Militant Thistles

polemical poetry to prickle the politics of "permanent austerity"

atos Poor Doors Sheriff Stars spikes

thistles stretch their prickly arms afar

Black Triangle bedroom tax Disrupt and Upset

Ken Champion

Marx In The Park

 

 

He bumps into a bench, jumble of books, papers

under his arms, sits beard on belly, stares at a tree,

found himself in Starbucks an hour ago looking across

to a golden M, people dressed oddly, shouting at things

held to their ears, giving strange money to bargirls,

bitte, wievel kostet, prosze, familiar accents, looks

at a book, frowns, shakes his head, it’s the translation,

No, he didn’t say that, picks up a news-paper, stares

in disbelief at page three, on four a picture of Bush

on his first visit to Asia and somewhere before

Gazza ‘Aza Dazzler two lines that say India

gets a McDonalds - did he not say the state is but

a committee for managing the affairs of the bourgeoisie?

 

Thinks back to his coffee, gazing out the window,

vehicles flashing past posters   my  ipod   my  music

my life   smiles, lips shape the words technological

determinism, looks up, pink clad chavs all around him,

aggressive blind eyes, tight pony tails, point at him,

loser, they chant, loser, fuckin’ loser.

Ken Champion is an internationally published writer and poet whose work has appeared in literary journals in the US and extensively in magazines and anthologies in the UK. A volume of short stories, Urban Narratives (2013), two novels, The Dramaturgical Metaphor (2014), Keefie (2015) and a collection of poetry, Cameo Metro (2014)

have been published by Penniless Press Publications.

A pamphlet, African Time (2002), chapbook, Cameo Poly (2004) and a first collection, But Black and White Is Better (2008, reprinted 2010) are published by Tall Lighthouse. He is a South Magazine Profiled Poet and a reviewer. A selection of his poems and fiction can be found at The Poetry Library and at www.kenchampion.org.uk. Ken lectures in sociology and lives in London.

Cotton Documentary Short: Visuals

 

 

titles, intro and music agreed, commentary under discussion      

long-shot London Bridge, morning rush hour; slow zoom

to walkers clothes: shirts, jackets, trousers; dolly up to grey

sky, merge into blue; lock down on white-tinted landscape;

mid-shot of head-scarved women filling baskets, grinning

to camera through mist of candy floss cotton; pan right

to plantation owner’s beaming face, arms paternally spread

shots of females showing bruises from overseers’ sticks redundant

 

 

cut to rolling lorries, drivers’ thumbs-up from cab windows

to roadside camera; close-up of auctioneer’s hammer; shot

of clapping bidders; mid-shot of looms, shaking, sifting haze

becoming thread; cut to rollers pressing out cloth; long-shot

of goods trains silhouetted against a tropical sun

grip’s  pics of 24 hour-shift drivers asleep at wheel not needed

 

 

aerial long-shot (helicopter) of slowly turning container ship;

upward arc of dockside gantry swinging container onto

truck; fade to exterior of shining new factory - CGI - trucks

unloading; cut to interior, young women, hair in buns,

chatting at machines; close-shot of spread fingers

positioning pockets, hems, labels; fade to reverse zoom

of opening shot, but with sunny sky

closing credits as agreed

gaffer’s snaps of needle-pierced fingers

and footage of smiling soldiers at gates pretending to shoot him unwanted

 

Nike interested in product placement