A proud man,
Upright and unshakable
In belief and morals,
Once only I did I see him
Without a tie.

A child of Edwardian England,
The links Of his watch chain
Glinted
As they hung
With formality and elegance
From his waistcoat pocket,
Yes, even as he worked.

And work he did.
Patiently,
Brilliantly and tirelessly
With ingenuity and imagination.
A craftsman from a bygone age.
A master of his tools.

Grandfathers are soft,
Playful, bear-like in their
Gruff-whiskered familiarity.

Not Poppy.
Unwittingly aloof from his grandchildren,
We avoided the need for directly addressing him,
Unsure of where we stood.
He’d probably have secretly
Loved the informality
Of our secret nickname.
I hope he knew.

The chapel piano did for him.
Too much weight for his work-weary ticker.

Grandma gave me his pocket watch to keep,
And for a time I treasured it,
Measuring its weight
Like a smooth round pebble
In my palm.
A workman’s watch;
Practical.
A yellowing face
Behind a scratched
And hazy glass.
But accurate,
And precise.
Reliable as the man.

Detached in life,
I liked to hope that
Gazing down,
Watching,
He just might have
Laughed
In loving acknowledgement of his
Grandson’s curiosity
And foolishness
Sitting cross-legged on the carpet,
With heart-thumping nausea

Adrift in a sea of springs.

knitting with scissors you run with.
will get you there. but you can't buy a house. i'm sorry.
you might, miiiiight get the Edwardian Tudor for a mansion in false claim
but you keep your gaze, your weary gaze ....and slumber not so sweet, my sweet.
knitting with false gods will get you everything
but  Not the Other Thing
that gnaws at the substance of your gut
where the heart resides like a lion
addicted to Aesop Fables -
and dry humors that decimate with bounty
flooding the bleak with our windmills !
you and i are regardless.

knitting with shopping carts and dead batteries. washing ashore.
lick your lips at the foam
of our hysterical event. pitch a ******* tent.
and eat more stars than you came in with.

sew the hole
with a hole and
answer the phone sometimes,
****.

i ain't got all day but you might take your time
like an aspirin.

I do not like the architecture of the mall.
It's discordant and lax. The architects
dismissed all Edwardian charm
and even the Gothic grace.
When crossing my field of vision,
the mall concedes defeat,
whimpering against a prismatic sky:

"I am a hodgepodge of ambition distressed,
resolute on pioneering a style unlike anything past,
but locked off in dead history, trapped
in a monologue whose audience is myself."

I presume it's the same across the world,
architecture molded into something impulsive,
something so forced it falls flat.

Where have all the artchitects gone?

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Streatham's White Garden lies between a walled Old English garden and a small orchard in the Rookery, once the grounds of a large house dating back to 1786, and now an historic Grade II listed public garden. The elegant double borders, backed by trees and climbers and edged with lawn, echo each other down the length of the garden, with white benches marking each end. Still the only white garden in any of London's public parks, the White Garden pre-dates Vita Sackville-West's famous grey, green and white garden at Sissinghurst by at least 30 years.

Local volunteers under the leadership of Kew-trained designer Alison Alexander and project co-ordinator Charlotte Dove (both working for the Friends of Streatham Common, who successfully raised funding for the project from the Heritage Lottery Fund) carried out the recent restoration. The restoration was based on archival research and visits to other historic gardens, and is faithful to the spirit of the Arts and Crafts-inspired Edwardian original. Many of the plants in the new design have been chosen for their historical associations, including shasta daisy (Leucanthemum x superbum), ostrich fern (Matteuccia struthiopteris), and a white cultivar of the old-fashioned English rose, Rosa spinosissima – all plants that would have been as familiar to the leading lights of the movement, such as William Robinson and Gertrude Jekyll, as they were to the Edwardian gardeners who planted up the original garden.

This is a serene place, much loved by visitors. But serenity is not the whole story – determination also plays a role in the history of this garden. Streatham residents fought a public campaign to rescue the Rookery grounds (the house itself was demolished in 1912) from the wave of suburban housebuilding that reached a peak in the years before the First World War. The gardens were laid out by Major Philip Maud of London County Council (LCC), and opened in 1913.

The concerns surrounding cramped urban living conditions that gave rise to the public parks movement in the nineteenth century remain a reality today. Open spaces are a necessary release valve: an escape from the pressures of city life, and proven to have a positive effect on mental and physical health. It is no coincidence that the LCC designs for other public gardens designed in the period (including the Old English garden in nearby Brockwell Park) were also influenced by the Arts and Crafts movement: it was a style ideally suited to the purpose, being itself a reaction to the negative impact of industrialization, and an expression of nostalgia for an idyllic imagined past.

Despite the pressures of the city, horticulture has long been part of this area's heritage, and for much of last century it thrived: amateur and professional gardeners alike participated in fruit and flower shows organised by newly-formed clubs and societies, well-maintained civic parks delighted visitors and residents, allotments flourished, and local nurserymen like John Peed of West Norwood produced lavish catalogues of the latest horticultural discoveries.

As government funding for green spaces has decreased, however, gardens like the Rookery have suffered from reductions in maintenance budgets: as late as the 1970s, seven gardeners were dedicated to the Rookery alone, but today only two contractors are based there. Once again local residents have responded, developing community groups, volunteer-led projects and local fundraising, and working closely with the Lambeth Parks Service. One such community group, the Streatham Common Co-operative (SCCoop), aims to take on the gardens and increase the number of gardeners. Applications for outside funding have been productive: most of the plants for the White Garden restoration were purchased with a grant from the Heritage Lottery Fund, with the Metropolitan Public Gardens Association providing a grant for new white roses. But resources are finite, and – in the best tradition of ecological planting – the new plants for the White Garden have been chosen to suit the prevailing conditions, and to flourish with minimal maintenance. Gardens have always thrived on both innovation and tradition, and the restoration of the White Garden at Streatham Rookery is a tribute to those who are prepared to find new ways of looking after treasured open spaces.

Love Mary ***

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I opened the gifts one by one,
knowing that the softness I felt
under the antique Santa Claus paper
was yet another bundle of fabric,
more clothes to add
to my ever-expansive wardrobe.

One by one, the patterns were revealed to me:
some plain black cotton,
a Paris print with a sparkly pink tower,
paper cutouts the size of my favorite dolls,
and at last, a sewing machine.

I remember a roomless memory,
my mother and I hovered over the machine,
the internet failing to teach us
how to maneuver the thread.

“We’ll try again later,” she said.

Now, I open the drawer under my bed,
remove a dust-covered box,
running my fingers along the top of it.
I remove the as-new machine,
my failed future.
I walk to my computer, switch taps
from a Buddhism study guide
to an empty Google Docs.

I wonder if I was a seamstress in a past life.
Did I watch my family create the cave paintings
while I sat in the corner, hide on my lap
with a splinter of bone in my hand,
feeling nothing but bliss?

Did I live in the Edwardian era,
tailoring a perfect three-piece suit,
a walking skirt, my daughter’s chemise?

Did I ever pass my grandmother
in a secondhand store,
with my goal of finding a perfect neckline,
my favorite sleeves, a plaid pattern.

Did I find them among the stained and unloved,
did I make them into something beautiful?

Was this not a flashback, but a foreshadow?
Was this a hint at my next life?
Will I do the same with my daughter,
passing down the cotton and glittered tower,
hugging with triumph when the machine roars to life?

Will I be there at her first fashion show?

What if there is no past or future.
What if my soul is me, unchanging, stable.
What if I’m a butterfly,
every passing second another cocoon?

For I am a tree,
and these memories
are my branches.

My left arm holds the present,
the current reality. I fail to sew
even a button, but my dreams
reside content.

With my right arm,
I hold another present,
equally as real.

In this world, I made my doll a dress,
a bedspread with the leftover fabric.
In this world, I am not a poet,
and I don’t often dream.
In this world, my floor is my stage,
this fabric is my home.
In this world, I know not of other realities.
In this world, I live buried in my ignorant bliss.

In the ashes of division hope ignited
Unity decided a new fate, in its wake.
My father lived in Chester Road,
Off Ladbrook Grove, eight children
In a tenament flat back to back.

The poverty of the forties are
Now palatial palaces, white pillared.
My father joined the army to escape
To marry and move to Streatham,
South London, to an Edwardian terrace.

Notting Hill, the divided community
Chelsea and Kensington let it happen.
My grandmother moved to a new town
And this year we all watched on TV
Grenfell burn as an inferno in the dark.

Love Mary