Today’s choice

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John Greening

On Stage
in a home-made model theatre, c.1967

Glued to your block, in paint and ink you wait
for Ah, Sweet Mystery of Life to stop.
Smell of hardboard and hot bakelite.
The lino curtain’s ready to go up.

At which, the straightened coat hanger is shoved
and on you slide. A human voice offstage
is made to match the way your cardboard’s moved.
Sometimes you jiggle, sometimes you must edge

towards another cut-out, who may boast
a gimmick – moving eyes, a jerky arm
or legs that high-kick. But the best
is when the scene’s transformed behind you from

princess’s castle to a magic forest glade,
with coloured cellophane for atmosphere –
that wooden lighting bar above your head
those in the dark will gasp at, thinking: Fire…

But all is well. Your last soliloquy
has come, and no one’s parents left their seat.
Applause. You’re clattered on so they can see
the workmanship. Then everything goes flat.

John Greening is a Bridport, Arvon and Cholmondeley winner with collections from Bloodaxe, Carcanet and others. He’s edited many poets and anthologies, notably Contraflow. His Selected, The Interpretation of Owls (Baylor, ed. Gardner) came out 2023.

Anna Lewis

With the neon-splashed night at the window
I counted each contraction down, obediently,
as my mother had told me to do.

Karin Molde

      Fortuna rolls the dice in Tumahole Free State, South Africa I have never seen a baby so tiny outside a womb. You hold her jigsaw of bones in a blanket, afraid to scatter the pieces in case they’d sail like seeds onto the road. A dung beetle rolls...

Robin Houghton

I’m looking through a lattice of magnolia 

not yet ready to blow open its thousand furring buds—
every year the same urgency—

Robert Nisbet

Our family does weddings.
When Rosalie married, first time round,
and the cars assembled for the drive,
it was in fact a lovely sunrise…