“body partly on the
pavement partly on the road blood
streaming from the back of his head
Cornelius Grinnell of New York
owner of the steam yacht Hawk
lodging at the Royal Victoria Yacht Club
on Pier Street in Ryde
returning to his rooms after midnight
drew up the Venetian blinds
opened the window and stepped out
onto a balcony that wasn’t there
and disappeared”
John Seed opens his new book of poetic vignettes, his windows into another world, with the clear assertion that they are appropriated from mostly nineteenth-century English newspapers or inquest reports and rewritten. As Julian Barnes reminded us some years ago History isn’t what happened it’s what historians tell us happened and when contemplating the enormous canvas of Gericault’s ‘Le Radeau de la Méduse’ in the Louvre he enquired “How do you turn catastrophe into art?” John Seed’s “rewritten” transforms these pieces of news into what could be the frame for the nouveau roman or, more closely perhaps, le nouveau conte. The margin between historical reconstruction and the world of fiction was tested in 1979 by Milan Kundera in the opening four paragraphs of The Book of Laughter and Forgetting:
“In February 1948, Communist leader Klement Gottwald stepped out on the balcony of a Baroque palace in Prague to address the hundreds of thousands of his fellow citizens packed into Old Town Square. It was a crucial moment in Czech history—a fateful moment of the kind that occurs once or twice in a millennium.
Gottwald was flanked by his comrades, with Clementis standing next to him. There were snow flurries, it was cold, and Gottwald was bareheaded. The solicitious Clementis took off his own fur cap and set it on Gottwald’s head.
The Party propaganda section put out hundreds of thousands of copies of a photograph of that balcony with Gottwald, a fur cap on his head and comrades at his side, speaking to the nation. On that balcony the history of Communist Czechoslovakia was born. Every child knew the photograph from posters, schoolbooks, and museums.
Four years later Clementis was charged with treason and hanged. The propaganda section immediately airbrushed him out of history and, obviously, out of all the photographs as well. Ever since, Gottwald has stood on that balcony alone. Where Clementis once stood, there is only bare palace wall. All that remains of Clementis is the cap on Gottwald’s head.”
The famous photograph was taken on February 21st 1948 and when Vladimir Clementis was executed in 1952 he was indeed erased from the photograph. But it acts as the opening scene for a novel which Salman Rushdie referred to as being full of angels, terror, ostriches and love!
John Seed’s glimpses and glimmerings taken from those nineteenth-century newspapers raise the curtain upon a moment of dramatic intensity. In the poem I quoted at the beginning we are confronted with a conclusion: a body, partly on the road and partly on the pavement. The opening word offers us no description but its bald assertion makes it clear that this is a dead person and the most immediate cause of death may well be the blood that is “streaming” from the head. We are then taken back in time to discover the name of the dead person, his place of origin, his possession of a steam yacht and the place at which he was residing. The deft artistic quality of this little picture is then caught in the last stanza as we are invited into the room from which he fell. We are caught between the historical fact of him stepping out of the window and the immediate awareness of the moment of realisation that is followed by the fall to his death: historical information has taken on a moment of individual and personal vividness. This is very powerful writing indeed.
On the back cover of this remarkable collection of poems there is a quotation from Empire of Signs by Roland Barthes:
“The haiku’s task is to achieve exemption from meaning within a perfectly readerly discourse (a contradiction denied to Western art, which can contest meaning only by rendering its discourse incomprehensible”.
Haiku resists interpretation: it is intelligible and means nothing. Robert Duncan was haunted by this sense of what lurks behind meaning, what he referred to as a “ground of man’s imaginations”, and recalled sitting with his sister, “my mother between us”, looking at pictures as he was read to. The picture that stayed with him was of three young men sleeping on a mat one of whom was Bashō, the seventeenth-century Japanese writer of Haiku who had just woken up: the seventeen syllables of a frog jumping into an ancient pond reverberates down the years. It doesn’t mean anything but it is! And so, on Sunday 26th December 1820 in “French-alley Goswell-street” a watchman going his rounds and calling out the hour of one
“discovered a new-born infant
lying in a corner entirely naked
a few old rags around his head”
Ian Brinton 24th June 2018
Tears in the Fence 