Surely one of the most neglected poetry collections of the last fifteen years or so, is Bob Mee’s Paradise Road (Blue Fish, 2003). Known to many in the poetry community as the tireless editor of Iota (until he tired of it) and publisher of the redoubtable Ragged Raven Press, Bob spends a significant portion of his life championing other poets. Such generosity is rare in the world of contemporary poetry. As such, there is a deep streak of both humour and humanity that runs through Paradise Road.
I’ve had the privilege of hearing Bob read some of these poems live and many are purpose-built for the upper room of a pub on Friday night. I’ve seen him wrong-foot an audience with a comic line, then deliver the knock-out blow. Comedy of all kinds runs through his poetry, from the slapstick to the darker stuff, but of course, it’s never the only thing going on. He certainly knows how to deliver a line: ‘Bob from the bookshop has eight widows on the go/three of them named Joy.’ The brilliance is not only the specificity, but in the deadpan bathos of the line break.
Bob is not afraid to break the rules – including writing poems about writing. All contemporary poets will be familiar with the two-hundred mile round trip to read to seven people and the compere. And Bob has done his fair share of this, but he’s also hit the big time too, as an author of celebrated books on boxing.
One of his set-pieces here is ‘Doris Lessing at the Harper Collins Christmas Party’ – a prose poem that recounts a disastrously surreal trip to a publisher’s party, after his book on bare-knuckle boxing hit the big time: ‘I don’t know anyone and nobody knows me.’ He’s hardly there ten minutes before he’s back on the M4 heading home, but not before witnessing a surreal punch up at a service station between two skinheads and an old man waiting for his tea, who, it turns out, has a few surprises up his sleeve: ‘The old guy drags up a memory of a stiff jab that’s not a prod or a poke but a real-step-in-behind-it and drill-it through your face jab’. It’s oddly in keeping with the book that sent him to the party in the first place. But like so many of the poems here, the poem has a luminous centre – the beatific vision of Doris Lessing herself at the party ‘in an overcoat with a big brooch and she’s smiling and nodding and her eyes are twinkling.’ This feels so typical of Bob’s work – finding moments of truth and beauty among the comedy and chaos of life.
Other poems are celebrations of both life and poetry, as in the glorious ‘We Didn’t Cross the Road to See Dannie Abse.’ A trip to see the feted poet is aborted in favour of ‘a swift one’ at the Prince of Wales, that turns inevitably into an epic session with digressions on second-hand Volvos, cress and Morecambe and Wise. It’s not that he doesn’t like Dannie Abse or his work – just that the randomness of life suddenly seems more important the other side of several jars.
There’s plenty of technique on show here, and for a novice poet learning their trade, it’s a primer in how to turn an idea into a keeper. ‘The Dinner Party’ uses the repeated line ‘We are not supposed to know’ as the set up for a series of secrets and subtexts beneath the veneer of a middle class dinner party: ‘We are not supposed to know Wilf has an alternative wife in a corner shop in Warwick’ then later: ‘How are we supposed to know any of this… as Wilf cheerfully uncorks another red and/Catherine serves seconds of mousse.’
Then there’s the nurse ‘who unbolts my head and lifts the lid.’ It’s a brilliant conceit and as she ‘plunges in her hand up past the wrist’ she discovers the memories and detritus of a lifetime: ‘sunsets, women and a bottle or three of Barolo.’
If the collection has a fault, it’s only that there’s too much of it. If it was a Beatles’ album, it would be the White Album, or even George Harrison’s triple All Things Must Pass. Again, in the Beatle-esque way, it veers wildly in style and substance, from tender family vignettes, like the Way it Is, where father and son dig potatoes together, side by side, to extraordinary flights of fancy, such as discovering Elvis at a bustop in Texas. There’s an urgent sense of catching up – as if two or ever three collections are bundled into one.
Some of the most impressive work is the sequence written in and about the USA. Atlantic City is a vivid portrait of the State-side Blackpool at Christmas where ‘the piano plays itself’ and ‘the limbless woman lies on a cushion/and plays Amazing Grace on a keyboard with her tongue.’ It’s a surreal culture shock – where Bob doesn’t so much as interpret any of this, but simply presents it back in the spirit of Louis MacNeice’s famous phrase: ‘the drunkenness of things being various.’ Ultimately it’s a poem about loneliness – not just the lost souls ‘dying just a little bit in the backs of cabs’ but his own too, reflecting on ‘distances between you and I.’
Driving, USA is a magnificent road trip of a poem: a version of On the Road, where we get a blurred snapshot of American life: ‘I drive into cities where beggars dance to the tunes of their bones’ and ‘I stop at a gas station and a clown in full make up pours the gas.’ It’s both brilliantly observant and dizzyingly audacious.
But perhaps it’s the simpler, lucid moments where Bob’s poetry succeeds best. ‘Five Minutes Near Milton Keynes’ is a contemporary version of Edward Thomas’ Adlestrop, where he is sat opposite a woman on a train, lost in her own thoughts: ‘The train has stopped again/I count the young birch trees on the embankment.’ He notices her ‘tap her lips with a pen, turn a page.’ She ‘slides her wedding ring up/and down her finger. It’s a moment in time, a freeze frame as the universe hurtles ever outwards.
All this barely scratches the surface of a collection that brims with passion, humour, reflections and regrets. Its all delivered with an élan that few of Bob’s contemporaries could muster, which is why it puzzles me why it’s not more celebrated. I’m heartened to see that you can still buy a copy on Amazon and I can also report that the poet himself is in rude health and still producing excellent work that continues to build on these themes: the solace and stability of family in the face of an increasingly chaotic and inexplicable world.