Skip to main content

Poem - "Autobiographia" by Sascha A. Akhtar

Sascha A. Akhtar

AUTOBIOGRAPHIA
an account of traumatic time spent in an archaic Catholic boarding school


Murree, blind
knife watch
drop dormitory brief
curtains awake

black, mary flat
black mary shuffle
feast board fancy
anne video gables

green pajamas, pajamas one
thousand steps chilblain
accuse foxy me also roxy
boxy,moxy, loxy

weevils, rice.

*

sister, habit
goa from blood
suck girls we
devil michael

kills, red now
cubicle cubicle
jug wash stand
counterpane fold

one hundred years
for spirits ghungru
bathroom late alone
hear voice

ghungru, who is
pray curly clean
hair not puritan
exit character


building, plasticheart

*

 

bang, blackboard
mathematics hair
pins hide man
dress under

home, economics
win star win hepatitis
C home go lover
leave clutch kiss

hallway, secret

school boarding
orphan history soldiers
convent british

jesus,mary.

 

Mercedes, name
letter nun read
private my bitch

bitch, holy

fun, make personal
frog eyes my
mercedes trill
cut girls little

girls, fun

Berchmans,name
with irish wrinkle
puss alive me dug

head, grave.

 
Zarafshan, girl golden
family old twinkle
pants suck wrinkle
face puss eye

blue, gossip
p’s q’s watch
side my thorn

years threefromeleven
age, russiangirlchild
four. tiny
brutal Berchmans
heart chew

not, Zarafshan.



From the collection #LoveLikeBlood, pub. Knives Forks and Spoons Press

 


Copyright © Sascha A. Akhtar, 2020.

Popular posts from this blog

Review - High and Lonesome: Three Books: Crozier, Prynne, James

Andrew Duncan High and Lonesome : Three Books: John James, Striking the Pavilion of Zero, J.H. Prynne, High Pink on Chrome ; Andrew Crozier, High Zero (Shearsman, 2021; edited Ian Brinton)  The reason why these three books from 1975-6 and 1978 are being republished together is straightforward. Crozier had named a work High Zero , and when I interviewed him in 2003 he conceded that it referred to High Pink and Striking the Pavilion of Zero , and that he had used lines from those two works as keys to develop the High Zero poems from. Publication together allows one to read across and recover a part of the composition process. High Zero was published in 1978, later than the two poems it is a response to. The founding moment is The English Intelligencer , in which all three of these poets took part. This was an attempt to recapitulate the development of Charles Olson, up to about 1950; he was seen as both the continuator of Pound and as having thought profoundly about geography. T

Essay - Whatever Happened to the Poetry Manifesto?

MARTIN STANNARD WHATEVER HAPPENED TO THE POETRY MANIFESTO? Recently I tried writing an essay that had the working title 'Why the Meaning of a Poem is the Last Thing You Should Think About'. I felt like I had something to say. It began like this: I can't help but remember what my old angling tutor used to say: “Be careful when you open a can of worms." Of course, he didn’t say any such thing, and I never had an angling tutor, but writers, and perhaps especially poets, can say anything and get away with it, because . . . Actually, I'm not sure why. I'm not even sure if it's true. If it is, it shouldn’t be. And I'm not sure about that, either. I think it's probably best if we accept a certain degree of uncertainty and subjectivity and other words that suggest everything is open to argument and get on with this. Just because something is open to argument doesn't mean it's wrong. Later (about 3000 words later) I decided I was on to a loser.

Review - "Bright Angel Proof" by Nick Power

Charlie Baylis Bright Angel Proof, Nick Power (£10, erbacce press) In the spring of 2016 a writer from the small Northwestern town of Hoylake, Nick Power, took a trip flying around America on budget airlines, soaking in all its big ticket tourist attractions and gaudy glories. The trip, and Power’s poems about the trip, come together to form Bright Angel Proof , a collection which evokes beat generation myths of a mystical America, but behind the lines Power knows that the beat generation era is done and perhaps was never really there to begin with. Power is too late to join the ranks of Ginsburg, Kerouac et al but at least he suggests that he might have something to say, which is more than most contemporary poets. Power attracts attention as a kind of modern Burt Lancaster, an adventurer of compelling (North) West Coast vibes and easy going company who, like Lana Del Rey, has ‘feathers in his hair...c hurning out novels like Beat poetry on Amphetamines.’ Power’s companion on the