Roger McGough live by Adam Horovitz

Roger McGough Live review by Adam Horovitz

The Subscription Rooms, Stroud

Saturday, July 19

Roger McGough, Liverpool poet and chart-bothering pop type with The Scaffold (a cross between "...Atomic Kitten and Oasis..." apparently), wowed Stroud last weekend with a delicious reading from his superbly accessible poetry, much of it from the latest book, Everyday Eclipses.

The joy of McGough is that his poems, new or old, sound as if one has heard them before, a long time ago; it feels like being reunited with old friends every time he reads. He's aided in this by his voice - a droll, sober lilt that cohabits with nostalgia, sarcasm and surrealism equally happily.

His set is sublimely planned - moving from poems on his Liverpool upbringing to poems about his children and finally poems about death - yet it feels spontaneous. The same could be said of his poetry, which takes complicated forms, such as a villanelle in celebration of mothers in leather trousers ("Blessed are the children and lucky the spouses/Who live with Mothers in Leather Trousers."), and themes, such as the awkward nostalgia for youth, and makes them feel like a particularly enjoyable discussion.

Poetry is supposed to be heightened speech, a trait most apparent in McGough's writing. He takes the rhythm of everyday Liverpudlian banter and condenses it into something affecting and memorable - his insistence that his parents read to him "...by the light of a blazing factory..." is a case in point.

It is Everyday Eclipses, the title poem of the new book, that perfectly captures his appeal though. Commissioned to write a poem about the total eclipse a few years ago, he turned in a celebration of the ordinary, the routine, that points out the extraordinariness of life: "In the fruit bowl, the orange rolls in front of the peach/Every day eclipses another day."

One thing is for certain; few poets eclipse Roger McGough's warm, tender and affecting wit.

(This article originally appeared in the Stroud News And Journal July 2003)

© Adam Horovitz

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