In Robert Duncan’s interview with Ekbert Faas (Towards a New American Poetics, Black Sparrow Press 1978) the poet asserts “there are no trivial events for me. This is the question raised by Williams’ famous ‘so much depends / upon / a red wheel / barrow’. The real point of that question is: Are there any trivial events, are there any trivial people or trivial anythings, trivial beings or propositions? And for me everything happening in the poem is properly apprehended and therefore not trivial.” One consults a map because one has a particular place to reach but Laurie Duggan’s new volume of poems charts a sense of discovery which responds to experience rather than mapping it out first: read this book and you’re on the move!
When Williams highlighted the importance of his red wheel barrow he followed it with a prose statement concerning the “fixed categories into which life is divided”:
“These things are normal – essential to every activity. But they exist – but not as dead dissections”.
Laurie Duggan’s new collection is, in his own words, “an unholy gathering of discrete pieces written over the last fifteen years” but to my mind they hold together in such a way as to give a picture which is more than an accumulation of the discrete. ‘Hegemony’ is a poem which perhaps represents the sense of poetic unity:
“a world of transactions
at war with a world of immanence,
a geography without contours
against a range of singular spaces”
The immediacy of Duggan’s perceptions possess a life which is not held in by the contours of the field but which realises the geography of “range”. This fine collection is more than “singular spaces” and lives as a “world of transactions” between poet and reader. Our guide through the spaces is a perceptive wit which looks closely at the world and concludes with wry humour. Gustave Courbet’s 1854 painting titled ‘The Meeting’ is given a new breath of life by the poet’s close awareness of what the gestures in the painting point to:
“What made him present himself, greeted on the road
by another figure (engaged perhaps
in mere commerce) offer instead of an epithet
a commonplace?”
The poet has captured that “world of transactions” in which the figure on the right, a pedlar perhaps, cocks his head to one side as if appraising the figure in front of him: the painter with courteous gesture of held out left arm as if he might be wishing the man a fine day. It is typical of much of Laurie Duggan’s work that these small moments are given a life, a sparkle of immediacy. So many of the poems are addressed to individual readers and we are given sly insights into character and landscape within which character resides for a moment, a click of the lens. Tony Frazer, Peter Lanyon, Frank Auerbach, Alexander Calder, Basil King, Pam Brown, Angela Gardner, Lee Harwood, Rosemary Hunter and ‘The Ghost of WCW in a Faversham Pub’:
“ ‘I’d love to go back
to Acapulco
it was so different
and so easy’ ”
Those plums in the icebox were indeed delicious and as readers we easily forgive the seemingly inconsequential footsteps of words which step their way through these poems. Duggan’s volume may assert the “inherently occasional” but I am reminded of those Necessary Steps (Shearsman Books, edited by David Kennedy, 2007) in which John Hall reminds us of the derivation of the word “occasion”:
“The Oxford English Dictionary gives as the etymology for occasion: ‘ad. L. occasion-em falling (of things) towards (each other)’. It is not just the things that fall towards each other, though there is always, I would say, a sense of conjuncture or convergence that marks something as an ‘occasion’, even for those with their attention on the ‘everyday’. It is also that occasions are marked incidents that cause certain people to fall together.”
Given these words…there is always a “particular place to go” and I can think of few better guides that Laurie Duggan.
Ian Brinton, 6th February 2017
