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The Intaglio Poems by Iain Britton (Hesterglock Press)

The Intaglio Poems by Iain Britton (Hesterglock Press)

None of us can see into another person’s mind and we have to reconcile ourselves to ending at our skin, that elasticated sack within which we live. In Andrew Marvell’s ‘A Dialogue between the Soul and Body’ the cry of anguish which opens the poem yearns for rescue from enslavement and, like Shakespeare’s Ariel, it reflects upon the ‘Magick’ that could confine it pining within the body’s physical limitation. However, it is language itself, like a shark’s fin moving through the distance between us that can form the bridge between self and other, between Now and Then.
It is no mere accident that the first of Iain Britton’s opening sequence, ‘The Vignettes’, should embed itself on the first page, fossil-like looking both forwards and outwards, whilst peering inwards to a stone past:

“but these eyes fossilised in glistening rock
embedded in the bone work of a carver’s
imagination / transfix the visitor / the

foreigner / to the jawline / the coastline
of a hill bridging hollowed-out ravines
hanging by threads of luminous particles /

these eyes light up / yet nothing flickers /
no church or tabernacle sings / constantly
they’re turning coded valedictions inwards”

On the back cover of The Intaglio Poems Peter Riley comments upon how the poet deals with the entanglement of the personal human condition and suggests that “Human problems, frequently a question of reconciling self and other, are read in terms of place, landscape, image, the clutter and scenery of civilisation…”. The “visitor”, like the reader of the poem, is transfixed by the stone eye in a manner a little like that of the wedding-guest held by the Ancient Mariner’s “glittering” one. As readers of these poems we cannot choose but hear. Words set their mark on the page as a “solitary window is splashed with the Pacific” (‘weather-vane’), “salt grains liquefy” and “gannets drop suddenly into the surf”. The ten opening vignettes, ornamental borders of trailing tendrils, are followed by eight meditations and then nine poems on the elements earth, fire and water before we arrive at an inner portal, the nine engraved pieces which illustrate the book’s title. There is a painterly aspect to this writing and a clear sense of the picture within the confines or window-frames of the page. As such it takes me back to an earlier piece by Britton which he published in Zone 2 (edited from University of Kent by Kat Peddie and Eleanor Perry). The fourth ‘equation’ in a sequence of six offered the reader a house with a girl, a room with a view:

“she shuts the door

of the house i built

stands at the table

at a vase of flowers on the table

she goes to the window

touches a fallen petal”

The house built of words “locks her in” and the interior takes on the existence of another world as the flowers (“orbitally hung”) “float / and colour-scape the room”. Now, held within the engravings of these new ‘Intaglio Poems’

“visions pack in quickly-taken breaths”

And “this teacher knows every brick / in his house”; he “writes messages / to himself” to alchemically transform place and conjure up “multiple / topographies” all of which spell out his name.
The Intaglio Poems concludes with nine short prose ‘narratives’; an eerie surrealism haunts these pieces and I find the world of the Belgian artist Paul Delvaux shimmering before my eyes and “love’s pictured pedestal” found in a ghost story. The poet admits to the accusation of “writing my name in water” and as I look back at the poems which blink their eyes in both directions, to the past and to the future, I cannot help but also recall Charles Tomlinson’s geometry of water in ‘Swimming Chenango Lake’:

“For to swim is also to take hold
On water’s meaning, to move in its embrace
And to be, between grasp and grasping, free.”

The Intaglio Poems by Iain Britton is an intriguing volume concerned with the ephemeral nature of things, as Nikolai Duffy writes. It is “carved out of a language aware of its own fragility” and images “cycle and recycle like tidal echoes”.

Ian Brinton, 7th October 2017

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Tears in the Fence 63

Tears in the Fence 63

Tears in the Fence 63 is now available from https://tearsinthefence.com/pay-it-forward and features poetry, fiction, non-fiction and translations from Peter Larkin, Laurie Duggan, Geraldine Clarkson, Kathrine Sowerby, Mélisande Fitzsimons, Rethabile Masilo, Sally Dutton, Hugo von Hofmannsthal translated by William Ruleman, Cristina Navazo-Eguía Newton, William Ruleman, Nathan Thompson, Richard Foreman, Melinda Lovell, Charles Wilkinson, Caroline Maldonado, Colin Sutherill, Colin Winborn, Jackie Felleague, Basil King, Eilidh Thomas, Paul Rossiter, Alda Merini translated by Chiara Frenquelluci & Gwendolyn Jensen, Michael Ayers, Helen Moore, Rachael Clyne, Elizabeth Stott, Caitlin Gillespie, Alice Wooledge Salmon, D.N. Simmers, David Ball, Cherry Smyth, John Freeman, Linda Russo, John Brantingham, Roy Patience, Denni Turp, Lesley Burt, Natasha Douglas, Sarah Cave, Valerie Bridge and Steve Spence.

The critical section features Frances Spurrier on Eva Gore-Booth, Dorothy Lehane on Sophie Mayer, Mandy Pannett on Out Of Everywhere 2, Ben Hickman on Tim Allen, Ric Hool on Chris Torrance’s Frinite, Fiona Owen on Jeremy Hooker, Seán Street, Oliver Dixon on English Modernism, Joseph Persad on Maurice Scully, Mark Weiss, Ian Seed on Jeremy Over’s prose poems, Kat Peddie on Marianne Morris, Kelvin Corcoran interviewing Peter Riley on Due North, Belinda Cooke on Antonia Pozzi trans. Peter Robinson, Paul Matthews on Fiona Owen, Mandy Pannett on Pansy Maurer-Alvarez, David Caddy on The New Concrete, Anthony Barnett – Antonym: César Vallejo, Notes On Contributors and Ian Brinton’s Afterword.

Copies are £10. UK Subscriptions £25 for three issues or £40 for six issues.

9 April 2016

Spaces for Sappho by Kat Peddie (Oystercatcher Press)

Spaces for Sappho by Kat Peddie (Oystercatcher Press)

Post-Poundian-Ppppsappoppo

The fourth chapter of Hugh Kenner’s masterful The Pound Era is titled ‘The Muse in Tatters’ and it focuses on fragments of Sappho as presented through the mid-Victorian bluster of Swinburne, the Georgian tushery of Richard Aldington (via Prof. Edmonds) and the Poundian engraving of ‘Papyrus’:

‘Spring………
Too long……
Gongula……’

When Pound wrote to Iris Barry in the summer of 1916 he complained of the ‘soft mushy edges’ of British poetry (‘We’ve been flooded with sham Celticism’) and suggested that the whole art could be divided into:

a. concision, or style, or saying what you mean in the fewest and clearest words.
b. the actual necessity for creating or constructing something; of presenting an image, or enough images of concrete things arranged to stir the reader.

Kat Peddie’s poems leave spaces on the page and only the clearest of words are left as stone markers, memorials, echoing the words that Walter Pater (former pupil of King’s School, Canterbury) wrote about lyricism and loss:

‘Who, in some such perfect moment…has not felt the desire to perpetuate all that, just so, to suspend it in every particular circumstance, with the portrait of just that one spray of leaves lifted just so high against the sky, above the well, forever?’

In Peddie’s ‘105a [for Page duBois]’ this idea becomes ‘The poem is the absence of an apple / anakatoria’.

To place greater emphasis upon this fragmentary world of concision one might turn up Swinburne’s early poem ‘Anactoria’ with its epigraph of lines from Sappho. My copy of this poem covers ten pages and the opening lines sound hollow some twenty years after Browning’s ‘My Last Duchess’:

‘My life is bitter with thy love; thine eyes
Blind me, thy tresses burn me, thy sharp sighs
Divide my flesh and spirit with soft sound,
And my blood strengthens, and my veins abound.
I pray thee sigh not, speak not, draw not breath;
Let life burn down, and dream it is not death.’

Lines from Kat Peddie’s fragment ‘6’ are worth considering here:

‘Consider Helen [whose beauty outshone all]
sailed from country
husband
parents
children to
follow hers

some men say
without a thought I think
of Anaktoria gone
her walk
her face outshines armour’

The echo of Eliot’s echo of Dante is there immediately with the dramatic command ‘Consider’. Eliot used the word to remind the reader of Phlebas ‘who was once handsome and tall as you’ while Odysseus, in Inferno XXVI, used the word ‘Considerate’ as a reminder to his ill-fated crew that they owed it to themselves and their heritage to pursue the paths across the ocean. Kat Peddie’s Spaces for Sappho are dedicated ‘for & from Anne Carson’ and the Canadian poet’s rendering of the Sappho fragment reads

‘For she who overcame everyone
in beauty (Helen)
left her fine husband

behind and went sailing to Troy.’

Peddie’s Helen ‘outshone’ all others rather than ‘overcame’ them and this is woven seamlessly into the reference to Anaktoria whose ‘face outshines armour’ as amor vincit omnia. The sense of loss in Peddie’s poem is held, for a moment, with that pause between ‘I think’ and the new line’s opening ‘of Anaktoria gone’. Swinburne wouldn’t have been able to resist a capital letter for that little word ‘of’. With a recall of the absent figure of Anaktoria what is remembered first is ‘her walk’ (after all that is what takes her away) and then her face, presumably turned away, which ‘outshines’ the clothing she wears, leaving a glimmering behind her for the reader to ‘Consider’.
At the beginning of this handsome new Oystercatcher Peddie gives a short lesson on pronunciation:

‘Today, in English, she [is] all soft sibilants and faded f’s, but in fact she is ‘Psappho’. In ancient Greek—and indeed in modern Greek—if you hear a native speaker say her name, she comes across spitting and popping hard p’s. Ppppsappoppo. We have eased off her name, made her docile and sliding, where she is really difficult, diffuse, many-syllabled, many-minded, vigorous and hard’.

Kat Peddie’s versions of Sappho are both hard-edged and personal; they are full of meetings, as are Eliot’s poems, and partings as both poet and reader ‘seem to our / selves in two / minds’.

Ian Brinton 6th January 2016

Zone 2 edited by Kat Peddie & Eleanor Perry

Zone 2 edited by Kat Peddie & Eleanor Perry

http://www.zonepoetrymagazine.com

The second issue of Zone magazine, the poetry collective of writers and critics from Canterbury, edited by Kat Peddie and Eleanor Perry, is a cornucopia of poetic delights richly illustrating the diversity of contemporary poetry.

The house style of presentation of this A4 publication mostly eschews uniformity in favour of a random mixture of fonts and point sizes. This works effectively with the diverse and colourful text art to produce a visually exciting journal with a sense of the chaotic. The position of the author’s name in large point at the top of each page tends to undermine the approach through its loudness and uniformity. The poem should matter far more than the poet’s name.

There are many fine contributions from Sarah Kelly’s text sculpture, Sean Bonney’s short essay on Amiri Baraka, via six Petrarch sonnets by Peter Hughes, Ian Brinton’s translation of Francis Ponge’s ‘Snail’s to Iain Britton, Stephen Emmerson, S.J. Fowler, Mendoza, Dorothy Lehane, Duncan Mackay, R. T. A. Parker, Nat Raha, James Russell, Marcus Slease, Dollie Stephan, and Robert Vas Dias.

Amongst the work that caught my eye were sean burn’s ‘spell / check © sean burn 2013 c.e.’ simple, playful approach and Laurie Duggan’s ‘from Pensioners Specials’ with its quirky, aphoristic humour:

The Art of Poetry

don’t write when you have ‘something to say’
write when you have nothing to say

*

smaller than the syllable
the Silliman

*

Universal Toilet

This train has,
says the ‘onboard manager’
a ‘universal toilet’

Rae Armantrout’s extraordinarily condensed poems employ multiple voices and divisions to explore contested spaces. Here her four poems seemingly skirt the boundaries of plausible meaning and imply connections between each stanza, which are not entirely evident on first reading. They invite reading of the relation of part to whole, stanza to stanza. In this way, more possible reference and meaning comes into play. They insist upon both slow and wide reading, and force the reader into wider focus.

Run Time

Hidden redundancy
equals logical depth.

*

up next,

the pumpkin carving contest
under the sea

*

You talk to yourself
as if somebody cared.

Clearly an event of some kind, as yet only implied in the title and first three stanzas, is in process. The third stanza perhaps holds more than its terseness. The narrative voice is in the act of ‘talking’ to herself ‘as if somebody cared’. When placed in the context of the preceding stanzas much more possible reference and meaning comes into play. Voices are running, possibly imploring, exhorting for this onwardness towards the second half of the poem and whatever may lie within its boundaries. We could be in the world of someone in a state of loss or deprivation, or in need of care. Key words, such as ‘hidden’ send the reader off in search. Certainly the range of possible meaning gradually begins to expand. The reader is taken on a journey and there is more than a hint of implied disjunction, loss and unrest, which serves to take the reader forward.

Such poems make Zone a joy to return to.

David Caddy 22nd November 2014

Zone: A New Magazine

Zone: A New Magazine

The first issue of a new magazine from Kent University has just appeared and it is absolutely terrific.

 

Edited by Kat Peddie and Eleanor Perry this first number contains work by Allen Fisher & Jeff Hilson, Denise Riley & John James, Kelvin Corcoran & Tony Lopez.

 

It also contains exciting new work by the Canterbury Chapter and it is very good indeed to see new poems by David Herd, Simon Smith, Juha Virtanen, Ben Hickman, Dorothy Lehane, Nancy Gaffield.

 

The blurb on the inside of the back cover of this polished, illustrated and handsomely printed magazine makes the collaborative nature of the enterprise very clear: ‘We have commitments and enthusiasms to and for certain writers, writings, ideas, and actions.  We wish to share these with each other and with others. Some of these commitments are political. We have chosen essayists whose poetical and political commitments we think are important. One of these commitments is to the idea of the Commons…in a common, and commonly owned, ground in which individuals come to work together.’

 

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