Charlotte Gann
Rooftops glisten blue. The single, yellow, rectangular,
lit window harbours a malevolent presence. The figure
passing beneath the streetlight has a blue face as he
turns. The single, yellow, rectangular, lit window hides
a malevolent force at work. The cobbled street is black
and shines, the moon-grey hill blunt and blind. Rooftops
glisten blue. The single, yellow, rectangular, lit window
houses a malevolent presence. The cobbled street glows
black and bright. The blue hill, rising in a wave,
streams purple. The pub, locked up at night, houses
a thousand crimson secrets. The frosted glass above the bar
reflects only emptiness and shadows. Rooftops glisten blue.
The single, yellow, rectangular, lit window harbours
a malevolent presence. The figure passing beneath the
streetlight has a blue face as he turns. The cobbled street
is black and shines, the moon-grey hill blunt and blind.
Rooftops glisten blue. The blunt hill, rising in a wave
above the town, streams purple. The single, yellow,
rectangular, lit window hides its malevolence. The single,
yellow, rectangular, lit window houses a malevolent
force at work. The moon-grey hill, rising in a wave,
streams crimson. The pub, locked up at night, houses
a thousand criminal secrets. The frosted glass above the bar
reflects only shadows. The single, yellow, rectangular,
lit window houses a malevolence. The blunt hill rising
in a wave above the town streams crimson. The single, yellow,
rectangular, lit window harbours a malevolent presence.
Charlotte Gann’s pamphlet, The Long Woman (Pighog Press), was shortlisted for the 2012 Michael Marks Award, and her first full collection, Noir, is forthcoming from HappenStance in late 2016/early 2017.