Kim Moore

On Ventriloquism by Fran Lock

4334544653_5f0fa8ce37_m“When I first heard some geezer called Martin Anus had written my life story I was chuffed. Weren’t surprised like cos I know I’m a top bloke and that. But then me mate told me it was what you would call an unauthorised biography and that he hadn’t painted a good picture of me. And I thought, how could some no mark write about my life without me knowing, or without even speaking to me? So before taking the time to find him and chop off his head off, I took to reading it. And what a load of old bollocks it is was as well. Okay, a lot of it is true, such as the beatings I dished out, and prison, and how me nephew is shagging my mum, but the rest is bullshit.”
(Review of Lionel Asbo by Martin Amis by Lionel Asbo)

There is a long history of cultural appropriation far worse than that done by the likes of Amis when usurping the voice of the working class. Most notable is racial theft that ranges from the Black and White Minstrels to people self-identifying as being of different heritage to that they were born into. In terms of art, it is like a venal plagiarism; passing your own work off as authentic is the height of disrespect to the heritage it was derived from. Just ask Chuck Berry.

Proletarian Poetry is about the poems, not the background of the poets. It doesn’t matter if the poet doesn’t play bingo or leave their kids in the car with pop and crisps while they get pissed in the pub. Of course, that might help if that’s what the poem is about and it doesn’t demonise. But a poem needs to be truthful and authentic, have imagination and resonance. Just read the poems on this site by Kim Moore (My People) and Dean Atta (I Come From) to see the diversity of the working classes.

meandbaby2A reader or listener can tell if the poem lacks these ingredients, which betrays, what Fran Lock, pointedly describes as ventriloquism. And as much as I try not to provoke class war on the site, there does come a time when you get angry at such false representation, especially when you read ‘On Ventriloquism‘, such a brilliant and unrelenting poetic diatribe in response to a recent experience at an open mic. So Martin Amis, fuck off will you! (more…)

November Review – From Nana’s Luck to The Last Gang in Town?

It’s been a great second month for Proletarian Poetry (I would give you the stats but that’s a bit too geeky. I am however, warming my hands over them now).

I have got to know some great poets who have kindly agreed to have their poems featured on the site. As I’ve said before, in terms of working class lives, this is about the poems not the poets; I secretly believe that all poets have written a working class poem, they just don’t know it yet – it’s a class consciousness problem 🙂 Also as I write this, I am reminded how many of the poets I have seen read this month; all are great performers in their own right and way – you really can’t beat live poetry. For example, on Saturday I was at The Shuffle where two featured poets on PP, Inua Ellams and Karen McCarthy Woolf read alongside, Tom Chivers, Holly Corfield Carr, Gale Burns, and Harry Mann. The theme was the environment and there were a great range of poems on the subject.

This month’s poems have covered a number of themes to do with: family, gender, identity, racism, urban life, work and industry, food, and music (got to have the music). There are mothers, fathers, grandparents, butchers, assembly line workers, brass bands, activists, priests, loan sharks, and (to use the title of Inua Ellams’ poem) Lovers, Liars, Conjurers and Thieves. (more…)

My People by Kim Moore

Kim Moore PicI always try to read the poems I feature many times before knowing what I want to say about them. But for Kim Moore’s My People it took many more. When I heard Kim read it at The Shuffle in the Poetry Café I knew straight away I wanted to include it on the site but wasn’t sure how I felt about it.

Take the title – My People. The term conjures up so many mixed and opposing images; from those whose ancestors were the victims of slavery through to its use by dictators to legitimise their rule. And I think this extremity of use of the term mirrors the paradox in how Kim describes the people of My People. On the one hand they are the backbone of what politicians call ‘hard working families‘ (nee working class); ‘I come from scaffolders and plasterers and shoemakers and carers‘, low paid people who have to strike for their livelihoods. Yet on the other, they have been in prison, can dip lightly into casual racism, and ‘in the time of slavery my people would have had them if they were the type of people who could afford them, which they probably weren’t.‘ (I love the irony of that). Kim then throws us a curve ball when saying, ‘If I knew who my people were before women got the vote, they would not have cared about the vote‘, which raises issues to do with apathy towards political elites, the role of working class women, as well as whether we are ever part of a people. I think it is a problem the Left has in political terms (and I like to think I am part of their People). The Right don’t care really. (more…)

The Out of Town Shuffle at the Poetry Cafe

photo (7)

Andrew Smardon, Hilda Sheehan, Brad Schmauss, Jo Bell, Kim Moore, Liz Dorfman, Joey Connolly

Poets really are a welcoming bunch. Standing at the bar of the Poetry Café last night, I introduced myself to Kim Moore, who like Jo Bell at the Forward Prize, invited me to join her and friends before the readings (I didn’t quite get to the bottom of why Hilda Sheehan ended up in a freezer in Lidl, or was it Aldi?).

I was there for The Shuffle to hear seven poets from ‘out of town’ organised and hosted by Jill Abram. I liked the way Jill introduced the poets by reading a poem for each of them (she meets a lot of people, mainly on residential writing courses as far as I can gather). (more…)