Greedy alpha-creatures: the poetry of Ulrike Almut Sandig

June 22, 2023 martyn crucefix blogging, brief poetry review, contemporary British poetry, contemporary German poetry, creative writing, German poetry, poetry, political poetry, translation, writing Agenda Magazine, Angela Carter, anti-immigration party, Duino Elegies, Durs Grünbein, Grimm's Fairy Tales, John Burnside, Karen Leeder, Ledbury Poetry Festival, Mediterranean refugee crisis, migration, neo-Nazi, Patricia McCarthy, Pegida, Peter Florence, Porcelain, Rainer Maria Rilke, refugees in Europe, Seagull Books, The Children’s and Household Tales of the Brothers Grimm, Ulrike Almut Sandig, Walt Whitman

I’m shocked to realise that it is a full year since I posted my review of the stunning long poem, Porcelain, by the contemporary German poet, Durs Grünbein, in Karen Leeder’s equally impressive translation (Seagull Books, 2020). That review was originally commissioned for, and published in, Patricia McCarthy’s penultimate issue of Agenda (those who follow such things will know that Patricia has handed over the reins of the magazine to John Burnside who takes over with the resources of St Andrews behind him). In its original incarnation, the review was paired with my comments on another contemporary German poet’s work (again in Karen Leeder’s translation): this was Ulrike Almut Sandig’s 2016 collection, I Am a Field Full of Rapeseed, Give Cover to Deer and Shine Like Thirteen Oil Paintings Laid One on Top of the Other (Seagull, 2020). I am now posting my Sandig review as well, in part because I will be appearing with both Karen and Ulrike at the Ledbury Poetry Festival in a few days time. We will be talking about Rainer Maria Rilke’s great sequence, Duino Elegies (1923) as part of Peter Florence’s Dead Poets Society series. If you are in or around Ledbury on the morning of Saturday July 7th, do come along. Here’s the review . . .

The eponymous figure from Grünbein’s sequence’s 11th poem,‘Hans im Glück’, draws on one of the stories in The Children’s and Household Tales of the Brothers Grimm (1812). In the original, Hans has anything of value taken from him, bit by bit, yet he remains optimistic, refusing to acknowledge reality. Within the context of Porcelain, Grunbein treats this is as an additional image of the myth of the city of Dresden as undeserving victim. Interestingly, the same figure appears in Ulrike Almut Sandig’s collection, but her presentation of Hans is more poignant, less ironic, as even the boy’s language is stripped from him and he tries to write a letter to a loved one: “what are you up to? // + esp: where r u? / ru ru // ru”. In the context of I Am a Field Full of Rapeseed… , the boy might be thought of as a refugee, forcibly having his culture and language stripped from him, though one of the strengths of the poem is that it also works as an updated fairy tale, a little myth of loss and diminished presence with more universal application. Such re-purposing of several of Grimm’s tales is one of the most striking things about this collection. Sandig announces in another poem, “we find ourselves deep in the future of fairy tale” (‘the sweet porridge’) and she, like Angela Carter before her, redeploys the fairy tale’s surreal narratives, bold characterisation, its humour and violence, its symbolism and moral intensity for her own purposes.

The other striking aspect of Sandig’s writing here is her bold linguistic and formal choices. There is an absence of punctuation, capitalisation, of poem titles (bolded phrases mid-poem often serve as titles), of conventional forms, of a clear lyric ‘I’, of plainly pursued narratives. This results in radically shifting ground for the reader which can be both bewildering and exciting. Several poems indicate these choices are firmly rooted in issues of epistemology and ideas concerning personal identity. So, the opening poem, ‘from the wings’, ambitiously sets out a complete life from ‘screaming’ beginning to its ‘silent’ conclusion. The interim is portrayed as all fluidity, ‘a stream that flows into others / while others again flow into it’. As much as there is any discrete self to be identified, ‘I am made wholly of language’, and the individual is a creature ‘that must speak / to understand itself’. The self is also one of many ‘fragile / greedy alpha-creatures’ and understands itself to be, ultimately, ‘a fluid tuning fork I am my own / song’. In the same vein, the book closes with ‘where I am now’, which sets the self metaphorically in some remote Arctic research station, a self that is at the same time a woman swimming in a municipal pool, moving freestyle through the water, ‘parting the water before me’, in an image of self-creation and open-ended exploration that, to some, will recall Eliot’s ‘Little Gidding’: “We shall not cease from exploration”.

This is, as it were, the metaphysical background to Sandig’s vision and it gives rise to poems like ‘I am the shadow for you to hide beneath’ in which the narrative voice celebrates just such fluidity of identity in an address to “friends”/readers that has the quality of Whitman’s “I contain multitudes” (Song of Myself, #51), though with a good deal more anxiety: “every morning I get up and don’t have a clue: / is it me, Almut? Ulrike?” This is also the poem containing the book’s full title, “I am a field full of rapeseed, give cover to deer / and shine like thirteen oil paintings laid one on top / of the other” and the poem goes on, in the name of radical fluidity, the I as landscape, huntress, a text that begins to unravel just as it reaches an end, a soldier, a girl, a woman. Elsewhere, ‘to be wood in a table’, as the title suggests, continues the theme: “not to be old and not to be young, but old / enough to be several things at once”. This includes the Rilkean desire for “simple things like ‘tree’” as well as the freedom of having no name, “no longer to say: ‘I am’”.

Such poems are both celebratory in tone, but also alertly defensive. The reason is that there are forces abroad, ways of seeing and their associated politics that offer counter narratives. So, the expected calm of ‘lullaby for all those’ is really a call to arms, or at least a call to resist. It is “for all / those who put up a fight, when somebody / says: lights out, no more talking”. In a superb passage, once again Leeder’s translation of the German is brilliant, the forces of “DARKNESS” begin to emerge by implication:

we’re waiting for two

or three of those good, humming dreams

four peace treaties, five apples in deep sleep

we are waiting for six cathedrals and for

those seven fat cows, eight quiet hours

full of sleep, we’re waiting for nine friends

gone missing. we’re counting our fingers.

we’re still resisting. we won’t go to sleep.

What is being resisted are the forces of repression, of fixity not fluidity, narrowness not breadth, fundamentalist conviction not open-endedness. Sandig places a poem in the centre of the book which draws heavily on statements made by Pegida, Germany’s populist, right wing, anti-immigration party. The text is full of rallying calls expressing a faith in clarity, mastery, resolution and purification: ‘from now on / nothing will stand in our way, no language / we cannot master, we will strike out mistakes / and shake each other’s freshly washed hands”. One of the Grimm’s sourced poems, a sister speaking to her brother, presents a narrative of the boy’s development into a threatening “hunter”. Such a poem looks both ways towards the violence of neo-Nazis, but also towards the violent radicalisation of young jihadists.

Sandig’s poems dealing more obviously with issues of state power, war, migration and displacement (especially hot topics in Germany, a country in the Schengen area of Europe and seen by some as an ideal destination – see the poem ‘tale of the land of milk and honey’) are particularly impressive. The ‘ballad of the abolition of night’ draws on details of systematic torture prosecuted by the USA, “a state lagging somewhat behind / on the historical timeline of our kind”. ‘instructions for flying’ revises statements made in leaflets distributed at the Idomeni refugee camp in 2016. The same camp, close to the borders of Greece, is the focus of another poem which expresses the poet’s “moral dismay”. The disquiet is partly at her own nation’s equivocations about the refugee crisis (what if there’s not a single / jot of good Deutsch to be found in this / Land of mine”) but also personally, at finding rhymes but ultimately doing “sweet FA”.

With Grunbein, Sandig is expressing the moral complexity in the face of man’s inhumanity to man as much as any simplistic moral dismay. This is, in part, the subject of some of the Grimm poems (interestingly, in German, the word ‘grimm’ means ‘anger, ire’). ‘Grimm’ itself opens optimistically, messages being scribbled onto raw eggs, but increasing urgency leads to extra pressure and the eggs break. Still, like Hans in luck, the narrator seems “unfazed in / the crumbling ruins” though the final image is only of eggs smashed, “a well-nigh limitless / supply of fragments and rage most grim”. But Sandig is an optimist, I think. Though couched in conditionals, ‘news from the German language, 2026AD’ works hard to portray a future of more settled diversity (Iraqi dates, Turkish honey, Syrian poetry). The opposing prospect is relegated to a parenthesis – if quite a long one. But hope has the final word: “if it works, we, that’s all of you and me, / will sing a lullaby, rhyme in unison [. . .] but more than that, we will be”.

Ash-Hiccups: on ‘Porcelain’ (2005) by Durs Grünbein

June 7, 2022 martyn crucefix brief poetry review, contemporary British poetry, contemporary German poetry, creative writing, German poetry, poetry, political poetry, translation, UK poetry magazines, writing Agenda Magazine, Dresden firebombing, Durs Grünbein, John Ashbery, Joseph Brodsky, Karen Leeder, Meissen pottery, Michael Hofmann, Paul Celan, Schlegel-Tieck prize for translation, Seagull Books, Society of Authors, Winston Churchill

This review of Durs Grünbein’s stunning long poem, Porcelain, tr. Karen Leeder (Seagull Books, 2020) first appeared in a recent issue of Agenda. Leeder’s clever, formal, utterly sympathetic translation has since rightly been awarded the 2021 Schlegel-Tieck Translation Prize by the Society of Authors.

For a writer who has published over 30 books of poetry and prose in his native Germany, we have had too little of Durs Grünbein in English. Michael Hofmann‘s Ashes for Breakfast (Faber, 2005) introduced some of the earlier work and described Grünbein as possessed of melancholia, amplitude, a love of Brodsky, a love of the Classics, plus wide-ranging interests in medicine, neuroscience, contemporary art and metaphysics. John Ashbery praised Grünbein, identifying his subject as “this life, so useless, so rich” and the challenge to any translator is precisely this breadth and ambition. Happily, Karen Leeder is proving to be a really fine conduit for Grünbein’s work and here she triumphantly tackles his 2005 sequence of poems about the firebombing of his hometown, Dresden, by American and British planes in February 1945.

Porcelain is a sequence of 49 poems, 10 lines each, rhymed and grounded in Classical metre and given an air of Classical elegy by its subtitle, ‘Poem on the Downfall of My City’ (‘Poem vom Untergang meiner Stadt’). But if resolution, consolation or summing-up might be expected, this is, definitively, not what we get. The title, of course, refers to the Meissen pottery which, from the eighteenth century on, brought Dresden its great wealth and fame. But it is also a pun on the poet to whom the sequence is dedicated: Paul Celan. In Celan’s poem ‘Your eyes embraced’ there is an effort to swallow the ashes of genocide but they return to the throat as ‘Ash- / hiccups’, an image repeated in Grünbein’s opening poem: “It comes back like hiccups: elegy”. The sequence does indeed hiccup in the sense of its jerky shifts of tone, its multi-faceted images of Grunbein himself and in its close to choking articulation of the horrors of the Dresden bombing.

A self-conscious awkwardness or self-questioning is clear from the start: “Why complain, Johnny-come-lately? Dresden was long gone / when your little light first appeared”. Grünbein was born seventeen years after the bombing and accepts he cannot ‘witness’ the event in any simple way. But personal details do surface in the sequence such as in poem 8 where the young boy grows familiar with the still evident urban destruction: “proud and mute . . . the ravaged city”. He senses something of “that glory passed away” but can hardly know “the things [his] mother saw, / scarcely five years old” (poem 10). Later poems remember moments when his mother’s doll was in danger of the flames (“Flames as high as houses sucked the air along the streets”), but was rescued, unscathed, “or that is what they say” (poems 40/41). Leeder explains in her Introduction that Grünbein has been criticised in part for a sentimentality and this is perhaps such a moment. But the indication that this is reportage (family reportage at that) gives permission for sentiment and Grünbein is fully conscious of (and in control of) the massive swings in tone through the whole sequence. Poem 48 is one that might also lay itself open to charges of sentiment, focussing on a pair of lovers (Martha and Heinrich) seemingly caught up in the devastation: “Kids, the pair of you, first kisses in the thick of war, / until you met that night you’d grown up in uniform”. But Grünbein works repeatedly through allusiveness and intertextuality, so this Romeo and Juliet trope is hardened and complicated when we hear that, not only was the German air defence’s grid reference for Dresden code-named ‘Martha-Heinrich 8’, but also that both names recall characters in Goethe’s Faust.

In poem 38, Grünbein seems equally aware that some of his images of Dresden after the bombing might be open to the same criticism of a hyper-emotional tone. “Five long weeks upon the Altmarkt square, the horses / scratched the straw and watched the griddled corpses / burn. Mawkish? Ach, give over, late-born soul”. As this example shows, the sequence does confront the horrors unleashed on the city as in poem 22: “Are those people popping like chestnuts between / the gutted trams?” But looked at more carefully, even this grisly observation is nominally from the perspective of a stone angel on the cathedral roof. It is this continual innovation and manipulation of perspective that is important to the poems’ purpose and how we should read them. One important perspective Grünbein explores is the victim-narrative that predominated in thinking about the event in post-war East Germany and more recently. One aspect of this is the placing of the Dresden bombing in the historical context of German bombing of Warsaw in 1944 and the German’s systematic persecution of the Jews. Dresden’s fate did not rise ex nihilo. This latter myth, Grünbein embodies in the eroticisation of the bombing – the city as defenceless virgin – as in poem 45’s image of the city and the Elbe: “River like a sash of silver draped round her hips / enticing in the moonlight”.

From such examples, it’s easy to see why Grünbein’s own position on the bombing has been vociferously discussed and questioned. But he warns against using the destruction of the city as any kind of exemplum: “Let Dresden be. You won’t find what you are looking for” (poem 6). The reader understands he is also advising himself here, while, at the same time, acknowledging the human drive to interpret, to search for meaning, even in the most appalling events. The sequence’s treatment of Arthur ‘Bomber’ Harris, the RAF Commander-in-Chief during the bombing of Dresden, is interestingly equivocal. Poem 4 alludes almost invisibly to Harris’ comment on the Dresden bombing, when he suggested that objections to it were based on a sentimental image of the city as full of “German bands and Dresden shepherdesses” when, in reality, it was a Nazi munitions and transportation centre. In fact, Harris was carrying out orders from Winston Churchill: “No sweat, Arthur, you only did what you had to do” (poem 13). And in poem 23, Grünbein also notes that some more recent left-wingers in Germany have chanted ‘Thank you, Harris!’ in their efforts to question and counter more simplistic, victim-narrative commemorations of the event.

In such ways, Porcelain revels in its own pluralities while acknowledging and itself attempting to make some sense of an epitome of senseless destruction. The final line of the book plainly states the human need to avoid finality, the fall into fixity, yet accepts the compulsion to explain, to create meaning: “Changing places, times, dimensions as he goes—goes on—creating”. And behind all this stand those exquisite china objects, the ‘white gold’ that made the city rich and famous:

Falconers are there, vintners, nymphs with conch-shell horns,

frog-faced putti, figures riding seahorses and swans.

Groups of shepherdesses, lovely gardeners, beasts of lore . . .

Porcelain—most fragile thing”

The collision of Allied bombs and Dresden’s fragile porcelain lies at the heart of Grünbein’s poems. There was no contest, of course, though some pieces and many fragments remained and were perhaps repaired. Grünbein’s poems enact this process, collecting perspectives, often incongruous, even contradictory, but bringing them into relation with each other, not to make any definitive statement, but to hold up a mirror to us, to the recurrent tension between our need to create and our drive to destroy.

Charlie Louth’s Rilke + new Rilke Translations (Part II)

November 4, 2021 martyn crucefix brief poetry review, contemporary British poetry, contemporary German poetry, creative writing, German poetry, Great War poetry, poetry, religious poetry, Romantic poetry, translation, writing Agenda Magazine, Charlie Louth, Duino Elegies, Enitharmon Press, Gerard Manley Hopkins, Going Blind by Rilke, Herz-Werk, Holderlin, Lou Andreas Salome, New Poems, Oxford University Press, Philippe Jaccottet, Pushkin Press, Rilke's French poems, Sonnets to Orpheus, T E Hulme, The Panther by Rilke, Worpswede

This is the second and final part of an uncut version of my recent review of Charlie Louth’s excellent book on Rilke, Rilke: the Life of the Work (OUP, 2020). A shorter version of this review appeared in the latest Agenda magazine, ‘Altered Distances’ (Vol 54, Nos. 1/2). Many thanks to the editor, Patricia McCarthy for asking me to write it. As I mentioned last week, much of my time through lockdown has been taken up with translation. One of these projects is a commission by Pushkin Press to complete a new selection and translation of the work of Rainer Maria Rilke, scheduled to appear in 2023. Some of you will be aware of my earlier published versions of the Duino Elegies and the Sonnets to Orpheus (both available from Enitharmon Press). This new project will contain selections from those sequences and a significant number of earlier poems – from the Book of Hours, the Book of Images and the New Poems. I am including a few of my new translations in these two posts (or at least these are reasonably progressed drafts – just as with original work, translations need to sit a drawer for a while before they can be more fairly judged)

Part II

Louth argues Rilke’s journey towards the poetics of the New Poems began in the period he resided in the artists’ community in Germany at Worpswede. A lot of his thinking there concerned images of man and landscape. For the majority of the time, humans and nature live “side-by-side with hardly any knowledge of one another” and it is in the ‘as if’ of the work of art that they can be brought closer, into a more conscious relation. These are the thoughts that preoccupied Rilke when he moved, in 1902, to Paris, in part to observe Rodin at work. Louth is right that the poet’s move towards a poetry that cultivated the “earthly”, the world of “things”, was already well under way. He then looked to Rodin’s methods for “dependability, concentration and craft” and in a poem like ‘The Panther’ the fruits of more compactness of diction, a more supple articulation of syntax, a lexis of more precise, everyday words and an increased emphasis on the visual are clearly seen.

Here is my translation of ‘The Panther’:

The Panther

in the Jardin des Plantes, Paris

With this pacing the bars’ back and forth, his gaze

grows so weary there is nothing it can hold.

To him, there appears to be a thousand bars

and beyond the thousand bars, no world.

The lithe, smooth steps of his powerful gait

(in the narrowest of circles he spins round)

is like a dance of power around a point

at which an immense will stands, stunned.

In moments only does the pupil’s curtain

sway noiselessly open – an image enters

and drives through the mute tension of each limb

into the heart, where it disappears.

Under Rodin’s influence, Rilke became a more self-conscious labourer in language. These are the poems that are held up as examples of ‘Kunst-Ding’ (art-thing). In August 1903, Rilke wrote to Lou: “The thing is definite, the art-thing must be even more definite; taken out of the realm of chance, removed from every unclarity, relieved of time and given to space’.

Louth often draws comparisons between Rilke’s work and poets from the English language poetry sphere. Here he compares Hopkins’ ideas of ‘inscape’ and ‘instress’ as “akin” to Rilke’s ideas of object/form and its impact on the observing individual. Certainly, with Hopkins, Rilke valorises the moment of perception, the process of looking. This, from a letter to Clara Rilke in 1907, is worth quoting at length: “Looking is such a wonderful thing, and we know so little about it; with it, we are turned completely outwards, but precisely, when we are most so turned, things seem to go on inside us that have been longingly waiting not to be observed, and while, intact and curiously anonymous, they take place inside us, without us, their meaning grows in the object outside [. . .] without ourselves getting anywhere near it, grasping it only very faintly, from a distance, under the sign of a thing that was foreign to us and the next moment is estranged once more”. These are little contacts with God, transient though they may be. The way we are to put our conscious self into our gaze and let it stream out of us, so enabling us to ‘receive’ the object without, recalls the idea of kenosis. Louth’s account of it is cool and clear: “the whole process can be thought of as two parabolas intersecting at their tips, the mind going out as the gaze summons the object into its focus”. He goes on to say that the details of the process may seem mystical, or indeed oddly physical, but the point is that the precise perception and discovery of things is also self-discovery, suggesting that the New Poems are not objective (as is often blithely observed) and not subjective either, but complicatedly both at once.

Another of Louth’s interesting contextualisations is the link he makes between Rilke’s practice and the Imagists in general and, in particular, T.E. Hulme’s essay from around 1911, ‘Romanticism and Classicism’. There, Hulme also associates poetry with “an extraordinary interest in a thing”, described with an accuracy that avoids “falling into the conventional curves of ingrained technique [. . .] from gliding through an abstract process”. For Hulme, the artist is one who simply can’t bear the idea of [. . .] ‘approximately’”; hence one who always struggles to get “the exact curve of the thing”. Rilke’s New Poems are on the same trail, though he complicated and extended it with what he learned about ‘surface’ from Rodin. Gazing at the sculptor’s work, Rilke began to understand that surface “consisted of infinitely many encounters of the light with the thing [. . .] There is no point on the surface of a statue that is dead, no point isolated from the others, not participating in the total effect and life of the whole”. In a Rodin sculpture – and this is what he wished for his poetry – Rilke saw that “[n]o part of the body was insignificant or slight: it lived”. Yet such an interconnected, encompassing vision is inevitably transient. Louth brilliantly concludes that the New Poems are “things which record moments that are over, at the very least strongly imply their loss”, hence revising the accepted reading of this work: “the collection is haunted by things rather than full of them”.

Here’s an example of close observation not a thing but an individual:

Going Blind

There she sat with the others, taking tea.

And beside the others, I felt, at first,

that she held out her cup differently.

At one point she smiled. It almost hurt.

And when at last they rose from their chairs

slowly, still talking, as it happened

(laughing and chatting), moving on elsewhere,

I noticed her again. She lagged behind,

reticent, more like a woman compelled

to sing in front of a crowd of people.

In her shining eyes, the light seemed to fall

as if from outside, reflected in a pool.

She followed on, slowly, biding her time,

as if something more had to be overcome,

and yet, as if following that translation,

she would never again walk, rather fly.

Louth’s chapters 7 and 8 are both titled ‘The Interim’, tracing Rilke’s life and work from 1914 to 1922. After the drafts of the first and second Duino Elegies in 1912, the following 10 years are often seen as a period of failure and difficulty, of writer’s block. Louth argues otherwise. Though Rilke felt it was a period of drought (and discussed it as such often in his letters), poems were being written (over 150 in 1913/4) and the poet seems to be deliberately marking a break in his writing career in order to spur himself on to greater experimentation. The interim is filled with reading and much translation work too. Also, the orientation toward the visual arts which was such an important aspect of the New Poems grows less strong and is replaced (in a poem like ‘Wendung’ in 1914) with ‘heart-work’ (‘Herz-Werk’). Louth explains, this “implies a stronger recognition that the qualities of things depend on being noticed, received and remembered and that these are processes which have to do with time”.

It was also his reading of Hölderlin that spurred Rilke forwards, both the poems and the novel Hyperion (1797/99). The New Poems are haunted by transience (as is the great ‘Requiem’ to Paula Modersohn-Becker (1909)), but Rilke comes to see poetry’s temporal nature not as something to be lamented and combated, but as its strength, what “allows it to enter into and elucidate the movement of life”. Years later, the unfolding of the Duino Elegies is just this: an initial lamentation at the transience of life, turning slowly towards celebration of that fact. Rilke learned from Hölderlin’s abrupt style, his winding, fractured or abbreviated syntax. The poem ‘To Hölderlin’ (1914) praises him and sets out a programme for Rilke himself. This is Louth’s translation:

To linger, even on what we know best,

is not for us; out of the fulfilled

pictures the spirit pitches to ones now to be filled; lakes

are only in eternity. Here falling is

the best we can do. Out of a feeling we’ve learnt,

falling onwards into one we divine, further.

Louth argues, “What Rilke apprehends in Hölderlin and works into the form of his poem to him, is movement itself, the poem as a passage ‘felt in departures’. It is ‘Herz-Werk’ in that it traces the flexion of time”.

The long-nurtured fruits of these lessons in poetic diction, syntax and a vision of life are what burst from Rilke years later at Muzot. Much has been written about the inspired “hurricane of the heart and mind” that resulted in the completion of both the Duino Elegies and the Sonnets to Orpheus in February 1922. Some may find Louth’s 100 pages on the Elegies – a systematic ‘going through’ each poem in detail – to be at risk of losing the uplift and often dizzying experience that readers can have with this text which Rilke called a “great white sail”. But Louth’s forensic approach is not a dismantling of the poems, rather “a way of inhabiting them”. The poems are not elegies in any formal or traditional sense but about the kind of loss that had always been Rilke’s subject: the necessary loss of our necessary preconceptions about the world so that we can (if only passingly) experience its ultimate nature as a wholeness of being. The angels who make brief appearances stand for all that we are not (but might briefly glimpse). The lack of self-consciousness Rilke perceives in animals – their capacity to see the Open (“das Offene”) without reflection – proves an alternative way of critiquing the way we live. The acrobats in the fifth poem (the last to be completed) serve to suggest that life itself is “a questionable kind of performance, a contrivance, endlessly failing and having to be begun again”. Once this is felt in the blood and we distance ourselves from a world view in which “theories, the conception of things, have come to dominate over the things themselves”, then (as the seventh Elegy proclaims) “Just being here is glorious” (‘Hiersein ist herrlich’).

The only chance of preserving such glory is (following Hölderlin) to ensure no particular interpretation of experience becomes “the fixed and solely valid one”. The language of poetry becomes a way of “hooking ourselves to things, tangling ourselves in them” while retaining a sense of inevitable provisionality. So poetry reflects the nature of a life “improvised into a makeshift whole which acknowledges the complexity of life while also showing how it can still be experienced as a rich, meaningful practice”. Louth’s methodical tracking through the poems is an effective approach because the work itself is “extensive, various, not linear in progression, and often hard to construe, to read it is also to live in it, and the kind of reading required—to be willing to take things on trust, to allow rhythms to inform arguments, to carry unresolved moments, to connect disparate images into promising patterns—is akin to the ways we have of getting through life itself”.

Likewise, the Orphic song of the Sonnets also “comes and goes” and the self-contained, episodic, yet intricately interconnected form Rilke chooses (over 55 sonnets) yields what is Rilke’s greatest work. Louth takes a thematic approach, looking at Poetry and Technology, Sense and the Senses as well as Vera Oukama Knoop (the putative addressee of the Sonnets) and the marvellously inventive use Rilke makes of the sonnet form. This works less well because these poems are far more light-footed, less “hard to construe” than the Elegies. They require less explication and dance away from the forensic. But Louth knows as much: “The language of the [Sonnets] has two particularly striking aspects. One is its allusiveness and elusiveness, a curious looseness and lightness of reference, as if the words have become detached from their normal task of signifying and approach pure form [. . .] The other is the way the language grows out of itself, unfolding genetically and responding to its own promptings, as if it were listening to itself”.

Interesting though it is to see Louth complete his grand project with a discussion of the many French poems that Rilke turned to after 1922, there is once more a sense of trying to pin down the ineffable. Many poems were responses to the Vallais countryside, a place where the restless poet at last felt more rooted. But the lightness and playfulness of the poetry makes it hard to evaluate. Brief poems often aspire to the condition of haiku, or in Louth’s words, “almost avoid being writing at all”. Philippe Jaccottet in 1970, found in them a delicacy, preciosity, even a kind of soppiness. Many poems do have the Sonnets’ light-footedness and grace, yet often without their intensity and reach. Louth’s final judgement is suitably delicate: “There is a definite sense of Rilke taking his foot off the pedal in his last phase, productive though it was, but not as mere relaxation: as a deliberate exploring of unburdened existence”. So there is a dwelling in simple things, through simple language which can hardly be begrudged a man approaching his death from leukaemia in December 1926. His last published poem listens to and ventures out with the hunters in the Vallais, envying them their energy and vitality, as the dying poet (still fascinated by paradox) describes them as “pressing up close to what’s living”. This last phrase is a fine formulation for precisely what Rilke tries and succeeds in doing in so many of his poems.

Charlie Louth’s Rilke + new Rilke translations

October 28, 2021 martyn crucefix autobiography, blogging, brief poetry review, contemporary British poetry, contemporary German poetry, creative writing, German poetry, poetry, religious poetry, translation, UK poetry magazines, writing Agenda Magazine, Archaic Torso of Apollo, Cezanne, Charlie Louth, Duino Elegies, Enitharmon Press, Lou Andreas Salome, New Poems, new translations of Rilke's poems, Oxford University Press, Patricia McCarthy, Pushkin Press, Rainer Maria Rilke, Rodin, Sonnets to Orpheus, The Book of Images, Thomas Mann, Worpswede

As I mentioned in my last blog post, much of my time through lockdown and in the last few months has been taken up with translation. One of these projects is as daunting as it is exciting. Pushkin Press have commissioned me to complete a new selection and translation of the work of Rainer Maria Rilke to appear in 2023. Some of you will be aware of my earlier published versions of the Duino Elegies and the Sonnets to Orpheus (both available from Enitharmon Press). The new project will contain selections from those sequences and a good selection of earlier poems, including from the New Poems. As well as trying out a few of my new translations in this post (and the following one), the body of it is an uncut version of my recent review of Charlie Louth’s excellent book on Rilke, Rilke: the Life of the Work (OUP, 2020). A shorter version of this review appeared in the latest Agenda magazine, ‘Altered Distances’ (Vol 54, Nos. 1/2). Many thanks to the editor, Patricia McCarthy for asking me to write it.

Part I

Rilke has long suffered from two types of criticism. Among his enthusiasts, some declare his work close to sacred and therefore hardly open to ‘normal’ practices of critical analysis, at risk of spoiling the ‘bloom’ of mystery they find there. Others, of a more negative inclination, accuse him of an aloof aestheticism, a likely fatal distance from ‘real’ life. One such was Thomas Mann who can be found, Charlie Louth notes, “(rather richly) calling him an ‘arch aesthete’”. Both viewpoints risk downplaying the skilled crafting of Rilke’s work (he thought long and hard about poems as artefacts, things consciously and intricately made) but also risk mistaking the particular power of his poetry. Rilke: the Life of the Work is comprehensive, erudite, always clear and – most importantly – keeps returning us to the poetry to which Louth enthusiastically responds: “When we read Rilke, the poems do not feel aloof, and they do not feel merely aesthetic in their claims. They press upon us and make us examine ourselves, and they help us experience our life in the world with greater clarity and depth”. Most readers will recognise this as an allusion to the ‘Archaic Torso of Apollo’ (from New Poems) which concludes “You must change your life”. Louth again: “It is unusual for Rilke to be so direct, but as I see it a similar spirit animates most if not all of his poems”.

This book aims to bridge the gulf between enthusiastic, non-specialist readers of poetry (Louth translates his foreign language quotations himself) and the German lang/lit academic and student. The balance between engaged readability and academic thoroughness is very well judged. I particularly value Louth’s close readings of ‘the work’, viewed as objectively as possible (Louth declares early on that he has no “overarching thesis”). There are other readily available biographical and critical works, but the strength of Rilke: the Life of the Work is that, with its discussion of the formal choices, wording and syntax of so many poems, it is a comprehensive attempt at ‘Reading Rilke’. The structure of the book’s 600 pages is primarily chronological, from the poet’s earliest publication, Lives and Songs (1894) through to Vergers (1926). Louth only departs from this chronological survey twice. Early on, he looks at several poems that open Rilke’s published books, then, in Chapter 6, he discusses the four poems Rilke wrote as requiems.

So Louth’s Rilke is a craftsman and moralist who urges us to live better. The kind of closed system of a purely aesthetic art was the poet’s abhorrence. In a lecture he gave early in his career, Rilke is already sure that “‘art is only a path, not a destination’. In a letter to Lou Andreas-Salomé in 1903 he confirms: ‘I do not want to tear art and life apart; I know that in the end they are one and the same’. As so often, Louth articulates his subject’s attitude with great clarity: “for Rilke, there can be no question of shutting oneself away from life, of retreating into the work, and the desk, if it is to be the place of necessary writing, must be a ‘vitale Mitte’, a site right in the middle of life and exposed to all its risks and promises. To write is not to withdraw but precisely to engage”.

Rilke’s poetry pays particular attention to the processes of change associated with being human. Poems record such moments of change but also act, in the process of being read and openly experienced, as opportunities where change in an individual might take place. For those with faith in literature, Louth articulates the exciting prospect: “to read at all is to pause, is to take your time in times when an anxious haste pervades much of what we do. In some sense it is to live better whether poetry makes anything happen or not”. Writing to Thankmar von Münchhausen in 1915, Rilke asks, “What is our job if not, purely and freely, to provide occasions for change?” Louth finds these ideas in ‘Eingang’ / ‘Entrance’, one of the poems Rilke placed at the start of The Book of Images (1902/06). The furniture of this poem – the self, a house, a tree – is a grouping that recurs throughout Rilke’s work and what interests him is the suggestion that, as we leave the familiarity of our house, “the house of our habits, we enter the imaginary space of another building [. . .] coming from life into the poem, and passing through the poem into life”. Here is my new translation of this poem:

Whoever you are: in the evening, step out

of your living room, from all that’s familiar;

in the distance, the last thing, your house:

no matter who you are.

And although your eyes have grown so weary

you can barely lift them from the worn threshold,

slowly, with them, you still raise a black tree

and set it before the sky: lean and alone.

And you have made a world. And it is immense,

like a word, in silence, it continues to grow.

And as your will grasps its significance,

so your eyes, tenderly, let it go . . .

Portrait of Rainer Maria Rilke, 1928, by Leonid Pasternak

For Rilke’s own life and work, the key meeting was with Lou Andreas-Salomé in May 1897. Lou changed his handwriting and his name (from René to Rainer), but it was the confidence and groundedness in the world that she brought to his life that pushed his art “closer to the details of lived experience”. Rilke himself wrote: “The world lost its cloudiness [. . .] I learnt a simplicity, learnt slowly and laboriously how simple everything is, and I gained the maturity to talk of simple things”. Lou’s influence can be seen in the lecture he gave in Prague in 1898, where he distances himself from Symbolism and aestheticism (the dominant strands of ‘modern poetry’ at the turn of the century) to argue that the artist must not be “shut out of the great channel of life”, but must evoke the constant dialogue between the individual and things, “the strange coincidences between inner and outer out of which experience is made”. As Louth says, this is an early statement of the theme which will occupy his whole life.

Here is a brief poem – actually naming Lou and indicating her influence in persuading Rilke of the sacredness of the ordinary. It went unpublished for years, but was part of Rilke’s sequence called To Celebrate You (Dir zur Feier):

The rain runs its chilly fingers

down our windows, unseeing;

we lean back in deep armchairs

and listen, as if the quiet hours

dripped from a weary mill all evening.

And then Lou speaks. Our souls incline

one to another. Even cut flowers

at the window nod their topmost bloom

and we are completely at home,

here in this tranquil, white house.

For Rilke, the successful poem is a space in which the mysteries of things and personal confession are both explored, or revealed, simultaneously. Louth argues that, from the outset, Rilke’s view of this was always positive: “there is no unnerving consciousness of the self ’s arbitrary dependence on chance encounters with the outside world”, but equally, there is “no doubt about the existence of an underlying unity to which the poet has access”. What he feared was ‘the interpreted world’ (‘der gedeuteten Welt’), a world view shorn of all mystery, a perspective that perhaps most of us inhabit, a view in which language has become dominantly instrumental, “narrowing our vision so that life appears cut and dried without any possibility of the unknown and the unknowable”. Louth explains what readers of Rilke value in his work: “poetic language, as he understands it, is precisely a way of talking that avoids directness and allows the mutability of experience and the mystery of the world to be expressed. It releases rather than limits possibility”. Beyond this stands what Rilke might have meant by the term ‘God’. ‘He’ is “an experience of totality, life felt as a whole, in which self and other are not distinct or momentarily lose their distinctness”.

Here is my new translation of an early poem from The Book of Hours (Das Stundenbuch) in which Rilke is developing these ideas:

You, the darkness from which I came,

I love you more than the flame

scoring the world’s edge

with a glimmer

upon some sphere,

beyond which no-one has more knowledge.

Yet the darkness binds everything into itself:

all forms, flames, creatures, myself,

it seizes on them,

all powers, everything human . . .

And it may be: there is an immense might

stirring nearby –

I believe in the night.

It is in part because the enemy of mystery is language (too casually used) that poetry (constructed from language more carefully used) has an advantage over other art forms like painting. There’s an irony here, of course, because Rilke learned so much from other workers in the fine arts. Most know about the debt he owed to Rodin and Cezanne, but Louth argues Rilke’s journey towards the poetics of the New Poems began in the period he resided in the artists’ community in Germany at Worpswede. A lot of his thinking there concerned images of man and landscape. For the majority of the time, humans and nature live “side-by-side with hardly any knowledge of one another” and it is in the ‘as if’ of the work of art that they can be brought closer, into a more conscious relation. But because a poem works through time, such a correspondence is acknowledged as “something one traverses and gains knowledge of but cannot hold onto”.

Part 2 of this review coming next week…..

Quickdraw Review: ‘Counting Clouds’ – poems by Peter Robinson, paintings by David Inshaw

July 9, 2020July 9, 2020 martyn crucefix brief poetry review, contemporary British poetry, creative writing, ecopoetry, ekphrastic poetry, New British Poetry, poetry, political poetry, religious poetry, writing Agenda Magazine, Avebury, Brexit, Brotherhood of Ruralists, Cambridge, Covid virus, David Inshaw, Devizes, ekphrastic poetry, Hardy - After a Journey, Hardy - Afterwards, James Harpur, Moments of Vision, Peter Robinson, poetry and painting, Silbury Hill, Thomas Hardy, Two Rivers Press, Wiltshire landscape

This is how reviews are supposed to work. I recently read James Harpur’s comments on Bonjour Mr Inshaw, published by Two Rivers Press (poems by Peter Robinson, paintings by David Inshaw) in the Spring 2020 issue of Agenda, ‘Pound Reconsidered’. I went out and bought the book.

I’ve long thought of writing poems about David Inshaw’s paintings, drawn to what Harpur calls his ability to “invest landscapes with spiritual light and energy, balancing realism with a sense of the mythic, of penetrating a noumenal sphere”. The other personal draw to his work has been that Inshaw’s home (and home ground as an artist) is that part of Wiltshire to the west of where I grew up. Inshaw’s home is in Devizes and many of his paintings are of the landscape just a bit further west, of Silbury Hill, Avebury, the barrows and downs of that area. The drive from the M4 turn-off at Hungerford, on the Bath Road, through Marlborough and the A361 to Devizes has long figured in my personal list of favourite drives (not wholly because it was for years the route to my childhood home in Hilperton, Wiltshire). And now Peter Robinson has beaten me to it with this beautiful book of full colour images and 19 poems, though his approach is not simply ekphrastic (merely descriptive of the images) but often launches out from the pictures into concerns shared by the two artists.

download (1) — Image and Text from ‘Bonjour Mr Inshaw’

Robinson and Inshaw in fact met at Cambridge in the 1970s. That moment is uncertainly recalled in the poem ‘In the Seventies’ (a title borrowed from Thomas Hardy’s poem in Moments of Vision – a sub-theme of this whole book is how both poet and artist respond to Hardy’s work). Various chance meetings over 50 years then occurred including a visit to Devizes in January 2019 during which the project of this book was agreed upon.

The word ‘haunted’ seems to have been designed to be applied to Inshaw’s landscapes. There is a hyper-real quality to the painting which makes the viewer re-see our own surroundings but also takes us through the surface. Harpur’s Agenda review suggested a “Platonic vision” but I’d object to losing the surface of the real so readily. Inshaw was a member of the Brotherhood of Ruralists (here is an old BBC documentary on them – a brilliant example of ‘slow’ TV before it had been thought of) and his landscapes are usually peopled and the trees and downs and ancient memorials are therefore always ‘seen’. Inshaw’s work is about time and memory (Hardy again) and the way moments of vision or perception can feel heightened. The poem ‘Haunting Landscapes’ alludes to Inshaw’s ‘Our days were a joy and our paths through flowers’ (another quote from Hardy, his poem ‘After a Journey’). A woman in black stands in a graveyard but has turned as if being called to from beyond the frame (by a memory, a ghost).

As in so many memories, there is a heightened particularity to Inshaw’s paintings. There is a Rilkean focus on what ‘The Kennet’ calls “being here”. Look at Inshaw’s ‘Tree and Moon’, for example, and Robinson’s accompanying poem, ‘At Slader’s Yard’, associates the two artists (and their art forms) in the quality of their ‘noticing’: “I’m a counter of clouds / come over the hills like this one / ‘salmoning’ in a ‘deepening blue’”. Hardy’s poem ‘Afterwards’ describes himself as a “man who . . . noticed things”. Robinson’s concluding poem, ‘After a Visit’, suggests how Inshaw’s precision of observation (“the starkness of those winter branches’ / black against a glowing skyline”) manages to inculcate a sense of something other than mere perception of colour and shape: “it brings back the sense of some design, / and a meaning to this scene”. The root and pattern of design is unclear. The value of such a comprehending vision is heightened by the precise historical context in which many of these poems were written. The divisions and confusions of Brexit and the world of Covid infection and lockdowns keeps breaking through the surface of this book. The parliamentary “palaver”, hypocritically urging us to “come together as a nation” and a certain politician, “pre-disgraced”, indicate that neither poet nor painter look upon the landscape of southern England with their heads in the clouds, nor with any narrowly nostalgic gaze.

That Infinite Showplace: Rilke in Paris 1902-1914

February 25, 2020March 2, 2020 martyn crucefix contemporary British poetry, contemporary German poetry, creative writing, German poetry, poetry, translation, writing Agenda Magazine, Auguste Rodin, Baudelaire, Cezanne, Clara Westhoff, Duino Elegies, German poetry, Hotel Biron, L'Arriere-Pays, Maurice Betz, Musee Rodin, Pushkin Press, Rainer Maria Rilke, The Book of Hours, The Notebooks of Malte Laurids Brigge, translation, Une Carogne, Will Stone, Worpswede, Yves Bonnefoy

NB This review first appeared in a shortened form on the Agenda Magazine website.

Rilke in Paris, Rainer Maria Rilke & Maurice Betz, tr. Will Stone (French original 1941; Pushkin Press, 2019).

The argument of Maurice Betz’s memoir on Rilke’s various residencies in Paris between 1902 and 1914 is that the young poet’s experience of the French capital is what turned him into a great poet. Betz worked closely with Rilke on French translations of his work (particularly his novel The Notebooks of Malte Laurids Brigge (1910)). Will Stone’s excellent translation of Betz’s 1941 book, Rilke a Paris, elegantly encompasses its wide range of tones from biographical precision, to gossipy excitement and critical analysis. The book particularly focuses on Rilke’s struggle over a period of eight years to complete the novel which is autobiographical in so many ways, as Betz puts it “in effect a transcription of his own private journal or of certain letters”.

Rilke first arrived in Paris from Worpswede in northern Germany, a community of artists where he had met and married Clara Westhoff. But never one to truly reconcile himself either to community or intimacy, he had already left his wife to travel to Paris. Yet the anonymity, bustling energy and inequalities of the French capital appalled him. In letters to his wife and many others, it became clear that, as Stone’s Introduction argues, Paris had “unceremoniously torn Rilke out of his safe, somewhat fey nineteenth-century draped musings”. In ways reminiscent of Keats’ observations about feeling himself extinguished on entering a room full of people, Rilke would later recall how the city’s “grandeur, its near infinity” would annihilate his own sense of himself. Living at No.11, Rue Touillier, these initial impressions form the opening pages of The Notebooks.

But there were also more positive Parisian experiences, particularly in his meetings with Rodin who he was soon addressing as his “most revered master”. Famously, Rodin advised the young poet, “You must work. You must have patience. Look neither right nor left. Lead your whole life in this cycle and look for nothing beyond this life”. In terms of his patience and willingness to play such a long game, not only with his novel but also with the slow completion of Duino Elegies (1922), Rilke clearly took on this advice. Interestingly, Betz characterises Rilke’s methods of working on the novel, creating letters, notes, journal pages over a number of years, as “like sketches, studies of hands or torsos which the sculptor uses to prefigure a group work”.

Rilke was even employed briefly by Rodin as “a sort of private secretary”. Betz suggests Rilke simply offered to help out for a couple of hours a day with the famous sculptor’s correspondence. But this quickly expanded to fill the whole day and Rilke was soon confessing to Karl von der Heydt that “I must get back to a time for myself where I can be alone with my experience”. A break was inevitable though in later visits to Paris the two artists patched up any quarrel. In terms of his location during this period, Rilke had moved on to the Hotel Biron at 77 Rue de Varenne on the recommendation of Clara. Rilke in turn suggested it as a suitable studio base for Rodin who also settled there and over a number of years gradually took over more and more of the rooms. It is this building that, in 1919, was converted to the now much-visited Musee Rodin.

Betz suggests that the traumatic impact of Paris was the making of Rilke as an artist. Between 1899 and 1903, Rilke had been working on The Book of Hours, representing a “religious and mystical phase”. In contrast, Paris presented the poet with an often brutal but also more “human landscape”. He also discovered this was reflected in the French capital’s painters and poets. Baudelaire in particular was important. In personal letters (as well as in his finished novel) Rilke identifies the poem ‘Une Charogne’ (‘A Carcass’) as critical in “the whole development of ‘objective’ language, such as we now think to see in the works of Cezanne”. Baudelaire’s portrayal of a rotting body seems to have taught Rilke that “the creator has no more right to turn away from any existence [. . .] if he refuses life in a certain object, he loses in one blow a state of grace”.

But it took Rilke a while to arrive at this sort of inclusivity of vision. One of his earliest impressions of the city was that there were invalids, broken human bodies everywhere. “You see them appear at the windows of the Hotel-Dieu in their strange attire, the pale and mournful uniform of the invalid. You suddenly sense that in this vast city there are legions of the sick, armies of the dying, whole populations of the dead”. As Betz points out, this is one of the important observations made by the hero of The Notebooks. It is the “multiform face of death” that Brigge (and Rilke) confronts in Paris. And the irony is not lost on either of them because Paris, of course, at this time was renowned for its social and cultural vitality. Here, Rilke is being forced to make critical distinctions which he then worked on for the rest of his life: “Vital impulse, is that life then? No. Life is calm, immense, elemental. The craving to live is haste, pursuit. There is an impatience to possess life in its entirety, straight away. Paris is bloated with this desire and that’s why it is so close to death”. Years later, near the end of the fifth of the Duino Elegies, Rilke expresses something very similar (tr. Crucefix):

Squares, oh, the squares of that infinite showplace –

Paris – where Madame Lamort, the milliner,

twists and winds the unquiet ways of the world,

those endless ribbons from which she makes

these loops and ruches, rosettes and flowers and artificial fruits

all dyed with no eye for truth,

but to daub the cheap winter hats of fate.

But unlike Brigge, Rilke escapes Paris. Reflecting later, he feared that people might read his novel as seeming “to suggest that life was impossible”. Betz – who had many discussions with Rilke during the process of translating the novel – reports that the poet, accepted that the book contained “bitter reproaches [yet] it is not to life which they are addressed, on the contrary, it is the continual recognition of the following: through lack of strength, through distraction and hereditary blunders we lose practically all the innumerable riches which were destined for us on earth”. Though the Duino Elegies opens with the despairing existential cry (“Who, if I cried out, would hear me among the ranks / of the angels?”), by the seventh poem of the sequence Rilke expresses his affirmative view: “Just being here is glorious!”. In Rilke in Paris, Betz records some of Rilke’s conversations: “Instead of perpetually hesitating between action and renunciation, we fundamentally only ‘have to be there, to exist, that’s all”.

Betz’s admiration for Rilke is palpable throughout this fascinating little book. In its concluding pages, he sums up: “In seeking to express in his own way the world we thought we knew, Rilke helps us to hear more clearly what already belongs to us and permits us access to the most sinuous and iridescent forms, to profound emotive states and to that strange melody of the interior life”. This is marvellously put (and translated). Will Stone also includes a translation of a little know early sequence of prose poems by Rilke, ‘Notes on the Melody of Things’. In it, the poet reflects – through thoughts on theatrical experience and on fine art – on the relationship between background and figures in the foreground. Something of the personal angst and despair of The Notebooks can be heard in section XXXVII where we are told that “All discord and error comes when people seek to find their element in themselves, instead of seeking it behind them, in the light, in landscape at the beginning and in death”. The vastness and reality of what lies behind the solitary figure – and the negotiated relationships between the two – suggests to me that Yves Bonnefoy may well have been thinking of these pieces when he was writing L’Arriere-Pays (1972). Betz is right to conclude Rilke in Paris by praising Rilke as a poet who matured through “solitude and lucid contemplation of the loftiest problems of life”, but also one who never failed in patience or effort to express “in poetic terms the fruit of that inner quest”.

Two Ekphrastic Collections – David Pollard and Seamus Cashman

June 25, 2019 martyn crucefix contemporary British poetry, creative writing, ekphrastic poetry, Irish poetry, New British Poetry, poetry, religious poetry, UK poetry magazines, writing Agenda Magazine, Caravaggio, David Pollard, ekphrastic poetry, John Ashbery, Lapwing Publications, Michelangelo, Parmigianino, Rembrandt, Salmon Poetry, Seamus Cashman, Self Portrait in a Convex Mirror, Sistine Chapel, The Sistine Gaze, Thomas Traherne, Three Artists, trompe l'oeuil

My earlier postings on ekphrastic poetry – poems inspired by visual art – have proved astonishingly popular and, when Agenda magazine asked me to review two collections with exclusively ekphrastic intentions, I leaped at the chance. I’m posting this now because the reviews have just appeared in the latest Agenda, a journal well-worth subscribing to. As will become clear, in what follows I am more persuaded by Seamus Cashman’s book, The Sistine Gaze (Salmon Poetry, 2015) than David Pollard’s Three Artists (Lapwing Publications, 2017). But both provide much food for thought on the relationship between poetry and the visual arts and evidently there are a lot of us fascinated by this sort of writing.

31gDoieiwrL._SX351_BO1,204,203,200_ David Pollard’s book is divided into three sections, one each on Parmigianino, Rembrandt and Caravaggio. Initially, Pollard presents a set of 15 self-declared “meditations” on a single work of art – Parmigianino’s ‘Self Portrait in a Convex Mirror’ (c. 1524). This is a bold move, given that John Ashbery did the same thing in 1974 and Pollard does explore ideas also found in Ashbery’s poem. Both writers are intrigued by a self-portrait painted onto a half-spherical, contoured surface to simulate a mirror such as was once used by barbers. The viewer gazes at an image of a mirror in which is reflected an image of the artist’s youthful and girlish face. It’s this sense of doubling images – an obvious questioning of what is real – that Pollard begins with. “You are a double-dealer” he declares, addressing the artist directly, though the language is quickly thickened and abstracted into a less than easy, philosophical, meditative style. It is the paradoxes that draw the poet: “you allow the doublings / inherent in your task to hide themselves / in open show, display art that / understands itself too well”. Indeed, this seems to be something of a definition of art for Pollard. “Let us be clear”, he says definitively, though the irony lies in the fact that such art asks questions about clarity precisely to destabilise it.

Parmigianino, Selbstbildnis um 1524 - Parmigianino / Self-Portrait / c.1524 - The 15 meditations are in free verse, the line endings often destabilising the sense, and they are lightly punctuated when I could have done with more conventional punctuation given the complex, involuted style. Pollard also likes to double up phrases, his second attempt often shifting ground or seeming propelled more by sound than sense. This is what the blurb calls Pollard’s “dense and febrile language” and it is fully self-conscious. In meditation 15, he observes that the artist’s paint is really “composed of almost nothing like words / that in their vanishings leave somewhat / of their meaning” – a ‘somewhat’ that falls well short of anything definitive. Of course, this again echoes Ashbery and appeals to our (post-)modern sensibility. Pollard images such a sense of loss with “a rustle of leaves among the winds / of autumn blowing in circles / back into seasons of the turning world”. He does not possess Ashbery’s originality of image, as here deploying the cliched autumnal leaves and then echoing Eliot’s “still point of the turning world”. Indeed, many poems are frequently allusive (particularly of Shakespearean phrases, Keats coming a close second) and for me this does not really work, the phrases striking as undigested shorthand for things that ought to be more freshly said.

The Rembrandt poems have a similar tone and style, not surprisingly when most of the focus is again on the mirroring and self-reflection of his self-portraits: “Skin and paint are different stuffs / as he was a different species from himself / reflected”. Perhaps there is less playfulness here than in Parmigianino’s trompe l’oeuil image, more of an obvious darkness in the dusky, obscure backgrounds: “These images were born in thoughts of his departing / and in the horror of identity, of selves, of ruins”. Yet there is more variety of tone to be found in these poems as Pollard develops Rembrandt’s social context, his painting of pictures to please Amsterdam’s wealthy burghers and corporations, images of their self-importance for which they “paid him well”. Yet the artist himself was more interested in other, more liminal figures:

And just beyond the door, always ajar,

there in the street canal side,

in a swift moment are his old hags

and poverty and Christ, the Jews

in fur and black passed down the ages,

too many beggars and those copulating dogs

and then again wives and washerwomen

The final Caravaggio section of this book makes different ekphrastic choices. Pollard allows the ageing artist a direct voice in one poem, then considers 7 individual images in separate poems, then concludes again with something close to a ‘meditation’. Hearing Caravaggio speak (in ‘Porto Ercole’) is a refreshing change to Pollard’s own rather too-consistent, sometimes haranguing voice. The artist is sailing to Rome, hoping to escape a death sentence, fretting about what he has achieved: “I am only spine and marrow of regret / and last prayers flail along my throat / and my weak blood is darker / than those holy tenebrae I drew art from”. Elsewhere we hear of the artist’s earlier life, hawking more conventional images on Rome’s street corners. Those familiar with Caravaggio will know what to expect: the play of light out of thick slabs of shadow and “[p]lain speech not mannered rhetoric”. Such a visual ‘plain speech’ is well described in ‘The Entombment’ with Christ’s “liminal grey flesh / full of the pure weight of the physicality of loss”. Also, in ‘The Rising of Lazarus’, it is suggested that Caravaggio employed grave robbers to “drag a grave” for a real, decaying corpse since “he only painted from grit and real”. The language here has some energy, but I doubt its precision in such choices as “drag” and “grit” – the former tries too hard, the latter not hard enough. Pollard’s liking for abstraction can also be harmful as in these final lines on Caravaggio, which leave me puzzling, though not in any good way:

Thus it can show only how

the insignificance of objects

waits for it, accepts it,

and then drowns in its almost too late a dusk

and ochre of our being

hewn out of nothing more than the liquidity

that holds invisibility at bay against oblivion.

resurrection-of-lazarus-1609 — Caravaggio’s ‘The Raising of Lazarus’

In contrast to Pollard, Seamus Cashman lets us partake of the very moment when his single long poem began. Re-visiting the Sistine Chapel, we are told his eyes fall on a painted figure in a white, pseudo-architectural, triangular frame – a woman in a green jacket. He goes on: “Her eyes hold mine, and the word ‘gaze’ slips into my mind. As I stare she seems to invite me to converse”. The resulting ‘conversation’ is the extraordinarily ambitious poem that follows, drawing on Michelangelo’s work on the ceiling of the Chapel (completed in 1512) and the altar wall (completed 1541). This admittedly touristic, but originating moment is poetically recast in Cashman’s Prologue as an epiphanic encounter: “This face centres a still point, draws me up and in. She is waiting. I attend”.

51-8U4QUtpL._SX318_BO1,204,203,200_ In fact, the woman is hardly given a voice and the substance of the sequence is dominated by the (male) artist’s reflections on his years-long task. He’s most often found “between this scaffold floor and ceiling”, complaining about his “craned neck”, pouring plaster, crushing pigments, enumerating at great length the qualities and shades of the paint he employs (Cashman risking an odd parody of a Dulux colour chart at times – “Variety is my clarity, / purity my colour power”). Later, we hear him complaining the plaster will not dry in the cold winter months. We even hear the artist reflecting on his own features, the famous “long white beard and beak-like nose”. These period and technical details work well, but Cashman’s Michelangelo sometimes also shades interestingly into a more future-aware voice, melding – I think – with the poet’s own voice. So he remarks: “Getting lost is not a condition men like me endure or venture on today. / All GPS and mobile interlinks enmesh our every step”. Later, a list of “everything there is” sweepingly includes “chair, man, woman; laptop or confession box”.

At one point, Michelangelo recalls working on a great marble block that fell and shattered, “bartering monumentalities / that break backs”. And I do worry that the sheer ambition of this project has led to awkward monumentalities in the texture of Cashman’s verse. He surrounds his poems with thickets of rubric. So on page 31, the reader is told that she is about to begin Book 1, called ‘Creation’, this being Part II, called ‘In the Mirror of Creation’s Dust’ and that this book consists of Verses 65-117 and that, firstly, comes Movement 9 (which runs from verses 65-67) and that the opening passage has been given the title ‘Convinced we are awake’. This gives the whole thing a clunky, pseudo-scriptural quality which (on my reading) doesn’t really fit with Cashman’s overall purpose and its enumerative, even obsessive titling and sub-titling certainly and frequently derailed this reader’s imaginative and emotional engagement with the poems. I suspect this decision arose as a response to the sheer fecundity, the multifarious nature, of Michelangelo’s Sistine work. It may also account for Cashman’s frequently rather grandiose register, his occasional drifts into archaism, the ubiquity of rhetorical gestures like lists of three (or even four) and the self-conscious habit of using nouns as verbs (thigh, sex, tray, story).

But as a result, Cashman’s verse has a Whitmanesque quality (the long lines) and can bring to mind Blake’s Prophetic Books; it has dashes of Hopkins’ alliterative energy. At one point the voice wants “to sing. I want to sing the body tune, / the rhythms of blood, the living heart” but I found myself wishing for a little less such effortful transcendence and a more Traherne-like, child-like, simplicity of diction which is still capable of conveying what Michelangelo declares, at a late stage, that “our instinct is infinity”. This might also sit more comfortably with Cashman’s Michelangelo’s intentions which seem to be to give “hope to some pilgrim searching my cabinet for direction and new ritual”. I think we are meant to see Cashman himself as this “pilgrim”, a latter-man, having lost his Catholic beliefs, but visiting the Chapel in search of a new vision.

Certainly, the Michelangelo-voice does not seem to be speaking of his works in a confined 16^th century fashion as art in praise of God. More like a modern poet, he says “all we need / are words of admiration drafted with compassion for the flesh and bone we are”. Later, reflecting on the nature of the human self, he describes it as a “mobile installation, unfixed and indeterminate [. . .] emotion in the making”. Many verses in the poem celebrate the sexuality of “Eve ‘n Adam—penetration – vulva open to erection; risen nipples; hanging scrotum; nosing cheeks / all the open flesh and pleasured nerve-ends”. And alongside this, the poem works towards a modern – or perhaps it’s a Blakean – godless vision of human life where “heaven is adoration of knowledge, and god is who we know ourselves to be”.

Curious and bold then, that Cashman ekphrastically takes on the Sistine Chapel and then writes God out of the picture. Nor does he shrink from the shelf-clearing consequences for our conventional spiritual understanding. The idea of the “Soul” is now little more than a “word. It frightens children and old painter sculptors weakened by the weight of brush and mallet. Soul. / Nothing knows its place”. Likewise, The Sistine Gaze concludes its frequent lauding of human sexuality with a recognition of the plain fact of its opposite, death: “this finality, expired into a nothingness we each possess. Dead is dead”. Even the genius-artist himself is finally and ironically “absorbed in the great womb of chaos he created / leaving us to falter, wonder, and pass on / for we know nothing”. These lines are some of the concluding moments of the book and they possess a lighter touch than the majority of it. Cashman here allows the white space around his printed words to work its magic more effectively, creating a rhythm and a chain-link of tensions which add to the reader’s experience. For all its intended monumentality and dizzying ambition (which has led the poet to erect too much scaffolding around his poems), this quiet end-piece is for me the most affecting moment of the whole book: “our end is an endless breath / to fill – to vitalise / and imperceptibly / to let go— / never to know”.

My Grief Observed – May 2017

August 10, 2017 martyn crucefix autobiography, contemporary British poetry, creative writing, poetry, writing A Grief Observed, Agenda Magazine, C S Lewis, Care Home, chapel of rest, death of a father, Giuseppe Tomasi di Lampedusa, Seren Books, The Leopard, Wiltshire, words and things

This week, I sat down to write a thinking piece about C S Lewis’ brief memoir about his wife’s death, A Grief Observed (published under the pseudonym N W Clerk by Faber in 1961), when this happened instead.

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My father died – I’m shocked at the passage of time – just over 8 weeks ago. At the age of 97, it was hardly unexpected though to be honest I had anticipated my mother (age 95 this month and seemingly physically far more frail) to be the first to leave the world. Though hardly unexpected it was still a surprise. It happened late at night – I’d travelled back to London thinking he was stable enough. By the time I’d returned the next day to the Care Home in Wiltshire, the undertaker had already taken him away. There were so many distractions, things to sort out, though we’d already sold the family home and his affairs were as simple as can be for a man with two savings accounts, a couple of State benefits and an utterly derisory works pension.

I did decide to visit him in the undertakers’ so-called chapel of rest. I’m not sure this was about saying goodbye – though circumstances had meant I hadn’t done this in any conscious way. The assistant took me into a little hallway where a door stood open, some classical music playing. A wooden chair and a table with a vase of flowers were all to be seen in the hallway. I have no recall of the music or the type of flowers. I was taken aback when she explained that some people prefer simply to sit outside the ‘chapel’ rather than go in to view the body. I felt reassured somehow that such a reluctance was not something I was feeling and it would be a sort of cowardice if I did. I felt brave, or just a bit braver. I was doing this for Dad. Though her observation then made me re-consider. Maybe I was really anxious, even fearful, about seeing him. I sat in the chair outside for a few minutes to see how it felt.

It felt pointless. I was here to see him and to have done with it. I edged round the open door. The coffin was deliberately around the corner, out of sight until you got well into the room. It filled an alcove, supported at waist height, I supposed, on some sort of trestle. I’m enough my Dad’s son to think of such things. Later on, after I’d sat a while in the chapel I started looking – as he would have done – at the structure of it. It was just a plain room, almost certainly separated off from an original larger room. There was an RSJ across the width of it. Perhaps there was another such ‘chapel’ next door. Semi-detached. Like the house Dad had lived in. In fact, the one he’d help build in the mid-1950s. I was taken there at the age of one. I left there to go to university at the age of 18. We’d sold it for more than we’d expected about a month earlier. Semi-detached.

They’d put a crucifix on the wall above the coffin. Or rather, the cross was a fixture on the wall. Other coffins in series had lain beneath it. Dad always had a dislike of religion. I never could get to the bottom of why. Born in 1920 you’d have thought it would have been just part of the landscape he grew up in. Was it rammed down his throat to the point of the need to vomit it back up again? Was there something in his war years that made him see through it so vigorously that – even into his 90s – he never found a way back? His wife was quietly non-conformist, mostly Methodist. I’m sure she would have attended church in these more recent years (her younger sister regularly did). I’m sure she stayed away because of his hatred of it. Now here he lay under a crucifix in an inappropriately ‘holy’ setting with such tasteful lighting. Hurrumph, he might have said. Words were not his thing. I never showed him this little poem:

Words and things

Past ninety and still no books to read

your knuckles rap the laid table

gestures beside a stumble of words

so much aware of their inadequacy

it hurts us both in different ways

since a man without language is no man

finding too late this absence of words

builds a prison you’re no longer able

to dominate objects as once you did

the world turns in your loosening grip

I still feel a bit guilty about having written it. Agenda published it originally. It’s just appeared in my new book. But no – he never saw it. I made sure of that.

I looked at him in his box. My brother and I had decided not to dress him in his own clothes. His only suit was so old and shabby and he had little else that we thought was suitable (why did we agonise over it – I was the only person who knew him to see him in this state anyway). Oh for his old suit! He was dressed in a sky blue silk number, a ludicrous ruff about the neck: a sort of choir boy outfit. My main impression was of the newness of the cloth of the robe, its strong vibrant colour against the chilly greyness of what must lie underneath if his hands were anything to go by.

Then at last, I looked directly into his face. I’d been reading Lampedusa’s The Leopard and at the end of the novel, the dying Prince, Don Fabrizio, looks at himself in the mirror and wonders why “God did not want anyone to die with their own face on?” The last time I’d seen Dad was after he’d been brought out of hospital, back to the Care Home where he lay sleeping for hours on a mattress on the floor (to stop him rolling off and injuring himself). He puffed and blew a good deal, eyes shut. He rummaged his legs to and fro, tying the bed sheet in knots. But he never woke. In those hours, it seemed to be him. I sat beside him with my mother. I held his cold hand and repeatedly told him we were there, we were there for him, he was OK, he was not in hospital (god how he hated hospitals!).

But the face looking up out of the coffin seemed to be somebody else. Hard to tell what was plain natural death, what was the undertaker’s art, what the lighting, what my weird state of mind. All the clichés about the waxy, smooth look of the dead are true. His Crucefix nose – always fairly prominent – launched from his sunken cheeks and bony brow skywards. His chin – which in life was always weak and receding – also thrust forward and up in the most unnatural way. What had they done? What had they packed his jaw with to achieve this cartoon effect? His mouth with its pencil thin lips (plenty of times I thought them mean lips) was shut very tightly. I wondered if it was sewn shut? I wondered if they had left his dentures in? His eyelids – which in those last few hours of puffing and blowing, had often been leaking open, a segment of watery eye visible though no inner sight seemed ever to have registered – his eyelids now were also tightly bound. Closed down. Closed down long before the undertaker’s craft took hold. Now physically closed down to reflect the inner closing down that had taken place in my absence.

As I stood beside the coffin and looked down, I had the powerful sense that he was not there. Not merely that this did not resemble the man I knew but more than that – he, in himself, was not there. He had departed the physical form that lay there more or less recognisable. I don’t think he was elsewhere. I’ve been with him on that bit of religion for decades now. But I still felt some relief. On his behalf perhaps. Recently he had been more muddled and fearful, obsessive about some things, angry about others. Life seemed to have very few pleasures left; lots of panicky moments, angry self-hatred, suspicions of people, distrust, downright fright. He was no longer living in that horrid morass. That must be some relief.

He was not there. But the hands, propped also choir boy style on his chest, clutching incongruously a white rose, were definitely still his. Emerging out of the stupid silky blue sleeves, the long bony hands were still familiar. How they used to float vaguely, not elegantly, but sometimes delicately, trying to add whatever was always lacking from his words, wafting to and fro following the right and left turns to the municipal dump, to the only local shop not closed down, to the bus stop (their life-line into town).

I never once touched him. I thought of the coldness. The lack of give, of elasticity. I didn’t think he’d mind. We seldom touched in life. But I did talk to him. I said I was there. I said goodbye. Those two things over and over again. My eyes and throat filled as I tried to say them aloud.

In the end there was no more to do. He was not there. I was in a room with a box and some kitschy lighting. I sidled back out round the door. I looked back in, feeling, of all things coquettish, as if I might surprise him about to move, to sit up and grin, it was all a joke. No. He was not there. He was not coming back. Not this way.

I went out through the hallway, past the flowers again, the music receding, out into the front room of the undertaker’s shop. The assistant was not around. I gathered my bags and left. The daylight was white. Two men were slumped nearby drinking from tin cans. They looked up at me. I suppose they had seen the door I’d come out of. Perhaps I had death all over me. The High Street seemed tissue-thin, like a poor stage-set. Everybody else actors. I walked down it, then back up, unsure where to go. In the end, I sat in a pub for an hour over two pints of bitter. My train was not till around 6pm. I passed the time googling an old girl-friend’s name.

What Have I Been Reading: October – December 2015

June 15, 2016 martyn crucefix Chinese poetry, contemporary American poetry, contemporary British poetry, contemporary French poetry, contemporary German poetry, creative writing, German poetry, poetry, translation, UK poetry magazines, writing Agenda Magazine, Alan Brownjohn, Bertolt Brecht, Daodejing, David Constantine, Dorothy Yamamoto, Emily Grosholz, Hands and Wings, Julian of Norwich, Kate Foley, Katherine Gallagher, Maggie Butt, Penelope Shuttle, Rudolf G Wagner, Stand Magazine, Ted Hughes, Terry Gifford, Wang Bi, Yves Bonnefoy

Up-dated December 2015

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Terry Gifford’s Cambridge Companion to Ted Hughes is a fantastic summing up of where Hughes’ reputation now is, including articles by various hands on Hughes and animals, Plath, myth, feminism (it’s complicated) and a clear account of the poet’s fascination with Shakespeare by Jonathan Bate.

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Julian of Norwich: Revelations of Divine Love – a book I’ve intended to read for decades and though I baulk at much of it still I love her focus on the visions taking place in “an ordinary, household light”, her vivid descriptions and tentative, undogmatic prose. She also boldly talks of Christ as our mother: “Who showed you this? Love. What did he show? Love. Why did he show it to you? For love.”

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Few poets can travel such distances with such ease and brevity as Penelope Shuttle. I saw her read at the recent Second Light Festival in London and picked up her Templar Poetry chapbook, In the Snowy Air. It belies it’s rather Xmas-y title by being rather a hymn to London (with occasional snow showers) including the Shard, the Walbrook, the British Library and even Waitrose in Balham.

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Hands and Wings: Poems for Freedom for Torture has been edited by Dorothy Yamamoto in support of the Freedom from Torture charity and includes work by Gillian Allnutt, Alison Brackenbury, David Constantine, Carrie Etter, Vicki Feaver, Pippa Little and Susan Wicks.

Up-dated November 2015

With the cold weather coming, Yves Bonnefoy’s 1991 Beginning and End of Snow(Bucknell University Press, 2012) is an exquisite read in Emily Grosholz’s translation, including an original essay by the poet on ‘Snow in French and English’.

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I’m convinced Bonnefoy’s response to snow is not a million miles distant from the Daoist idea of the uncarved block and Rudolph G Wagner’s second magnificent volume on Wang Bi’s A Chinese Reading of the Daodejing is full of insights through its literal readings of the 81 chapters. I have been comparing his readings with my own new versions before going to press in the next few weeks.

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Bertolt Brecht: Love Poems (Norton, 2015) is the first instalment in David Constantine and Tom Kuhn’s project to translate anew Brecht’s complete poems. Ranging from the delicate, literary, erotic and plainly pornographic, here’s yet more evidence (should we need it) of Brecht’s breadth as a poet. The Introduction also reveals that Brecht refused to award any prizes in a poetry competition he was asked to judge – because none of the poems successfully communicated anything of any value to anybody, they were all of no use.

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Maggie Butt’s new collection is published by The London Magazine and contains work from the period in which she also published the themed books Ally Pally Prison Camp(Oversteps, 2011) and Sancti-Clandestini – Undercover Saints (Ward-Wood, 2012). Though miscellaneous in nature, it is time that dominates this book – historical time in a variety of European locations and personal time in several moving elegies and acts of remembrance.

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KG Confidential: a festschrift for Katherine Gallagher is a wonderful tribute to one of the great movers and shakers in poetry (in London and in her native Australia and in translation from the French). These tributes of poems or prose include contributions from Liz Berry, Jane Duran, Kate Foley, Mimi Khalvati and Les Murray.

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Up-dated October 2015

Alan Brownjohn’s new book is full of excellent poems, several of which (a few decades ago) would have been designated ‘secret narratives’. The title poem, ‘A Bottle’, is a strange noir thriller set in some undefined coastal region, an enigma of messages, relationships, landscape and murder. Always surprising; no let up in vigour and inventiveness.

Kate Foley’s ‘The Don’t Touch Garden’ (Arachne Press) is a treatment of adoption to rival Jackie Kay’s ‘The Adoption Papers’. “Mirror, mirror, on the wall” the old joke says, “I am my mother after all”. But which one? Brilliantly focused and carefully sequenced, these poems provide a thrilling and moving account of the processes by which any of us – adopted or not – become who we are.

Agenda’s ‘Family Histories’ issue has poems from Tony Curtis, Claire Crowther, Sean Street, Peter McDonald, Sheenagh Pugh, Maitreyabandhu and Danielle Hope, an interview with Robin Robertson and reviews of Abse, Hugo Williams, Sebastian Barker, Bryce, Liardet, McVety and Eilean Ni Chuilleanain.

The new issue of Stand has tributes to the late John Silkin from John Matthias and Anne Stevenson. I remember seeing Silkin selling Stand in the late 1970s on the campus at Lancaster University. This issue also has new poems from Muldoon, Mort, Valerie Jack, Sam Gardiner and (even) Martyn Crucefix.

What Have I Been Reading: December 2014 – March 2015

June 15, 2016 martyn crucefix contemporary American poetry, contemporary British poetry, contemporary German poetry, creative writing, poetry, teaching, translation, UK poetry magazines, writing Agenda Magazine, Anna Robinson, Blake Morrison, Colette Bryce, Ellen Bryant Voigt, Emily Berry, George Oppen, Jonathan Edwards, Josh Ekroy, Mario Petrucci, Martha Kapos, Nathan Hamilton, Pascale Petit, Peter Robinson, Rose Auslander, Sylvia Plath, Tennessee Williams, The Book of Love and Loss, Volker Braun, Wislawa Szymborska

Up-dated March 2015

Too little poetry-reading time recently has meant I’ve been thinking a lot about two texts we are using for A level coursework at the moment:

Tennessee Williams’ first great success, the autobiographical The Glass Menagerie, seems to strike chords in most modern teenagers and contains one of my favourite quotes: “I know I seem dreamy”, Tom says to Jim the Gentleman Caller, “but inside – well, I’m boiling!”

This is being read alongside Sylvia Plath’s only completed novel, The Bell Jar. Plath divides students every time – poetry or prose – my one observation is that with repeated teaching the book thins rather than deepens.

I’ve eventually got to read Colette Bryce’s recent new book, many of the poems about her childhood in Derry: short, focused, honest and managing memorable things within a very narrow linguistic palette.

Anna Robinson’s new collection also works within a narrowed range of language choices. She produces strange folk-tale-like poems, which keep rubbing their eyes, not sure whether what they are seeing is contemporary London or some mythic rural past. Mysterious poetry.

I’ve been dipping again into The Book of Love and Loss, eds., Rosie Bailey and June Hall (Belgrave Press, Bath, 2014), in part because I am reading from it at the end of next month at Heffers Bookshop, Cambridge.

Blake Morrsion’s Shingle Street is his first full collection since 1987 and while there are flashes of the poet I once admired (I thought Dark Glasseswas very good) the book is full of rather dull thoughts – nature, ageing – and language that fails to lift off the page.

Up-dated February 2015

Jonathan Edwards’ Costa Poetry prize-winning first collection from Seren is as accessible and diverting as the front cover would suggest and any poet inspired to write by the Simpsons is OK with me. Whether the jokes, caricaturing, a rather sit-comy stories survive repeated reading is something I’m still debating.

Rose Auslander’s minimalist gems are hewn out of the silences associated with her suffering in the ghetto in Czernowitz (and influenced by her friendship with Paul Celan). I am pleased to be reviewing this refreshed collection from Arc for a future Poetry London alongside Volker Braun’sRubble Flora – see below .

Peter Robinson’s most recent Shearsman collection continues his lyric exploration of the profundities to be found just beneath the surface of the everyday.

Mario Petrucci’s Crib from Enitharmon extends his experiments under the influence of Black Mountain. Poems sometimes stunning and economical, at others too self-consciously aware of language as an object (blocking the reader’s view). There’s certainly not much else like this around British poetry at the moment.

Emily Berry’s poems don’t attend much to Glyn Maxwell’s concerns with the tension between black ink and white space (see:https://martyncrucefix.com/2014/08/13/the-art-of-the-line-break/). The poetry is in the connections or lack of them and therefore leans to the surreal, with some palpable hits and other dead passages.

Up-dated January 2015

Patricia McCarthy’s chunky Agenda issue on The Great War is full of fascinating original poetry, translations and essays on French, German and Italian war poetry and reconsiderations of Edward Thomas, David Jones and Ivor Gurney among others.

Josh Ekroy has been appearing on prize lists all over the place recently and his debut collection from Nine Arches Press is full of engaged, disturbing poems, capable of dealing with militarism and warfare:

I’ve been reading George Oppen’s work via Louise Gluck’s admiration for him; I’m still working on it . . . .

Debra Albery, an American friend who works at Warren Wilson, recommended this book of new poems by Ellen Bryant Voigt, full of the natural scenery of Vermont and fascinatingly eschewing all punctuation (like WS Merwin) to track the little manoeuvring negotiations of mind with world:

Wislawa Szymborska’s chatty, deceptively easy-listening poems in this 2010 translation make poetry writing look easy and able to encompass almost any topic:

Up-dated December 2014

Nathan Hamilton’s big baggy collection of new poetry from Bloodaxe:

Christine Keneally’s comprehensive review of contemporary ideas on the evolution of language:

Martha Kapos’ powerful new collection from Enitharmon:

Brilliant selected poems from German poet Volker Braun, translated by Karen Leeder and David Constantine (Seagull Books):

Pascale Petit’s powerful and strangely lit memorial to her father (Seren):