Brentfield Academy for young ladies was one of those old English Schools built around 1910 to cater for the education of the daughters of the aristocracy and the rich who recognised that girls were potentially just as clever as boys. Their mothers would have supported the aims, if not the means, of the suffragette movement, and their fathers would have gone along with their wives both for a quiet life and because, frankly, they were totally apathetic about the whole question of sexual equality. It was quite close to a leading boys' school which was only two miles away in South West London. In the following Spring, by which time the current sixth formers would have left and be at university, the school was going to be celebrating its centenary. Like many leading schools it was divided into four houses both for academic and sporting purposes. Each was named after a British female monarch; Mary, Elizabeth, Anne and Victoria. The head girl that year was Helena Clarke who therefore was not allowed to be a house captain as well. As it happened the four house captains and the head girl had all been very close friends for several years although in different houses. But the most important thing they had in common was that all of them were earmarked for places at Oxford or Cambridge. Helena was a maths genius and also very good at music. She was hoping for Cambridge. Jennifer Tremayne, captain of Mary House, also wanted to get to Cambridge to read neuroscience but at a different college to Helena. The other three house captains were hoping for Oxford colleges, Sylvia Johnson of Elizabeth to read modern languages, Gillian Watson of Anne to read classics, and Anne McFarland, the oldest one, of Victoria to read geology. All were also senior prefects in charge of school discipline but none of them bothered to enforce the purely venial school rules too seriously. More serious misdemeanours were discussed when they had an official meeting each Monday lunchtime. That week in mid-October they had two serious problems to deal with. One concerned a girl in Jennifer's house and one in Gillian's. Helena, Jennifer began, I really don't know what to do about Pauline ACourt, the captain of the under16s hockey team this year. No fewer than four very embarrassed and scared members of the team have spoken to me in the past week. In all four cases Pauline seems to be making lesbian overtures to them and in one case rather unpleasantly. The head girl looked very worried. Well if there is a blessing attached to any of this, Jen, it's that it's happening in your house. You are by far the best suited among us to deal with it. Of the five of us you've got the most sensible and level head on your shoulders and you're certainly the most emotionally stable to deal with it. If it had been Sylve's house she would just have threatened Pauline with a night out with Justin! All five laughed out loud at this but even Sylvia was concerned at the serious side. Jen, as I see it you've only got one option. Ask Pauline if it's true and if it is tell her to pack it up. Give her a week, but don't tell her who has spoken to you. If during this time any of the four girls report another incident, or when you talk to them after a week they infer that it's still going on, then you'll have to take it to Miss Tarrant. This sort of thing is what the headmistress is here to handle and in our centenary year it is the one sort of scandal which we cannot have in the school. Shouldn't you have a word with her too Hel? The head girl looked doubtful. No I think Jen should deal with it first and then if things haven't improved we'll go to the head together. Is that all right with you Jen? Jennifer looked resigned but agreed. She asked Gillian and Anne what they would do and as everyone thought the same they left it there. The problem in Gillian's house was more straightforward but probably more difficult for girls of 17 and 18 to deal with. A fourteen
This short selection of poems and stories includes some poems from 'Rhymes for no Reason' which I published earlier this year. My main aim when writing poetry or short prose works is either to amuse my readers or to tell a story or point a moral. I have never been able to see the sense in writing beautiful English just for the use of language alone. Hence this selection includes humour, love, sadness, spiritual works bordering on prayers and tales which concentrate on how human emotions affect or are manipulated by different people. I must admit, however, that if some of the works appear forced or unusual I have experimented with different types of rhyming in places. For example, the format in the 'Arranging a Rendez-Vous' was in answer to a challenge that I could not do it. And some of the wistful memories evoked in the stories and verse are based on true events in my life. However, 'What turns him on' is entirely fictional and was written for a flash fiction contest about erotic experiences without using any specifically erotic words. And I am not protesting too much! If anyone were to ask me, however, the secret to writing a particular type of poem or story I cannot help them. With the exception of acrostics, where I write the first letters of each line vertically first and then compose the poem, I have no set way of approaching any writing. My novel James and Jacqueline, which is coming out later this year, is a classic example of someone writing a romance very close to the truth, especially in its theme and setting, but also very obviously a fictitious story. This perhaps best sums up all my work. But as long as you have fun thumbing through this book and reading extracts at random - please don't try and read it straight through - and wanting to re-read at least a quarter of them, then I will be happy.
This small selection from the poems I have written in English in 2012 is aimed mainly at showing how the different styles of versification and rhyme, especially free or blank verse, have changed in the past year. What matters with the poems in this book is that the readers should imagine they are experiencing the stories, thoughts and ideas for themselves alone and not adhering rigidly to any particular metric pattern or established form. The fact that many of the samples are in fact stories is no coincidence. I find that doing a brief resume of a novel in verse first then makes it much easier to write the ensuing book. Indeed the novel I am currently writing, Locked in and Locked Out, is based largely on two of the poems in this selection. As this is the road down which modern poets are meandering more and more, I am happy to be with them on their pilgrimage as I hope my readers will be also. Anton Wills-Eve December 2012.
This small selection from the poems I have written in English in 2012 is aimed mainly at showing how the different styles of versification and rhyme, especially free or blank verse, have changed in the past year. What matters with the poems in this book is that the readers should imagine they are experiencing the stories, thoughts and ideas for themselves alone and not adhering rigidly to any particular metric pattern or established form. The fact that many of the samples are in fact stories is no coincidence. I find that doing a brief resume of a novel in verse first then makes it much easier to write the ensuing book. Indeed the novel I am currently writing, Locked in and Locked Out, is based largely on two of the poems in this selection. As this is the road down which modern poets are meandering more and more, I am happy to be with them on their pilgrimage as I hope my readers will be also. Anton Wills-Eve December 2012.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.