Girl on a Liner

This is the body’s way of handling emotion.
I am dreaming a lot about voyages.
Mostly I can’t remember them. There is something spilled
in the background (they say it is a house).
I wrote, Nothing in the outside world is changed,
to ward off the catastrophe. I am in a beautiful place
with birdsong and which smells of flowers; yet,
everything is very skewed. I loved you, but not in a pure way.
Something kitsch could break my heart so thoroughly.
Why should it not? ‘”What do you want?” is not a simple question!’
I say, again, or am I shouting. But you must know,
they said, calmly and like a very light breeze.
You must have some idea. What’s that noise?
I expect it’s the sound of the train breaking down.
Does crying age one? If so I suppose I’ve become very old.
In the dream there is something hard he is asking me
(my father) but it’s vague…it’s vague. I examine my face
in the morning. It is only partly like hers.
I watch the water pour out of my eyes; there was a feeling
but I wrote it down and it ceased to be a feeling,
became art. ‘”I am afraid of…”‘ the explained,
‘might be better rendered as, “There is a fear of…”‘ Then
I get confused-stroke-scared, looking at the shit-coloured night,
and there’s a curt wind at my back and I’m crying again,
crying with the relief of not being loved. Whatever it is
will reveal itself,
but I feel like that grubby place
beneath the door handle, the place everyone touches
as they leave. Sometimes the world goes very hard
and cannot be got into; I slide off its surfaces
and I am trying to take in air, or trying not to.
I cannot believe I would conceive of doing that to you.
In the house she is very plaintive and timid, bereft,
and goes into a room off a long corridor,
making mournful noises. I feel terrible. I’m standing
on the edge of nothing, with a handkerchief,
in a ballgown, and I am waving goodbye to you all.

 

Emily Berry is a poet, editor and occasional prose writer. A fellow of the Royal Society of Literature, she is the author of three poetry collections published by Faber & Faber. In 2008 she was a recipient of an Eric Gregory award for poets under thirty and her first book, Dear Boy, was published to great acclaim in 2013. It went on to win the Forward Prize for Best First Collection and the Hawthornden prize, and was followed in 2017 by Stranger, Baby, which explores the loss of her mother in childhood. Stranger, Baby was adapted for the stage and has been translated into Swedish by Jenny Tunedal as Picknick, Blixt (Ra mus vo rlag, 2019). Her third collection is Unexhausted Time (2022), a Poetry Book Society choice.

Emily has a PhD in Creative and Critical Writing from the University of East Anglia, exploring contemporary elegiac writing, as well as MAs in English Literature (from Leeds University), and in Creative and Life Writing (from Goldsmiths). Between 2016 and 2022 she was the editor of The Poetry Review, the UK’s leading poetry journal.

In addition to her poetry, she writes sleepcasts (bedtime stories) for the meditation app Headspace. She is a co-writer of The Breakfast Bible (Bloomsbury, 2013), a collection of recipes and breakfast miscellanea; and author of the lyric essay ‘The Secret Country of Her Mind’, about agoraphobia, dreams and the imagination, which appears in the artist’s book Many Nights (2021) by Jacqui Kenny. She lives in London, where she was born.