in a world of disorder and chaos,Claire Thom
we plant poems
on pages. Seeds of hope
as a way to cope.
‘Hope is a Group Project’ is the debut anthology of The Wee Sparrow Poetry Press, featuring 98 international writers alongside original illustrations by Colin Thom. It is an inspiring and revealing compilation
Ebony Gilbert, writing in the ‘Foreword’, states that she has always loved it when a ‘heat wave brings people together’, noting that ‘shared difficulties almost force connection’. Although a grimly prescient message in a world of climate catastrophe, the statement reveals something fundamental about the anthology’s purpose and power. Hope is both personal and collective, and a poetry anthology that collates almost one hundred unique perspectives is a wonderful site for its many contradictions to play out.
Hope is often linked to faith. It exists as a substitute for certainty: ‘When we do not know | we must lean into hope’ suggests Kate Phipps in her contribution to the anthology. Serendipity brings together the tiniest of protagonists in Robert Edwards’ poem, ‘Two Grains of Sand’, with the poet describing the journeys of ‘Two fated to live a lifetime together’ out of ‘Countless gold grains, washing ashore’. These two grains will ‘go with the flow’; hope, perhaps, resides in relinquishing control.
But hope can be a decision too, as Emily Tee writes: ‘now I’ve reached a point of crossing’ from which she can choose to be led by the ‘embers of hope’. As well as divine, hope can be banal: it is ‘something stuck in between your teeth’, writes Jerome Coetzee.
Light is a recurring theme. ‘Hope is magic, | a light shining through the darkness’ writes Arjumand Rasiwala. ‘It’s a light so bright | Etched in eyes | Sparking the dull and lost’ adds Madeleine S Cargile. Or, for Satya Bosman, it is ‘the sun peeking over the | clouds’. In Agrene Bouwman’s ‘Icarus’, hope is strikingly described as ‘Elysian light through medieval glass’. With light comes lightness: Lisa O’Hare in ‘M. I. A.’ expresses hope as arriving ‘Out of nowhere | Radiating a lightness’.
Nature – and the promise of a better future more in tune with natural systems – is a common theme. Sarah Jeannine Booth vividly conjures ‘a forest wreathed in green’. Unsurprisingly, seeds recur too. ‘I keep planting hope’ says Emma Conally-Barklem. Emily Mew, meanwhile, portrays hope as ‘a hardy plant | flourishing in harsh terrain’ but also a bird with ‘gilded wings’ that carries her heart through the night.
Some expressions of hope, however, tip into lazy stereotype. Tim J Brennan contemplates geese, musing that they ‘think not of previous loved ones. | they don’t seem sad, | seem not to think about dying’. In fact, geese are sentient, emotional beings who mate for life and go through a prolonged mourning process, which includes withdrawing from their flock, when their partner dies. Elsewhere, Justin Farley vividly describes the suffering of salmon at the hands of humans (‘fiercely fighting, | desperately trying to snap your line | and swim downstream’) yet bizarrely tries to use this disturbing image as a reason for hope: ‘In the depths of suffering, | joy can still be tasted | by eating the fruits of hope’. Finding joy in the suffering of others seems a difficult message to swallow.
More engaging are the anthology’s more equivocal poems. Hope ‘lingers secretly’, writes Sarah Fawcett. It’s not an in-your-face emotion; it ‘dies so easily | But can never be killed’. Fittingly, the anthology’s subtler poems, those in which hope remains half-hidden, convey more powerfully its true essence. In ‘Capnomancy’, Danielle Gilmour connects burnt toast, a burning planet and President Bush’s withdrawal from the Kyoto Protocol. In this blistering poem, hope is ambiguous and moveable.
Dynamism is also present in the soundscapes of many poems, which build musicality into their body. Hope is a ‘theme song for | Our lives’ writes Jane Hanson. One of the anthology’s best poems is ‘On a January Morning’ by John Birtwhistle. Sight and sound contrast and compel; ‘a leafless oak’ is the unimposing setting for the sonic spectacle: ‘A song thrush breaks into song […] And “I can see its little mouth.”’
The anthology reminds us that hope is powerful. It also reveals its danger. Indeed, hope can be a political tool – for good or evil. In the ‘Foreword’, Ebony Gilbert draws on the pandemic-era ‘clanging saucepans and banging bin lids on Thursday nights’, a symbol of the fleeting togetherness of communities but, more acutely, of the manipulative power of hope. Sadly, goodwill towards ‘key workers’ has not since been converted into a more equitable society.
The major achievement of this collection, then, is its meaningful thematic engagement with an emotion that is rarely treated with much depth. Hope – an overused word and under-developed concept – is central to all our lives. Its absence can be devastating; its presence can be euphoric. It is an ever-changing feeling – a feeling that is both cause and effect. Importantly, it is a deeply personal response to our collective existence, which makes this poetic jamboree all the more worthwhile.
Hope is a Group Project, ed. Claire Thom (The Wee Sparrow Poetry Press, 2022). Available here (all royalties donated to the NGO Project Hope).