I've been away the last few days but before I went Colin emailed me a first draft pdf of my pamphlet which I have in front of me, printed out and stapled together. So exciting to see how it's going to look. I'm really happy with the order and poems, a last minute poem thrown in and a couple of weaker ones taken out. I'm feeling confident enough about all of the poems in it now, that is, all twenty-nine of them! I've been enjoying the process of putting the pamphlet together, thinking about font styles and which poems to start and finish with. I also think, with a pamphlet, the centre page poems are really important. It's obviously where a pamphlet naturally falls open so I think it's good to have some eye-catching ones there. Colin's been brilliant, he's done a great job in sorting through my poems, ordering and arranging them, I'm so pleased with it! Also, I'm so happy and excited that Roxana is very kindly letting me use one of her gorgeous images for the cover!!!
Whilst scrolling through facebook earlier I came across a link to an interview with Frieda Hughes on some of her favourite poetry. It's an interesting read as she analyses the work of some of her favourite poets and demonstrates what she looks for and loves in poetry. She also talks a little about her own writing processes and Ted Hughes' advice to her to 'only write for yourself'. I've been thinking, recently, about the role of the reader in the writing of a poem, about what responsibility/ies (if any) the writer has towards her reader, so it was interesting to read Hughes' advice.
I'm ignoring the urge to re-read Lorca's wonderful play, Blood Wedding, which is sitting in a pile next to my computer. I'm really trying to immerse myself in my (now seven!) chosen poets and stay away from the old favourites. I feel it's doing me good to be focusing on different writers/writing and I'm really enjoying reading, re-reading them and becoming familiar with the poems.
Friday, April 08, 2011
Tuesday, March 29, 2011
Geoffry Hill's first lecture in his role as Professor of Poetry at Oxford University.
Very interesting, sermon-esque. Here are some quotes I've taken from it, by no means the best of what he said just that which was pithy enough to be quoted! Very much worth listening to, also his voice is wonderfully rich, deep and timberous.
Listen to the lecture here.
"thought is to be made manifest in structure"
"contemporary poetry receives far more encouragement than is good for it"
"the greatest tragedy of the last 60 years has been the extinction of the ontological reader, at least in any public domain which would or could affect the moral aesthetics of the nation, I'm sure they exist in private but they don't find their way into the reviews section of the sunday telegraph or the sunday times"
"what Eliot and we are looking for...(is) significant emotion, emotion which has its life in the poem and not in the history of the poet. The emotion of art is impersonal, the poet cannot reach this impersonality without surrendering himself wholly to the work to be done"
"Blackmur wrote in 1935 and I regard it as one of the great modern/modernist formulations of what poetry is: "the art of poetry is amply distinguished from the manufacture of verse by the animating presence of a fresh idiom. Language so twisted and posed in a form that it not only expresses the matter in hand but adds to the stock of available reality.""
"if the poet suceeds, all the impersonality that Eliot desiderates is there objectified by the strenuosity of the maker's inventiveness"
"If I were to offer anything to the conventional young poet...I would say: don't try to be sincere, don't try to express your innermost feelings, but do try to be inventive"
"the craft of poetry is not a spillage but an ingathering. 'Relevance' and 'accessibility' strike me as words of very slight value...'accessibility' is a perfectly good word if the matter of the discussion concerns supermarket aisles, library stacks or public lavatories but has no proper place in discussion of poetry and poetics"
"poetry of the new millenium is as it is because of what English poetry has been during preceding centuries and a degree of humility when faced with that fact would not come amiss from our latest celebrities"
"english poetry, poetry written in english, cannot be comprehended outside the context of politics, economics and theology in Britain"
"when did it begin, this fantasy that the literary scene of the day is some kind of national treasure, when what it more resembles is a landfill"
Very interesting, sermon-esque. Here are some quotes I've taken from it, by no means the best of what he said just that which was pithy enough to be quoted! Very much worth listening to, also his voice is wonderfully rich, deep and timberous.
Listen to the lecture here.
"thought is to be made manifest in structure"
"contemporary poetry receives far more encouragement than is good for it"
"the greatest tragedy of the last 60 years has been the extinction of the ontological reader, at least in any public domain which would or could affect the moral aesthetics of the nation, I'm sure they exist in private but they don't find their way into the reviews section of the sunday telegraph or the sunday times"
"what Eliot and we are looking for...(is) significant emotion, emotion which has its life in the poem and not in the history of the poet. The emotion of art is impersonal, the poet cannot reach this impersonality without surrendering himself wholly to the work to be done"
"Blackmur wrote in 1935 and I regard it as one of the great modern/modernist formulations of what poetry is: "the art of poetry is amply distinguished from the manufacture of verse by the animating presence of a fresh idiom. Language so twisted and posed in a form that it not only expresses the matter in hand but adds to the stock of available reality.""
"if the poet suceeds, all the impersonality that Eliot desiderates is there objectified by the strenuosity of the maker's inventiveness"
"If I were to offer anything to the conventional young poet...I would say: don't try to be sincere, don't try to express your innermost feelings, but do try to be inventive"
"the craft of poetry is not a spillage but an ingathering. 'Relevance' and 'accessibility' strike me as words of very slight value...'accessibility' is a perfectly good word if the matter of the discussion concerns supermarket aisles, library stacks or public lavatories but has no proper place in discussion of poetry and poetics"
"poetry of the new millenium is as it is because of what English poetry has been during preceding centuries and a degree of humility when faced with that fact would not come amiss from our latest celebrities"
"english poetry, poetry written in english, cannot be comprehended outside the context of politics, economics and theology in Britain"
"when did it begin, this fantasy that the literary scene of the day is some kind of national treasure, when what it more resembles is a landfill"
Monday, March 28, 2011
Friday, March 25, 2011
Having just about recovered from the mad rush of StAnza, here's a list of my purchases:
The Mermaid and the Sailors by Claire Askew, the young dynamic Edinburgh-based poet. It's her debut pamphlet and I have to say I love her cover pic.
An Illustrated Book About Birds by Anna Davis, exactly what it says on the tin and the illustrations are brilliant
The Water Table by Philip Gross, a T.S. Eliot winner
The Hat by Selima Hill, a book of rather surreal short poems
Incense by Claire Crowther, a pamphlet sequence of Fatras
Ashes for Breakfast, Selected poems of Durs Grunbein, translated by Michael Hofmann
Needless to say my five-poets-only reading plan has been dropped for the time being. However I have resisted (nearly) every temptation to reach for the beloved poets and I intend still keep away from them. I'll be resorting to my big five when I'm through the other poetries but I'll also be adding Durs Grunbein and Claire Crowther (who I'd been reading anyway) to the list.
The Mermaid and the Sailors by Claire Askew, the young dynamic Edinburgh-based poet. It's her debut pamphlet and I have to say I love her cover pic.
An Illustrated Book About Birds by Anna Davis, exactly what it says on the tin and the illustrations are brilliant
The Water Table by Philip Gross, a T.S. Eliot winner
The Hat by Selima Hill, a book of rather surreal short poems
Incense by Claire Crowther, a pamphlet sequence of Fatras
Ashes for Breakfast, Selected poems of Durs Grunbein, translated by Michael Hofmann
Needless to say my five-poets-only reading plan has been dropped for the time being. However I have resisted (nearly) every temptation to reach for the beloved poets and I intend still keep away from them. I'll be resorting to my big five when I'm through the other poetries but I'll also be adding Durs Grunbein and Claire Crowther (who I'd been reading anyway) to the list.
Monday, March 21, 2011
*Warning: mammoth post ahead*
StAnza 2011
Where to begin...!
A brilliant weekend, so much packed into a couple of days, so much to take in. I left home at 11am on the Friday and got to St. Andrews at 5.30pm, which seems a ridiculous amount of journeying time for the distance between here and St.Andrews but such is the joy of boat, train and bus connections! Found the B&B which was about five mins walk from the bus station and the centre of town was a further two mins walk from the B&B, so fantastically handy!
By the time I had settled in and grabbed something to eat it was time to get to the Byre Theatre for my first event which was a reading by Paul Farley followed by Marilyn Hacker. Two very different poets, it was nice to have the contrast. I hadn't read much of either before the reading so I wasn't exactly sure what to expect. Farley was hilarious, a Liverpudlian, great at introducing his poems and telling stories between the poems. My favourite poem from his reading was 'Liverpool Disappears for a Billionth of a Second', a funny yet strange, surreal poem with a sinister edge. You can hear him read it on youtube here, worth listening to.
Marilyn Packer is an American poet who now lives in Paris. It was hard to take in her reading without being familiar with her work on the page. Having looked at her poems since I wish I could go back and hear her read again, the language and imagery is densely packed and in tightly controlled forms. I'm glad to have come across her and I'll be watching out for her work.
After the readings I stayed at the Byre theatre bar for the Open Mic session. It was good to catch up with folk like Ross Wilson who is being published by Calder Wood Press next year and blab on about poetry into the small hours. Also funny to meet familiar internet names in the flesh and realise just what a small community this poetry lark is!
I read a couple of poems at the open mic, I didn't make any effort to practise them beforehand foolishly thinking that after doing two proper readings I was somehow an old hand at it. Big mistake, the nerves took hold when I stepped up to the mic and I mumbled through my poems. Some folk afterwards said I did well but I think they were just being kind. Anyway there was a great range of folk reading at the open mic from songs to poems in Scots, poems in French and poems in Arabic!
The next morning the first event for me was the workshop with Claire Crowther which I had been so looking forward to and I wasn't disappointed. It was on a 13th century form called the Fatrasie and its later development into the Fatras. A kind of nonsense poetry, playful, energetic with talking animals and flying objects etc but also in a tightly controlled form. There were, I think, thirteen of us at the workshop. Apart from the Douglas Dunn masterclass a couple of years back I've never really been to a poetry workshop so it was slightly scary seeing who the other participants were including Sarah Howe whose poems I've admired when I've seen them in literary mags and Paula Jennings whose Happenstance pamphlet I picked up last year and thoroughly enjoyed. Claire Crowther herself was lovely and I was pleased to pick up a copy of her new pamphlet, a series of fatrasies on the theme of body fat (!!) which I'm really enjoying. By the end of the workshop we had all written a fatrasie and read them aloud to the group. I think everyone did really well, I loved the general idea of the form especially the introductory distich/couplet which consists of the first and last lines of the poem. It's kind of revealing seeing where you started in a poem compared to how you ended up and I found it really interesting bringing both of these parts together, it's something I'm certainly going to be thinking about incorporating in future poems.
The next event I went to was the Hugh McMillan reading which was fantastic. This was the first time I'd heard Hugh (shug!) read, though I've been following his blog for years now. Absolutely hilarious, he read some of my favourites of his poems and the audience was in constant guffaws. As a history teacher, history (esp, Scottish history) makes a constant appearance in his poems, his own humourous take on it anyway which as he rightly pointed out, goes for all of history - it all comes down to someone's take on it. The funny, clever poems gave way to quieter, personal poems with beautiful imagery and wry humour. Definitely a highlight of the week-end!
After that I went to a 'Past and Present' event to hear Helena Nelson talk about Ruth Pitter and Carrie Etter talk about Barbara Guest. I had picked up Pitter's 'Persephone in Hades' a few years back when it was produced as a pamphlet by Happenstance and really enjoyed her nature imagery so it was interesting to hear a little more about her and her life.
The Carrie Etter talk, however, was one of those little miracle moments. I knew next to nothing about Barbara Guest, the name is familiar so I know I've come across her but really couldn't tell you anything about her. When Etter spoke about Guest's poetry it was as if she was talking about all the things I've been mulling over in my head about poetry over the last while such as "viewing the poem holistically (as one lived experience) as a painting rather than trying to decipher it line by line" and "having a tension-filled balance between sound and the visual, between the music and the imagery". It was a kind of a relief to hear someone talk about this, confirm for me how I want to push my own writing.
Then I went to the round table reading with artist Jila Peacock reading Hafez and showing us her gorgeous illustrations of his poems in a Persian script, similar to Arabic script, shaped in the form of a different animal for each poem. It was as just as delightful as it sounds, plus it was in a 16th century room in St. Mary's College, one of the oldest parts of St. Andrews University where in the quad there is a giant holm oak which bloomed in a perfect circle like some kind of weird archetypal image and which frankly gave me the heebies!
That left the main Saturday night reading which was by Philip Gross and Selima Hill. Gross talked about obsessions inbetween reading his poems. How his TS Eliot winning collection The Water Table came out of an obsession of writing about the changing landscape of a body water as he commuted across it when his real intention was to write a collection of poems about the Welsh countryside. He read lots of water poems, imagining watery gardens, which I enjoyed.
I found Selima Hill's reading slightly uncomfortable, read a lot of poems about neglected babies which, as a mum to a one year old, I could hardly bear to listen to. Excellent poet, though she seemed incredibly uncomfortable herself during the reading which, for me, was begging the question ought we expect our poets not only to write poetry but also to get out there and perform it for us? Anyway, she told us the last reading she gave was to a room full of Harvard students whom she likened to reading to a pack of racehorses, "they were so beautifully immaculate and sleek". Couldn't get this wonderful image out of my head for the rest of the night!
After this I avoided the slam and went for a late night walk (in true west coast style with a bag of chips and a can of irn-bru) by the shore, such a beautiful still night and the moon lighting up the cathedral ruins.
The next morning my final event was the Ciaran Carson Masterclass. My poems weren't picked so I could relax in the audience and enjoy it. Most of Carson's advice could be summed up in 'precision, precision, precision' and beware of abstractions etc. He also said
I've come home to, excitingly, find Colin arranging my pamphlet. I've picked the cover picture and now I've got to work out acknowledgements, biog etc etc so if anyone has a wonderful sum-up quote about my poems then pass it on to me ;)
StAnza 2011
Where to begin...!
A brilliant weekend, so much packed into a couple of days, so much to take in. I left home at 11am on the Friday and got to St. Andrews at 5.30pm, which seems a ridiculous amount of journeying time for the distance between here and St.Andrews but such is the joy of boat, train and bus connections! Found the B&B which was about five mins walk from the bus station and the centre of town was a further two mins walk from the B&B, so fantastically handy!
By the time I had settled in and grabbed something to eat it was time to get to the Byre Theatre for my first event which was a reading by Paul Farley followed by Marilyn Hacker. Two very different poets, it was nice to have the contrast. I hadn't read much of either before the reading so I wasn't exactly sure what to expect. Farley was hilarious, a Liverpudlian, great at introducing his poems and telling stories between the poems. My favourite poem from his reading was 'Liverpool Disappears for a Billionth of a Second', a funny yet strange, surreal poem with a sinister edge. You can hear him read it on youtube here, worth listening to.
Marilyn Packer is an American poet who now lives in Paris. It was hard to take in her reading without being familiar with her work on the page. Having looked at her poems since I wish I could go back and hear her read again, the language and imagery is densely packed and in tightly controlled forms. I'm glad to have come across her and I'll be watching out for her work.
After the readings I stayed at the Byre theatre bar for the Open Mic session. It was good to catch up with folk like Ross Wilson who is being published by Calder Wood Press next year and blab on about poetry into the small hours. Also funny to meet familiar internet names in the flesh and realise just what a small community this poetry lark is!
I read a couple of poems at the open mic, I didn't make any effort to practise them beforehand foolishly thinking that after doing two proper readings I was somehow an old hand at it. Big mistake, the nerves took hold when I stepped up to the mic and I mumbled through my poems. Some folk afterwards said I did well but I think they were just being kind. Anyway there was a great range of folk reading at the open mic from songs to poems in Scots, poems in French and poems in Arabic!
The next morning the first event for me was the workshop with Claire Crowther which I had been so looking forward to and I wasn't disappointed. It was on a 13th century form called the Fatrasie and its later development into the Fatras. A kind of nonsense poetry, playful, energetic with talking animals and flying objects etc but also in a tightly controlled form. There were, I think, thirteen of us at the workshop. Apart from the Douglas Dunn masterclass a couple of years back I've never really been to a poetry workshop so it was slightly scary seeing who the other participants were including Sarah Howe whose poems I've admired when I've seen them in literary mags and Paula Jennings whose Happenstance pamphlet I picked up last year and thoroughly enjoyed. Claire Crowther herself was lovely and I was pleased to pick up a copy of her new pamphlet, a series of fatrasies on the theme of body fat (!!) which I'm really enjoying. By the end of the workshop we had all written a fatrasie and read them aloud to the group. I think everyone did really well, I loved the general idea of the form especially the introductory distich/couplet which consists of the first and last lines of the poem. It's kind of revealing seeing where you started in a poem compared to how you ended up and I found it really interesting bringing both of these parts together, it's something I'm certainly going to be thinking about incorporating in future poems.
The next event I went to was the Hugh McMillan reading which was fantastic. This was the first time I'd heard Hugh (shug!) read, though I've been following his blog for years now. Absolutely hilarious, he read some of my favourites of his poems and the audience was in constant guffaws. As a history teacher, history (esp, Scottish history) makes a constant appearance in his poems, his own humourous take on it anyway which as he rightly pointed out, goes for all of history - it all comes down to someone's take on it. The funny, clever poems gave way to quieter, personal poems with beautiful imagery and wry humour. Definitely a highlight of the week-end!
After that I went to a 'Past and Present' event to hear Helena Nelson talk about Ruth Pitter and Carrie Etter talk about Barbara Guest. I had picked up Pitter's 'Persephone in Hades' a few years back when it was produced as a pamphlet by Happenstance and really enjoyed her nature imagery so it was interesting to hear a little more about her and her life.
The Carrie Etter talk, however, was one of those little miracle moments. I knew next to nothing about Barbara Guest, the name is familiar so I know I've come across her but really couldn't tell you anything about her. When Etter spoke about Guest's poetry it was as if she was talking about all the things I've been mulling over in my head about poetry over the last while such as "viewing the poem holistically (as one lived experience) as a painting rather than trying to decipher it line by line" and "having a tension-filled balance between sound and the visual, between the music and the imagery". It was a kind of a relief to hear someone talk about this, confirm for me how I want to push my own writing.
Then I went to the round table reading with artist Jila Peacock reading Hafez and showing us her gorgeous illustrations of his poems in a Persian script, similar to Arabic script, shaped in the form of a different animal for each poem. It was as just as delightful as it sounds, plus it was in a 16th century room in St. Mary's College, one of the oldest parts of St. Andrews University where in the quad there is a giant holm oak which bloomed in a perfect circle like some kind of weird archetypal image and which frankly gave me the heebies!
That left the main Saturday night reading which was by Philip Gross and Selima Hill. Gross talked about obsessions inbetween reading his poems. How his TS Eliot winning collection The Water Table came out of an obsession of writing about the changing landscape of a body water as he commuted across it when his real intention was to write a collection of poems about the Welsh countryside. He read lots of water poems, imagining watery gardens, which I enjoyed.
I found Selima Hill's reading slightly uncomfortable, read a lot of poems about neglected babies which, as a mum to a one year old, I could hardly bear to listen to. Excellent poet, though she seemed incredibly uncomfortable herself during the reading which, for me, was begging the question ought we expect our poets not only to write poetry but also to get out there and perform it for us? Anyway, she told us the last reading she gave was to a room full of Harvard students whom she likened to reading to a pack of racehorses, "they were so beautifully immaculate and sleek". Couldn't get this wonderful image out of my head for the rest of the night!
After this I avoided the slam and went for a late night walk (in true west coast style with a bag of chips and a can of irn-bru) by the shore, such a beautiful still night and the moon lighting up the cathedral ruins.
The next morning my final event was the Ciaran Carson Masterclass. My poems weren't picked so I could relax in the audience and enjoy it. Most of Carson's advice could be summed up in 'precision, precision, precision' and beware of abstractions etc. He also said
"All we write about is accuracy. Not what you have in mind but what you arrive at through poetry"It's something I've been pondering on since.
I've come home to, excitingly, find Colin arranging my pamphlet. I've picked the cover picture and now I've got to work out acknowledgements, biog etc etc so if anyone has a wonderful sum-up quote about my poems then pass it on to me ;)
Monday, March 14, 2011
Kenneth White in (a rare) interview which I'm excited to have come across.
He begins by reading one of his poems. I was really spoilt in my first ever trip to StAnza back in 2008 in getting to hear Kenneth White read for an hour. The best poetry reading I've been and it's hard to imagine it being topped. What joy to hear him read in this clip. I love his playfulness, energy, enthusiasm and so much more (including the poetry of course!!).
See the interview here.
Friday, March 11, 2011
So the ball has started rolling!!
I emailed Colin my poems last weekend for him to start working on my pamphlet. Very exciting!
Tonight I laid my pamphlet poems out to try and get a better sense of them as a whole. There are three missing because my printer has annoyingly run out of ink.
Looks rather pitiful considering all of the hours I've put into them doesn't it? Ah the joy of poetry!
Tuesday, March 08, 2011
Friday, March 04, 2011
Tuesday, March 01, 2011
Friday, February 18, 2011
Although I have been mainly reading my five poets I've taken a few detours.
One of which is a 14th century Gaelic poem: Lament for Fearchar Ò Mail Chiaráin. It's in a book I have called The Triumph Tree: Scotland's earliest poetry AD 550 - 1350.
It's a father's lament for his son who it seems was a poet who went off to Ireland for a poetry tour and was killed there. It's a longish poem, 48 quartrain verses. Gripping stuff, I was in tears by the end of it. A beautiful poem with some startling images/similes -
'Ò Mail Chiaráin, my fresh fruit,
my lime-washed sun-house, my branch of nuts. '
A powerful poem -
' No one's sermons can sink in
for the sleek white-voiced branch.
'Everyone grieves for their sons',
what use for any to tell me?
It seems my sense is no use,
with me, grief-struck on his track;
like pale froth on a cold ford,
I'm a sad shade, listless, sapped.
Grief for Ò Mail Chiaráin's in my frame,
I'm sent astray by his death.
Though I've not died from it on his grave,
why should not clay cover my flesh?'
It's a father's lament for his son who it seems was a poet who went off to Ireland for a poetry tour and was killed there. It's a longish poem, 48 quartrain verses. Gripping stuff, I was in tears by the end of it. A beautiful poem with some startling images/similes -
'Ò Mail Chiaráin, my fresh fruit,
my lime-washed sun-house, my branch of nuts. '
A powerful poem -
' No one's sermons can sink in
for the sleek white-voiced branch.
'Everyone grieves for their sons',
what use for any to tell me?
It seems my sense is no use,
with me, grief-struck on his track;
like pale froth on a cold ford,
I'm a sad shade, listless, sapped.
Grief for Ò Mail Chiaráin's in my frame,
I'm sent astray by his death.
Though I've not died from it on his grave,
why should not clay cover my flesh?'
There is nothing more depressing than spending hours working on a poem and getting nowhere with it. I've been doing a lot of that lately. However I have been reading my five poets and enjoying becoming familiar with the poems in the respective collections. So far I've been mostly reading between Celan, Pound and Stevens.
In case anyone is interested, these are the poetry collections I'm working through:
In case anyone is interested, these are the poetry collections I'm working through:
Monday, January 31, 2011
With the pamphlet coming out I'm feeling the need to broaden/expand /improve my writing so I don't keep writing the same poems that will be in my pamphlet. One way to do this, someone suggested, is to focus on a small but diverse range of poets to study intently for a period of six months or so. This idea really appeals to me, my natural tendency in reading is towards Rmantic or the many forms of neo-Romantic poetry but in focusing on mainly that for so long I'm beginning to feel slightly suffocated by it. So I've decided to forego my beloved Plath, Eliot, Akhmatova etc and have provisionally picked the following poets to focus on reading for the next while:
Ezra Pound, whom I''ll admit I've never really 'got' before but I know there is so much to learn from him and to be honest I've never really given him the time of day.
Miroslav Holub, who's an old favourite of mine but I've not assimilated any of his style or technique into my own writing.
Wallace Stevens, who I've been more and more inclined towards reading over the last year.
Robert Lowell, similarly I've been drawn to his work as of late
Paul Celan, someone whose work I'd like to absorb but perhaps his style isn't different enough to what I've already been reading.
Not sure how diverse this list is, now that I've written it down it doesn't seem all that diverse plus I'm aware there are no women on the list or anyone radically experimental.
So the list is provisional for now.
Ezra Pound, whom I''ll admit I've never really 'got' before but I know there is so much to learn from him and to be honest I've never really given him the time of day.
Miroslav Holub, who's an old favourite of mine but I've not assimilated any of his style or technique into my own writing.
Wallace Stevens, who I've been more and more inclined towards reading over the last year.
Robert Lowell, similarly I've been drawn to his work as of late
Paul Celan, someone whose work I'd like to absorb but perhaps his style isn't different enough to what I've already been reading.
Not sure how diverse this list is, now that I've written it down it doesn't seem all that diverse plus I'm aware there are no women on the list or anyone radically experimental.
So the list is provisional for now.
Monday, January 24, 2011
Vintage Sea
Yippee!!!!
Friday, January 21, 2011
A Conversation with Poet Laureate W. S. Merwin from The Kenyon Review on Vimeo.
Tonight, whilst working on a poem, I had a notion to re-read a poem in W.S. Merwin's collection The Shadow of Sirius called 'Rain Light'. It's a powerful and beautiful poem. I bought the collection on the basis of it when I read it in the New Yorker. By some weird coincidence I happened to come across this conversation with Merwin, at the very start of the interview he reads this very poem. What a delight to hear him read it!
Thursday, January 20, 2011
So Liz Lochhead is our new Makar. Her appointment wasn't a surprise, she's a well-loved, well-known public figure. Her poems have been on the school syllabus since I was a school (how long is that...eek!!!), so she's as much a house-hold name in Scotland as any living poet can expect. It'll be interesting to see how she defines the position/title of Makar which is yet really to be properly marked out.
I'm pleased to see Pascale Petit and Robin Robertson on the T.S Eliot shortlist, you can hear all the short-listed poets read their poems here. The Robin Robertson reading is a must-listen, especially the second poem he reads 'By Clachan Bridge', spine-tingling!
I'm pleased to see Pascale Petit and Robin Robertson on the T.S Eliot shortlist, you can hear all the short-listed poets read their poems here. The Robin Robertson reading is a must-listen, especially the second poem he reads 'By Clachan Bridge', spine-tingling!
Tuesday, December 21, 2010
A whole week lost to the flu nightmare and now it's a mad catch-up till Christmas. So no poetry read or written, just wishing you all a Very Merry Christmas and giving you a song instead of a poem -
written by Rich Mullins, sung by Amy Grant:
'Sometimes my life just don't make sense at all
And the mountains look so big, and my faith just seems so small
So hold me, Jesus, I'm shakin' like a leaf
You have been king of my glory, won't you be my prince of peace?
And I wake up in the night, and feel the dark
It's so hot inside my soul, there must be blisters on my heart
So hold me, Jesus, I'm shakin' like a leaf
You have been king of my glory, won't you be my prince of peace?
Surrender don't come natural to me
I'd rather fight you for somethin' I don't really want than take what you've
given me
And I've beat my head against so many walls, I'm fallin' down, I'm fallin' on
my knees
And the Salvation Army band is playing this hymn
And your grace rings out so deep, it makes my resistence seem so thin
Oh, hold me, Jesus, I'm shakin' like a leaf
You have been king of my glory, won't you be my prince of peace?
Oh, hold me, Jesus, I'm shakin' like a leaf
You have been king of my glory, won't you be my prince of peace?'
written by Rich Mullins, sung by Amy Grant:
'Sometimes my life just don't make sense at all
And the mountains look so big, and my faith just seems so small
So hold me, Jesus, I'm shakin' like a leaf
You have been king of my glory, won't you be my prince of peace?
And I wake up in the night, and feel the dark
It's so hot inside my soul, there must be blisters on my heart
So hold me, Jesus, I'm shakin' like a leaf
You have been king of my glory, won't you be my prince of peace?
Surrender don't come natural to me
I'd rather fight you for somethin' I don't really want than take what you've
given me
And I've beat my head against so many walls, I'm fallin' down, I'm fallin' on
my knees
And the Salvation Army band is playing this hymn
And your grace rings out so deep, it makes my resistence seem so thin
Oh, hold me, Jesus, I'm shakin' like a leaf
You have been king of my glory, won't you be my prince of peace?
Oh, hold me, Jesus, I'm shakin' like a leaf
You have been king of my glory, won't you be my prince of peace?'
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