CV
The initials of a school
branded on my wrist.
CV
The token of my
very first performance
CV
Memories that will fade
just as the ink on my wrist.
CV
Memories that have been absorbed, --
stored -- into my skin just as the ink.
CV
Gone. Memories that are
just fuzzed images now.
Missing. A past that has
drowned in the ocean of Now.
CV
**CV

I wrote student fees and it autocorrected to
fears

My friend was drunk and said CV
when they meant VC

Volunteering is sold to us like a product,
it's not that it's good in of itself,
it's good for your self,
it'll look good on your CV

it'll look good on your CV
it'll look good on your CV
it'll look good on your CV

if only you could see me
if only you could see me
if only you could see me

you'd see the way my face freezes or flinches
either one,
there is a pain that runs across my face like an electric shock

dehumanising someone is like they invented a wireless, handsfree, bluetooth way of stabbing someone,
you can do it without touching me,
but I can assure the pain in my chest will tell you otherwise,
you have cut me

please help me find the plug at the wall
help me restart
help me find the USB charger
help me connect

you've convinced me that if I claw at my arm long enough
wires will spark and spit at me
I am a machine because you treat me as one

like when they ask for my number at Student Health
or they ask for my number at Studylink
or they ask for number at the Bank
I remember I am nothing like everyone else.

Does logging off look bad on your CV?

for Jennie in gratitude*

For days afterwards he was preoccupied by what he’d collected into himself from the gallery viewing. He could say it was just painting, but there was a variety of media present in the many surrounding images and artefacts. Certainly there were all kinds of objects: found and gathered, captured and brought into a frame, some filling transparent boxes on a window ledge or simply hung frameless on the wall; sand, fixed foam, paper sea-water stained, a beaten sheet of aluminium; a significant stone standing on a mantelpiece, strange warped pieces of metal with no clue to what they were or had been, a sketchbook with brooding pencilled drawings made fast and thick, filling the page, colour like an echo, and yes, paintings.
 
Three paintings had surprised him; they did not seem to fit until (and this was sometime later) their form and content, their working, had very gradually begun to make a sort of sense.  Possible interpretations – though tenuous – surreptitiously intervened. There were words scrawled across each canvas summoning the viewer into emotional space, a space where suggestions of marks and colour floated on a white surface. These scrawled words were like writing in seaside sand with a finger: the following bird and hiraeth. He couldn’t remember the third exactly. He had a feeling about it – a date or description. But he had forgotten. And this following bird? One of Coleridge’s birds of the Ancient Mariner perhaps? Hiraeth he knew was a difficult Welsh word similar to saudade. It meant variously longing, sometimes passionate (was longing ever not passionate?), a home-sickness, the physical pain of nostalgia. It was said that a well-loved location in conjunction with a point in time could cause such feelings. This small exhibition seemed full of longing, full of something beyond the place and the time and the variousness of colour and texture, of elements captured, collected and represented. And as the distance in time and memory from his experience of the show in a small provincial gallery increased, so did his own thoughts of and about the nature of longing become more acute.
 
He knew he was fortunate to have had the special experience of being alone with ‘the work’ just prior to the gallery opening. His partner was also showing and he had accompanied her as a friendly presence, someone to talk to when the throng of viewers might deplete. But he knew he was surplus to requirements as she’d also brought along a girlfriend making a short film on this emerging, soon to be successful artist. So he’d wandered into the adjoining spaces and without expectation had come upon this very different show: just the title Four Tides to guide him in and around the small white space in which the art work had been distributed. Even the striking miniature catalogue, solely photographs, no text, did little to betray the hand and eye that had brought together what was being shown. Beyond the artist’s name there were only faint traces – a phone number and an email address, no voluminous self-congratulatory CV, no list of previous exhibitions, awards or academic provenance. A light blue bicycle figured in some of her catalogue photographs and on her contact card. One photo in particular had caught the artist very distant, cycling along the curve of a beach. It was this photo that helped him to identify the location – because for twenty years he had passed across this meeting of land and water on a railway journey. This place she had chosen for the coming and going of four tides he had viewed from a train window. The aspect down the estuary guarded by mountains had been a highpoint of a six-hour journey he had once taken several times a year, occasionally and gratefully with his children for whom crossing the long, low wooden bridge across the estuary remained into their teens an adventure, always something telling.
 
He found himself wishing this work into a studio setting, the artist’s studio. It seemed too stark placed on white walls, above the stripped pine floor and the punctuation of reflective glass of two windows facing onto a wet street. Yes, a studio would be good because the pictures, the paintings, the assemblages might relate to what daily surrounded the artist and thus describe her. He had thought at first he was looking at the work of a young woman, perhaps mid-thirties at most. The self-curation was not wholly assured: it held a temporary nature. It was as if she hadn’t finished with the subject and or done with its experience. It was either on-going and promised more, or represented a stage she would put aside (but with love and affection) on her journey as an artist. She wouldn’t milk it for more than it was. And it was full of longing.
 
There was a heaviness, a weight, an inconclusiveness, an echo of reverence about what had been brought together ‘to show’. Had he thought about these aspects more closely, he would not have been so surprised to discovered the artist was closer to his own age, in her fifties. She in turn had been surprised by his attention, by his carefully written comment in her guest book. She seemed pleased to talk intimately and openly, to tell her story of the work. She didn’t need to do this because it was there in the room to be read. It was apparent; it was not oblique or difficult, but caught the viewer in a questioning loop. Was this estuary location somehow at the core of her longing-centred self?  She had admitted that, working in her home or studio, she would find herself facing westward and into the distance both in place and time?
 
On the following day he made time to write, to look through this artist’s window on a creative engagement with a place he was familiar. The experience of viewing her work had affected him. He was not sure yet whether it was the representation of the place or the artist’s engagement with it. In writing about it he might find out. It seemed so deeply personal. It was perhaps better not to know but to imagine. So he imagined her making the journey, possibly by train, finding a place to stay the night – a cheerful B & B - and cycling early in the morning across the long bridge to her previously chosen spot on the estuary: to catch the first of the tides. He already understood from his own experience how an artist can enter trance-like into an environment, absorb its particularness, respond to the uncertainty of its weather, feel surrounded by its elements and textures, and most of all be governed by the continuous and ever-complex play of light.
 
He knew all about longing for a place. For nearly twenty years a similar longing had grown and all but consumed him: his cottage on a mountain overlooking the sea. It had become a place where he had regularly faced up to his created and invented thoughts, his soon-to-be-music and more recently possible poetry and prose. He had done so in silence and solitude.
 
But now he was experiencing a different longing, a longing born from an intensity of love for a young woman, an intensity that circled him about. Her physical self had become a rich landscape to explore and celebrate in gaze, and stroke and caress. It seemed extraordinary that a single person could hold to herself such a habitat of wonder, a rich geography of desire to know and understand. For so many years his longing was bound to the memory of walking cliff paths and empty beaches, the hypnotic viewing of seascaped horizons and the persistent chaos of the sea and wild weather. But gradually this longing for a coming together of land, sea and sky had migrated to settle on a woman who graced his daily, hourly thoughts; who was able to touch and caress him as rain and wind and sun can act upon the body in ever-changing ways. So when he was apart from her it was with such a longing that he found himself weighed down, filled brimfull.
 
In writing, in attempting to consider longing as a something the creative spirit might address, he felt profoundly grateful to the artist on the light blue bicycle whose her observations and invention had kept open a door he felt was closing on him. She had faced her own longing by bringing it into form, and through form into colour and texture, and then into a very particular play: an arrangement of objects and images for the mind to engage with – or not. He dared to feel an affinity with this artist because, like his own work, it did not seem wholly confident. It contained flaws of a most subtle kind, flaws that lent it a conviction and strength that he warmed to. It had not been massaged into correctness. The images and the textures, the directness of it, flowed through him back and forward just like the tides she had come far to observe on just a single day. He remembered then, when looking closely at the unprotected pieces on the walls, how his hand had moved to just touch its surfaces in exactly the way he would bring his fingers close to the body of the woman he loved so much, adored beyond any poetry, and longed for with all his heart and mind.

“You know the worst thing I ever saw?” He asked.

I sighed to myself, took another gulp of beer and fixed him with a look of half-interest. He was drunk. A complete ****-up and a bore when he's drunk. I don't know why I drink with him. That said, he probably thinks the same.

“What's that?”
“Bedsheets over the benches in the church yard.”
“Ye-what?”
“Bedsheets over the benches in the church yard. For the homeless.”
“The homeless. Right.”
“I'll get us another drink.” he says, “then I'll start where I left off.”
“Oh, good.”

He comes back with two bottles. We drink and we start talking about football. We're just about getting by before he raises his palm to his face.
“Aw, ****. I forgot, yeah. The worst thing I ever saw. I never told you.”
“You did. Bedsheets over the benches in the church yard. For the homeless.”
“Yeah yeah, but that doesn't really say much, does it? You're probably wondering to yourself why that would **** me off so much?”

Not really. He's the type of no-action, all-caring, bleeding heart that sits on his fattening **** every day, 'liking' rhetorical captions over pictures, and signing petitions to axe some ***** politician or other.
“I guess. Shoot.”

He shoots.
“I wanna burn down the churches. Seriously. Stupid ******* religious folk. I bet they go home and post pictures up of themselves, all busy in the soup kitchen, ladling minestrone into some poor *******'s styrofoam bowl.
“They'll never touch them. Always at arm's length. You don't wanna breathe in the pathogens of the anti-people...”
He slurred a little, went to carry on, but took another gulp of beer instead.
“What does that have to do with bedsheets over the benches in the church yard?” I took a gulp myself, this time watching him with a little more interest. Probably just because he looks like he could spew at any moment.
“You're not letting me finish...”
He finishes his beer, gets up, almost bumping into his piano-***-keyboard. He's off to the fridge again. I have a look around while he's out of the room. I can hear him ******* in the kitchen sink.

I've seen the place a million times before but it always has a whole bunch of new **** tacked up on the wall or else bundled in the corner. He's no hoarder, just gets bored and throws out all the stuff he bought the year before.
There's a framed picture of himself on the wall, cradling his Fender as if he's a master of the arts. It's signed, too.
I've seen him play. Probably will tonight. Wouldn't be surprised if he's written a protest song called: bedsheets over the benches in the church yard. The old **** can't even hit an F major with regularity.
He'd decided to put up his vinyl sleeves on the wall like a 17 year old would with an array of **** pop-punk band posters.
Blink and you might think he's the new John Peel or Phil Spector. Stare, and you'll realise he's twice as crazy, yet half as talented and half as interesting to listen to.
His room is like a CV to show to interesting, young indie women. Shame he's hitting forty now,and hasn't been to a club in about 3 months.
Last time we went he just sulked in the corner and got too drunk. He cried in the smoking area about his job before going round and asking attractive girls whether they think he's too old to be out. Most didn't even bother to give an answer. Probably best.

He comes back in with more beer.
“A-anyway...” He says, groaning a little like an old man as he settles back into the chair. “As I was saying...” he sloshes beer on the carpet, rubs it in with the heel of his shoe. He spits on the mark and then rubs again.
“What I was saying was that the church would be a whole lot more useful to the homeless if it was burned down. A condemned building is a whole lot more useful than being looked down on by holier-than-thou, middle-class, white Christians.
“They go home after an hour, bolt the church doors, and then watch TV in their brand new conservatories that they spend several thousands on. Just give the losers a place to shoot up and sleep in safety. That makes sense, right?”
“I guess so.”
I couldn't think of a change of conversation. So I just drank some more and pulled out a cigarette. It's nice to smoke inside for a change.

“It's a ****** ******* awful thing. If people were actually religious, they'd throw open their ******* doors for everyone. It's what Jesus would do, right?”
“Right.”
“He'd have all the **** in his bedsit, piled in like sardines, spreading TB like wildfire.”
“And that's a good thing?”
“Well, it can't be any worse, right? Sleep's important. I learned that the hard way.”

He didn't learn it the hard way. Not really. He's a self-motivated, self-harming insomniac. He spent his teenage years listening to bad music and staying up too late ******* over his French teacher. I should know, I mostly did the same.
He hit the **** pretty hard during college. Never really looked back until recently. ****** him up worse than you'd reckon. He couldn't sleep without the stuff. Man, if you'd have seen the poor guy whenever he couldn't get hold of some for the night. Eesh.

“...you know what I mean though? I'm sick of charity. Those fun-runs you get. A load of women in pink pretending that they care about breast cancer, before posting a million and one pictures up of them in ankle warmers and a kooky hat...”
“**** of the Earth.”
“Yup. Right up there with the women who have 'mummy' as their middle name on Facebook.”
“Yeah.”
“Honestly though, it's the laziest form of charity. Throwing a couple old, mouldy bedsheets out on some bird-**** bench made of wood and ancient farts...”
“It is pretty lazy.” I drank some more.

It was getting late. We swallowed three temazepams each, moved onto the cheap shiraz once we ran out of beer. We leant back in our chairs, barely talking and letting Tame Impala supply the conversation for us.

“You know what?” I ask, pretty much out of nowhere. His eyes have narrowed. He's not sleepy, just ****** on ***** and tranquillizers. He takes a moment.
“Huh?”
“From what you were saying earlier... you know, about the bedsheets over the benches in the church yard. For the homeless.”
“Yeah?”
“Well, why don't you?”
“Why don't I what?”
“Burn it down.”
“The church?”
“Well, you go on about being lazy and ****. Here's your chance. Help the homeless. Break the locks, pour the petrol, take out a few bottles of wine if you find any...”
“Now?”
“I guess so. Homeless folk are dying of pneumonia out there. Not a second can be wasted.”
“I dunno. I didn't mean I had to do it. I was just saying...”
“I guess they were just saying too.” I felt like I was being a ****, so I changed the subject to women I haven't laid.

I stumbled home leaning on my bicycle all the way. Daylight was just about visible off in the distance. I passed two homeless guys on the way back, gave one of them a fiver, the other one my big mac and the last of my cigarettes (well, leaving a couple for myself).
They said thanks, god bless you, etc, etc. I carried on walking.

I woke up the next afternoon with a mouthful of sand and in desperate need of a hangover ****. I hadn't shaved in about two weeks and there were dark circles under my eyes. I thought about going out to the diner for a full breakfast, but strange people were beyond me.
I ordered a pizza full of meat and grease and garlic sauce instead. I text him to see if he wanted to come over and nurse the hangover with a little ****. Watch a film. Get drunk again. He still smokes it on special occasions, and this ******* of a hangover was pretty **** special.
No reply, and I end up rolling up a joint for myself, smoking it by the window and watching the magpies peck around the grass. It's nice out.

The pizza guy comes. He's holding the pizza up like a map, calls out in a bored sort of voice: “Hello sir. I've got a large Palermo Pizza here, with a side of chicken strips and a can of Dandelion and Burdock?”
I say yes and he hands it over.

I tip him with the coins still left in my wallet from the night before, and he sheepishly says he picked up my post for me as well.
I look down at the pizza I'm holding, and there's a few envelopes that look suspiciously like bills, rival takeaway leaflets, and the local paper. I say thanks, give him the best sort of smile I could, and then close the door.
I turn on the TV. I forgot the England match was on. I turn over to something more interesting. There's nothing, so I switch back over. Before I open up the pizza, I take the paper. A small-town existence, nothing ever happens, but I could do with a new job.

The front page is on fire. A church has been burned down in the early morning. A forty-something man has been arrested and then taken to hospital for severe burns to the face. A load of children's art has been lost, along with countless Bibles, prayer cushions, and vaults of cash.
“****.”
I read through the article. The whole place was gutted. Nothing could be salvaged. Nothing could be redeemed. In the corner of the picture, through the red, green, and blue dots, I could just make out some bedsheets over the benches in the church yard. For the homeless.

So the only thing you lay claim to
is you are a poet.

He was referring to my CV
where it was mentioned boldly
the art I dabble in.

But that’s no skill
shrugged the questioner
doesn’t hone your ability
in finance management
or marketing strategy

can’t fetch one good deal
for the company
your poetry

but to be frank with you
I too wrote a few
only to dump before it got me
your poetry

otherwise I fear
I would not have been here.

Outside were faces in nervous wait.

I wondered if among them
was another poet!

They're ... TRYING IT ...
They're ... " Playing TRICKS " ... !!!
  
They're Doing Things ...
To Make Me ... QUIT ... !!!
  
"Your role will change,
we'll re-arrange,
your work schedule,
and change your day !"
  
These Are Things ...
The LIARS ... Say ...
  
LIARS ... " In " ...
Todays' Workplace ...
  
Those Who ... LIE ...
For ... "cowardly types" ... !!!
  
Those Who Wear ...
NICE ... Corporate Ties ... !!!
  
Now Things Are ... "TIGHT" ...
Their Plan ... Takes FLIGHT .......................
  
"Lets get rid of  
some troublesome guys !
What we need are
YES MEN types,
and of course,  
let's have more whites !
Let's remove, those dark skin types !
Clever ones, who've got some fight !
Turn the screws, let colleagues loose,
even let some give abuse !"
  
They Should REALLY ...
Be MORE.......................... "shrewd" .............
Before They're ON ... YES ...
  
Channel Four NEWS ... !!!!!!
  
cos' My ... " Patience " ...
Has ... RUN OUT.
  
This Is ... REAL ...
There Is NO DOUBT ... !!!
  
"Managers have gone down south,
because Big Virge, has left a rout !
Punching many, in the mouth !
That young man, sure has some clout !"
  
This Is ALL ...
Because of ... THIS ...  
  
..... "***** Games" ......
and subtle ............... " Tricks " ...
Just To Put Me ... "In A Fix" ...  
  
"Virgil, you'll start at 8.30 !"
  
"WHY WHEN I NOW  
START AT 10 !"
  
"Come on Virgil,
don't get shirty !"
  
"CHECK My terms of employment !
I think you'll find, that it's been signed ?
Right down there, on the dotted line !"
  
"Well, I can't say,
too much on that ?"
  
"It's cool, I know you
want me out !
Don't try to defend !
My working here, is near an end !"
  
"It's a job i've got to do !"
  
"Yeah OK, you stupid fool !
Those above, are using you,
to do the deed, that they know they can't do !
Push me out, without virtue !
I'll be looking, BELIEVE ME !
Can I have my old CV ?"
  
"Sorry, but we didn't keep,
a copy of your old CV !"
  
"You are kidding me !
You don't hold a copy,
of my CV ?"
  
"The system then,
was pretty bad,
CV's had, strange locations ?"
  
"You should be, locked in prison !
Things like that, have no defence !"
  
"It is NOT, personnel's duty,
to take care of ANYONE's CV !"
  
"Whatever, are you done with me !"
  
"NO Virgil, you're not happy !"
  
"What do you expect,
when you're messing with me !
Hours i've done, have proved loyalty !
You don't give a ****, about things I need !
You people are a really sick breed !
All you do is live for greed,
and to USE, people like me !
Power Trips, and THEIR Money !
YES You fool, can't you see ?
The cash you make, compared to theirs,
Those who have, controlling shares !
Keep on doing, what you do !
One day it, just might be YOU ?
Facing someone, pulling stunts,
who will stress you, just for fun !"
  
"DO WHAT'S RIGHT
Why be SO THICK !
  
Can't You SEE ... ?!?
  
"They're TRYING IT ... "

Dear Miss *,
We regret to inform you that unfortunately at this time we do not have space for you at our company.
Yours,
Xxxx xxxxxxxx

Dear Miss *,
We regret to inform you that unfortunately at this time we cannot offer you a place with our company as you are under qualified.
Yours ** xxxxx

Dear Miss *,
Thank you for your application. We regret to inform you that you are over-qualified for the position.
Yours,  xxxxxxx ***

Dear Miss *,
I don’t think so love. This isn’t even a letter, this is my managerial position on you handing me your cv.
Cheers, bahbye now

Dear Miss *,
This isn’t really a letter either, but despite how un-pc this is, we can’t hire you due to your gender.
Thanks anyway, save your paper.

Dear Miss *,
Thank you for your application, unfortunately we had stronger applicants.
Yours, etc.,  aaaaaa aaaaaaaaaaaaa

Dear Miss *,
Thank you for your application. Unfortunately we are not hiring at the moment even though we had advertised the job you applied for.
Yours, xxxxxxxxx xxxxx

Dear Miss *,
We had left it between you and another applicant, and couldn’t decide so we flipped a coin, and she won. You’re a lovely girl though.
Yours, fffffff ffff fffff

Dear Miss *,
I refer to your claim for Jobseekers Benefit/Assistance at VVVVVV’s CCCCCC local office. Jobseekers Benefit/Assistance claims are subject to periodic review, consequently, I would appreciate if you would attend this office for interview on the 31/17/78 and bring the following :
1. Proof of Identity (i.e. Passport or Driving Licence or Long version of your Birth Certificate)
2.  Proof of Residency (e.g. Letter from landlord/ Rent Book/ Lease/ Mortgage Receipt/ Letter from Parents + Household Bill)
3. Written Proof of recent job applications and replies.
4. Proof of job applications made through FAS
5. FAS courses applied for.
6. A copy of your Curriculum Vitae (CV): unemployed from
7. If your spouse/partner is an adult dependent on your claim, please bring his/her GNIB and Passport/Travel Documents.
Failure to respond to this letter may lead to suspension or disallowance of claim.
Yours sincerely,
* *
Local Officer

There comes a time in everyone’s life, normally when you are looking to change things, that you are forced to face up to your CV.
The polished version of your education and work history that doesn’t say apathetic waitress or universally majorly clueless.
Short dates and places you would rather forget, because what can you really accomplish in 21 years?
A patchwork middle-class family and a muddled youth and disdain for high-school left me without the series of hot-winded, rattling extra-curricular. I wonder if I should put my suicide attempt of two mental breakdowns on this thing. Or maybe the abuse I got from my father.
No, that translates to empty job titles and a lack or accolades.
Perhaps my travel and brief flings with European cities I fell madly in love with yet dizzied in the concrete container.
What about being a hopeless romantic and being completely terrified of love?
No, perhaps not.
Ability to make puns? Or little children smile? Or memories entire poems? Cheer up depressed friends? Zany sense of humour? Ability to swear in Russian? Freestyle rap? Cook a meal in 10 minutes?
No

The start platform for a life with no direction or destination unknown?
Well, whatever sounds better…
An impression of me. In black ink and paper.
Stupid CVs