New book on J.H. Prynne: Levity of Design

Cambridge Scholars Publishing, based in Newcastle upon Tyne, has just produced a new book on Prynne’s poetry. Written by Wit Píetrzak, an Assistant Professor in the Department of British Literature and Culture at the University of Lódź in Poland, this book is divided into four sections:

1. Subjectivity under Siege
2. Disentangling the Subject
3. Beyond Stagnation
4. Stories of Disentanglement in Blue Slides at Rest

The author’s acknowledgements page conveys an engagement with the work which is thoroughly explored in this splendid new book. Wit Píetrzak writes that his book ‘is the result of a sudden, yet profound fascination with the poetry of J.H. Prynne. Not only has his work exerted an enormous influence over my

understanding and appreciation of poetry but also has brought about changes in my perception of the task of the literary critic.’

‘There are books that we simply have to write, in order to put in writing the genuine amazement with a particular oeuvre, to phrase the peculiar thrall in which it has kept us; this is one of those books.’

On a personal note it is heartening to see that there are numerous quotations in this book from David Caddy, Rod Mengham, Simon Perril and Nigel Wheale whose essays on Prynne appeared in A Manner of Utterance: The Poetry of J.H. Prynne, edited by Ian Brinton (Shearsman 2009). Ian will be contributing an account of the late Prynne poem, ‘As Mouth Blindness’, to Tears  57.

Thanks to Peter Riley I now have a copy of the review of Kitchen Poems that Douglas Oliver wrote for a Cambridge newspaper. Titled ‘Pioneer in Poetry’ it is a refreshing view of that early sequence of pieces that had first appeared in Andrew Crozier’s The English Intelligencer. Here is a taster:

‘Prynne’s verse-line is often itself a glissade, but an intricate one always subject to a masterly use of pause. Line-endings and beginnings are important clues to what he is doing, partly because of the way they make meaning stagger into the awkward and difficult entrances and partly as a clue to the glissade’s return and departure.’