Intimacy Ambush

Immediately after the accident
the woman in the car behind me
came up to my driver’s door
and asked if I was alright
I wound down the window
answered that I was
and so it seemed to me…
I couldn’t move my right leg
and I couldn’t see why not
but I was still sitting upright
in my seat belt
there was no blood
but this woman knew differently
she saw I was in shock and
before I had even properly registered her face
she opened the van door behind me
climbed in, and kneeling
reached her arm around my headrest
to cradle my head with her arm
holding it upright.

The farmer had backed off his tractor
stood a little way away
phoning the emergency services.

It seemed the most natural thing
in the world to feel the soft bare arm
of this woman, now invisible to me
her disembodied voice near to my ear
reassuring me that it would be alright
and I should relax, keep still
– she was a nurse she said.
Could there have been a
more fortuitous person to
be following me, I thought
as I gave myself up to
her gentle, minimal ministration
of simply holding me
– talking to me
showing me how to put myself
in others’ hands, as I was now to do
for the next few months
then fire brigade and ambulance
arrived and she slipped away
passing me on as it were
and I think of her kindness
which though professionally practised
ambushed us both on a remote road
outside of work, and created
a moment of intimacy
that took away the trauma…

© Andrew Wilson, 2026

Over at dVerse Poets Pub,  sanaarizvi in OpenLinkNight, invites us to the live meeting on Saturday and to post a poem to read (if we successfully navigate the temporarily out-of-sync time zones – we Brits don’t put the clocks forward till 29th March!). This is a recent poem from my writers group and was written ITSO The Kindness by Jan Beatty

A Museum of Unexpected Delights…

If a person spends all their life collecting
will they not want to acquire a museum?

Does a building become a museum
by simply housing a collection?

How many different ways
can a collection be curated?

If a collection of fossils is curated by the collector’s
age when collected, does it mean more

than if it were sorted by geological age
or by phylum, species or personal preference?

Would a 21st-century child collector of fossils prefer to find
a whole, perfect ammonite or a mere tooth from a dinosaur?

Could an ammonite born four hundred and ten million years ago
envisage being unearthed by a person in the 21st Century?

If a museum were curated by personal preference
would visitors value it or not understand?

What things are valid for inclusion
in a person’s personal museum?

Must a museum contain only tangible objects
or should ideas, smells, sounds and memories be included?

Can memories be evoked more effectively
for a visitor by words or photographs?

Should a museum café offer visitors
only Madeleines or a range of memory prompts?

If a visit to a museum prompts a visitor’s memory,
should they donate it for all to experience?

If more than one collection is experienced
in a museum, will they spark synthesis

in the mind of the visitor and will that match
the intention of the Curator?

Should the aim of curated museum collections be
to educate, to amuse or inspire new collectors

and why do seekers of love often
find unexpected delight in museums?

© Andrew Wilson, 2026

Over at dVerse Poets Pub, Grace in Craft and ToolkitMeeting the Bar: Critique and Craft, invites us to frame a poem in unanswered questions, perhaps in the style of Pablo Neruda’s “Book of Questions” – a book I have treasured since Laura introduced me to it in a prompt…

Compensation

Did I foresee
or was it anticipation
I liked to imagine the worst that
could happen – perhaps
to disarm the future
remove the sting
inoculate

When it began
mercifully slowly
I was not taken by surprise
I had a plan to cope
wasted no time
learning how
to navigate
blindness

Routes I had
taken for granted
were walked with mindfulness
recording all the sensual input
paying least attention to
fading sight except as an
index of impressions
mentally mapped

I decluttered
my domicile of all
I wouldn’t need or
couldn’t trust myself to
do safely any more
books and tools
both were a
wrench

I kept what
I thought I might
manage – basic tools
just in case I found I could
and books someone might read
out loud to me if such an
one might be found
to share my
treasured

And my most
treasured – music
well listening would not
be a problem but I wanted
to make music, to sing songs
so set about learning favourites
by heart, words and chords
which laziness had always
mitigated against
before

Did memory
which is not a sense
nevertheless swell in
compensation or was it always in me
to perform differently and without
seeing my audience, stage
fright diminished so it
was not a total loss
– blindness…

© Andrew Wilson, 2026

Can anticipating the worst that can happen, make it easier when and if they do? What do you think…

This post is a twofer – I missed the deadline on “I’d Rather Go Blind” Melissa Lemay‘s prompt to us in Uncategorized, over at dVerse Poets Pub, and so I am posting it for Open Link #401 and February Live hosted by  Björn Rudberg (brudberg). There is also an invitation and a link to the live event on Saturday at 10 AM New York Time. https://meet.google.com/kis-bmzs-ifc

Pre-Loved

Second-hand is restyled pre-loved
Second-hand gives way to Charity Shops
Pre-loved is the new height of fashion
Pre-loved is pre-valued…

To the ardent de-clutterer
The professional house-clearer
Disposer of parents’ schmutter
Second-hand is reborn pre-loved

Where once such clearance
Activities gleaned a pittance
High Street donation is now the way
Second-hand gives way to Charity Shops

But for those prepared to make the effort
The internet offers a third commercial vision
And Charity Shops are mined for Vintage
Pre-loved is the new height of fashion

Is a lover to be devalued
Because they have been
In previous relationships?
Pre-loved is pre-valued…

© Andrew Wilson, 2026

Over at dVerse Poets Pub, merrildsmith in Meeting the Bar: Critique and Craft, invites us to write a Cascade poem –
You will use each line from your first stanza in subsequent stanzas. For example, if your first stanza is three lines, your will have four stanzas. The first line of your first stanza becomes the last line of the second stanza. The second line of the first stanza becomes the last line of your second stanza, and so on.

This poem is also written for the Keighley Library [IRL] Group whose prompt for this month is Pre-loved…

Giving Birth

You write a novel lickety-split
the words pour out upon the page
the word count rising like a fountain
scenes fill chapters – chapters parts
That’s when the fun starts

What you have is just a first draft
send it to an agent, they would just laugh
assuming you even made it off the slush pile
rejection letters bring you down for a while
but you must pick yourself up
dust off your writing tool of choice
and launch your second, third and even fourth draft
polishing your bon mots, refine your voice,
flesh out your characters, channel your craft
That’s when the fun starts

Recruit a critique buddy
bully your friends and family into reading
confess to your partner you fear it needs a professional
count your pennies into tottering piles
it’s unlikely they will reach an editor ceiling
What the Dickens! Release your Kraken in blog-size bites
fret not at savage comments
don’t get into fights
enough opinions to make your head spin
That’s when the fun begins

At last your manuscript is done
but you must face one last and monumental question
to publish yourself or on great houses wait
or look for small and independent publishers
but are you sufficiently niche, do you fit a genre
and if you forge heroically through this labyrinth
That’s where the fun starts

Editors and graphic artists are but a few
wait till the sensitivity readers
get their hooks in you
blurbs written by the great and good
all these hurdles you should reckon
to jump and clear if write you would
and getting published…
That’s when the fun starts

Interviews and promotional tours
signing your book so much it bores
and after many hotels bland
your royalties pay for holiday sands
but just as you lie back sipping a drink
your editor ringtone and phone start to blink
No rest for the weary – up and at ‘em dearie
Success means your public seek for seconds
strike while the iron is hot she reckons
You face a blank screen…
That’s when the fun starts


© Andrew Wilson, 2024

Over at dVerse Poets Pub, Grace in OpenLinkNight invtes us to submit a poem of our choice! This poem, tongue in cheek, is not from personal experience but pure wishful thinking, and were it to come true, it would be, as somebody once said “A lovely problem to have…”

The Cartography of Life

Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands;

From The Song of Wandering Aengus
By William Butler Yeats

Happy the man who dreams his purpose
plots his course to achieve that very goal
marches to the beat of his own drum
and pity one forced to follow roads
laid down by parents’ aspirations
but I drifted into adulthood
with no pressure and no direction
and took many turns along the way
slowly grew into the man I am
Though I am old with wandering

Love life is the companion to work
the superficial couplings of youth
conducted with more vigour than sense
reaching the sunny uplands mid-life
settling into a career I thought
would last a lifetime, a love to match
but people carry pasts within them
like hidden rocks in a calm ocean
and accidents deflect one’s passage
Through hollow lands and hilly lands

To know another is a life’s work
the unity of coupledom is
illusion, we travel parallel
at best, learning the geography
of roads built across bogs of trauma
always ready to gently subside
and mire a person in buried past
and paths are hard to find in a slough
of despond and she has lost her way
I will find out where she has gone

Looking back at the path I followed
there is more coherence than I thought
skills grown and transferred in work and life
and love too, so much surer than in youth
and all the scars and breaks accreted
are the medals of experience
and trying not to look toward the end
but focus on the roadside flowers
the next generations we began
And kiss her lips and take her hands…

© Andrew Wilson, 2026

Over at dVerse Poets Pub,  Björn Rudberg (brudberg) in FormForAllMeeting the Bar: Critique and Craft, invites us to writa a Glosa, a Spanish poetry form in which four lines borrowed from a poem by another – the cabreza, are expanded upon over 4 ten-line stanzas… I chose lines from WB Yeats, who I have loved since studying him at school, and whose poems still resonate with me today. In 1995, I went to live in Sligo, Ireland, where Yeats is from, and is buried beneath nearby Ben Bulben mountain. I was a signwriter and painted a sign and mural of Yeats and his work, for The Winding Stair bookshop there – you can see me working on it in this news clip

Colours of the Day

The light filtering through the shutters
picks up a little of their blue
on its predawn passage
into the white-walled
beige, marbled floor bedroom
sun rises swifter than at home
not quite the tropics
but tantalisingly close to Africa

The sun rises scarlet and
all-consuming of the sky
– silhouetting the island
dark purple across the bay
Red sky in the morning
doesn’t translate to Crete
where most days in this lockdown Winter
that is not like our Winter
begin with a red curtain raiser.
Soon blinding light floods the sky, the Bay
the mountains delicately bluing their shadows
and highlighting their tops
before the rising heat filters
everything with glimmering heat haze.

We sit in the shade of the terrace
beneath the deep green leaves
of the carob tree and count
the millipedes that have climbed
the delicately off-white walls
in the night dash, reaching for
who knows what insectile heaven…
A fallen comrade
dark brown in desiccation
is moving sideways
in unlikely reanimation
until we see that his body
is being carried back to the nest
by a tiny black ant a tenth his size
we sit astounded by this feat
but don’t forget to film it
for posterity or a rainy day reminder
when we are one day returned to England.

I walk down to town for market day
mixing with brightly dressed
younger women and black wrapped
older ones in widows weeds
with only an occasional male
to keep me company.
The azure sea is only feet away

The couple who live on the yacht
just out in the bay
are here, and we chat in the shade
of a vegetable stall loaded with
piles of black glossy aubergines
and ripe red tomatoes next to
bunches of wild greens, picked
from among the hundred or so
Crete proffers – if you know
what you are looking for.
Cyrille’s once blonde hair
is salt and pepper
tied back in a ponytail
their clothes too, faded with
exposure to sun and saltwater.

I spend some time chatting
with the banana man
who sells nothing else
and whose English is good
enough for a conversation.
I am English and so not averse
to discuss the weather –
he talks of the recent
thunderstorms whose hailstones
devastated his neighbours’ crops
but divinely spared his
while Barbara and I had been
enjoying the night of sturm und drang
from the safety of our covered balcony
the crackle and crash of it
ricocheting and rambling around
the mountains and – the ultraviolet
flashes turned into dark sound.

Walking back up the long hill
to the village, I pass the
white and ochre, black and grey
patchwork trunks of the group of gum trees
foreigners too – all the way from Australia
these strangers who fit in so well
people believe them to be native.

Home again in the cool of the flat
and after a siesta
I pick a bright yellow lemon
from the tree within reach of our balcony
and squeeze it into dark green olive oil
to dress the salad of tomatoes
and cucumbers I hauled up
from the market – dot it with
tiny Cretan olives – mostly grown for oil
and look out on the bonfires
ranged around in the olive groves
as farmers burn the prunings
of their trees.

Night falls quickly
colours fade to black…

© Andrew Wilson, 2024

Over at dVerse Poets Pub, lillian in OpenLinkNight invites us to submit a poem of our choice for Open Link Night…

Ars Poetica Abecedarium

A poet is a person whose language
Becomes a special form of
Communication, a message –
Directed words with meaning for
Everyman in their world of “things”
Flinging out new ideas for the times,
Gestating a better way to grasp for
Hope that births a movement from
Individual to friends, to groups that
Jump to join a movement with
Kinetic energy that enjoins all to
Love, not hate, the poet sings
Metaphor, alliteration and rhythm and
No style or form is unsuitable to carry
Out the mission sacred, the
Poet’s role from print to poetry slam
Questioning, commenting, highlighting
Rights denied, inequity amplified
So the message – at first a pretence
Trickles, seeps, runs like a stream
Underground, which nobody can dam
Violence cannot hold back the flow of
Waves of awareness, rejection of the
Xenophobic in favour of the xenogogue
Young and old align in the new
Zeitgeist and the poet seeks new inspiration.

© Andrew Wilson, 2026

Over at dVerse,  Laura Bloomsbury in Meeting the Bar: Critique and Craft, invites us to write an Abecadarium Acrostic poem for the start of the year…

The Outing

Danger is not always found in dark places
and on a sunny, sparkling water day
I nearly lost my life sailing a dinghy
a day after the storm swept the Mediterranean
the only sign of its passing, the
long lazy undulating swell that
swished almost silently up the slipway
where my friends helped me position
the tiny boat with its single sail brought
on a roof rack, their part played, they
departed for our rendezvous down the coast

Out round the headland and turn right
was my plan, it seemed feasible
mast stepped and rigged, I pushed off
down the concrete slipway, which, slippery
with slime, shot me downwards into
the clear water of the corner of the coast
the cliffs stretching out to the headland
on my right, and behind me to the left
a rocky stretch, broken only by the slipway
enclosed between concrete walls where nobody
watched my sudden progress into deep water

I pushed the daggerboard down into
it’s slot, tightened the sail, and
gripped the tiller to set my course
– a series of alternating tacks left to open sea
and right, towards the cliffs, then
a couple of tacks into the wind should do it
I thought, then around the headland
and a straight run down the coast
the wind behind me and a peaceful glide
to the rendezvous beach
but soon I realised that every tack
away from the cliffs – broadside on to
the greasy swells, rolled me strongly, spilling
the wind from my sail, slowing my progress and
each tack into the wind, was not making
the progress I hoped, and each time
I found myself back at the cliff, faster
than seemed right, and then
I saw the cave beneath the headland
a lazy wave suddenly smashing
tons of water into its maw and
I realised my efforts were only
bringing me closer to being sucked
into that awful mouth and crunched
and nobody would ever know
what became of me and so
discretion, the better part of valour
I turned around and with the wind
behind me, I headed back to the slipway

But danger was not yet passed
as I remembered the slippery slope
I would have to negotiate, and speed
seemed the only way to reach the
top and with no regard to the
bottom of the boat, I urged it on
pulling up the dagger board at the
last minute and trusting my aim
I shot up the slime, sail still straining
and tumbled out near enough
to the safe ground to make it up
with just one slip and
pulled the dinghy after me
before a following swell should
pluck it back…

© Andrew Wilson, 2025

Over at dVerse Poets Pub, Dora in Poetics, invites us to write in the manner of Elizabeth Bishop, paying particular attention to consciously incorporating accuracy (detail), spontaneity (immediacy), and mystery (revelation) in writing the poem.

Christmas Tableau

Rowland Hilder trees
pepper the landscape
and last week’s snow drifts
still lie in the shade
of the drystone walls
of the Yorkshire Dales

Farmers bring out feed
for the hungry sheep
kids complain now schools
have reopened
but coming Christmas
buzz is in the air

Householders spaff light
in competition
to claim the prize for
showiest display
of unnecessary
Xmas symbolism

and “Once upon a
midnight clear” is lost
to light pollution
and so for Twelve Days
each village will glow
with Christmas fever…

How should we weigh up
cultural tradition
against the cost to
the environment
– consumerism
out of all control

Let’s strip it all back
to the heart of things
remember that love
is of the essence
and all we need to
light up our landscape…

© Andrew Wilson, 2025

Over at dVerse Poets Pub,  Laura Bloomsbury in Meeting the Bar: Critique and Craft, invites us to paint a poetic tableau using a fixed poetry style entitled The Tableau – created by Emily Romano in October of 2008

Poetry Style:

5 beats/syllables per line

1 or more verses

6 lines per verse