Richard Harrison - The truth and the story from Sarah Howden on Vimeo.
Richard Harrison explains how metaphors combine truth and falsehood.
Wednesday, 17 December 2014
Tuesday, 16 December 2014
Kerry-Lee Powell discusses how the extraordinary story behind her poetry debut, Inheritance, shaped her formal decisions:
The collection centres around a shipwreck endured by my father in the second world war, his subsequent struggles with post-traumatic stress disorder and suicide. I wanted the collection to function as both an elegy and a love letter to the world that made and destroyed him. The subject matter imposed a number of constraints and meant that I was working with a subdued palette. Much of the rhetorical flamboyance that I admire in my fellow Canadian poets would have felt out of place. As the book approached publication, I became anxious about the emotional intensity of many of the poems. But it struck me that the forms needed the emotional intensity, would have been just so much dead wood without that heft.
I am a sound-oriented writer, and tend towards rhyme and slant rhyme and hard Anglo-Saxon stresses even in my fiction. I felt that working with older forms suited the outward theme of the collection. But there were other qualities, the doomed logic of the sonnet, the obsessive-compulsive repetitions of the villanelle that seemed ideally suited to the subject of mental trauma.
I don’t necessarily see myself as a formalist. Part of the pleasure of poetry for me, whether it’s free verse or conceptual or formal, is to find the patterns and constraints in any given piece. Are they conceptual, tonal, emotional? Where are the weights and balances? I find it hard to appreciate poetry that is shapeless or has too many false notes.
Monday, 15 December 2014
Sunday, 14 December 2014
The secrets of losing recede until regret
is the only expression: instruct in error,
in the luck that flung you into wonder.
I've held you evenings in a briarpatch,
spitting lullabyes that permit a temporary claim.
Song of diamond, ease, mortal wound, the shared cry
that you were never mine as I am not yours.
Fathers distinguish love's night terrors from dreams,
years on. Your own sons will long
for bedtime stories, and you too will spill
the secret I'm trying to tell: our feelings are am,
what will be. By day we play, are hurt within
protectorates of choice. I can't choose.
You were given to me. To lose.
From We Need Our Names (Anstruther Press, 2014) by Shane Neilson
Saturday, 13 December 2014
Ruth Graham sets up the central mystery around Rosemary Tonk's reputation:
There’s something unnatural about wildly successful people who decide that, actually, they prefer to be anonymous after all. What kind of person chooses to forfeit the rewards of fame: the praise, the power, the prestige? We might say we admire them for eschewing the worldly, but there’s an edge of resentment to our fascination too. It goes against human nature.Neil Astley goes into some detail about what caused Tonks, as one poet put it, to "evaporate into air like the Cheshire cat":
In poetry, the most famous example of such a retreat is Arthur Rimbaud, who quit writing at 21 after five years of blazing innovation and productivity. Rimbaud spent the rest of his short life traveling, and he became one of the first Europeans to visit Ethiopia. His letters show him apparently consumed with his work as a trader. Critics call his abrupt abandonment of his gift “le silence de Rimbaud."
Decades later, a London poet named Rosemary Tonks would name Rimbaud as one of her main influences. If she was not quite the scandalous sensation of her forebear, she was nonetheless respected, and she ran with a bohemian crowd. Tonks published two collections of poetry in the 1960s, along with six novels and frequent reviews. Philip Larkin corresponded with her and anthologized her. Critics took her seriously; Cyril Connolly praised the “unexpected power” of her “hard-faceted yet musical poems.” And then, quite suddenly, she disappeared.
The literary world both attracted and repelled her, and she was to turn against its materialism, false values, betrayals and indulgence, as she was to follow Rimbaud in renouncing literature itself: "The mistakes, the wrong people, the half-baked ideas, / And their beastly comments on everything. Foul. / But irresistibly amusing, that is the whole trouble" ("The Little Cardboard Suitcase").Tonks became a semi-recluse, devoting her remaining days—until she passed away in April of this year—almost entirely to the Bible. Bloodaxe recently reissued her two poetry collections, unavailable for forty years, under the title Bedouin of the London Evening: Collected Poems. But Hillary Davis reminds us that rediscovering her work also means confronting the literary cost of Tonk's decision.
Her mother's death in 1968 was the first in a series of misfortunes and crises that sent her life spinning out of control: a divorce she didn't want; a burglary in which she lost all her clothes; a lawsuit costing thousands of pounds; and ill-health, including incapacitating neuritis in her left arm and one good hand (her right was withered from polio). She turned her back on Christianity, believing the church had failed her mother, and instead looked for help from mediums, healers, spiritualists and Sufi "seekers". The inspiring presence in her house of a collection of ancient artefacts, including oriental god figures, led to her approaching a Chinese spiritual teacher and an American yoga guru. All these she repudiated in turn.
After her marriage collapsed, she found herself living alone, just a few doors away from her ex-husband (soon to be joined by a new wife), doing Taoist meditation, writing reviews and working on a new novel. She later attributed her next life disaster to difficult Taoist eye exercises, which involved staring for hours at a blank wall, turning the eyes in and looking intensely at bright objects. In 1977, on New Year's Eve, she was admitted to Middlesex hospital for emergency operations on detached retinas in both eyes. This was her reward for "10 long years searching for God". Returning home after a month's recuperation at a health hydro in Tring, she found herself totally helpless. Hardly able to see beyond a few feet, she rarely left the house, couldn't cook and became emaciated, all the time suffering from agonising pain in her eyes and permanent headaches.
The poet who most comes to mind when encountering Tonks is David Gascoyne. The comparison appears at first sight instructive: their best work written by their late thirties, a powerful sense of their own destinies as poets and of dissatisfaction with the flawed world which greeted them, descent into mental instability and then silence. But the contrast is equally illuminating; whereas Gascoyne’s voice matured from the Surrealist excesses of his youth into the most serious examination of man’s relationship to God and mortality—as in the sequence “Miserere” and the metaphysical poems—Tonks remains frozen at an early stage where the work has not yet settled. As with other poets, though not all, who stop writing young, she does not often get beyond an anger and an attitudinizing which are essentially adolescent. Quite a few of the poems are, moreover, very inchoate in a way which does not spring from genius or the “dérèglement de tous les sens” but merely a failure to master her material: “He, kneeling, with the moonlit sight of thieves, / Begged the ounce hog of the hedges she would seed / A touchy litter of her vermin commoners / That, gentle, he find syrup in his torn lack mouth / Before the radiant traffic of space / Cut to pieces the palm of his hand”. So, although there are indications of movement away from the claustrophobic interiors of Tonks’s self-consciousness, it is impossible to say what a more assured body of her work would have looked like, had her poetic career continued.
Danny Jacobs unpacks some of the qualities that make Anita Lahey's book of criticism, The Mystery Shopping Cart, so special:
Lahey rarely falls into the common traps of the reviewer: vague descriptors, scant quotation, goofy swagger, and forced conclusions that result when a stumped or bored critic tries to jam the square peg of a poet into the round hole of a preconceived poetics. The outcome is essentially jargon-free reviews that contain adept interpretations of representative lines. Lahey is confident enough not to equivocate; she gets to the heart of what a poet is trying to do, and with aplomb—all we can ask for from a reviewer. When she’s on, when her enthusiasm is palpable on the page, she has a way of getting at a poet with just a line, a meaningful summing up in a deftly worded phrase: “Davies has a convincing way of turning one thing into another simply by letting us in on the revelation-in-progress” or “Though it fumes, [Owen’s] poetry does more; it has become that finely wrought thing on the other side of anger: what we call art.”
Jacobs also singles out one of the book's most intriguing aspects:
Throughout the book, Lahey makes the peculiar and perhaps risky choice of adding afterwords to most of the pieces. These short additions, no more than a page (often less), may grate on some readers. However, the afterwords ground the book and serve to connect the pieces through a “present” voice. Among other things, they are background tidbits, asides, second-guessings and admissions. After her long essay on P. K. Page, she amusingly tells us that she “tried the glosa and failed. Tried it time and again, with godawful results.” She sometimes questions her reviews in the afterwords (“Was it fair to review Avasilichioaei’s first book alongside her translation of Stanescu?”): the present self reviewing the past self. The afterwords remind us that reviews (and our opinions) are hardly holy writ, a valuable lesson in a book of criticism.
Friday, 12 December 2014
"There is a good reason most reviews of poetry are so dull, and it's not just because the same can be said for most poetry. It's true that review editors tend to assign books of dull poets to critics of congruent dullness, but even zany poets are likely to inspire dull reviews. The reason is this: poets are regarded as handicapped writers whose work must be treated with tender condescension, such as one accords the athletic achievements of basketball players confined to wheelchairs."
From The Castle of Indolence: On Poetry, Poets and Poetasters by Thomas M. Disch
From The Castle of Indolence: On Poetry, Poets and Poetasters by Thomas M. Disch