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Cork in Verse | Ana Spehar interviews Jim Crickard

Cork in Verse is a series of interviews by Ana Spehar with Cork Poets. This week Ana interviews Jim Crickard.

Jim Crickard’s poetry is camp, entertaining work that explores culture, sexuality and identity with a hint of colour. In 2020 he was invited to represent Cork in the Cork-Coventry Twin City Exchange, which was moved online due to pandemic. In 2019 he was selected by Poetry Ireland for the inaugural Versify series and performed to a sold out show at Dublin Fringe Festival. He came second in the 2019 All Ireland Poetry Slam Final (and is working through his feelings about it with a therapist). In 2018, he won the Cuirt Spoken Word Platform and was awarded a slot to perform at Electric Picnic. In 2020 his poetry was broadcasted on RTE Arena. A poem he wrote was shortlisted in the 2018 O'Bheal International Five Words Competition, and his work has been published in Automatic Pilot, A New Ulster, and Contemporary Poetry.

When did you start writing?

I started writing when was 16. I had just come out of the closet, my older brother Shane (20) died the same year in a road traffic accident. Looking back, I think I needed space for expression. I started out with a journal before sleep. It was playful, private, and helped organise my thoughts. I’d draw a little picture at the end of each entry. I acted a bit like Virginia Woolf, with a high-neck collar, writing solemnly by candle light. When people write diaries, I think they secretly fantasise them being found and read by the masses.

When I was introduced to poetry in my Leaving Cert, I found it to be a bit stiff and flowery with poets like Keats, which had some appeal, but when we moved on to Adrienne Rich and Eavan Boland I was a lot more inspired. It was seeing people use the art form to represent women and give voice to minorities, and how they both textured their work with the confessional. I started writing my own poetry at the end of my journal entries but kept it secret. After a few years, and my first break-up, I started sharing online on a site called AllPoetry. It was great because there were little competitions between users and when I won a few of them I felt brave enough to share my work on Facebook. A few people were kind, but most were indifferent.

When I started going to O’Bheal in Cork, though, I really felt like writing could have a future for me. Writing and performing alongside other writers really makes it a lot more gratifying and instils the self-belief you need to keep going.

Could you tell us more about your creative process?

I’m always on the lookout for something to play with and tease out until it’s a poem. I write with the intention of making people laugh when they hear me perform. Unfortunately, ideas rarely happen when I’m walking around day-dreaming. I mostly need to sit down and write to find the idea or follow whatever I’ve got on my mind. One of my favourite poems that I’ve written takes a hen party in a gay bar and expands it into a series of images and scenarios that delight me and make me laugh. If it makes me laugh, then I trust that it’ll make a crowd of people laugh. I didn’t start out with that idea of the hen party though, I was trying to write a rather embarrassing romantic poem set in a gay bar, it was for a guy I was briefly dating. Suddenly there was a hen party in the corner. They abducted me with their willy-straws and novelty-glasses, and I followed their embarrassing moments and social faux-pas as they ran around, interloping and ruining the sacred queer-space. I was much more interested in them than the romantic poem I set out to write. I suppose it’s important to trust where the poem is going and let it reveal itself. If I ignored them and focused on the poem I was trying to write then I’d have missed out.

How does the creative process of writing affect your mood?

I’m elated when it comes together. I love when I get into a flow and my fingers are typing as fast as they can and what I’m writing is surprising me. That doesn’t always happen though, it can be slow and boring and the cursor can be blinking in front of me waiting for me to write something.

How often do you write? Do you write every day?

I wish I wrote every day. I’ve heard multiple sources say that that’s the best way to approach it, and I would definitely believe it. I have had periods where I wrote a new poem every week, possibly more than one. I have also had long periods of not expressing anything on the page. The latter feels depressing and I feel my life passing me by. It is this dread I feel that I’m losing precious time to grow and improve as a writer. I rationalise it by reminding myself that I need to work full-time, clean my apartment, cook dinner, which is all true. I also excuse myself by saying that I need to relax and watch some TV or listen to a podcast. I think that writing is the purest of me-time and I’d like to transform my relationship with it.

Can you tell us more about Venus Envy?

I have been known to dress in drag from time to time... I performed as Venus for Pride in O’Bheal. Afterwards I went to The Crane Lane with all of the poets. It was interesting being a drag queen out of context in another bar... People wanted to talk to me, some random stranger touched me as they passed by, and someone confided in me with something they had not mentioned before. There’s a strange power to being in drag. It’s like being a shaman, a eunuch, a jester, who is on the outside looking in. You can say things that you daren’t dream of otherwise, and people love you for it. If I had the time and money to do it more often I would. Drag will always have a special place in my heart, and on my right arm is a tattoo-portrait of Panti Bliss, the Queen of Ireland. I’ve thought about putting more drag queens beside her, but it would be like Mount Rushmore of Drag on my arm. Who knows, maybe I will.

‘Hen Party in The George’

Be careful around the corners, don’t make eye-contact at the bar,

watch out for the mom, she’s on safari, in search of exotic birds.

For a parrot to echo her punchlines,

or maybe a cockatoo,

she’s prowling around the cocktail lounge,

she’s looking for me and you.

The mother of the bride uses her lazy-eye

to her advantage,

she edges into a group of faces with meandering conversation.

Now blocking their exit, unsure

who she’s addressing,

on about her gay hairdresser, how great

he is with the scissors.

“I’ve never had a problem with the gays now myself” she says,

pausing to sip from a pink plastic penis,

pausing for praise.

And one by one, the gays fly south,

migrating to the bar,

to the dance floor, to South-Africa if necessary.

“Snobs” she calls em -

“them gays can be awful touchy.”

All her Christmases at once

when the black crow drag queen

stalking her long legs across the stage,

seven foot tall, in a silver crown of feathers refracting light off the disco-ball.

“Jesus” she says, stealing the

microphone: “you’re looking better than me”

“I should feckin hope so” the drag queen says “you’re twice me bleedin’ age!”

Slowly, slowly, the hen party has pissed off all of the George...

Abandoning punctured plastic husbands all over the stage.

Flashing so many cameras it feels like E.T.’s family has landed.

A gathering parliament of lesbians encircles the hens,

a murder of goth gays come down from their perch

I wonder if they’ve seen Hitchcock’s movie, ‘The Birds…’

by Jim Crickard

Sex in the Housing Crisis

We are the generation of born-again virgins

headboards disturb housemates on shift work,

Air-traffic controllers should be included in rent

to coordinate times to get the ride

Landlords can afford to support our sex-lives

and change carpets once in a while

We are the generation of born-again virgins

Like ships in the night, we work to survive,

but we are no thirty year old cargo boats…

anchored in the harbour, waiting for labour,

we are Ferrari red speed boats

with miles to go before we sleep,

miles to go before we sleep.

We are the generation of born again virgins

Nothing kills the mood like mildew

home-sense is built on the backs of millennials

fumigating probate houses

converted into one-beds

with constellations of mould

and half their salary paid

to make out on an old couch

facing a microwave

We are the generation of born again virgins

If you’re living with parents you can forget it

unless you can face breaking their trust

and explain condoms in the toilet-drain.

We must not forget about our parents sex-lives

afraid their carefully considered bed springs

will be heard by their thirty somethings

Let’s give the government hell for

this inter-generational dry spell!

by Jim Crickard

#corkcitylibraries #CorkInVerse #JimCrickard

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