‘Recollection Ode: Les Sarments’ was originally published in Cloud Breaking Sun (Oystercatcher Press 2012) and it came as no surprise that John James should have read this poem at the launch of his new Shearsman collection in Swedenborg Hall on 10th April. It opens with time moving:
“as August counts itself out
like a Rosary worn with kisses
autumn arrives when you least expect it”
The tolled beads of moment “mark the narrative in earth” and that line itself takes the reader back to ‘Poem Beginning with a Line of Andrew Crozier’ which also appeared in the Oystercatcher of 2012.
This is a carefully put together volume of John James’s poetry and as one reads through it there is a compelling sense of how his world is constituted of interlinking ideas: we sense the man behind the poet. This new publication is a living testament to what he had written back in 1977 in the Street Editions sequence ‘A Theory of Poetry’:
“there you will discover
particular people at a particular time
& in a particular place
these people are the others
without whom you would not exist”
The poetry of John James is peopled with presences and it seems appropriate in the ‘Recollection Ode’ (note the title) that he should write “those who love must also hope”: an attention to the particular which constitutes love is closely bound up with a sense of the future as well as the past. The ode concludes
“I wish you the fruits of the four seasons
& every day as the sun beckons
may you be delivered to that daily glow.”
Given this focal stance which casts its eye both backward and forward it is also appropriate that the poem preceding the ode should be ‘October’ recalling the Cambridge days when the poet met up with both Tim Longville and Jeremy Prynne:
“I’m meeting Tim at Millers at 6.00 p.m.
the hearth will glow the ale will flow
the banter will be light & fancy
later we’ll go on to Jeremy’s rooms
& take a generous glass of Glenmorangie”
That poem also dwells with the particular nature of the Now in terms of the Future as the smell of “wet dust after rain” concludes with “I think it was called hope”.
This new volume also includes some of the poems from the fine Equipage publication from 2011, In Romsey Town. Here a ‘Nocturne with Baudelaire’ opens with “a singular glance” before going on later to appease the “thirsty heart” by invocation:
“pour again hope
The energetic move forward in the plea takes some of its power by casting a sly glance at one of Baudelaire’s ‘Spleen’ poems in which the sky “verse” (pours) a hopeless day upon our heads and hope is seen as a bat trapped by walls and rotted ceilings. James’s poem concludes very differently as “pride / the virtue of the work” restores “to us an inkling / of the sacred.” And it is that word “inkling” that took me back to a letter written in 2010 by Roger Langley in which he referred to his early poem ‘Matthew Glover’:
“The pleasure lay in writing about the little willow tree I knew and how it blew in the wind, the willow warblers I had watched in the bushes at dusk on the border of the parish. Nothing so personally particular in Olson. I would guess my deepest feelings have always been for Coleridge’s Conversation Poems, the Lime Tree Bower, the shock which begins where the particular strikes, beyond any general concepts, geographical, historical or whatever. The movement of the leaves as they are shaken in that particular little cutting by the water of the stream stirring the air around them, not even worrying too much about ideas of the One Life, for instance. Perhaps Peter Larkin’s Being Seen for Seeing: a tribute to RF Langley’s Journals gets it somewhere as I feel it, though I only saw this piece recently and it is mainly about the Journals, as it says. Something that happens just beyond the most exact observation, something that remains this side of the transcendental, and thus basically rather hopeless in a way, but yet, but yet…the particular spills further still, beyond what I am managing.”
Among the new and uncollected poems published in Sarments there is ‘On reading J.H. Prynne’s Sub Songs’, nine poems addressing the titles of the poems in Prynne’s 2010 Barque Press volume. The opening of the first poem titled after the original, ‘As Mouth Blindness’, presents us with a re-cadencing of the quotation from King Lear in which the reduced King bears the dead body of Cordelia. Prynne’s original had “Her voice was ever low” and the James poem opens “her low voice beguiles me / amid the tumultuous foul // eases my head / in sleep at night”. It is perhaps that beguiling that might lead one on to recollect
what John Hall once described as John James’s “quiet and tender acts in the departing shadow of the inevitably fugitive.”
This poetry places the smallest of individual moments, accurately recorded, against the backdrop of human frailty and being. Life is made up of the small moments intruding into which “a sudden enormity / changes everything”. That poem John James wrote soon after the funeral of Andrew Crozier in 2008 beginning with a line from ‘Free-Running Bitch’ perhaps affirms one of the most central aspects of this very fine poet’s oeuvre:
“I reach toward the poetry of kindred
Where we speak in our work as we seldom do otherwise”
Ian Brinton, May 8th 2018
Sounds like an essential read. I must get a copy.