I’m delighted to have had three poems accepted for publication as part of the Silent Voices – Found poetry of lost women project. The first poem is here, the second is here and the third is here.
The project aims to give a voice to the ordinary women of history who, for so long, have been assumed, as if by default, to have nothing interesting to say. It does so by using their own documents, whether that be public records or private writings, such as letters and diaries, and using them to make poetry. It’s a wonderful idea and the more you look at these apparently unassuming primary sources, the more apparent it is that some of the best poetry hides in the everyday and the ordinary.
The woman behind my poems is my great grandmother, Dorothy. Separated from her husband for almost four years when he was sent to fight in the Mesopotamian campaign in WWI, the pair of them wrote hundreds of letters to each other. Most of his survive; very much fewer of hers do, perhaps because of the difficulty he faced in keeping and transporting large volumes of papers.
Dorothy died relatively young, when still in her fifties, and in notes written by her son, David, the Sonny of the poems, was described as a mild-mannered woman who had a great deal to put up with.
I first “met” Dorothy through the prism of her brother-in-law, William Faulkner Taylor (see here, here, here and here). She corresponded with him for more than a year until he was killed at Passchendaele and, judging by his letters to her (to my knowledge, none of hers to him survive), was variously helpful (she had his watch fixed for him and sent him tobacco and cakes), supportive (obvious by the way he thanks her for her advice and counsel) and, purely platonically, indulgent of his need to use her as proxy girlfriend when he despaired of ever finding a real one (“Say, I hope you’re right and there is someone waiting for me and that she’s just like you.”) Nowhere, though, had I seen her voice tell her own story until I chanced on these letters.
Dorothy: it’s over to you.