In the Home of the Homeless
1.
One window among many
reflects events mirrors rubbish
a broken roof lashed to its frame
collapsing and crumbling as it struggles on
the crowded world of the homeless
the community of the world could offer
the edge appears missing a family nearly recovered
the house stays cold alien hardship returns
to have your roots yanked out from under your family tree
to wander through different times and places
strength ebbs away destitution charity
impressions blur hardship approaches
one essence in submission those people
one essence many differences
fallen absconded overgrown neglected just 'a case'
the times shift and change on the move
'refugees' through circumstance
pressure wears you down constricts you
until aborted hope collides with strength
grit marks fade never entirely
grimy windows in the heart of the city
exist go are strange lonely distorted image
portrait identity 'ghost' living
twisted shadow blamed
the house you can't find can't return to
the hope that sustains the dream that warms
under the flyover pavement have mercy
image fuses eroding love
possessions gone roads closed promises broken
can't go forward can't go back trapped
public place packed with the poor
the centre cordoned off
'refugees' through circumstance
melt into disarray
Sanam Luang Park* trespassed altered
expands into every corner of the city
2.
look around aimlessly against the world
instinctively connected release
rubbish mounts cast offs abandoned
destitute deprived humiliated
looks unsettled like an unfinished house
dream no further than a home
a road an alley a side street like a sign
nothing is what is seen
* Sanam Luang is a large public park in the centre of Bangkok that became 'home' to a large number of homeless people who were then 'cleansed' from the area.
In the House of the Homeless
1.
One window among very many lots of them
reflects events makes visible the dregs reflecting back
a fraction tied to the structure partly covering it
falling down as well as crumbling with a fight to the finish
the world of the homeless so very many
the community of the whole wide world can offer
appear the edge missing a family just restored
the house remains cold almost like something else hardship returns
(to) have your roots yanked out from underneath your home tree
to roam about in many times and places
strength leaves you destitute charity
reflections overlap hardship nears
one substance in submission that group of people
one substance in the many incongruities
fallen left behind overgrown neglected a case
the area shifts and changes on the move
refugees by culture connection
pressure bows you down embrace it
until aborted hope collides with strength
dirty salt marks fade away not concealed entirely
dirty salty windows in the middle of the city
live are go strange lonely a distorted picture
photograph name 'ghost' living
disfigured shadow criticism surrounds you
the house you can't return to can't find
the hope you depend on the dream that warms you
'under the expressway''pavement' have mercy forgive
the whole picture fuses deeply eroding love
all assets gone all ways closed agreements ended
(you) don't get there can't go back in a trap
'public place' packed with poor people
the centre forced into a controlled area with a border
refugees by culture connection
melt into great disorder
'Sanam Luang' trespasses shifts changes
expands and grows covering every corner of the city
2.
look without direction opposed to the whole wide world
true connected instinct release
rubbish piles up old things lonely waste
really hard up impoverished appears humiliates
looks untidy as in the new house in disorder
(you) dream no further than this 'I want a house'
a road an alley a side street looks like a sign
makes apparent protests accustomed eyesight
Angkarn Chantatip’s poems are quite distinct from those of all the other poets on our website. His translator, Tracey Martin, thinks this has something to do with the way that Thai poetry hasn’t engaged with poetry in translation to the extent that’s occurred in other literatures and so it’s retained its very particular flavour.
In some ways, his poems can seem like Modernist experimental poetry, where the reader is forced to make connections between disparate images. Yet, Angkarn’s poems are less self-consciously insistent than high Modernism. Instead, his suggestive, deliberately unexplicit imagery seems to be a methodology chosen to express his tactful approach to complex issues.
This poem, concerned with homelessness, is an excellent example of the success of his approach. Many poets would stray into mawkish sentimentality or dogma if they tried to take on this subject, largely because they might not be sure about how to position themselves in relation to the homeless. But Angkarn’s understated method allows him to express deep knowledge of and sympathy with the plight of the poor without pontificating.
Sarah Maguire, Workshop Facilitator