writing

"Different Tracks" - A Found Poem

This is a “found poem”, if such a thing exists. It is derived from sketchbook working notes made on September 12, 2020, as I reflected and recorded the filmed material (both video and sound) that I have compiled for a work in progress, also to be called “Different Tracks”. I have re-ordered and recomposed the fragments, much as I have done with the original material, and from this I reach something that might be considered a poem.

The images and screengrabs come from my original material.

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“Different Tracks”

Oxford to Didcot: a train in urgent flight southwards.

The engine smooths out a hurrying time. Looking down

towards the trackbed, colours, forms and structures become a blur.

Some seem to hang in the vision, in swooping flight.

But most are lost.

On foot, I walk along abandoned sidings: there was once a factory in Amlwch.

There are no trains now. The rails are broken. And rusted.

There is a profusion of nature and decay.

Between the twin tracks, buddleia abound.

The wind grabs at me.

Near Didcot, slower now, the blur coalesces and

breaks down, an infinite series of momentary landscapes.

Nothing changes and everything changes.

Didcot, aboard a departing steam train:

a genial amble of sound and motion.

Track ballast falls behind contentedly.

The running board comes with me on this tiny voyage.

Gentler music. Accelerando and rallentando.

Ugly locomotive in a siding. Its diesel engine ticks as it cools:

a clock marking out the seconds of its stopping;

a railway platform clock awaiting an arrival of another train.

Nothing without time.

 A train passing at speed.

In the midst of silence, its coming and going, like a long, sung note.

Crescendo and decrescendo.

Respectful silence of the concert hall, before and after, .

The remembering of old steam trains.

Percussive beats and long breaths of steam.

Songs from the past, not quite yet forgotten.

I walk along old lines. Wind and walking in duet.

Sleepers pass by underfoot, measuring my pace.

Time to think and absorb.

The interjections of others, on their own journeys.

Behind the silence roars the passing world.

Yet around the line, voices remain to be heard:

our voices; and of wheels, engines, brakes and birds.

An enduring stopping and starting.

 Didcot to Oxford. Huge northbound skies glowering

over dashing woodlands.

We are back to the speed of blurred moments barely seen.

There must be a return journey.

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Railway journey drawings

The following article is an extract from an essay written by me in 2019, entitled ‘What does it mean to draw?’ Drawing on trains is something I have done for a while, partly to pass the time. It’s a fascinating and mindful way to experience a train journey in a different way. And a very good Way To Get Looks.

It amazes me how different they are each time I do one. This practice has developed further since these first attempts and I shall share more in the future. For me, drawing doesn’t have to be “of” something, or it could be “of” something you cannot see with the eye, as is the case here. I often think that drawing is most interesting when it is “about” something.

A short video of the process of drawing this piece on a moving train can be seen at: www.instagram.com/p/BrQvBfQDKtX/

“I am on a train, travelling to London, moving at speed through the Oxfordshire countryside. But today I am neither watching the world fly past the window nor admiring the winter sunshine on the hills. I am drawing something: something unseen.

(fig. 1) A Train Journey to London. 11 December 2018. Drawing and photograph by Mark Clay.

(fig. 1) A Train Journey to London. 11 December 2018. Drawing and photograph by Mark Clay.

Slowly, I move my pen horizontally across the page, attempting to draw lines as straight and steady as possible. With only the nib of my pen touching the paper, this is not easy; a sort of physical challenge, even. The train, swaying over points and round corners, transfers energy through my body, altering my would-be-straight lines. They become jagged, with trembles, loops and kinks recording a memory of each motion, transferred from rail to paper, via carriage, body, arm, hand, and pen.

This drawing is made from, and by, all those things, just as a piece of piano music is not performed solely by a pianist’s fingers but by their whole body in conjunction with both conscious and unconscious mind. It is a record of a journey. It is itself a journey. Paul Klee took his line for a walk, but I am taking mine on a train ride.

At my destination the final, lurching halt of the train registers as a downward-upward spasm. I am thinking about the scientific rigour of a seismologist gathering data, rather than the experimental drawing of an artist gathering lines, so I conclude by drawing a few comparative lines after the train has come to a halt. My lines become much straighter, acting as a “control”, drawn without interference from the train’s motion.“

A Train Journey to London. 11 December 2018. Drawing and photograph by Mark Clay.

A Train Journey to London. 11 December 2018. Drawing and photograph by Mark Clay.