free use of a lange gasse apartment, found the support given to me, and the hospitality, very encouraging.

we are already planning for next year and will keep in touch on this.



keith armstrong

15.6.09

holyrood




































(1)

We stand concealed in roped-off rooms.
Dead eyes of the blind old monarchs of Scotland
hang out
from frozen palace walls.

No one lives in this giant doll’s house,
no one lusts any more.

The furniture lies draped in frost.

Stiff dummies of the lingering past
hunch drearily in padded chairs;

the electric veins of Kings and Queens
become dead rivers, frozen streams.

(2)

They dragged Rizzio’s punctured body through here,
trailing the thick claret wine
across floorboards
now worn bare by footsore tourists
who have gouged out chunks
of the bloodstained wood
and slipped them
into suburban drawers:

souvenirs
in the debris of their murderous minds;
splinters
of a hunchback’s blood.

(3)

This is a disinfected past.
The sheets on the bed are dry.

The monument stands like a broken tree,
tugged dead by howling Lothian winds.

As thistles wilt on the backs of bent hills,
another party shuffles round:

in one ear,
out the other,
they go;
flies crawling
through the head of a corpse,
ringed by the flashing crown of Edinburgh:

a throb of a city
alive in the evening sun.
(4)

And cloud drifts,
life dashes
on
past Holyrood:

spear of our history,
sucker of our blood.







KEITH ARMSTRONG



this poem is published in the latest issue of 'Ranfurly Review' www.ranfurly-review.co.uk

13.6.09

THE ROLLING ENGLISH ROAD




Before the Roman came to Rye or out to Severn strode,
The rolling English drunkard made the rolling English road.
A reeling road, a rolling road, that rambles round the shire,
And after him the parson ran, the sexton and the squire;
A merry road, a mazy road, and such as we did tread
The night we went to Birmingham by way of Beachy Head.
I knew no harm of Bonaparte and plenty of the Squire,
And for to fight the Frenchman I did not much desire;
But I did bash their baggonets because they came arrayed
To straighten out the crooked road an English drunkard made,
Where you and I went down the lane with ale-mugs in our hands,
The night we went to Glastonbury by way of Goodwin Sands.
His sins they were forgiven him; or why do flowers run
Behind him; and the hedges all strengthening in the sun?
The wild thing went from left to right and knew not which was which,
But the wild rose was above him when they found him in the ditch.
God pardon us, nor harden us; we did not see so clear
The night we went to Bannockburn by way of Brighton Pier.
My friends, we will not go again or ape an ancient rage,
Or stretch the folly of our youth to be the shame of age,
But walk with clearer eyes and ears this path that wandereth,
And see undrugged in evening light the decent inn of death;
For there is good news yet to hear and fine things to be seen,
Before we go to Paradise by way of Kensal Green.



G.K.CHESTERTON

11.6.09

birthday bash!

KEITH ARMSTRONG'S BIRTHDAY BASH - IN HONOUR OF 'JACK THE BLASTER' BATES & THOMAS SPENCE

come along to the marsden grotto in south shields on wednesday 24th june at 7.30pm to celebrate the birthday of 'jingling geordie' keith armstrong.

there will be poetry from paul summers, catherine graham, william martin, dave alton and 'jingle' himself, with songs from
marie little and tony whittle and sea shanties from jim mageean and 'the ancient mariners'.

the event is in honour of newcastle's eighteenth century poet and agitator thomas spence and local hero and miner, jack 'the blaster' bates, who, back in 1780, at the age of 80, excavated his new home in the rocks at marsden which became known as the 'marsden grotto'. in honour of jack, spence wrote above the fireplace in jack's cave, the following:

'ye landlords vile, whose man's peace mar,
come levy rents here if you can;
your stewards and lawyers i defy,
and live with all the RIGHTS OF MAN.'

this was the first use of the phrase 'the rights of man'.

8.6.09

back at wordfringe, aberdeen




















































































26th May 2009


Noah's Art might have made an apt alternative title for the the Voyager Poets event at Peacock Visual Arts in Aberdeen, during which — by some strange stroke of serendipity — all three headline performers felt moved to pack the gallery space with creatures in transit: lambs ‘ear to ear’ in a train (John Mackie), and pigs and horses in planes (Keith Armstrong and T. S. Eliot prizewinner Jen Hadfield, respectively). Indeed, the stunning Hadfield went so far as to conjure up a fantastically bizarre animal mass, somehow charming her keen but slightly timid audience into hearty repititions of the surreal invocation, ‘The horse never wake that stands in mid-air’ (from Ladies and Gentlemen This Is a Horse as Magritte Might Paint Him in Nigh-No-Place, which provided most of her poems that evening). What was otherwise especially beautiful in Hadfield's performance (quite apart from the luxuriance of the verse itself) was the sweetness and gentleness of her delivery — not least in her unexpectedly lovely unaccompanied singing of the traditional Scottish ballad The Gypsy Laddies.
Tradition of other kinds glowed at the warm heart of Keith Armstrong's recitations, ringing with sincerity and loyalty: to the working-class people of the North-East of England (also at the core of his doctoral dissertation on Jack Common), and in particular his own family. But for Armstrong, despite his generous humour, memories of these can sometimes be — like scattered cremation ashes — grimy, glinting ‘splinters’; and it was perhaps the darker, sorer shards in his verse which cut deepest on this occasion.
Creative, transformative memory is equally central to the poetry of John Mackie, who performed his gorgeously hypnotic, meditative verse — at once intellectual and intimate — as Infinite Equation #2, alongside reader Anna Levine, and classical guitarist Michael Moar. Their work brought a patchwork-colourful programme to a tender close.

Lisa Fraser

7.6.09

borders - halluin & menen & mr carissimo





31.5.09

twinning in tuebingen!

















FOREVER (WELL, IT’S ANOTHER DAY!)

(for Carolyn & Christoph)


Forever
flooded in my heart,
I am bloodlogged
with the flow of you.
Tuebingen,
you gush
with hard-earned smiles
for me;
you are the sum
of all those leaves
I’ve scraped together
to find a little happiness
in this gorgeous day.
It’s the chance meeting
of a fragile poet
and a fleeting Swabian muse;
it’s a beautiful cat
chasing a singing bird;
a flight of fancy,
a dash of hot wine
with warm friends,
whose tasteful photographs
and gleaming laughter
I will treasure
in my sparkling veins
forever.



KEITH ARMSTRONG

29.5.09


jingle on!

jez lowe on the bridge hotel, newcastle

Mike Harding 20 May 09, 04:17 PM

Jez Lowe writes:

It's lunchtime in The Bridge Hotel, a stone's throw from Newcastle's city centre. The River Tyne slides by below me, the elegant Sage building is looking pleased with itself on the opposite bank, and above me, the High Level Bridge is pointing wearily towards Gateshead, Birtley and the sunny south.

I'm not really a drinking man, but I always pop into The Bridge whenever I'm in town, which is admittedly not very often, as we tend to travel a fair bit. But this is probably my favourite pub in the country. There's been a folk club running here almost continually since 1957, though its status as local folk-central has long been usurped by the majestic Sage, headquarters of the renowned University Folk Degree Course, and by the more grungy Cumberland Arms over in Byker, which will probably be my next stop today.

But The Bridge oozes folk history nevertheless, and it's nice to soak it up once in a while. Long the stomping ground of the much-admired Tyneside group, The High Level Ranters, it was also the place where a young Irishman called Luke Kelly, then a builder's labourer working in town, casually dropped in for a pint of stout one night and heard "folk singers" for the first time.

He went straight back to Ireland and formed a group called The Dubliners.

Fifteen years later, the folk club celebrated its twentieth anniversary, and Pete Seeger came over to help them do it, with a concert at the City Hall, and a floor-spot in the room upstairs here. And I'm obviously not the only one to feel inspired.

Three Christmases ago, I came in to discover Bob Fox and Jed Grimes plotting world domination in the corner, Lindisfarne's Ray Laidlaw discussing drums at the bar, poet Keith Armstrong reading the Guardian on the balcony, my favourite local singer Benny Graham rehearsing his shanty choir in the basement, and a bunch of Northumbrian pipers of my acquaintance doing some secretive deals in reeds and brass chanter-keys over by the mounted photo of Alan Shearer.

It's pretty quiet today though. Only an ex-cast member from Byker Grove and the little man who used to do the weather on Tyne Tees Television register on the thrill-o-meter. There's no folk club tonight either, but the barman thinks that the local chapter of the Bob Dylan fan-club might be meeting here instead. They actually named their Dylan fanzine after this pub, he tells me, and indeed it's rumoured that the Zim himself once came in here, very late one night in the early '60's, and when the building shook as the last train south rattled past on the bridge overhead, even old Bob felt inspired, and penned one of his most celebrated verses!

"The Bridge at midnight trembles," he wrote...

25.5.09

back home!





8.5.09

'hexham tans' poetry event, hexham library 5/5/09 - comments

I thought yesterday was a hoot! Local farmers seemed to have made their way from the Mart, via the pub, to open their hearts in verse!
Thanks for arranging it Keith, it is good to see events such as this prosper.

Best wishes,
Natalie Henderson




It was good and well presented - there was some very personal stuff that folks came forward with.
Credit where it's due you are the lynch pin of those events and some of that wordplay is mighty fine.


Best wishes,
Keith Blackburn

5.5.09

big wheel groningen



25.4.09

groningen - a little piece of my heart













23.4.09

swabian lingo blues




What impulse drags me here?
To this town whose lanes I have grown to admire
Like my grandmother’s face;
To the comfort of Hannelore’s pub,
Where only she calls me, with the deepest Swabian respect,
‘Herr Doktor Armstrong’.
And I don’t speak its language,
And I can’t say how much I love the place
In its own tongue.
This makes me weak,
This struggle with lingo,
This curse of Englishness.
My lazy lips
Are more inclined
To drown in their beer
Than sing their native songs.
But I still love you
And your ducks
And your trees
And your bleeding river
And your trains
And your sloping ways.
For you are the back of my hand,
The hope in my eyes,
A heart as big as mine.
Forgive me
If I can only speak to you
In my poetry.
It’s all I know
I fear,
The only way I can
Truly embrace
All your wonderful complexity,
Your strange and moody faces,
A savage history
And a moon that shines
Over your Rathaus,
Your police station,
University,
And lofty dreams
That did for Hoelderlin
And will one day do
For me.
I know this.
I speak this,
In these lines for you,
From the very depths
Of my kindred soul.





KEITH ARMSTRONG

17.4.09

northern voices presents:

HEXHAM TANS: Tynedale poems

Poetry by Keith Armstrong

With an open slot for local poets


Hexham Library Tuesday 5th May 12.30pm - 1.30pm


Admission free


Tel Gabrielle 01434 652491 for further info


THE DURHAM/TUEBINGEN LITERARY EXCHANGE - A CELEBRATION

Wed May 13th starting 7.30pm

Clayport Library, Durham City

A poetry reading with Eva Zeller from Tuebingen (in German and English)
with poets from Durham and the North East: 
Jackie Litherland, Cynthia Fuller, 
Katrina Porteous, William Martin 
& Keith Armstrong

Music from Andy Jackson on guitar & the Durham Scratch Choir

Admission free
Refreshments


Tel Julie 0191 3864003 for further info

the jingling geordie

My photo
whitley bay, tyne and wear, United Kingdom
poet and raconteur