I’ve not read much of Ralph Hawkins’ poetry before despite first coming across his work in A Various Art some years back but this is something I need to remedy. This little chapbook is wonderful. In his poem ‘Max Jacob – Some of the butchers had binoculars’ we get the following line, a reference to both Max Jacob and Ted Berrigan – ‘Both poets being playful, humorous and serious and full of fraught connectives.’ It’s that ‘fraught connectives’ that does it, a phrase that could well be applied to Hawkins’ own poetry as beautifully exemplified in the following:
Corn from Delf is good for Elves
you can get a coach
an alien in Glasgow
the girl at the psalter
all those overburdened
with the clothes they wore
the abandoned, the outcast, what future
they ‘fished’ them out of the sea
I’m unsure if the title embodies a quote from Meyer but its mix of digression and stream-of-consciousness is entirely appropriate. The manner in which this short poem shifts ground so swiftly is witty and yet suggests the way the mind connects when we are ‘thinking to ourselves.’ The jump from ‘coach’ to ‘self-transportation’ and then to the film reference which implies a more cosmic form of technology is wonderfully done and then we are in darker territory via ‘psalter’ and ‘palmistry’ which lead to the final four lines, chilling in their contemporary resonance but also hinting at an historical narrative.
Hawkins works with found texts and references to paintings quite regularly as well as obviously working by association and ‘stream of consciousness’ though most of the poems are reasonably short and as well as relatively smooth transitions there are abrupt jumps or ‘crash edits,’ to borrow the film jargon, which can be a cause for humour or in some cases bafflement. It’s good to be baffled at times! His poem on Max Jacob, referred to above, mixes humour, wordplay and celebration with a melancholy feel and another stunning ending – ‘And later having to wear a yellow star / when the Germans came.’ He has the ability to combine a sort of surreal lyricism with a darker tendency and then switch to genuine pathos or emotional directness as in this final stanza from ‘Jean-Francois-Millet’ – ‘however there is a softness in the children / and a care which / suffuses all exhaustive acts.’
The opening piece – ‘Poem: Found and Manipulated Text’ has an ‘instructional tone’ which takes off at all sorts of tangents and teases the reader into trying out an interpretation or two while being aware the absurdity of the scenarios are not entirely approachable by linear logic! For example, we have the following: ‘12 lions may be presented in all / read by a Fakir in spectacles / (note the adjustable settings / Arcadian, Gothic, Absurd).’ You could choose to read ‘lines’ for lions and then ponder a reading by ‘A Fakir in spectacles’ but are the adjustable settings related to the spectacles or what might or might not be type-faces – Arcadian, Gothic, Absurd – and how in any case does this influence the ‘meaning?’ As Hawkins himself says in the closing couplet – ‘we don’t usually see the world / with entirely different eyes, do we.’
It’s the estrangement from received notions of ‘reality’ that I most like about these poems as they make you ponder while providing a good laugh at the same time. As he also says elsewhere, in ‘Doig 1,’ – ‘what paths we must take / when nothing seems strange.’ These poems are certainly a good antidote to boredom as well as having a ‘more serious’ side and I very much enjoyed reading them. The cover artwork is equally puzzling, it may or may not be the suggested ‘leaf’ but has the feel of a print with organic textures and could be an image by David Lynch but probably isn’t. I like it though and it’s certainly in tune with this chapbook’s contents.
Steve Spence 27th August 2021