scrumpled dashes dots and lines between the tracks 09:33 2 mins until the train arrives for Kennington via Charing + On the tracks far from my reach the scrumpled ball of paper speaks: I am a poem between the tracks.
I am quite conscientious about dating my scribbles and working notes. It is a habit ingrained from my junior school days where we were always under strict instruction to date our work. This meant a neatly turned out rendering of the date in cursive. It was always positioned on the far right of the second line of the A4 page. We were not to write in on the line below. This was to be left as ‘a space’. On the next printed line, a neat pen length in blue was to be ruled across. It was all in all a comforting, focussing ritual that made us take note and prepare. It also squared work in a referenced point of time.
When I was older and the formatting was no longer dictated, I simply scribbled day and month in the far left of the page. During high school and university, many a page of notes commenced with day/month suspended in that far left-corner square created by the margin cutting the first line. In that spot where the staple holds pages, a date held mine.
Now I inscribe day/month/year: 14/11/13. Usually these temporal locators precede a writing session. They reassure me that I am ‘punching in’ for my regular writing routine. These time-markers still find their way into left-hand corners, but also veer to the right. Sometimes they’re added at the end of a jotting, as in the instance of the lines above, which are dated 13/9/12.
On occasion I shall note the place in which I am writing, but this detail is more often indulged in during personal correspondence. I reveal my location to those closest to me so that they may imagine me there during the then.
Please have a look at my first volume of poems, Shining in Brightness.
I tweet about my life which this last week included 7 hours of training, accidentally burning rice and writing about the gap year I took in my twenties. Please do follow me as @BeadedQuill.
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