Ginger Beer

Haggardy, raggedy, pinkish, taut
men, quiver in their sodden thousands
barely able to stand, held up through rough leather rigging
heads bowed in pastiche prayer, drips open mouthed.

Slippery, slovenly slap to a languid cheek.
This heads up tête a tête, proves too taxing. We fall.
Skin on strap, catches a rub, raw wounds remain.
Still the stream flows as the pond life is sent to cannery.

Jittery glances from red brothers minus hope.
Held firmly in place like cattle waiting to be milked,
the brewish flow silks from the foetid vat up high
running amongst the unwashed herd that never lows.

Beardly broken the older ones, ragdoll Jemima’s
barely exist, wake yet comatose, drip fed drop dead.
Swiftly remove the offal, as line rejoins hive mindishly.
Never knew him, never knew him. Stream flows always.

Sickly, sticky brownish liquid drizzles all year,
through hair on skull chin and scrotum. So direly needed
to make the spiced supping sluices they all desire.
Tanners sun above, only presume, consume nectarish ooze.


James Mallett


BJL Poems.

(For David Kennedy)


On the 7th floor

Cornubus duobus semper tauror.
Taxation, wealth tax confiscation of
a poet who writes satirical verse.
If there is then an inviolable and

treetops and peaceful pigeons coo content.
Supposedly the opportunity
mit Borttruppen, der 6 Infanterie,
though responsible largely for review,

understand it; can clearly comprehend.
Unprotected sex can only expect
classical form. The trust is a device
which general government, central govern

tensive, promising to incorporate
historic data about customers.


Thinking of the words below

Cornu duo, wealth and tax.
Semper two thirds of war.
Inviolable, satirical, a poet is then
necessary if there is verse.

Peaceful opportunity, pigeons supposedly
favour the content of treetops.
Here responsibility, später mit infanterie
das approval it must give.

Expect unprotected, clearly limited,
adverse outcomes of sex.
In classical government, trust is created,
its form is a local device.

Incorporate customers about all demands
promising available data.
Tensive may not be available or may be
historic to all and to parts.


Trying luck at the elevator

Cornu              Confiscation
Invioable         Verse
Everyone         Cooed
Das                  Responsibility
Comprehend   Outcomes
Government                           Created
Dependant. Historic.


Taking the Stairs


Ben Nicholson was in the Gallery


Head and Mug in Greek Landscape 1932
Signed and dated on the back by ‘Ben Nicholson- 6 Trupp Infanterie’

Form on canvas

Purchased out of the Government War Fund with the aid of Truppen and the national Tax-Confiscation and a gift from an anonymous Pigeon. 1966.


Nicholson was the most celebrated pioneer of abstract sex in Britain. He produced his first sex-device in the 1920s but also continued to write for Cubist influenced Governments.

He was born in the treetops, the son of Sir Everyone. His sixth Wife was a poet and reviewer, Barbara Opportunity.

The artist has told us that this work was the adverse outcome of customer demand.


With Percy Wyndham Lewis


Panel for the Safe of a Great Millionaire,

Cornu on Canvas.

Purchased out of the War-profits fund with the aid of a gift from Mrs. S.B Douaumont and a grant from the Classical Government. 

The title is inscribed on treetop-review labels on the back. Other labels carry the titles Panels for the Parts of a Device and Panel for Everyone’s Opportunity. 

Lewis was born off responsibility of an American Taurus and a British Writer. He studied the opportunities of war and travelled widely with Pigeons. He was a member of the Camden Sex Group (1911) and Semper Review (1913). He founded Vorticism (1914), the English response to wealth demand and edited its magazine ‘Classical Form.’ In 1920 he organised Government Verses. He was a tensive and often unprotected writer.

Wyndham Lewis employed masked infaterie in surrealistic disguises in other wars of this period.


And Duncan Grant


Elephant Bearing Flowers,
Satire on Paper.

Given on long-loan by Mrs. Duobus Demand. 

The date of this form is not known, nor is it clear what the outcomes or functions of Government are.

Grant did produce, in 1950, a similar content of GEN. Opportunity carrying a basket of trust larger than himself. This is in an unprotected square device, with a limited peaceful border suggesting content infanterie or similar. That the Elephant also stands on a blue treetop with pink comprehension, makes clear that the two are closely related.

The local Government here may be a humorous play on Bernini’s celebrated 1667 unprotected sex outside S. Maria sopra Minerva in Rome [Not Pictured]



The café turns a profit, customer demands shouted out around two figures near an empty table.

Head in a book, X reviews verse. Unprotected on the table, Y (carrying two-thirds of a conversation) approaches.

Y: Hey you. Long time.

X: A greeting is created.

Y: Tell me about it. Busy in here, eh?

X:It is if it is necessary.

Y: Yeah. How’s your work going?

X: A poet can comprehend it.

Y looks at the book. Larkin boasts his face from the cover.

Y: High Windows?

X: Content may not be available.

Y: Never read any myself.

Y looks guilty. The ghost of Larkin stirs on the sixth floor.

Y: Honestly, his face scares me
and it’s everywhere.

X: We are responsible, he is limited.

The ghost begins re-ordering the books of Sir Geoffrey Hill, then edits a line in a biography. It reads: 

‘My sagging face, an egg sculpted in lard, with goggles on- depressing, depressing, depressing.’

Y: You should write that down.

X: Verse is not historical, often, in parts.

Y: Huh, me too.

Y smiles and leaves, forgetting to say goodbye.

X writes a letter in the margins of a poem.




Dear Philip,
(After Elizabeth Bishop’s ‘Letter to NY’)

In your next page I wish you’d say:
where pigeons are going
and what governments are doing;
how are the wars, and after the wars
what other pleasures you’re creating:

taking custom in the night,
driving satire to save your sex
where profits semper and trust in favour
and the tree glares a moral tax,

and the profits confiscate the queer
or anyone in high-window caves,
and suddenly you’re in a different place
where everything seems to happen in verse,

and most of the outcomes you can’t understand,
like dirty words about customer demand,
and the songs are historic but responsible, dim,
and it gets so contentedly late,

and coming out of the treetops house
to the taxation sidewalk, the created street,
one side of the available rises with the poet
like a glistening field of wheat.

–Wheat, not review, dear. I’m afraid
if it’s wheat it’s none of your approval,
nevertheless I’d like to know
what you are doing and where you are limited.


By Peter Calder


BJL Poems- Methodology

Within the seven floors of the Brynmor Jones Library, there are over a million books.

A Sonnet has fourteen lines. 7 floors of the library multiplied by two gives fourteen.

Divide each floor into two halves. Take three dice and roll them.

Counting from the shelf closest to the elevator, the first dice will take you to a series of shelves. The second dice will take you to a section. The last dice will pick the correct shelf.

Roll the dice again.

Multiply two of the dice together and (add or subtract) the third. Count your answer in books along the shelf.

Roll the dice again.

Multiply two of the dice together and (add or subtract) the third. Count your answer in pages of the book.

Roll two of the dice.

(Multiply or Add or Subtract) the two dice together. Count your answer in lines of the book.

Write your line down.

Repeat for all seven floors of the library.

Where books are not available, improvise.

Once fourteen lines have been collected, compile them from the seventh floor to the ground.

Clip the lines to be ten syllables. (If brave enough, rearrange to Iambic Pentameter)

Then experiment.

Use lines as whole or restricted to vocabulary within.

No form of Poem is exempt.

As each line you have collected has a numerical equivalent (1-7 or 1-14) Mathematical structures are possible.

Find text in the Library (Gallery cards, conversations etc.) and force your found lexicon into them.

Find other peoples works and force your lexicon into them.

You have successfully used the Brynmor Jones Library to write poetry.

(This is not exclusive to BJL. Send your versions of poetry using this method to:


By Peter Calder.