‘The Water’s Music’ as poem and Slow Radio

I was taken by surprise last week when BBC Radio Three contacted me to let me know that a line of poetry from a piece I’d published in Beneath Tremendous Rain back in 1990 has been used as the starting point for a Slow Radio programme, broadcast on the 17th May 2019, but available here for a month or so.

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The connection was radio producer, Julian May, who I have worked with on several BBC radio programmes over the years. If you follow the link above, you’ll see Julian was responding to the opening two lines of the sequence of four poems which I will post in full below. His aim was to create a piece – ‘The Water’s Music’ – from recordings of the natural world.

Do listen to the programme – it’s just 30 minutes in length and the first half of it consists of Julian and the sound artist and musician, Tim Shaw, splashing about in a Northumbrian burn to record the astonishing variety of sounds produced by it. This is all a little bit bonkers, of course, but the sense of the great outdoors, the evocation of the water’s flow – beside, across, above and below – is marvellous, and does what Slow Radio often does, opening out the listeners’ sensibility in a playful, vivid and open-ended fashion.

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The final, edited piece begins at 15.30 if you wanted to listen to that bit alone. I found it curiously moving that a thought – and a form of words I had in mind so many years back – has now been given aural form. The ‘music’ is also brilliantly in keeping with the poem. As you’ll see below, the epigraph is a quote from Marc Chagall, putting a premium on fluidity as opposed to precision and the idea that the artist/writer’s role is to approach something which is really inexpressible is a core belief that has remained with me over the years. The culmination of this view of art (I can now see) is my version of the great Ancient Chinese classic text the Daodejing which I published with Enitharmon in 2016.

As expressed in the poem, water still remains a god for me – I can never pass a fishmonger’s stall without stopping to gaze at the “wealth of silver”.  The interesting graveyard inscription in the second poem (“Your ship, my love, is now mored / hed and starn for a fuldiew”) seems to be there to represent the fixity that all the images of water are in contrast to. Its words still affect me greatly: the lover’s desire for the permanence of what is quintessentially human being gradually eroded by the rain and the years. I will have had Thomas Hardy partly in mind, I’m sure, although the inscription I think is probably one I saw in Ireland many years ago.

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The third poem contains memories of the Canary Islands – the island of Gomera, much more of a tourist haunt now than it was back then – and of the English Lakes in the fictional waterfall of Swirl Force, surely a version of the (again much-visited) Aira Force, beside Ullswater Lake (the same lake that recently featured in the concluding poems of my blog-posted but as yet unpublished sequence ‘Works and Days of Division).

I’m now amazed at how ‘Daoist’ the fourth and closing poem seems. It is a shock – largely in the sense that perhaps one keeps on re-writing the same poem for a lifetime. The concluding lines certainly express a great deal about how I’ve viewed poetry in the ensuing years – a grasping towards something which I know will always remain elusive; but achieved only through language – that monument to the human wish for and effort to achieve greater control and precision – can something of the fluidity of what is real be evoked: “I carry something of water / that in my hands must leak away – see / its silver threads ceaselessly falling.”

Here’s the poem in full:

Water Music

Divine fluidity, now that is truly precise – Marc Chagall

1.

I am a potter whose habitation

is beside the water’s music.

Its glittering’s, its clear truckling’s

endless fascination for me

might be the pull of like to like,

the riptides and rivers of my

almost nothing but water body.

 

Someone has said it’s the lure

of oblivion, pressing me to bow

and snort the sharp stunning solid

of water into my head,

that with a brief flickering

of its long-fixed content

would scour my mind clean forever.

 

Perhaps. Or something still

unevolved, still amphibian, wanting

to be rid of this self-consciousness

that cripples me – to shiver

a moment with mother-of-pearl,

folding of currents, sands, slime,

the swordfight of refracted rays.

 

At least I know my fascination

for the fishmonger’s wealth of silver,

that he is a diversion I often make,

though I cannot catch

any message his charges bring.

 

2.

Water has always been a god.

I fell in love with it as a boy,

would sit close by with the dusk,

determined to hook from it specimens

and secrets, calling to it

with words I’d let no adult hear.

Its glassy voices broke out

though too obscurely for a reply.

 

On the flaming beach at Thalassa,

where the crumbling glint of waves

marks the sea’s edge, I once

wanted to meet it open-mouthed,

though not driven by any love

of the cold confines of the drowned.

I hoped that I might simply

receive the unbounded horizon.

 

At the graveyard there is a stone

set by a girl for her dead sailor:

Your ship, my love, is now mored

hed and starn for a fuldiew.

Below, the etched ship is lashed hard

to the quay – all else has grown

too old and faint to be understood.

The rain is rubbing her words away.

 

3.

Then it’s everywhere with beauty,

at one with the darkness and moonlight

of the old poets for it transports us.

But I’ve seen it bending an iron bar.

The quiet cowl of October’s fog confuses,

comes to question the formulations

we keep – like the traveler who told me:

the hills of Gomera disappear for days

till the rain washes its own window clear.

At Swirl Force, under whitening hammers

of waterfall, everything is broken loose

and then the clouds’ anchors are weighed

and the dance starts up over the water:

 

every swollen-cheeked changeling face

stares at itself and floats away

with its glimpse on the heart of things.

 

4.

In my coercive dreams, there I am

pouring water into every available bowl

and setting them down as finished works.

 

I will have things as I want them,

though it is clear from whatever place

the water comes the bowls suffice –

 

though set to the river, their contents

fly to its night, are lost completely.

The river takes all that comes.

 

The river gives all that there is.

For I am a potter whose habitation

is beside the water’s music, who is

 

driven to his creations just as

the river is to its own. When I clasp

the rounded belly of a brimming bowl

 

I carry something of water

that in my hands must leak away – see

its silver threads ceaselessly falling.

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‘Sis, you gotta let go’: on Mona Arshi’s ‘Dear Big Gods’

9781786942159In a recent launch reading for her second collection, Dear Big Gods (Pavilion Poetry/Liverpool University Press, 2019), Mona Arshi suggested it was a book she wrote only reluctantly. Her first book, Small Hands (2015), had at its centre a number of poems in memory of her brother, Deepak, who died unexpectedly in 2012. On her own admission, these new poems continue to be imbued with this grief and – though poets surely always write the book that needs to be written – there is a sense that the development of the new work has been stalled by such powerful feelings. My 2015 review of Small Hands saw Arshi as “an intriguing writer, potentially a unique voice if she can achieve the right distance between herself and her powerful formative influences”. The influences I had in mind then were literary rather than personal, but I find the lack of distance travelled between the earlier and this more recent work rather disappointing.

In fact, Deepak’s death is the explicit subject on only a few occasions. The poem ‘When your Brother Steps into your Piccadilly, West Bound Train Carriage’ isn’t much longer than its own title but it evokes that familiar sense of (mis-)seeing our dead in a public place. The emotions remain raw, from the accusatory “how-the-fuck-could-you?” to the final “I am sorry, I’m so sorry”. A dream or daydream meeting is also the basis for ‘A Pear from the Afterlife’ in which the brother’s affectionate tone advises, “Sis, you gotta let go / of this idea of definitive knowledge”. ‘Five Year Update’ is by far the most extended of these reflections on the brother’s passing, written in very long raking lines (rotated 45 degrees to stretch vertically on the page). “I hope it’s fine to contact you”, it opens and goes on to recall the moment the news of his death was received (see also ‘Phone Call on a Train Journey’ from Small Hands), remembers their childhood together and the sister’s continuing life: “I’ve gone down one lump not two, I still don’t swim and yes I still can’t / take a photograph”.

how-to-grow-arum-lilyAs the blurb suggests, these poems are indeed “lyrical and exact exploration[s] of the aftershocks of grief”. But ‘Everywhere’ adopts a little more distance and develops the kind of floating and delicate lyricism that Arshi does so well. The absent brother/uncle is still alluded to: “We tell the children, we should not / look for him. He is everywhere”. As that final phrase suggests, the rawness of the grief is being transmuted into a sense of otherness, beyond the quotidian and material. It’s when Arshi takes her brother’s advice and lets go of “definitive knowledge” that her poems promise so much. ‘Little Prayer’ might be spoken by the dead or the living, left abandoned, but either way it argues a stoical resistance: “I am still here // hunkered down”. In a more conventional mode, ‘The Lilies’ develops the objective correlative of the flowers suffering from blight as an image of a spoliation that hurts and reminds, yet is allowed to persist: “I let them live on / beauty-drained / in their altar beds”.

Like so many first books, Small Hands experimented with various poetical forms. This book also – a bit wilfully – tries out tanka, poems in two columns, right justification, centre justification, ghazals, inter-cut texts, prose poems, a sestina, an Emily Dickinson parody and responses to Lorca and The Mahabharata. They don’t all work equally well and Arshi perhaps senses this in lines like these:

 

My little bastard verses

tiny polyglot faces

how light you are

how virtually weightless

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The irony may be that this sort of form and reach actually does show Arshi at her best. The sequence of tiny poems modelled on Lorca’s ‘Mirror Suite’ (1921-1923) is fascinating. Jerome Rothenburg, discussing Lorca’s poems, describes them as possessing “a coolness & (sometimes) quirkiness, a playfulness of mind & music that I found instantly attractive”. These same qualities – as with Lorca, a version of surrealism, a firm but gentle turning aside from “definitive knowledge” – I enjoy in Arshi’s work as she explores states of the heart and realms of knowledge not ordinarily encountered or encompassed. Dear Big Gods contains other such Lorca-esque sequences such as ‘Autumn Epistles’, ‘Grief Holds a Cup of Tea’ and ‘Let the Parts of the Flower Speak’ and these are far more interesting than the poems drawn from The Mahabharata or the experiments in prose.

31BzXZVhekL._SX351_BO1,204,203,200_Arshi’s continuing love affair with ghazals also seems to me to be an aspect of this same search for a form that holds both the connected and the stand-alone in a creative tension. ‘Ghazal: Darkness’ is very successful with the second line of each couplet returning to the refrain word, “darkness”, while the connective tissue of the poem allows a roaming through woods, soil, mushrooms and a mother’s praise of her daughters. Poems based on – or at least with the qualities of – dreams also stand out. The doctor in ‘Delivery Room’ asks the mother in the midst of her contractions, “Do you prefer the geometric or lyrical approach?” In ‘The Sisters’ the narrator dreams of “all the sisters I never had” and within 10 lines Arshi has expressed complex yearnings about loneliness and protectiveness in relation to siblings and self.

Given the traumatic disruption of her own, it’s no surprise that Arshi’s most frequently visited subject area is family relationships. I’ve referred to several of these poems already and ‘Gloaming’ floats freely through the fears of losing a child, the care of an ageing father, a mother “entering/leaving through a narrow lintel” and the recall of the “thick soup of our childhood”. The soup works well both as literal food stuff and as metaphor for the nourishing, warming milieu of an up-bringing, though the girl who looks up at the end of the poem is already exploring questions of identity. She asks, “where are you from, what country are we in?” Given Arshi’s own background – born to Punjabi Sikh parents in West London – such questions have obvious autobiographical and political relevance, though I sense Arshi herself is also asking questions of a more spiritual nature.

220px-Shiva_Musée_Guimet_22971So, in ‘My Third Eye’, the narrator is “more perplexed than annoyed” that her own third eye – the mystical and esoteric belief in a speculative, spiritual perception – has not yet “opened”. The poem’s mode and tone is comic for the most part; there is a childish impatience in the voice, asking “Am I not as worthy as the buffalo, the ferryman, / the cook and the Dalit?”. But in the final lines, the holy man she visits is given more gravitas. He touches the narrator’s head “and with that my eyes suddenly watered, widened and / he sent me on my way as I was forever open open open”. The book also closes with the title poem, ‘Dear Big Gods’, which takes the form of a prayer: “all you have to do / is show yourself”, it pleads. The delicate probing of Arshi’s best poems, their stretching of perception and openness to unusual states of emotion are driven by this sort of spiritual quest. Personal tragedy has no doubt fed this creative drive but – as the poet seems to be aware – such grief is only an aspect of her vision and not the whole of it.
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Poem as MRI Scan: Lieke Marsman’s ‘The Following Scan Will Last Five Minutes’

downloadLieke Marsman’s The Following Scan Will Last Five Minutes (Pavilion Poetry/Liverpool University Press, 2019) is an unlikely little gem of a book about cancer, language, poetry, Dutch politics, philosophy, the environment, the art of translation and friendship – all bound together by a burning desire (in both original author and her translator, Sophie Collins) to advocate the virtues of empathy. The PBS have chosen it as their Summer 2019 Recommended Translation.

It’s Audre Lord who is the presiding spirit here, the woman with whom Marsman is in most frequent conversation. Lord’s The Cancer Journals (1985) recorded her response to the disease: a sharpened realisation – an underlining – of life’s transience and, consequently, a more acute sense of “act[ing] out of it”. She also refused to allow her response to the disease to “fossilise into yet another silence, nor to rob me of whatever strength can lie at the core of this experience”. Marsman (and her translator Sophie Collins) takes up this challenging baton to produce a busy, intelligent, funny, chatty and touching sequence of poems, an autobiographical essay and 10 concluding letters from Collins, the whole text responding to Marsman’s own diagnosis of chondrosarcoma at the age of 27.

download (1)The sort of silence Lord fears is evoked in the monitory opening poem. Its unusual, impersonal narration is acutely aware of the lure of sinking away into the “morphinesweet unreality of the everyday”, of the allure of self-imposed isolation (“unplugg[ing] your router”) in the face of the diagnosis of disease. What the voice advises is the recognition that freedom consists not in denial, in being free of pain or need, but in being able to recognise our needs and satisfy them: “to be able to get up and go outside”. It’s this continuing self-awareness and the drive to try to achieve it that Marsman hopes for and (happily) comes to embody. But it was never going to be easy and towards the end of the poem sequence, these needs are honed to the bone:

 

There is nothing I need to see

Except, again and again,

A new day with you

 

Marsman’s poems are usually very free in form, sparsely punctuated and (unlike the opening poem) give the impression of an intimate address by a sensitive, self-aware, curious and well-educated woman. This makes the moments of frank disclosure even more powerful: “I am just so scared of disappearing [. . .] I desperately need to hear / from other sufferers”. The vitality in the poems belies the exhaustion of the ill person who lacks the energy even to sort her recycling, who watches “Eurosport replays / of alpine skiing” all afternoon and for whom tying her own shoelaces becomes “the stuff of poetry!” Such rapid shifts of tone are important in conveying the resilience of the patient – more than that they suggest the true nature of the individual who is (this is Marsman’s point) more than a mere patient.

It’s this restless interest in the world that accumulates slowly to portray the individual and – against all the odds – makes this book such a pleasurable read. The poems are only partly about cancer or rather cancer is only part of what the poems are interested in. We hear fragments of conversations (‘Identity Politics Are a Fad, You Say’), then meditations on irrationality and evolution and luck. ‘Treats’ ends with thoughts about Wittgenstein’s ideas concerning language games (“Whereof one cannot speak, thereof one must be silent”) but ends with Marsman’s characteristic blend of intelligence, self-awareness, humour and pathos:

 

Whereof one cannot speak,

Thereof one forms silent gestures

Or bursts into tears.

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Lieke Marsman

Elsewhere, the individual’s interest is swept up into gender politics, multiculturalism, reality TV shows, upscale housing developments and the political hypocrisy of the Dutch state. In the autobiographical essay that follows the poems, Marsman explains: “I had to write about politics in order not to be totally subsumed by the cancer”. This also meant she was continuing to preoccupy herself with things that interested her before the diagnosis. It also had the effect of taking her out of herself (cancer, she says, “hurls you into yourself”). Such an interest in the multiplicity and variousness of the Other proves a beneficial way out of “a very lonely experience”.

This is the point about empathy made more systematically in the prose section which is pointedly titled ‘How Are You Feeling?’ In the final lines, Marsman puts it plainly: “What I do know is that the suffering of others is not something to be judged, ever, and that the right question to ask someone who is going through something difficult [. . .] is not ‘What’s in this for me?’ but ‘How are you feeling?’” This might seem to have the air of obviousness about it, but the preceding pages have documented depressing numbers of counter examples. The initial prose sections provide a pretty straight account of a young successful woman who sees the only likely danger for her as stress and “burn-out”. It makes her – and many of the medical practitioners she initially sees about a painful shoulder – fail to see there is a serious problem. On re-reading, I began to see this also as a failure of empathy, a failure to listen in to one’s own body. And there are certainly signs that Marsman (and Collins in her later letters) see the medical profession’s slow up-take as partly due to a lack of true empathy: “not only your age but your gender had an impact on the way you were perceived and treated”.

9780141187129Marsman tells us she read Audre Lord and Susan Sontag’s Illness as Metaphor after her operation and discharge from hospital. It’s Sontag who draws attention to the role of language in the way patients themselves and other people respond to cancer. Marsman asks herself: “Am I experiencing this cancer as an Actual Hell [. . .] or because that is the common perception of cancer?” The implied failure to achieve truly empathetic perception of the role and nature of the disease is echoed horribly in the empathetic failures and hypocrisies of Dutch politicians (UK readers will find this stuff all too familiar in our own politics). Prime Minister, Mark Rutte, blithely allocates billions of euros to multinationals like Shell and Unilever (on no valid basis) while overseeing cuts in health services. Marsman reads this as a failure to empathise with the ill. Another politician, Klaas Dijkhoff, reduces benefits on the basis that people encountering “bad luck” need to get themselves back on their own two feet. Bad luck here includes illness, disability, being born into poverty or abusive families, being compelled to flee your own country. Marsman’s own encounter with such ‘bad luck’ makes her rage all the more incandescent.

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Sophie Collins

Marsman’s texts are about 35 pages long in this Pavilion Poetry edition. The remainder of the book consists of Sophie Collins’ letters. This might look like padding but the letters not only raise interesting points (particularly about the practice of translation) but are at one with Marsman’s pleas for a social fabric that enables “mutual, consensual and willing exchange[s]” between its citizens and its power structures. The epistolary form has this sort of open, empathetic exchange at its heart. In fact, the phrase I’ve just quoted is from Collins’ discussion of translation. She argues against the idea of ‘fidelity’ in translation because of the implied power relationship in such a word: “‘fidelity’; implies the presence of a primary source of power”. Traditionally, this would be located in the source text or source author; a power to which the (secondary) translator must defer. Collins wants to propose a more equal partnership, one she wants to call ‘intimacy’: “a mutual, consensual and willing exchange between two or more subjects without referencing (an) authority at all”.

Translation as an act of intimacy seems right to me, though it might appear easier to achieve this with a living source author than a dead one. But Collins really means “developing a sincere engagement with the source text, author and culture”, a ‘getting close’, so – quoting Gayatri Chakravorty Spivak – the translator actually “speak[s] from inside”. This is a timely re-statement of a view of translation that, in these days where versioning and textual appropriation is so common, can be lost sight of. Collins goes even further here than the great Michael Hamburger, who was in the habit of saying the translator puts herself at the service of the source text. Collins sees the practical reality, that any translator herself is always going to be “fixed in a particular moment [. . .] will never, ever be a neutral entity” so however much we serve our source, the translator must always be bringing something of herself too: translation is an intimate engagement, a series of negotiations, an on-going drama of the most complex empathies.

Collins points out that this view of translation is one particularly fitting for the kind of work presented in this book. Marsman’s voice has the marvellous accessibility and liveliness of a conversation: “there is a deep intimacy in the way you seek to connect with your audience [. . .] the amount of credit you give your readers”. Her writing is both “accessible and smart”, says Collins, and this is just right. I might also add ‘uplifting’ – not only because Marsman’s personal prognosis looks good but because between them these two authors have produced a remarkable hybrid sort of book, grown from the astonishingly rich soil of empathetic response to others, expressive of a range of human intimacies as well as a variety of angers at the way individuals – and society – too easily succumb to blinkered self-interest and self-immuration.