Saturday, 6 March 2021

Pitshanger Lane


Mahmud

 

Friend, neighbour, fellow poet. We both lived close to Pitshanger Lane, a village-like area of Ealing, West London, quiet save for the Heathrow flightpath noise pollution. People tend to move here when they have small children due to the quality of the local parks and schools, and then they often stay on after their children have grown up. I first met him before I knew him: 15 years ago, in my 40s, I suddenly decided I needed to get fit. Fatherhood and a desk job had wrapped me into a body I did not want to have. One of my regimes involved exercising in Pitshanger Park by jumping on and off a stone bench. A well dressed man in his 70s with a walking stick and a camera stopped to watch me, and as he passed, said I wish I could do that.  I was to learn this was typical of the interactions he had with the people around him. A kind word usually, but also ready to challenge any behaviour he felt was illogical or flawed.

A year or two later I was browsing the poetry section of Pitshanger Library.  I was struck by how many books in the poetry section were by the same author, unusual since the only other writers were Hughes, Plath, and recent laureates. I started reading them, and was struck by the unusual (for British poetry) themes of the poem: metaphysical, spiritual, taking time to unfold, written clearly with a knowledge of poets such as Blake and Wordsworth, but with also a broad knowledge of texts from other traditions. The books were all published by Rockingham, a small UK press, so I contacted the editor, suspecting Mahmud must be a local.

Within a couple of days I was sitting with him in Café 786 on Pitshanger Lane, and here started our regular meetings. He was a conversationalist of the kind that I had read about but seldom encountered before: a Coleridgean breadth and breeziness, flitting easily between the big ideas (religion, death, politics) to some local and evanescent detail from the street outside. Within a few days I was his ‘son in poetry’, and he soon linked me to Joanne, his daughter in poetry.  I looked forward to our meetings and always wished that they were longer.

Over the years we met regularly, but looking back, not as regularly as either of us would have liked. I had a family, a job, a commute, he had a sick wife and was notably weakening over the years. He replaced his walking stick with a Zimmer frame. One of the pleasures of cycling and walking in the Ealing area was the chance of seeing him and having a chat. On one occasion he told me that he thought Jesus had not suffered enough. I asked why, and he replied that a few days on the cross were nothing on the pains and indignity of old age.  Increasingly if I saw him outside, he would be going to a hospital appointment or medical check-up.

Once the lockdown came, in spring 2020, despite living a few streets away, I could not see him. However, we phoned and emailed, and he told me that he wanted to publish his next and final book, The editor of Rockingham had retired, and he needed help in finding a new publisher and getting the book into print. I sent the manuscript around and rapidly received a positive response from the editor of Knives, Forks and Spoons. There followed a busy period of three-way editing and messages as we formatted and changed the manuscript to fit the requirements of book publishing. By this time, in the summer, Mahmud had suffered the terrible loss of his wife, Pari, from Covid, and he was himself no longer fit enough to proofread.

The book The Journey came out towards the end of the year, with one of his own photos on the cover. I wish I could have sat with him and looked through it together, perhaps reading out some of the poems.  A few days after he received it, he told me he was unhappy about one of the words in the author description. It was not his latest book, he said, it was his last book.

Now that he has gone, his book remains, a monument to his sensitivities and perceptions as one of the few poets in Britain who followed in Blake’s shows, who demonstrated not just as an idea, but as an active being, that all deities reside in the human breast.

photo & text by Giles Goodland

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