The Radioactive Kid
In this poem, the speaker is asked by an unknown voice 'Why do you write the way you write?' By using alliteration and placing this question right in the opening line of the poem, Turnbull immediately sets the context for the rest of the poem. The question is elaborated upon with 'you know, it's dark,' to which the speaker responds physically but not verbally. Through this line of questioning and the first person narrator, the reader may assume that the speaker is Turnbull himself, being asked about his own writing style.
The poem is actually only four sentences winding around five stanzas through repeated enjambment. This particular literary technique creates the flow of Turnbull's thoughts and relays them as if in a story. The second hal of the poem is one complete sentence, which denotes the shift in events as the plot, beforehand mostly descriptive, for example, depicting Turnbull's 'boots soaking up the groundwater like wicks,' and the 'rain pouring down [his] shirt neck in cascades,' moves towards action and outcome. The poem seems to have a fictitious undertone, as Turnbull indirectly answers the opening question without actually speaking. His retrospective inner monologue reveals a story reminiscent of superhero dramas or supernatural fiction.
The temporal setting of the poem takes shape around 'the end of April 1986, around the time of the Chernobyl radioactive explosion, which highlights the mysterious and science-fiction elements to the narrative. Whilst the temporal setting casts the mind to Chernobyl, the location of this memory is named as 'Stainmore.' This disconnect brings the Chernobyl disaster closer to home and draws it out from seemingly insignificant location, Stainmore in the United Kingdom. This could be a comment on the influence of foreign affairs on the rest of the world.
The escalation of events, as Turnbull appears to become radioactive, is highlighted by the alternate rhyme scheme. Although the rhymes are not always full rhymes, they emphasize the pace of events and the thought-process of the speaker.
Turnbull's description of his 'DNA strands,' in the triplet of verbs, 'unfurled, reformed reversed,' emphasized by alliteration, highlights the complete transformation of Turnbull's very core. He is left with three things after this transformation, which 'left [him] whole but with this three-fold curse.' The contrast in tone between the adjective 'whole' and the noun 'curse' pathes the way for Turnbull's subtle answer to the opening question. Firstly, he mentions his 'sense...that something dreadful's about to happen,' which he describes with the juxtaposing adjectives 'wonderstruck' and 'appalled.' This part of the 'curse' seems to pull an emotional reaction from him. Secondly, he has 'a compulsion to tell.' The noun 'compulsion' has strong connotations to duty or a force that is driving one towards an action or cause. He feels the need to tell people about such 'dreadful' things. Finally, he also possesses 'the sure knowledge that no one will listen.' After the former two aspects of the 'curse,' this final revelation seems to fall flatter and has a deflated tone. However, it is a comment on why Turnbull writes as he does, in such a dark manner. His fictional account is a metaphor revealing the reluctance of people to deal with dark matters, such as the Chernobyl accident, and highlights his plight to open their eyes to the darker side of life, so they cannot ignore it.
Getting in Touch with our Feminine Sides
The title of this poem feels particularly disconnected from the narrative presented within. The idea of anything feminine is starkly set aside from the outset, through the description of the 'Transit crew-bus.' As the speaker notes 'the floor was strewn with chainsaws, chains, tools, grease-guns...' the list of nouns depicts a scene with heavily-masculine overtones. These 'tools' and this equipment is apparently useful for the two men, the characters in this poem, in their work. This description, therefore, suggests that they are employed in some sort of manual labour and are perhaps burly, masculine men. This stark juxtaposition to the title begins to shift, however, as the first person narrator reveals his inner feelings, something not typically associated with men.
The narrator hints at his anxiety, first of all by revealing 'I just can't sleep.' This monosyllabic, simple phrase has a more serious tone that contrasts with his through-other actions beforehand, when he describes his preparation for a 'kip.' The speaker states 'I would screw my oil stained Maxproof coat up into a ball...' implying he uses it as a pillow. His nonchalant description is emphasized by the verb 'screw' and the adjective 'oil stained,' which show he has little care for trivial things, yet he cannot sleep. Something is clearly bothering him, which he confirms by saying 'I'm worried sick.'
The speaker's worry is juxtaposed further against the scenery they pass on their way to work. The natural imagery of the 'dew-hung spruce' and 'the towering Sitka' which are 'blue and gorgeous in the warmth of the brilliant, early morning sun.' The positive mood and tone here, created by such adjectives as 'gorgeous,' the association with the color blue and the feeling of calmness, and also the noun 'warmth.' Although the setting contrasts doubly with the feelings of anxiety the protagonist is feeling, he then admits 'it's all so picturesque that I am overcome with a desire / to unburden.' The fact he opens up about his troubles is perhaps the feminine aspect referred to in the title. The ending of the poem, from his revelation onwards, is quite humorous. The dialogue between the narrator and his colleague is colloquial in tone and the abrupt admission 'I think I might have got me girlfriend pregnant,' is met with an equally abrupt 'It's nowt clever, lad. Rats do it every six weeks.' This comical line is not necessarily intended to be funny when spoken by the character in the poem, however it is intended to lessen the impact of the narrator's predicament and is delivered literarily in a humorous manner.
The poem concludes by hinting at the absence of a more caring response, perhaps one of a women, or at the very least someone a bit more feminine. Although this is not directly mentioned, the adjectives 'reflective,' and 'sympathetic' reveal a desire for a gentler and more understanding response. His colleague's response did 'put[...] things into perspective' but lacked the emotion to comfort the protagonist. This contrast between what is present in the poem and what is absent reveals the disconnect between men and their feelings and explains the title, which suggests that men are inept at getting in touch with their gentler, emotional side.
