In Bloom: The Chelsea Flower Show Massacre by Mark Fiddes

A punk energy and an impish sense of fun suffuses this fine new collection from Mark Fiddes. His preoccupations range from the state of the nation to the state of the nation’s pavements in (see The Existence of Dog for more on this). At its centre is the predicament of a revolutionary who finds himself in suburbia, sprayed with ‘Nespresso’ and ‘junk mail.’ He feels, like a Shakespearean fool, that it is his duty to subvert, to out hypocrisy, absurdity and social injustice, albeit with an oblique detachment and stylish intensity.

Chelsea

The title poem sets out the stall, a polite tirade at the money that is threatening the spirit of the Chelsea Flower Show. It begins with a great gag: ‘The butterflies get in for free/like the Queen, ex officio,’ the pay off skilfully executed with the line break. Anger is too strong a word for it, but he rallies against the Prada ha-ha’ in ‘a cash-scented glade.’ The images and brand names come one after another, like the butterflies themselves, creating a kaleidoscopic sense of colour (following Hugo William’s maxim that ‘poems should be full of things.’ The cumulative effect is dizzying – as rich and gaudy as the overpaid guests themselves. I won’t spoil the ending, but it’s a comic tour de force of considerable panache.

At fourteen poems, this pamphlet has a sonnet-like brevity, but is equally compressed with wit and wonder. The conceits are thrillingly apposite and refreshingly original; his wife attempts to stack ‘metallic capsules of coffee/which tumble like command modules.’ A commuter meanwhile darts ‘as a trout over stones smoothed/by decades to a favoured spot.’ There is a MacNeice like air of unreality to the everyday; as if familiarity has rendered it strange and absurd. A dog is ‘more photocopy than dog,’ resembling a ‘Braque cut-out on whipcord.’ At this flower show, high and low culture frequently collide, Fiddes mixing the mythic with the mundane; Orpheus and Rembrandt rub shoulders with George Clooney and Hello Kitty.

At its centre is a beautiful and affecting poem about a father, Sons of the Golden Section. The man is a painter working in ‘a kingdom of turpentine’ who possesses similar anti-establishment views, always ‘marching/against the latest Dunsinane.’ It is about perfection and imperfection and the poem itself has a painterly quality to it. The father is drawn as a magician, a creator, a mythic figure almost, but he has human frailties too, which are now only appreciated as the son grows older himself. He admires his technique as one craftsman to another:

‘He works paint with palette knives
as if colour like a growing thing,
needed pruning and deadheading’

It is a marvelous poem, filled with reflections, parallels, love and fear.

Equally powerful is Have We Won Yet?, an Afghanistan veteran’s hollow rumination on an ill conceived war. His own sense of bewilderment and disillusionment becomes a critique of his home country:

In the terrible clatter of cups and saucers
he hears the chipped symphony of England
officially at peace with everything except itself.

The poem is full of ironies; he notices that the flowers (is he also at guest at the Chelsea Flower Show Massacre?) are the same as the ones that grow in Kandahar; the crippled soldier remembers how he pressed a flower for his Gran ‘in a copy of Men’s Fitness.’

But this collection is never po-faced. Just when it threatens to take itself too seriously, it lapses into absurdity. Ruminations on war, religion and family are the tempered with the levity of This is Not A Scam or Solo Doloroso. The Pontiff and his entourage in A Page of Revelation are portrayed like a kind of holy Mafia ‘in a miracle of flash bulbs with ‘spiritual muscle on either side.’

Elsewhere the poetry is without politics or polemics: ‘From Siberia’ has a simple grace to it, a little reminiscent in tone and construction to John Burnside’s dark lyricism: ‘these geese trail/winter like needles pulling/thread through sailcloth.’

Ultimately, like the flower show itself, the pleasure is not to be found in a single piece, but in the effect of the whole on the eye (and in this case the ear too). He uses the flower show as a metaphor for England: ‘more Abstract Expressionist than picturesque.’ Its ‘reckless foliage’ is hidden beneath ‘a patchwork flag’

There is so much to enjoy in The Chelsea Flower Show Massacre that to quote from it excessively would be to do Fiddes an injustice. Purchase a copy of this intelligent, immaculately tended collection and you will find yourself in the company of a tour guide at once wickedly cynical, bleakly funny and always colourful.

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