Catherine Kelly
Company
There’s nothing wrong
with pragmatism, it just
doesn’t work in practice. Doesn’t work get
boring after fifty years? It depends
on all of us scraping along together or scraping
each other underfoot. Shoaled in dark
waters, schooled by old routines. Eight hours
for our dreaming eyes
to rest, eight hours for our famous and beloved
landlord, eight hours for
what we will - disaster, crossing
thresholds. O Susan,
O Notting Hill
Genesis, please
don’t put the building up for sale, please don’t
die and leave it to your next
of kin, don’t go
over/don’t go under, steady it
or freeze or disappear but don’t remind
us, don’t press send. We should be
in tears from good
behaviour, we’ve got mouths
to feed, there’s mine, there’s mice, there’s spider
plants and a black cat, fruit flies. There’s
the curved lip of a glass jug on a drying rack, there’s
a lick of yellow paint, a fallow lying
garden hose, there’s toxic lily
tongues and etiologies, there’s recipes
there’s plastic livelihood, there’s teeth
there’s gums and buds, there's the mythic
reality rat in the pipes
and also something smaller, living
in its pigeon plumage, silver
as a wedding band and
louder too, it goes
all night. I’m tired
of handing it over,
aren’t you? That’s why we take our rodents
in our arms and take the streets,
that’s why we take
our time delayed. Like any family
we’re always
sorry/slash/ungrateful
Is that the song? It rings
a bell. It isn’t misery
we love, we chime
Sorauren, 3 - 7pm
23 dollars for a punnet of cherries we're
amazed (or) nothing could shock us (either)
they’re blackred heavyhearted sun and haze
we're slurping the Manitoba fires made it
to remarkable the data floods our systems
To even think of putting your wide and newly waterproof
notes down, to funnel them
into your basket-arms, to carry them
home, the heat would make
the arches of your feet
blush, thinking of you
salts the day
When we run into people they say:
how do you feel in the most polluted
city in the world today? I'm puffing
lethal competition, we could trade
the names of children killed by cities where
we live. Spored and choked and don't stop there
at respiration, turn to the line that runs
from placenta to placenta amniotic trouble glug a
break in life's
transmission, still
we're always running into people
N comes to the market for the trick of regularity and half
the city nods and reappears for long batons of green
garlic for an east coast oyster for the man at the pickles & relish stand
who just ran into someone he first met at a urinal 20 years ago and welcome
to the conversation! Don't dismiss that place! We wouldn't dare
We hang a people’s hopes right there
between the sprays
for example, prayer
the days ahead don’t scare me, and they shouldn’t
scare you either, or the horses
in your dream of leaving left
wing busywork behind and buying
land somewhere remote and warm or moving all your life
into a bothy like an anchorite.
Big time luxury/unplotted days
where morning is a lot like afternoon
a lot like dusk and night is starlit
black through season/by design and month
displaces month with changing shades
of ryegrass, heather and the moon
that looks so coin-y other places
really turns. Well,
let’s not make cloisters: the bothy’s for
the people and the land
is too, I guess horses are
for horses and your dream is
breaking eye for eye. What are evenings
for and hours anyway, I’m some
times sure it’s heaven
grown procedural and duty-bound
or duty-lit, I seem to
linger, notice
you do too. We guess there’s something
still to do and nothing’s wasted, nothing
scares us
Catherine Kelly is a writer and organiser from Dublin. Her first pamphlet, How You Like to Be Alive was published by Distance No Object in 2025. Her writing has appeared in the Chicago Review, Spam, Still Point, Vashti, Ludd Gang and Berlin Lit. She lives in London.