Hello! Joining me on the blog today is the awe-inspiring, your friend and mine, Andrew James Murray (Andy to those of who know his blog, City Jackdaw), who is here to discuss his third collection of poetry, Fifty, which was published Alien Buddha Press on June 2.


El Space: On my shelf are Heading North and In Brigantia. I’ve asked you about themes before. Again, I’m curious as to how you chose the theme for this new collection, Fifty, and how it relates to your other poetry collections, if it indeed does.
Andy: As my milestone birthday began to appear on the horizon, I thought that it would be nice to mark it with a new collection: fifty poems for my fiftieth year. And so I went all-out Adele and called it Fifty. Adding to this personal theme I used for the cover a contemporary photograph of a block of flats that served as my home for the first eighteen months of my life.
Being just fifty poems long, this collection is shorter than both North and Brigantia. I guess they relate to each other in the sense that, if you read all three in chronological order, they would show my evolution as a poet.
El Space: I marked a number of your poems that were piercing in different ways. Your poem, “Ukraine,” was a gut punch. “Eight Lines, Relenting,” hit me around the throat area. Both reactions signaled a deep emotional place in me that I needed to explore. Can you give us insight into why you wrote both, even if the news stories seem explanatory?
Andy: “Ukraine” was written at the point when Russian forces were massing at the border, just as the invasion seemed imminent. I used corn (which is represented by the yellow section of their national flag) as an analogy for the Ukraninan people, just wanting to be left alone to live in freedom
“Eight Lines, Relenting” began life as “Eight Lines, Unrelated,” but, as so often happens, the poem took on a life of its own. The lines related to each other and the poem became the sum of its parts. It’s me finding myself in this middle period, looking back at where I have been while being aware of where I am heading.

Manchester, home of Andy. Photo by Andrew Murray, © 2023.
El Space: The late Mary Oliver, who was interviewed by Krista Tippett in 2015, cited the poet Rumi as someone she regularly read. Who, if anyone, is someone you regularly read—poet or prose writer? What does that person’s writing inspire in you?
Andy: My favourites, poetry wise, remain the two that I name checked in our last conversation: Werner Aspenström and Kenneth White. They inspire me to create the kind of stuff that I like to read.

El Space: Have to ask you about “Streetlight.” For some reason, the poems in which you mention a child (like “In Her Laughter”) cause me to feel this well of deep emotion. What’s the story behind either poem?
Andy: There is a poem in my first collection called “Midnight July” which was written one cool summer evening while sitting in my back garden, looking up at the stars and wanting to “know the unknowable.” Somebody passed by on the other side of the house and, without being aware of my presence, connected with me through the sound of their whistle. For ‘Streetlight’ I was sitting in exactly the same place and this time the connection came through the sound of a child singing through an open window.

Photo by Andrew Murray, © 2023.
The child that features in “In Her Laughter” was my (then) young daughter, Millie. Looking up at the night sky, she asked, “Does space go on forever because God is still drawing it?” I was dumbfounded. It was so simple and yet so profound, in a Creator/creation line of thinking.
El Space: For some reason, I can’t help seeing you as a night owl and an observer of humanity. Is that a fair assumption? How would you sum yourself up in a sentence? How does that affect your poetry?
Andy: That would be spot on! The short poem ‘Two-Thirty Hues’ explains it:
oil slick sky
the writer’s blues
dreams snatch
me away
from meaning
window lamp
two-thirty hues
the fire inside
still burning
That is me at 2.30 a.m., burning away. It seems to be my creative time. Sometimes, if I have gone to bed at a reasonable hour, I end up reaching for my phone on the bedside cabinet to write a few lines down in the Notes section before they become lost to sleep.
One of my traits is that I can be incredibly sentimental and nostalgic, with many enshrined memories to fall back on. I think that can make my writing more subjective than objective. When writing a poem about something else it can suddenly become self-referential. For instance the poem “Woodsmoke Nostalgia” began as an ode to a typical winter’s morning which then provoked a flashback to me as a child, returning from a walk down a disused railway line to see three dead rabbits—a poacher’s bounty—strung up on an outhouse door. That image stayed with me.

Photo by Andrew Murray, © 2023.
El Space: What will you work on next?
Andy: I’m nearing the end of an oral history project that I’ve been working on for a few years now. It was interrupted by the Covid pandemic and my mother’s deteriorating illness. I put a few things (fiction and non-fiction) of my own on the back burner as this took precedence—I’ve since been to the funerals of two of the people whose stories I’ve got written down. The responsibility is not lost on me.
Thank you, Andy, for being my guest!
Looking for Andy? You can find him at City Jackdaw.
Looking for Fifty? You can find it at Amazon. One of you will be sent a copy of Fifty simply because you commented. Winner to be announced next week sometime!
Author photo and photos of Manchester courtesy of Andrew Murray. Book cover photo by L. Marie. Kenneth White and Werner Aspenström poetry collection covers came from Goodreads.