Poetry Month 2012. 21: Theory of Marriage (The Hug)

Mark Doty’s Theories and Apparitions contains four Theories of Beauty, two Theories of Marriage, Theories of the Soul, Multiplicity, Narrative, the Sublime and Incompletion, five Apparitions and another eight poems along similar themes. This kind of duplication often bugs me, but this seems to work really well. I’m not familiar with Doty’s work before this, his eighth collection. I want to say his style is a bit narrative and a bit stream of consciousness, but I’m not entirely sure I even know what that means. There’s a three page poem about a never ending massage, and a lovely sequence about listening to some music that you never want to end.

I like this one though. Not just because it’s short and thus less typing – honest! I don’t even like pets, but I’m intrigued by what he’s exploring through them.

     Theory of Marriage (The Hug)

     Arden would turn his head toward the one
     he loved, Paul or me, and look downward,
     and butt the top of his skill against us, leaning forward,
     hiding his face, disappearing into what he’d chosen.

     Beau had another idea. He’d offer his rump
     for scratching, and wag his tail while he was stroked,
     returning that affection by facing away, looking out
     toward whatever might come along to enjoy.

     Beau had no interest in an economy of affection;
     why hoard what you can give away?
     Arden thought you should close your eyes
     to anything else; only by vanishing

     into the beloved do you make it clear:
     what else is there you’d want to see?

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Poetry Month 2012. 20: Birds

Carrying on the theme of Hughes from yesterday, here’s a poem by Frieda Hughes.

     Birds

     The poet as a penguin
     Sat in his snow-cold, nursing
     The egg his wife had left him.

     There it was, born of them both,
     Like it or not. Rounded in words,
     And cracking open its shell for a voice.

     In the blizzard,
     Beaten up from the arctic flats
     Were the audience.
     From the glass extensions
     Of their eyes, they watched
     The skuas rise on the updraft,

     Every snap of their beaks
     Like the tick of a knitting needle,
     Hitching a stitch in the wait

     For a rolling head.

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Poetry Month 2012. 19: The Blackbird

It’s my birthday.

I’ve said before that I don’t really like Ted Hughes’ poetry.

Birthday Letters is an exception. It’s an immensely powerful collection. It carries a heavy weight – everything you know and “know” about Sylvia Plath, her life, her family, her poetry, her death and her almost deaths. This background, this vast and chilling back story, just makes the pain somehow more painful. I imagine for someone who knows more about Plath, that the poems actually burn.

I don’t really want to say much else. Plath’s imagery is alive here, but the light shining on it is different. If you haven’t read the collection, you really, really must.

     The Blackbird

     You were the jailer of your murderer –
          Which imprisoned you.
     And since I was your nurse and your protector
          Your sentence was mine too.

     You played at feeling safe. As I fed you
          You ate and drank and swallowed
     Sliding me sleepy looks, like a suckling babe,
          From under your eyelids.

     You fed your prisoner’s rage, in the dungeone,
          Through the keyhole –
     Then, in a single, stung bound, came back up
          The coiled, unlit stairwell.

     Giant poppy faces flamed and charred
          At the window. ‘Look!’
     You pointed and a blackbird was lugging
          A worm from its bottleneck.

     The lawn lay like the pristine waiting page
          Of a prison report.
     Who would write what upon it
          I never gave a thought.

     A dumb creature, looping at the furnace door
          On its demon’s prong,
     Was a pen already writing
          Wrong is right, right wrong.

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Poetry Month 2012. 18: La carte postale

Ahren Warner is 26, his first book-length collection is Confer, published by Bloodaxe, but several of its poems are also contained in his earlier Donut Press book, Re:. I bought this on a whim when I bought Apocryphya, as I thought I recognised the name. This was because Confer was a PBS recommendation in Autumn 2011. I remember deciding not to buy it because of this: “About suffering they were never wrong, The Old Masters… // Though, when it comes to breasts, it’s a different story.” and a very weird and uncomfortable feeling I got reading the poem ‘Métro’, about how a woman in a crowd reminded him of a type of face that is “just asking to be cut down.”.

I may have been unfair.

He does seem to have high hopes for his poems, quoting Lucian Freud’s desire for “paint to work as flesh… to be of the people, not like them. Not having a look of the sitter, being them.” to illustrate the sense by which many of his poems “attempt embodiments of place that are best understood against the inevitable flux of the places themselves; a kind of parallax, for example, between Paris as one might actually experience it and Paris as it is (not as it has been experienced) in the poem.”

There’s a lot of influence evident in Warner’s work – inevitably vastly more than I’m privy to myself. He namechecks Nietzsche, Eliot, Cranach and Derrida amongst many others, and dips into several European languages – of which Greek is clearly the hardest to take in your stride, with poems titled Έρινύες (Furies), αί μοΰσαι (no idea but the poem is about London Bridge) and Διόνυσος (Dionysus).

I have a soft spot for found poetry – a collage technique of sorts whereby words and phrases from other sources are chopped up or pinned together to show something new and interesting. There’s an example here – ‘Carolina’ which comprises lyrics from songs with the title in their name. You wouldn’t know though, it somehow speaks with one cohesive voice (or at least a well practiced chorus of voices) despite the various sources.

I was mystified when I read the piece in the PBS Bulletin about one of the forms he favours – he said that these poems “shun normal punctuation and find their grammar in a kind of spacing dependent on uniform line lengths to bestow a common musical measure […] which attempts to offer a greater range of intonational and affective pauses in order to perform a forceful but complex music: the ideal of a fugue con fuoco, perhaps.” – which at the time I dismissed as pretentious bollocks. The selector said that these “are tabulations, and provide a subtly different music with their delicately poised net of words, their subtle contemporary music.”. This didn’t really instil any more optimism for them to be honest, though I remained intrigued as to what on earth exactly they meant.

These uniform line lengths are basically both right and left aligned – justififed through use of variably large spaces between phrases (rather than in, what, kerning?), creating a block of text with irregular gaps in it. On reading one, I was, in all honesty, struck by the way that it does, in fact, create a kind of music. Scepticism rebuked! It just stirred in me a desire to see if it was the shape of the poem or the lack of punctuation that created this effect. So, here is one – an image of the poem as it was intended to be read, followed by the words without the required spacing. Read the image first, and see what you think.

image

     La carte postale

     As we say arboretum here I walk below the arbres
     down the Rue Jussieu amongst the mottled ombre.

     The books shrink on their stalls the shop walls crack
     to craquelure. The seine might be the Acheron

     if Eliot had got his langue on. The cafés brim.
     The heat ensures an ambery slick above the upper lip

     part pimento tar and garlic but miscible
     with the Beaujolais I’m drinking by the bottle.

     From bed I hear Emmanuel the bourdon
     bell (at Notre Dame the tourists shout him down).

     Outside the traffic drones a Pérotin melisma.
     As always I think of you I wish that you were here.

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Poetry Month 2012. 17: Circus Pony

This is from Heidi Williamson’s debut collection, Electric Shadow, I find its treatment of marriage and children interesting.

     Circus Pony

     Each evening after school you met
     like lovers. You angled offerings
     through the tired wire fence –
     she accepted as the air accepts.
     Among the traffic fumes and concrete,
     her heavy eyes and warm saluting breath
     became your fireside.

     Every night you dreamed her
     in the spotlight, all small girls
     carried on her back, prettily
     tramping the ring, high-kicking
     over flames to gasps and applause
     and for a finale leaping into darkness,
     away from the crowds, the beatings.

     And when you ran away at last,
     north to the gleaming Fens,
     you took a husband and a newborn
     to be safe. Routines followed. Years
     lost like old flames. Chosen
     and not chosen became pathways.
     Fences were your tightrope.

     And when the circus came,
     you took your daughter to the fence
     to see the ponies waiting – wanting
     her to sense that you had stood
     daily by a tired wire fence,
     calming the soft nose of a pony,
     patient, headstrong, poised to bolt.

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Book Sharing Monday: Night Monkey, Day Monkey

Night Monkey, Day Monkey is one of Polly’s library books that she really enjoyed. It was written by Julia Donaldson of Gruffalo fame, and illustrated by Lucy Richards.

As per most of Julia Donaldson’s books, it has a lovely accessible rhythm and rhyme scheme. It tells the story of two monkeys – a nocturnal one and a diurnal one – and what happens when each shows the other their shared environment when they are usually sleeping. There are plenty of different creatures to spot and count, it seems pitched just right at Polly right now.

When we finished, she insisted on reading it again straight away, and then wanted to show it to her daddy. That is the sign of a good book!

This meme is via Smiling Like Sunshine – you can see her recently shared books here.

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Poetry Month 2012. 16: The Sari

I mentioned yesterday Duffy’s anthology Out of Fashion. Like Answering Back, it invites contemporary poets to submit a poem on a theme, and choose a poem on the same theme by a poet from another time or culture. However this time the theme is fixed – clothing. The back cover has some words from Manolo Blahnik of all people:

‘The poems evoke the immediacy and the direct relationship between the fashion object and the human body like only a poem can do. This is an exquisite compliation of the most delicate poems.’

Ok, whatever. I don’t think there’s much delicate about the one I shared yesterday. Since I’m sharing one cover blurb, here are the others. Alexandra Shulman says “Dress and undress have long been one of poetry’s favourite themes as this book compellingly shows.” and Vogue magazine helpfully add “What better fashion accessory for a girl’s home than a book of fashion poetry?”

Ass. These quotes do nothing to sell the book. I couldn’t give a flying fig about fashion, as anyone who has met me can attest. However, there is still much in the book to enjoy, relate to, appreciate, whatever. I like the idea present in both this and Answering Back – the contrasts and the collaborative nature. The rich and varied array of poems despite a particular brief.

I’m sharing a poem by Moniza Alvi, and the one she chose – an 8th century Japanese poem translated by Geoffrey Bownas and Anthony Thwaite – original author unknown.

     The Sari

     Inside my mother
     I peered through a glass porthole.
     The world beyond was hot and brown.

     They were all looking in on me –
     Father, Grandmother,
     the cook’s boy, the sweeper girl,
     the bullock with the sharp
     shoulder-blades,
     the local politicians.

     My English grandmother
     took a telescope
     and gazed across continents.

     All the people unravelled a sari.
     It stretched from Lahore to Hyderabad,
     wavered across the Arabian Sea,
     shot through with stars,
     fluttering with sparrows and quails.
     They threaded it with roads,
     undulations of land.

     Eventually
     they wrapped and wrapped me in it
     whispering Your body is your country.

     Poem by a Frontier Guard

     While the leaves of the bamboo rustle
     On a cold and frosty night,
     The seven layers of clobber I wear
     Are not so warm, not so warm
     As the body of my wife.

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Poetry Month 2012. 15: Cousin Coat

I took two books downstairs this morning to flick through and find a poem to share. They were Sean O’Brien’s The Drowned Book, which won both the Forward Prize and the TS Eliot prize in 2007, and another anthology edited by Carol Ann Duffy – Out of Fashion. The intention was to choose a poem for today from one of the books, and one for tomorrow for the other.

However, it turned out that the poem I most wanted to share from Duffy’s anthology was, in fact, by Sean O’Brien anyway. In case you were wondering, the poem Sean O’Brien chose to share afterwards in the anthology was from Homer’s Iliad, translated by Pope. I really can’t be arsed typing it out, sorry. It’s full of apostrophes, and one of those letters like an o squished up next to an e.

So, what I will do, is share that one, and link to a sadly negative review of the O’Brien (award winning) collection instead. I’m sure the Fashion anthology will inspire another post or two anyway. It’s funny – I’d also been struggling to decide what, if anything, to share from O’Brien’s more recent collection, November. November is fairly elegiac, as, in parts, is The Drowned Book. It must be related to age. I’m considering his Selected Poems – named, actually, as per the poem I’m sharing here:

     Cousin Coat

     You are my secret coat. You’re never dry.
     You wear the weight and stink of black canals.
     Malodorous companion, we know why
     It’s taken me so long to see we’re pals,
     To learn why my acquaintance never sniff
     Or send me notes to say I stink of stiff.

     But you don’t talk, historical bespoke.
     You must be worn, be intimate as skin,
     And though I never lived what you invoke,
     At birth I was already buttoned in.
     Your clammy itch became my atmosphere,
     An air made half of anger, half of fear.

     And what you are is what I tried to shed
     In libraries with Donne and Henry James.
     You’re here to bear a message from the dead
     Whose history’s dishonoured with their names.
     You mean the North, the poor, and troopers sent
     To shoot down those who showed their discontent.

     No comfort there for comfy meliorists
     Grown weepy over Jarrow photographs.
     No comfort when the poor the state enlists
     Parade before their fathers cenotaphs.
     No comfort when the strikers all go back
     To see the twenty thousand get the sack.

     Be with me when they cauterise the facts.
     Be with me to the bottom of the page,
     Insisting on what history exacts.
     Be memory, be conscience, will and rage,
     And keep me cold and honest, cousin coat,
     So if I lie, I’ll know you’re at my throat.

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Kitchen Table Tycoon

Something, I’m not sure what, made me think that borrowing this book from the library was a good idea. Anita Naik’s Kitchen Table Tycoon: How to Make It Work as a Mother and an Entrepreneur sounded to me, at the time, like a great idea. I’ve been struggling for a while to balance the need finally finish last year’s accounts (I know, I know…) with looking after Polly.

Of course, what I need here is simple:

1. A tidy work space, so when I have four spare minutes I can spend at least three of them working – rather than lifting debris out of the way and still not getting anywhere.

2. The ability to send Polly to my parents’ or my sister’s for half a day every now & again, and

3. The inclination to do so.

I know these things. So I’m not sure what help I thought the book might be. Still, as I took it to check out, carried it home, and sat in the window while Polly watched the birds in the garden, I remained hopeful.

The hope did not last long.

To get the superficial crap out of the way first, the cover is so drab. It is in shades of stone and mud, depicting a small girl dressed head to toe in stone (apart from her pink barrette, lest you mistake her for a boy child), clinging on and looking up at what you assume must be her mother. All you can see is bare legs in camel coloured sandals, with a knee length stone skirt. Oh, and a hand clutching a telephone. A cordless landline it looks like. I think she’s even wearing stone coloured nail varnish on her toenails. Being the pernickety sod I am, I read this as saying “You are wearing rainbow socks and a purple cardigan. Who the hell do you think you are, of course you’ll fail!” This should have been my first clue that I’m not really their target market.

The problem is, while the legs on the front appear to belong to a grown up, I struggle to see how the advice inside can be directed at one. The suggestions inside, and the ideas it desperately tries to get across, would be belittling even at GCSE Business Studies.

The first 50 pages seem to be devoted to deciding whether or not you would be remotely capable of running a business. It aims to achieve this by throwing those juvenile quizzes at you (Why do you want to do this? (a) You’re bored (0) (b) You see this as a viable way to make money (10) (c) You need a change (5)”) that I haven’t seen since I obsessively read Just Seventeen when I was, what, twelve? There are then 32 pages devoted to working out what you’re going to do. Are you going to use a skill you have? Perhaps you could find a niche market, or even turn a hobby into a business! Pap.

There is then a short chapter on “Work, guilt and bad mother syndrome”. I thought I’d be at least interested in this chapter. Sadly, not even does it not really bring anything to the table about what causes guilt about parenting and work, or what might make you feel like a bad (or good!) mother, but it also basically just advises “Stop feeling guilty.” Well. Okay then. It even advocates taking “Power visits” instead of power naps – short breaks from work to spend time with your kids. Of course the assumption here is that they are playing nicely elsewhere in the house with the nanny.

I have to say that there is one excellent piece of advice here – “Ignore the newspapers that claim [whatever], or read the full version of the report and see if that’s what they’re really saying (nine times out of ten the story will have been reported badly). Sadly some of the other advice intended to assuage the mummy guilt could be seen as a criticism on those mothers who choose not to do any paid work, whether for themselves or anyone else – for example referring to how their “sons benefited by learning to respect and admire women ‘who can hold their own’.” To me this is another way of saying that they taught their sons that women who chose to dedicate themselves full time to caring for their children and the home are not worthy of their respect.

There are then some half arsed pointers about what to do next – what to put in your business plan, conducting market research, and how to get investment. Again, this is all pitched below GCSE Business Studies level. The rest of the book is “case studies” – or other “mumpreneurs” (I hate that word) explaining what they do and how hard it was, yet how ultimately rewarding.

Maybe some people would find the book useful or helpful. Sadly, I’m not one of them.

What am I saying, let me try again.

Maybe some people would find the book useful or helpful. Thankfully, I’m not one of them.

What remains is – what would I have found useful? I think I was hoping for some magic solutions to my time, multitasking and attachment parenting problems, like “Give the baby a balloon and a piece of string, it will be entertained for hours while you concentrate on your tax calculations.” “Here is a phone service which will detect and mask the sounds of your child crying or demanding attention so your client won’t be any the wiser!” “This knockout drug is 100% safe and will ensure your child sleeps uninterrupted for two whole hours even if you do knock over a shelf full of books and shout at your debtors.”

Of course, these miracles don’t exist.

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Poetry Month 2012. 14: Treasure Arcade

I somehow missed this at the time, but Jon Stone, for Poetry Day 2011, wrote a sequence of poems, Treasure Arcade, on the theme of games.

The next two paragraphs are copied straight from the book, in way of explanation.

Introduction

In September 1971, Galaxy Game, the earliest known coin-operated video
game, was installed at Stanford University in California. 40 years on, the UK
celebrates its National Poetry Day with the theme of ‘games’. Jon Stone wakes up
to this coincidence three days before the day in question. He’s been slowly clawing
together a sequence of 41 poems, one for every year since Galaxy Game, each
responding to a computer game released that year. He has 23 more to write and
suddenly only three nights to do it in. He decides to give it his best shot. Here
are the results.

A note on the form

These poems use an invented, as-yet-nameless poetic form consisting of one
short line and three long ones. The second line ends in a ‘fuzzy’ rhyme with
the first (ie. using the same group of consonants), the third line ends in a word
associated by sense or phrase with the last word of the second line and the fourth
line (the ‘boss’ line) contains pure or near-pure rhymes with all of the previous
lines.

Frankly, I don’t think I’ll be using the form again, since it was tougher than
Super Meat Boy.

This is the last poem in the collection:

     2011
     Portal 2

     Not spiritual
     but spirited – her Stygian stumble through the necklace of portals,
     spurred to keep tumbling on by – I don’t know. A wide open
     lens, an AI’s vitriol-spiked prattle? Knotholes she might hope on?

You can read the whole collection here.

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