this way or that
not a mere patch
but a stand
the black cohosh
under their leaves
naked-flowered tick trefoil
“leaflets three” but only
the name itches
this way or that
not a mere patch
but a stand
the black cohosh
under their leaves
naked-flowered tick trefoil
“leaflets three” but only
the name itches
Some planet is supposed to be
in retrograde this month – Venus,
or Mercury, or any of the others.
Whatever it is, supposedly is causing
all kinds of mechanical failures:
cars unable to start in the morning,
the HVAC unit breaking down just as
temperatures plummet. Lovers
breaking up, parents divorcing,
children turning against siblings
who never before this time had any
differences. Whatever it is, it’s
in full swing. Best to sit it out,
let it work off all its bad
juju. Don’t feed it any more
precious energy. Hide your tears
of frustration. Dig in your heels
and wait for the tide to turn.
Up about seven o’clock; and, after drinking, and I observing Mr. Povy’s being mightily mortifyed in his eating and drinking, and coaches and horses, he desiring to sell his best, and every thing else, his furniture of his house, he walked with me to Syon, and there I took water, in our way he discoursing of the wantonnesse of the Court, and how it minds nothing else, and I saying that that would leave the King shortly if he did not leave it, he told me “No,” for the King doth spend most of his time in feeling and kissing them naked all over their bodies in bed — and contents himself, without doing the other thing but as he finds himself inclined; but this lechery will never leave him.
Here I took boat (leaving him there) and down to the Tower, where I hear the Duke of Albemarle is, and I to Lumbard Streete, but can get no money. So upon the Exchange, which is very empty, God knows! and but mean people there. The newes for certain that the Dutch are come with their fleete before Margett, and some men were endeavouring to come on shore when the post come away, perhaps to steal some sheep. But, Lord! how Colvill talks of the businesse of publique revenue like a madman, and yet I doubt all true; that nobody minds it, but that the King and Kingdom must speedily be undone, and rails at my Lord about the prizes, but I think knows not my relation to him. Here I endeavoured to satisfy all I could, people about Bills of Exchange from Tangier, but it is only with good words, for money I have not, nor can get. God knows what will become of all the King’s matters in a little time, for he runs in debt every day, and nothing to pay them looked after. Thence I walked to the Tower; but, Lord! how empty the streets are and melancholy, so many poor sick people in the streets full of sores; and so many sad stories overheard as I walk, every body talking of this dead, and that man sick, and so many in this place, and so many in that. And they tell me that, in Westminster, there is never a physician and but one apothecary left, all being dead; but that there are great hopes of a great decrease this week: God send it!
At the Tower found my Lord Duke and Duchesse at dinner; so I sat down. And much good cheer, the Lieutenant and his lady, and several officers with the Duke. But, Lord! to hear the silly talk that was there, would make one mad; the Duke having none almost but fools about him. Much of their talke about the Dutch coming on shore, which they believe they may some of them have been and steal sheep, and speak all in reproach of them in whose hands the fleete is; but, Lord helpe him, there is something will hinder him and all the world in going to sea, which is want of victuals; for we have not wherewith to answer our service; and how much better it would have been if the Duke’s advice had been taken for the fleete to have gone presently out; but, God helpe the King! while no better counsels are given, and what is given no better taken. Thence after dinner receiving many commands from the Duke, I to our office on the Hill, and there did a little business and to Colvill’s again, and so took water at the Tower, and there met with Captain Cocke, and he down with me to Greenwich, I having received letters from my Lord Sandwich to-day, speaking very high about the prize goods, that he would have us to fear nobody, but be very confident in what we have done, and not to confess any fault or doubt of what he hath done; for the King hath allowed it, and do now confirm it, and sent orders, as he says, for nothing to be disturbed that his Lordshipp hath ordered therein as to the division of the goods to the fleete; which do comfort us, but my Lord writes to me that both he and I may hence learn by what we see in this business. But that which pleases me best is that Cocke tells me that he now understands that Fisher was set on in this business by the design of some of the Duke of Albemarle’s people, Warcupp and others, who lent him money to set him out in it, and he has spent high. Who now curse him for a rogue to take 100l. when he might have had as well 1,500l., and they are mightily fallen out about it. Which in due time shall be discovered, but that now that troubles me afresh is, after I am got to the office at Greenwich that some new troubles are come, and Captain Cocke’s house is beset before and behind with guards, and more, I do fear they may come to my office here to search for Cocke’s goods and find some small things of my clerk’s. So I assisted them in helping to remove their small trade, but by and by I am told that it is only the Custome House men who came to seize the things that did lie at Mr. Glanville’s, for which they did never yet see our Transire, nor did know of them till to-day. So that my fear is now over, for a transire is ready for them. Cocke did get a great many of his goods to London to-day. To the Still Yarde, which place, however, is now shut up of the plague; but I was there, and we now make no bones of it.
Much talke there is of the Chancellor’s speech and the King’s at the Parliament’s meeting, which are very well liked; and that we shall certainly, by their speeches, fall out with France at this time, together with the Dutch, which will find us work. Late at the office entering my Journall for 8 days past, the greatness of my business hindering me of late to put it down daily, but I have done it now very true and particularly, and hereafter will, I hope, be able to fall into my old way of doing it daily.
So to my lodging, and there had a good pullet to my supper, and so to bed, it being very cold again, God be thanked for it!
observing a horse
how it minds nothing
is naked and content
like a mad god
what will become of people
full of sad stories
and never a physician
which sea would help us fear
what we have done
might trouble us
so small and thin
our ear bones are
Erasure poem derived from The Diary of Samuel Pepys, Monday 16 October 1665.
under the lifted rock
that frozen moment
the salamander’s tail
goes on wriggling
It’s the end of October and here,
near the sea, the fig still purples
with fruit; and across the world
the cherry trees are putting forth
blossoms again, after their
season. I’m not sure if this
is what they call the second coming.
Meanwhile the days wind themselves
more rapidly and the spool darkens
with shadow. As a child I used
to take a dog-eared new testament
with me and under the blankets read
about the end of days: how seven
suns collide in scrolls of sulfur
and four horses paw at the edge
of the sky. Whether we eat our fill
from the plate or choose to fast,
jeweled glass rains from every
temple, every orchard. I didn’t
know then how there could be
so much sadness, so much waste.
A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you’ve missed earlier editions of the digest, here’s the archive.
Maybe it’s just the mood I’m in, but this week I found myself drawn to that most ubiquitous type of writer’s blog post: the announcement of recent writing or publishing success. Though often brief and unassuming, taken together, I think they showcase the incredible variety of opportunities for expression and publication that are out there these days, not to mention the imaginative depth and versatility of the poets I follow. First, though, let’s have a few reviews…
Friday & Saturday I had the opportunity to hear poet Lola Haskins read and to teach a workshop.
It’s my first exposure to Haskins though I had heard good things about her. Her Friday night reading was remarkable in that she read everything from memory, her voice is soft and yet words chosen in her work are profound. Each and everyone with a purpose. It was especially intimate because she was so in tune with the audience and not a page in front of her.
Saturday she quickly set out to provide sound advise and tool for eradicating the dreaded boredom that creeps into our writing and takes over. To stop writing from safety and write from risk.
Michael Allyn Wells, Breaking Out of Boredom with Lola Haskins
Sometimes, if I wake up extra-early, I’ll make a pot of tea and read one of the many bound-to-be-good poetry books stacked on the cyborg (what we call the sideboard, for obscure reasons). This morning I read Diane Seuss’ Still Life with Two Dead Peacocks and Girl. It’s full of elegy and ekphrasis, a very rich book I can’t do justice to here. As far as analytic sharpness, I’m tapped out at the moment by teaching and student conferences; I’m just reading receptively, to fill the well. But I’m moved by her poems mourning a father lost in childhood, friends lost to AIDS, and her own lost girl-self. I’m also processing a brilliant reading and visit from Rebecca Makkai, whose much-acclaimed novel The Great Believers concerns the arrival of HIV to Chicago’s Boystown in the eighties. Rebecca was my student here in the nineties; I remember her fierce intelligence well, how she blew in like a wind ready to strip away stupid traditions, as the best of my students do now. But that version of myself feels long gone. All these texts and memories mirror each other fractionally, so my head feels busy with bright shards.
I’m also especially taken by Seuss’s self-portrait series, perhaps because one of my classes is deep in discussion about confessionalism. Here’s one: “Self-Portrait with Sylvia Plath’s Braid.” But I like “Self-Portrait with Levitation” even better: “Embodiment has never been my strong suit.” Here’s to learning to float again, one of these days.
Lesley Wheeler, Still life with two relaxed superheroes and a sparkle pen
September is coming to an end and the falling temperatures leave north-east England sharp but bright. I am on a train from my home town in Northumberland en route to Münster in the German province of Westphalia. The 2018 ZEBRA Poetry Film Festival awaits at the end of my long train ride: three days of poetry and film in a city reaching summer’s end. It is a good time of the year for poems, I think, and a good time of the year for films.
My excitement is tinged with the knowledge that this may be my last visit to the continent as a fully-fledged citizen of the EU. I’ve always wanted to visit ZEBRA. It seems to be an important place for poetry and film but when one of my films screened here four years ago, I couldn’t afford to come. I’m expecting an international affair: a reminder that, regardless of who is playing games with our borders and our nationhood, people will get together with others to write poems and make films. I am heartened by the fact that the very act of making a poetry film defies and challenges creative and political borders.
As I trundle my way through France and Belgium, I reflect on how the poetry film community is naturally collaborative. It needs more than the single artist in order to exist. That’s not to say that a person can’t make a poetry film on their own – I have done this and many of the films at the festival will surely be author made – but rather that if everyone worked in isolation, as much of the UK’s mainstream poetry world does, the world of poetry film would not be so rich and diverse. Part of this seems inherent in the medium: the juxtaposition gap often works best with two other-thinking minds. It sits at an intersection between several worlds: those of poetry, film-making, television, experimental art, music, sound art and artist’s moving image. Arguably, the poem is the only essential ingredient because without it, the form does not exist.
Stevie Ronnie, Film Ab!: A personal report on the Zebra Poetry Film Festival 2018
This summer I was wildly honored to have my poem “To The New Journal” published in the Summer Issue of the Southern Review. This is the third time I’ve been published in SR and I am a true fan of both the words and the visual art that they publish. There editors are professional, kind, and smart. But there’s one thing.
The Southern Review doesn’t feature much work on their website and so once the physical object of the journal is read and put on the shelf (and maybe tossed from libraries at a later date) most of the poems and prose are gone. Enter the Academy of American Poets with a new project: to showcase more poems on their website. Through an agreement with the Southern Review and Tin House, poems that were published in these print journals may now have a forever home as part of the Academy’s curated collection. This is the reason I can share “To the New Journal” with you.
Much like the Poetry Foundation website, the Academy of American Poets website seeks to provide an essential resources of poems, essays on poetry, poet bios, and lesson plans to anyone who is interested. Need a poem to read for a wedding or for a divorce? These websites can help! Teaching a poet and want to bring their voice into the classroom? These are great sites to access.
However, sometimes poems swing the other way: from the worldwide ether onto the printed pages of a book. My poem, “Boketto” based on the Japanese word which loosely translates to, to stare into space with no purpose, appeared on the Academy of American Poets site two years ago. This month, “Boketto” stars in the new craft book, The Practicing Poet, Writing Beyond the Basics, by editor, poet, and publisher extraordinaire, Diane Lockward.
Diane contacted me and asked for permission to reprint “Boketto” in her newest anthology / craft book (this is her third and each one is worth owning) and I happily agreed. In The Practicing Poet, Diane has created a prompt for a “weird word poem” based on my work. She has also done an explication of the poem that showed she had read the work carefully noticing the focus on double-barreled words and chiasmus (and no, I didn’t know the word chiasmus before yesterday but I like it and it describes a key strategy of the poem.
So this month I get to swing both ways: page poems onto the web and web poems onto new pages. I’m feeling very lucky indeed.
Susan Rich, The Joy of Poetry (That Swings Both Ways) Academy of American Poets, Practicing Poet, and the Southern Review
Many thanks to Matt DeBenedictis and John Carroll for having me as a guest on the Lit & Bruised literary podcast. We talk poetry, travel, London and the forthcoming publication of Midnight in a Perfect World. You can listen at this link.
And don’t forget to preorder the new collection and be entered to win a free manuscript/chapbook evaluation from me! Preorder from Sibling Rivalry Press at this link.
Collin Kelley, Talking poetry and travel on the Lit & Bruised podcast
Spent three and a half hours writing just over 1500 words of Accountability Partners today (my non-verse play). And in the morning, before the kids woke up, I wrote another poem for the new manuscript. That makes over 60 poems written since the end of June!
Sorry for the blog brag, but I had to share my good news with the universe. I’m on some kind of unprecedented tear here, and thoroughly enjoying it. I mean, not all of those 1500 words are golden, and I sincerely doubt all of the poems are publishable (certainly not right now — most need the benefit of time and careful revision) . . . but I’m so, so happy and grateful for the generation. And, yes, relieved. Because at this time last year, I was already having serious doubts about my abilities and future as a writer (even before the bad news/sabbatical debacle). After all — while it goes a long way toward helping with validation, publication is not necessarily the thing that makes one feel like the genuine article. It’s the ability to commit and get the thing that you want to write done. And after many years of just fucking around, treading water, I’m finally moving in an actual direction. Making progress. Yay!
Sarah Kain Gutowski, Long Form Friday Report
I’m really enjoying writing poems for ‘Frames of Reference’, part of the public art programme for King’s Gate, Amesbury, commissioned by Ginkgo Projects and funded by Bloor Homes.
I’m one of six Wiltshire-based artists who’ve been given a Local Artist Bursary for this project. You can read about some of the other artists and see examples of their work on the Ginkgo Projects’ site. The brief for this project is to create new work in response to the landscape and heritage of the area in and near Amesbury, so I’ve been working on some Wiltshire poems for the last couple of months, in between my other work.
For some poems, I’ve been thinking about my own life in Wiltshire and the ways I interact with the landscape and history here. For others, I’ve taken a different approach. For instance in my poem Circles and Wildflowers, which I’ve recorded onto SoundCloud and which you can read below, my starting point was the word ‘circle’ and some of its synonyms, combined with the names of wildflowers native to Wiltshire – names so gorgeous they are poems in themselves. Circles are an important feature of the landscape here with, to give some examples, the World Heritage sites of Stonehenge, Woodhenge and Avebury Stone Circle nearby, not to mention crop circles which mysteriously appear. [Click through to read the poem.]
Josephine Corcoran, Circles and Wildflowers
Before we get too far away from last week, and the week before that, let me record 2 publishing successes. I got my contributor copy of Gather, which published my article “Praying with Medieval Mystics.” In it, I explore Hildegard of Bingen and Julian of Norwich–longtime readers of my blogs know that I’ve explored the lives of those women before, but I like the ways I wove the ideas together.
I also got my contributor copy of Adanna, which published my poem “Blistered Palms,” which I wrote in the aftermath of last year’s hurricane season. It was one of those strange moments, reading the poem, when I recognized the inspiration for some of it, but not the rest; I don’t remember the writing process, the way I do with some poems. I remember driving by the huge piles of brush which had shreds of trash blowing in a breeze. It was close to Halloween, and at first I thought I might be seeing a Halloween decoration that had migrated, a ghost in those branches. I remember the time when it seemed that every morning, a different piece of jewelry broke.
Do I see this poem as hopeful? Yes, in a way. I also see some of the spiritual elements of my Christian tradition, that direction to try fishing again, maybe from a different side of the boat. And of course, there is the title, which talks to me of both the palms of hands, whether they be crucified hands or hands blistered from clearing away hurricane damaged palm trees. [Click through to read the poem.]
Kristin Berkey-Abbott, Poetry Monday: “Blistered Palms”
I have been lucky in print this year. Two literary journals that I’ve long admired, Bellevue Literary Review and Prairie Schooner, published my poems. This is “a big deal” to me, because it is always exciting to be admitted into the pages of a magazine I like and because, despite the advantages of online/cloud-based literary journals, I love print!
There’s something inexpressibly marvelous about holding a book in my hands, turning the pages, and having a physical object–paper, binding, print–to carry with me.
Online magazines, theoretically at least, have a longer reach and can capture more readers (“hits”) than print. Literature requires audience, and the interwebs offer potentially millions of visitors to the poem online; but the operating word here is potential. What’s possible isn’t what generally happens. The readers of online literature, those people who stay on the poem long enough to read it–and then read the next poem, and the next, on-site–are not as legion as we poets might wish.
Through moderate use of social media, I do publicize my own work when it appears online (see links to the right on this page!). I welcomed the appearance of literature on the internet because one of my purposes for writing is to communicate with people. Readers matter to me. Getting my words into the public domain is the only way to begin that process of communication, and though online journals seem like the most ephemeral form of ephemera, they do make it easier for me to “share” (thanks to Facebook, I am beginning to despise that word) the poems or essays I’ve crafted.
Ann E. Michael, In print
Thank you to Escape Into Life for including an art and poetry feature containing my poems about the moon and some gorgeous art work. And I promise you, these are not your old run of the mill moon poems. There are universes being torn asunder, menacing Blood Moons, magical nightflowers, and some gorgeous art work. Here’s the link and a sneak peek:
I’m over the moon to have a poem in the latest edition of Rise Up Review, a US based online magazine that publishes exciting and innovative new work. I know how hard it is to keep up with everything that’s being published, but if you have time, check out their Found/ erased section too, showcasing some excellent cut ups and composite fictions by Kathleen Loomis and J L Kleinberg (whom I first came across in Streetcake, an online journal that publishes experimental writing).
Julie Mellor, Rise Up Review
One of the most daunting challenges that confronts every struggling and submitting poet is the demand for “previously unpublished” poems. We have grown used to it by now, and most of us have developed elaborate systems for keeping track of what poems have already found a home, which are somewhere in the submission process, and which are virgin territory. We work with it, but we are not required to like it, and I would like to take this chance to say that it doesn’t serve us, the poetry community, or the poetic canon well.
It is understandable that publications and editors want fresh work, want publication rights and exclusivity, yet in asking, always, for work that has not yet found an audience they are eliminating the opportunity to re-publish some of the finest poems being written today.
In a hypothetical scenario a fledgling poet may write a poem that is, against all odds, a minor masterpiece, and since he or she is new at the game the poem will be submitted to a local anthology, or even a chapbook published by a local writer’s group. And…there the poem stays, unread, unhonored and unquoted save for the fortunate few who stumble across it.
One would think that publishers and lit mags would want the best of the best but their insistence on previously unpublished effectively screens out and eliminates many of the finest poems being written today. I believe that this may be one of the reasons that poetry is less in fashion today, because there is so little poetry that receives popular acclaim (and in no way am I implying that popularity indicates excellence). However, our audience, as poets, has to hear our voice and read our words in order to respond. The likelihood of any single poem becoming well-known or well-loved when it has a single publication, and often in a magazine with quite limited circulation, is small indeed.
Re-thinking Previously Published Poetry – guest blog post by Kathy Lundy Derengowski (Trish Hopkinson’s blog)
This time it’s not just one poem. I’m staring down a bunch of poems. Make that a chapbook-length collection of poems. I’ve been sending them out individually and as a chapbook. With no luck. But I’ve long had this little hmm of concern about them. So I keep revisiting them, and having an argument with Me and Other Me:
– I read these poems and get a little glurgling in my gut. What is wrong, what is wrong?
– Is it the burrito we had for lunch?
– No. It is not the burrito we had for lunch. I’m sorry, I have to, again, come to the conclusion that the emotions of the poems are obscured. Or overly intellectualized. Or not well realized. Or, frankly, nonexistent. Too many of the poems feel like intellectual exercises.
– But we’ve been working on these for almost two years!!! There are some very interesting parts of many of these poems. There is emotion in some of them.
– But the sum? No. we just have to face the fact.
– But wait, two years worth of work? Must we chuck it?
– Quite possibly. In economics that time and effort is called a sunk cost. You can’t worry about it. It’s done and gone. The product just doesn’t work. It’s the clunker of chapbooks. A lemon.
– But, wait, let’s be reasonable. What about the parts that work? Can’t we start there?
– Yes. We can, clear-eyed and with renewed energy, start there. But there are no guarantees. Isn’t there a column in some magazine: “Can this relationship be saved?” That’s where we are. The answer could possibly be “no.” It’s also quite possible that we have not a chapbook-length collection but just a few good poems. They can be used toward some other as-yet-to-be-realized collection. The rest can go in the chuck-it bucket.
– Eesh. Okay, I might be able to live with that.
– Frankly, remember, all of these poems started out as imitations. So to some degree, they ARE intellectual exercises. We were trying on other poets’ rhythms and thought processes.
– Yeah, but we were inserting our own thoughts, our own nouns and verbs and clauses, so they did arise out of our own concerns. And then we edited them toward our authentic voice.
– But I can still detect that disconnection, that roundabout route to the poem. We have not shown what is at stake in these thoughts, situations, these descriptions, flights of fancy. We have not truly plumbed what these poems are “about” for us.
– This question, “what is at stake,” annoys me. What is ever at stake in a mere poem? No lives are lost or saved here.
– No? We are an uttering animal. We cry out in words. We jubilate in words. A poem can be a little cannon of power. What’s at stake? If I, the reader, don’t feel that something vital is at hand, some deep energy impelled the poem to being, then the poem misses the mark. I can indulge in memory and fantasy and philosophical meanderings. I can tell you my dream. But if I have not conveyed the deep “why” of what turned those into utterance, then I am wasting the reader’s time.
Marilyn McCabe, I Second That…; or, Considering the Emotional Gravitas in Poems
(Lord’s day). Up, and while I staid for the barber, tried to compose a duo of counterpoint, and I think it will do very well, it being by Mr. Berckenshaw’s rule. By and by by appointment comes Mr. Povy’s coach, and, more than I expected, him himself, to fetch me to Brainford: so he and I immediately set out, having drunk a draft of mulled sacke; and so rode most nobly, in his most pretty and best contrived charriott in the world, with many new conveniences, his never having till now, within a day or two, been yet finished; our discourse upon Tangier business, want of money, and then of publique miscarriages, nobody minding the publique, but every body himself and his lusts. Anon we come to his house, and there I eat a bit, and so with fresh horses, his noble fine horses, the best confessedly in England, the King having none such, he sent me to Sir Robert Viner’s, whom I met coming just from church, and so after having spent half-an-hour almost looking upon the horses with some gentlemen that were in company, he and I into his garden to discourse of money, but none is to be had, he confessing himself in great straits, and I believe it. Having this answer, and that I could not get better, we fell to publique talke, and to think how the fleete and seamen will be paid, which he protests he do not think it possible to compass, as the world is now: no money got by trade, nor the persons that have it by them in the City to be come at. The Parliament, it seems, have voted the King 1,250,000l. at 50,000l. per month, tax for the war; and voted to assist the King against the Dutch, and all that shall adhere to them; and thanks to be given him for his care of the Duke of Yorke, which last is a very popular vote on the Duke’s behalf. He tells me how the taxes of the last assessment, which should have been in good part gathered, are not yet laid, and that even in part of the City of London; and the Chimny-money comes almost to nothing, nor any thing else looked after. Having done this I parted, my mind not eased by any money, but only that I had done my part to the King’s service. And so in a very pleasant evening back to Mr. Povy’s, and there supped, and after supper to talke and to sing, his man Dutton’s wife singing very pleasantly (a mighty fat woman), and I wrote out one song from her and pricked the tune, both very pretty. But I did never heare one sing with so much pleasure to herself as this lady do, relishing it to her very heart, which was mighty pleasant.
while I tried to compose a duo
in a rain-drunk land
who could it be singing
with so much pleasure
Erasure poem derived from The Diary of Samuel Pepys, Sunday 15 October 1665.
the opening the big birch left
that allspice scent
partridgeberry’s red pills
END OF PUBLIC ACCESS
sun shining right through
the plastic sign
where the road crosses the creek
During the last mandatory
evacuation, three of my neighbors
decided to stay. They had
generators. One said, I’ve lived
on this street more than thirty
years and nothing really bad
has ever happened. I cooked
all the chicken in my freezer
and gave them a giant tray
of adobo. They took it
to a hotel room they decided
to rent near the airport: more
inland, though in these parts
everything is really a flood zone.
My daughter and I flew to Chicago,
where we have family. It was hard
to believe the color of the sky
there, the bright, untroubled
coolness. The night before we left,
there were no bird or cricket sounds,
no chorus of frogs from the river.
I looked around, not knowing what
to take, only knowing we’d leave
most everything else. In the airport,
some people clutched duffel bags
stuffed with important papers,
photo albums, passports. Children
held soft toys or blankets,
or dogs in pet carriers.
Up, and to the office, where mighty busy, especially with Mr. Gawden, with whom I shall, I think, have much to do, and by and by comes the Lieutenant of the Tower by my invitation yesterday, but I had got nothing for him, it is to discourse about the Cole shipps. So he went away to Sheriffe Hooker’s, and I staid at the office till he sent for me at noon to dinner, I very hungry. When I come to the Sheriffe’s he was not there, nor in many other places, nor could find him at all, so was forced to come to the office and get a bit of meat from the taverne, and so to my business. By and by comes the Lieutenant and reproaches me with my not treating him as I ought, but all in jest, he it seemed dined with Mr. Adrian May. Very late writing letters at the office, and much satisfied to hear from Captain Cocke that he had got possession of some of his goods to his own house, and expected to have all to-night. The towne, I hear, is full of talke that there are great differences in the fleete among the great Commanders, and that Mings at Oxford did impeach my Lord of something, I think about these goods, but this is but talke.
But my heart and head to-night is full of the Victualling business, being overjoyed and proud at my success in my proposal about it, it being read before the King, Duke, and the Caball with complete applause and satisfaction. This Sir G. Carteret and Sir W. Coventry both writ me, besides Sir W. Coventry’s letter to the Duke of Albemarle, which I read yesterday, and I hope to find my profit in it also. So late home to bed.
all the hip and hungry places
force me to get bit
my aches eating me
full of talk about talk
my head is all oven
Erasure poem derived from The Diary of Samuel Pepys, Saturday 14 October 1665.