Sunday, August 06, 2023

Things I wrote on Intercapillary Space -- 4





The fourth and final tranche of links to posts I wrote on Intercapillary Space between 2006 and 2015, basically so that the authors I wrote about get included in this blog's label list. 

[My Intercapillary Space links: 

Part 4, continuing from Sep 2011 up to 2015. Anything I've published more recently on Intercapillary Space is simply a copy of a post on this blog, so I don't mention it. 

Better than Language (2011 poetry anthology edited by Chris Goode, including poetry by Anna Ticehurst, Francesca Lisette, Joe Luna, Jonny Liron, Josh Stanley, Jonty Tiplady, Linus Slug, Mike Wallace-Hadrill, Nat Raha, Sarah Kelly, Steve Willey, Timothy Thornton, and Tomas Weber):

John Gilmore:

Rhys Mynydd:

Gale Nelson / Jackson Mac Low:

Patricia Scanlan / Ink Sculptors:

Richard Murphy:

Paul Brown:

Tim Allen:

D.S. Marriott:

Metambesen / Robert Kelly / Eléna Rivera / Tamas Panitz / George Quasha / Charlotte Mandell / Lynn Behrendt / Billie Chernicoff :

Andrea Brady:



















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Monday, March 16, 2020

forty days and forty nights



Mistakenly or not, I associate the forty poems of Carol Watts' Wrack (2007) with the Flood: "I will cause it to rain upon the earth forty days and forty nights; and every living substance that I have made I will destroy from off the face of the earth" (Genesis 7:4)... [and thus with fellow London poet Andrea Brady's insomnia poem "40 Days and 40 Nights" (in The Strong Room, 2016), but that's another story].

The poems are highly interlinked, each one to the next, and also to a centring but obscure historic nexus, the 1772 shipwreck, on Thurlestone Rock (south Devon), of the Chanteloupe, a merchant vessel bound from Grenada with a cargo of sugar, coffee and rum, a crew of 13, and seven passengers of which one was a woman (only the second mate survived).

Poem 27 brings us most shockingly close to the wreck itself, to "the strand's pornography / thirled rock and ship's whalebone... / the heaving of its ribs / on the sweet mania of wrack / its molasses spreading dark ..." But the sequence wanders a very long way from that event, and casts an eye on many other places and things. This posts offers some glimpses;  to begin,  a tranquil river Thames.

*

13


On the banks of this brown river
there is little thought of catastrophe
save the contemplation of judges

at the Prospect   twisting fruit
toasting the fatal tree in its defence
of silver    lengths of cloth   and bread

On Pelican Stairs       Queen Sive
reviews her pocket     dragon's teeth
ah    it is not a moment for insurgency

the quiet river peace    the drift
of bells    a change of watch    perhaps
or shipman's axe off stroke

meeting iron       his eye caught
the white gulls       ah
the inexpressible thought of a storm

On a distant ocean ships lie        are seals
boarded by a parcel of furies        among them
Pelican's child        beard pricked out

roaring like a catherine wheel      knuckles
tattooed with LOVE and HATE    fingers
too few for WONDER and SUFFERING

making his own entertainment        a tree
snarled across his back      land-locked      gibbous
ah      but this is not the fate of pirates

bodies racked in the flux and reflux of the tides
and not this gentle morning      she says
the seaweed on the Stairs dry to her touch 


(Wrack,  Poem 13)


The Pelican Stairs are waterman's stairs in Wapping, beside the ancient pub The Prospect of Whitby, once a favourite hostelry of Judge Jeffreys. Before his time, according to Stow, pirates used to be hanged here. The "twisting fruit" and "fatal" tree allude to the gallows. So, surely, does "gibbous" (the shape of the dangling noose -- there is one today on the river shore outside the pub, just for fun). Like a parcel of furies is the description of a pirate assault in A General History of the Pyrates, probably by Daniel Defoe.  One of the pirates it describes, Blackbeard (Edward Teach), was said to braid his beard into pigtails and to light slow fuses under his hat.

Jeffreys' major work in the execution line was putting down the Monmouth insurgents in the west country. But "Queen Sive" (who I envisage, for no particular reason, as a small child playing on the beach) alludes to another insurgency that was brutally repressed in 1761-63, the secret agrarian society in SW Ireland that came to be known as the Whiteboys, for whom "Queen Sive" was a rallying call (the legendary Sadhbh, mother of Oisin).

Dragon's teeth are what Cadmus (or Jason) sowed to produce armies of fighting men.

Seaweed-covered Pelican Stairs, Wapping

[Image source: http://thelostbyway.com/2014/03/old-stairs-of-the-thames-at-wapping-and-shadwell.html . Photo by the writer and film-maker John Rogers, from his London blog the lost byway.]


22

it was not until     a planetary curve
              sent me spinning across the black earth
                          of Dakota      its tectonics

a patchwork of plains and light
              stitched     in the line of a child's horizon
                          from winds and grasses

and understood      I was crossing the bed
               of an ancient sea        there to find
                           a truth in erosion

beyond the complexities of rain
              its subsistencies      and the deluge
                           of the Red River    ....

(Wrack, beginning of  Poem 22)


North Dakota's oil and coal bearing sedimentary rocks, formed in shallow primeval seas....

The "Red River of the North", the river that divides North Dakota from Minnesota, flowing northward into Canada. It regularly floods.

There's also "a journey across North Dakota between the minimal lines of When Blue Light Falls", CW said in Jacket2, in an interesting article about her US influences. Some of the word-play in Wrack, she said, arose from President Bush's pronunciation of Iraq.


*


I remembered the jointure      of Géricault
           his trust      in black as a principle
                      of connection

where the use of bitumen
           set in motion     his painting
                       and its slow immeasurable decay

(Wrack, from Poem 24)

One of the colours used by Géricault for his enormous painting The Raft of the Medusa (1819) was bitumen. This is at first a glossy and lustrous black, but over time it discolours and wrinkles, so the painting today is rather hard to make out in places.

and then      the crowd declared     'I will not serve
            as a mouthpiece for such barbarity'
                        preferring to observe

the unrolling of ten thousand feet
            of canvas         a Novel Marine
                        Perispheric Panorama

with accompanying strings and tubas
            to ride the drama of the Fatal Raft
                        and weep at the rescue

(Wrack, from Poem 25)

When Géricault's masterpiece was shown in Dublin in February 1821, it was overshadowed by a rival exhibition, a "moving panorama" (unrolling canvas with commentary) described in a Dublin newsletter as "an entirely novel Marine Peristrephic Panorama of the Wreck of the Medusa French Frigate and the Fatal Raft".  The poem suggests that this popular attraction was sentimental and tub-thumpingly patriotic (it was a British ship, the Argus, that rescued the few survivors of the Méduse).  But these considerations might also have played a part in the general enthusiasm that greeted Géricault's painting in London. Very unlike its divided reception among Parisians, who saw the political implications.

Le Radeau de la Méduse, 1819 painting by Théodore Géricault


[Image source: https://www.louvre.fr/en/oeuvre-notices/raft-medusa .]

The whole of Carol Watts' Wrack has now been made available to read on-line:
http://realitystreet.co.uk/resources/OP_pdf_books/wrack%20pages%20FINAL.pdf




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Wednesday, January 22, 2020

We page-turn



Just enough time today for another dip into Andrea Brady's 2016 collection The Strong Room. This is the final poem. (It was previously published in Cordite Poetry Review so I feel it's OK to quote it in full.)

  [But I'm not pasting the text from there. Since I'm not in a hurry I'm typing it out word by word. I always feel that something happens then, for example I start to experience the words more as if they were part of my own immediate surroundings, or maybe I might wonder what would need to be different for me to use these precise expressions... Anyway, I find it a useful exercise.]


Marlow One

Sky-head dashing through Chelyabinsk
distant intimate,
tumble yourself out shattering
glassy fears, we know no other.
Life has always looked set
to begin tomorrow, its ancientness
burns now the motorways and blasts out
windows and boils the ice under which you lay
so your corpse comes up like an apple.

With a name writ in water
with eyes clear to water transitional
species appearing to watch
your own appearance, your eel nature
that loves to hide
pinks up and comes wired with songs.

You give names to the unknown future,
make its fashions specific. If you keep
these almonds for eyes, will the rain glaze
with universal justice your membranous head.
Will you retain yourself in safety
if your crushing or exhaustion
is the black hole of thought, will you scatter
your radiant occult sugars
over a world quivering momentarily with peace?

Will you keep the nutty heat of the sacred
in your thumb-sized heart.
We page-turn for you forever,
because life is actually very stupid,
because we bide your admiration stupidly,
in proverbs, in grand precise speeches,
in flashes better than this

shows the limits of my power:
a limit lying alongside you through our intimately broken
night, like the silver horizon of waters
of promises whose writ you are the name




This poem was written about her newborn third child Marlow. He was born on 3 March 2013 -- just a couple of weeks after the superbolide meteor that blindingly burst over Chelyabinsk, as alluded to in the opening lines.

Another allusion is to the epitaph on Keats' gravestone in Rome.

This grave contains all that was Mortal of a Young English Poet who on his Death Bed, in the Bitterness of his Heart at the Malicious Power of his Enemies Desired these words to be engraven on his Tomb Stone: Here lies One Whose Name was writ in Water. 

Only the final words are Keats' own; the first part of the epitaph was written perhaps by Charles Brown or by Shelley, though the threat of "Malicious Power" hovers in the background of this poem and many others in The Strong Room -- perhaps in contrast to the "limits" of the poet's own "power". It has been disputed whether the epitaph misrepresents the context of Keats's words, though they do seem to refer to a lack of established fame.

Anyway, AB's poem identifies the "name writ in water" not with a forgotten dead poet but with that other kind of unknown, a  just-born child; it forms part of a kind of thought about the tangible yet elusive significance of every life.

The image of the parents who "page-turn for you forever" is pregnant. A page-turner is a very lowly role compared with a pianist. Yet the pianist can only play what's shown on the page.

It's curious how this fleeting brush with Keats spotlights some concealed aspects of AB's own poetry that -- rather unexpectedly -- could recall the poetry of Keats and his age: e.g. "loves to hide", "nutty heat", "universal justice"... Indeed, the very Romantic conception of a poem at an infant's side, the apostrophe to that infant.




Andrea Brady reading "Marlow One" in Beirut in May 2015. Her emphases at various points were helpful in navigating the poem, I found. This version, incidentally, contains one extra word:

                                                  If you keep
these almonds for eyes, will the rain even glaze
with universal justice your membranous head.




Andrea Brady talks about The Strong Room with Andrew Spragg:

https://poetrylondon.co.uk/on-radical-tenderness-andrea-brady-talks-to-andrew-spragg/

I've read this interview before (probably linked to it before, too), but there were a couple of things that stood out for me today.

One is about the poet's (or at least, AB's) refusal of control. "The poems which interest me tend to be a series of edges and noise, not allegorical code. Even if poets begin with an explicit intention, the poem will take them to unplanned destinations." I think it's salutary to apply that idea when reading her poetry: to consider that while the above poem may have begun with the twin arrivals of baby Marlow and the stupendous meteor, the poem doesn't necessarily remain within a preconceived thought: that initial impulse may be only the first of its edges.

The other is her acknowledgement, at the start, that it seems very difficult to write poetry "in this moment", that is, in a time of crisis. It's not a new thought: it was often mentioned by writers at the time of the second world war. But I expect a lot of people, me included, will relate to what AB says here.

But why is it so? Because onrushing events preoccupy our thoughts? Because the  kind of poetry we write is intrinsically one of the arts of peace? Because poetry seems trivial now, our old self-justifications exploded? Or because, on the contrary, there seems to be more at stake now, the challenge is paralysing, the penalty of getting it wrong more severe?




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Monday, December 09, 2019

Before

Garlic Mustard (Alliaria petiolata). Swindon, 9 December 2019.
 Before I get down to a day of cards, carols and cookery, a hasty blog post. Actually just a wander through my backpack.


The possibility of life in the mind
of you living on such a brink table
top, ice of the Gospel giving
out tickets to hunters of wild angels

or furriers blazing search in gorse
for mice, hardly in winter, ticking
over of engines and popping warms
honey-coloured blood with sparks

from their halos or the circuit held in place
in barrel-chested batteries like treacle.
To see you all gripped by fire
and to see a summer walk

round the Ewyas with sky for
a canopy are two indefinite futures,
the catastrophe eliminates any
indifferent particles, hunters ......

The beginning of "S/ledges" by Andrea Brady, from The Strong Room (2016).

If nothing else, the sound and movement of AB's poetry are utterly distinct. Because of my preoccupations today, I'm reading this fairly securely as a family Christmas poem, but AB's poems can flicker into hellish dystopia at any moment, and reading them is a far from secure occupation.

Surely there should be a new book soon? Here, anyway, are links about the most recent poems I know, the drone sequence The Blue Split Compartments.
Extract:
http://www.manifold.group.shef.ac.uk/issue20/AndreaBradyBM20.html
Interview:
https://www.sampsoniaway.org/blog/2019/06/13/listening-for-the-noise-an-interview-with-andrea-brady/

*

For the first time she noticed there were tears in Sal's eyes. 'All you know is 2010, Maddy. You haven't seen my time. You haven't seen New York in 2026 or anywhere else in 2026!'
   'No . . . I haven't, but that's --'
   'It's all so shadd-yah. It's falling apart! And we know it gets worse!'
   'Sal!' warned Maddy. 'We're not doing this now! We're not doing this in front of Adam!'
   'But it does! You know that! I know it! It all gets worse and worse. The pollution. The whole global warming. The Oil Wars! And we don't know how it all ends up. But this . . . look at it! This is better!'
   Adam looked taken aback. 'Oil wars?'
   Maddy waved him silent. 'Sal . . . listen, we made a promise to Foster. To keep history on track. To keep it the same for better or worse. ...'

Time Riders: The Doomsday Code (2011) by Alex Scarrow.

*

CASSIUS
I did not: he was but a fool that brought
My answer back. Brutus hath rived my heart:
A friend should bear his friend's infirmities,
But Brutus makes mine greater than they are.
BRUTUS
I do not, till you practise them on me.
CASSIUS
You love me not.
BRUTUS
I do not like your faults.
CASSIUS
A friendly eye could never see such faults.
BRUTUS
A flatterer's would not, though they do appear
As huge as high Olympus.
CASSIUS
Come, Antony, and young Octavius, come,
Revenge yourselves alone on Cassius,
For Cassius is aweary of the world;
Hated by one he loves; braved by his brother;
Cheque'd like a bondman; all his faults observed,
Set in a note-book, learn'd, and conn'd by rote,
To cast into my teeth.

(from Julius Caesar, Act IV Scene 3)



Garlic Mustard (Alliaria petiolata). Swindon, 9 December 2019.

Alliaria petiolata (En: Garlic Mustard, Sw: Löktrav). A plant I should try to make more use of; it seems there are lots of cooking possibilities. At most times of year I've found the flavour of the raw leaves unpleasant, but these midwinter ones were milder and tasted pretty good.

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Tuesday, August 07, 2018

in the strong room



"Now you see me", painting by Markus Åkesson (2018)


[Image source: http://markusakesson.com/paintings/]






There's times Andrea Brady's The Strong Room (2016) seems like a determined effort to incinerate any last possibility of describing her as Cambridge School in a limiting way. "The Underworld", for example, is an extended, funny and thought-provoking transcript of Andrea and her daughter making up a utopia-poem. "The Leavings" is as shameless a declaration of committed love as you could easily find. The #Direngezi poem is frankly adapted to a mixed audience united by solidarity not poetry.


With such poems before me, it no longer seems very appropriate to stress the difficulty of  Andrea's poetry (as I did when writing about her previous collection Cut From the Rushes).


Nevertheless, there are still plenty of poems in the more recent book that evade being pinned down so easily. One of my favourites is "40 Days and 40 Nights". It alternates between Day stanzas and Night stanzas (despite the title, only six of each). Here are the opening stanzas:


Day


Wind covers ears in cornmeal, sky overlord
of original pink waves the placards for 'liberation'
but these fringed miniscules make an ache,
a winter knot, dropped in a speculative apartment,
attention it takes practice to pay
to the vegetable soul breaking up
volumes of private air. Practice
being curative, as wintering
geese evoke the media plea: who wants
this life. Not me, the television
shows incurable sadness, nights drift
with residue.




Night


The narrow human attitude is a landing
strip of forested karst, it ripples
outward from the spinal border /
birds light / long yellow lines
mark out causeways in sensation.
The strips between scratches
between licks
are Crimean fields quivering like
sound. Moving plates, marks
of a parochial encounter. The rest
all too vast for governance gets
broody and a little pissed off.
When the tongue skips over them
leaving thirty clicks of unspent
twitches bickering in its wake
the stomach ditched, grassland
unmowed, it scalps a moon-warmed
vast peasanted terrirtory,
your punky nails the pickets
of paranoid garrison towns.




A note subjoined to the title says: A response to George Bataille's 'The Mouth'


This is the quotably brief meditation La Bouche, published in 1930 in Documents, a Surrealist art magazine edited by Bataille.


“The mouth is the beginning or, if one prefers, the prow of animals; in the most characteristic cases, it is the most living part, in other words, the most terrifying for neighbouring animals. But man does not have a simple architecture like the beasts, and it is not even possible to say where he begins. In a strict sense, he starts at the top of the skull, but the top of the skull is an insignificant part, incapable of attracting attention and it is the eyes or the forehead the play the significatory role of an animal’s jaws.”
“Among civilized men, the mouth has even lost the relatively prominent character that it still has among primitive men. However, the violent meaning of the mouth is conserved in a latent state: it suddenly regains the upper hand with a literally cannibalistic expression such as mouth of fire, applied to the cannons men employ to kill each other. And on important occasions human life is still bestially concentrated in the mouth: fury makes men grind their teeth, terror and atrocious suffering transform the mouth into the organ of rending screams. On this subject it is easy to observe that the overwhelmed individual throws back his head while frenetically stretching his neck so that the mouth becomes, as far as possible, a prolongation of the spinal column, in other words, it assumes the position in normally occupies in the constitution of animals. As if explosive impulses were to spurt directly out of the body through the mouth, in the form of screams. This fact simultaneously highlights the importance of the mouth in animal physiology or even psychology, and the general importance of the superior or anterior extremity of the body, the orifice of profound physical impulses: equally one sees that a man is able to liberate these impulses in at least two different ways, in the brain or in the mouth, but that as soon as these impulses become violent, he is obliged to resort to the bestial method of liberation. Whence the narrow constipation of a strictly human attitude, the magisterial look of the face with a closed mouth, as beautiful as a safe.”




*


So the "narrow human attitude" in the second stanza above,  is here in Bataille's piece.




Which I think is brilliantly suggestive, by the way, yet also inadequate.  Why would the livingness of an organ be defined by its terrifying aspect in the eyes of a different species? (Presumably, a prey species.) I stop thinking about what the words might tell me about life, instead I'm  thinking what they tell me about Bataille.


But yes, I'm fascinated by the mouth. I'm fascinated by baby's fascination, her intent focus on the mouth of the adult, as if it's indeed the seat of life, everything comes from there. But even before that, it's the eyes. The first thing she learnt to know is the eyes. The first message that passed was the smile, and that was learned from the eyes.  But even before that, the baby and the mother knew each other. Life precedes the face.


Is it even really true that, as Bataille blithely implies, the mouth is the prow in most animals? Not really. It's the nose that is the prow, in a wolf or dog, for example. First because the nose is the most important sense, for these animals. Second, because the nose, or specifically its bridge, is bony.  When you design a moving abject like an animal, you make sure its projections are bony so they don't get injured.  Mouths are soft and need protection. So I'd dispute Bataille's animal physiology, and even his observation.


 But nevertheless, I like what he wrote. For example about the closed mouth of the magister. That was true. It was a power-play, though not such a timeless or universal one as Bataille supposed.


On the other hand, capitalism knows that models must be photographed with the mouth open. The iconography of an open mouth is participation, that is, economic consumption. No-one wants to see a closed safe in an advert.




*










The poem-title "40 Days and 40 Nights" opens out other vistas. It could allude to Jesus' temptation in the wilderness; it's also the title of a 2007 book about the test case Kitzmiller v. Dover Area School District, which ruled that teaching creationism ("Intelligent Design") in biology classes violates the First Amendment; the title of a  2002 sex comedy movie in which the male lead takes a bet to give up sex for Lent, and is "raped" by his ex-girlfriend to make him lose the bet (responses to the movie have been mixed); and a really fantastic Muddy Waters song.


All of these vistas seem relevant, but the poem stands without them, a record of days and nights traversed by pain, blurry insomnia and sexual frustration, an interrogation of the body's depths and surfaces.




*
Day


Rain falls in ears, rabbits fizzle on
workbenches where they are stripped crying
and alive for angora.  .....


That's the start of another stanza. This refers to revelations in the media (e.g. in 2013 and 2016) about cruelty at angora farms, especially during the plucking process.


http://www.dailymail.co.uk/femail/article-2529849/Zara-Gap-finally-ban-angora-shoppers-horrified-plight-rabbits-plucked-alive-threaten-boycott-shops.html


The stretched, screaming rabbits might be an illustration of Bataille's text, kind of.














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Thursday, March 15, 2018

there are no foreigners






My latest book purchase arrived yesterday: Women: Poetry: Migration [An Anthology] ed. Jane Joritz-Nakagawa (theenk Books, 2017).  It's an anthology of contemporary (mostly experimental) poetry by women who live in a country different from the country of their birth. That might sound a complicated and even pointless criterion but (on the basis of barely an hour's reading)  the result is a book that is very easy to like, its swirlingly various poetic contents feeling a little more approachable because of the framework of converging preoccupations. (The miniature "essays" from each of the contributors are helpful too.) 




Here's a few words from the early pages.

*

From Jane Joritz-Nakagawa's Introduction:


... in Strangers to Ourselves (1991), Julia Kristeva wrote of "Our [human] disturbing otherness" but stated: "by recognizing our uncanny strangeness we shall neither suffer from it nor enjoy it from the outside. The foreigner is within me, hence we are all foreigners. If I am a foreigner, there are no foreigners" (p. 192). As a poet attempting to write an introduction to a poetry anthology of migrant women's work, I am also thinking of language itself as foreign. Japanese poet Kora Rumiko said in an interview that she "... felt even as a child that language was not mine, that I existed outside the language that surrounded me, like a foreigner.... " Here she is discussing her first language, Japanese, not a second or third one.


*

From Adeena Karasick's Salomé: Woman of Valor


And what shadowed abyss
of taut turns is riddled by the flux
          of campy anon

And what breathy mambo
of moaning nomads
is frothing in the foolscape of
your wet roulette?
What sluiced verity
What twangy biases
What cooing lurks in the sashay of racy traces


*

 From Amanda Ngoho Reavey's Marilyn


In the jungle there is a foreboding that surrounds a sentence. It lactates. It drowns.


They say that by the time a child is one year old her brain has been wired to know and understand only the phonemes of the language that surrounds her.


I spent eight years in speech therapy learning how English letters and words should be formed in my mouth...


*

From Andrea Brady's The Blue Split Compartments


This is the kill box, frozen into sculpture
at a value of some $10m.
And who hover over it are tempted to wonder

where the 'art' went or where the 'work' went
looking for their circus face in the bottom,
or the secret of its underside, where it makes contact
with the gallery floor,
but it says nothing other than 'construction'. It really is
like swatting flies; we can do it forever
easily and you feel nothing.


*

[JJ-N: born in USA, lives in Japan. AK: born in Canada, of Russian-Jewish heritage; lives in USA. ANR: born in Philippines, lives in USA. AB: born in USA, lives in UK.]

















  









The jacket artwork is by Steven Seidenberg, photographer painter and poet. http://www.stevenseidenberg.com/






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Thursday, March 08, 2018

The Strong Room





This is the name of Andrea Brady's 2016 collection, which I am reading.




Animation

I dreamed that all the places we had walked were continuous
and we walked them again with the undulating cloth
sometimes sinking or rising as the suns
stitched to the cloth and a bowl of green bending
upwards from the spells of our elimination.
But really night comes as grief:


another day split from thousands, etching
a hairline crack in the rock of what is achievable.
All around Buddhas collapse to powder.
Your hand is beside me, limp, relaxed,
a prop to be taken and made to talk,
your clothes are rags in a hundred years
cast by the brown water    ....




(Opening lines of "Animation", from The Strong Room)






The interview below is helpful:


http://poetrylondon.co.uk/on-radical-tenderness-andrea-brady-talks-to-andrew-spragg/




Andrea Brady's Warton Lecture "The Determination of Love". Text:
https://www.britac.ac.uk/publications/determination-love


Audio:
https://www.britac.ac.uk/audio/determination-love-andrea-brady





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Saturday, September 23, 2017

#Direngezi

Gezi Park, May 2013




[Image source: http://www.businessinsider.com/turkey-police-clash-with-gezi-park-protesters-2013-5?IR=T]


I'm making a first few cautious forays into Andrea Brady's new book The Strong Room (Crater 42, Jan 2017). 


Title and opening stanza of one of the poems:


Gel Gör Beni Aşk Neyledi


#Direngezi


We walk burning, itching, streaming all over,
cascading Mungyeong yellow. Love or its sister
forces has stained Cumhuriyet Caddesi
with blood but les pavés pressed
hand to hand dry flowers become barricades,
underneath, roots of the red apple.
We aren´t static, aren´t mad.
Come see what our revolution has done to us!




The full text is here:
https://solidaritypark.wordpress.com/tag/direngeziparki/




The poem is about the Gezi Park protests beginning on 28 May 2013.  ("Diren Gezi" means "Resist, Gezi!").


https://en.wikipedia.org/wiki/Gezi_Park_protests explains various terms used in the poem, eg. çapulcu , the protesters' adoption of Erdogan's absurd description of them as "looters".


burning, itching, streaming = The police used tear gas. Tear gas is banned as a weapon of warfare (in various international treaties most states have signed) but it's permitted and much used by states to control their own citizens.


Cumhuriyet Caddesi = A highway in Istanbul, passing along one side of Gezi Park.




les pavés  =  paving slabs


dry flowers = As in the peaceful Portuguese revolution of April 25 1974, carnations were thrown.










The poem has this endnote: In solidarity / with apologies to Yunus Emre  *


[* To be strictly accurate there's a bar-shaped diacritic above the first "u" in "Yunus". I haven't worked out how to reproduce it yet (I also haven't seen that spelling anywhere else).]


Yunus Emre is a famous and popular Sufi poet, one of the earliest poets to write in Turkish. Andrea's poem is an improvisation on Yunus Emre's famous poem Gel Gör Beni Aşk Neyledi ("Come see what love has done to me"). Here's the first couple of stanzas in a translation I found online:






I’m walking, my heart ablaze...charred I’m burning!
Love painted me blood red.
left me neither sane nor mad
come, see what Love did to me


sometimes as the winds, I whirl
at times as dust on the path, I drift
sometimes as swift as a flood,
come, see what Love has done to me


http://lyricstranslate.com/tr/gel-gor-beni-ask-neyledi-come-see-what-love-has-done-me.html#songtranslation



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Monday, September 14, 2015

Notes on Andrea Brady's "Export Zone"


"Export Zone" is a poem by Andrea Brady in Presenting, the second collection within Cut from the Rushes (Reality Street 2013)

http://www.realitystreet.co.uk/resources/Cut%20from%20Rushes%20pp82-83.pdf

An earlier version of the poem appeared here:

Invisibly Tight Institutional Outer Flanks Dub (verb) Glorious National Hi-Violence Response Dream (lifegangdocuments, March 2008) (hereafter Invisibly Tight)

http://www.plantarchy.us/invisibly-tight.pdf

The earlier version capitalizes Burundi, UN HCR, Venus, ABCDE, London Lite, Salt, Basra, and Eastern. (Some of those are helpful clues.)

There are some more substantial differences, too.




 Line 6: "imports unsold trickling over" (Invisibly Tight), "imports unsold sweating" (Cut from the Rushes)
Line 17: "sole citizen" (Invisibly Tight) "sole beneficiary" (Cut from the Rushes)
Line 26 "hold my breath" (Invisibly Tight) "hold breaths" (Cut from the Rushes)
Line 29 "convince me, and the easter" (Invisibly Tight) "convince the easter" (Cut from the Rushes)
Line 31 "the doctors" (Invisibly Tight), "Doctors" (Cut from the Rushes)

The paragraphing is different in the later part of the poem. The paragraph starts are: Invisibly Tight: "purchase on one life" (28), "their sex" (33). Cut from the Rushes: "to the end of sacrifice" (26) and probably "Doctors refuse" (31); I can't say for sure about this one, because line 31 begins a new page, but it seems relevant that in Cut from the Rushes (but not in Invisibly Tight) line 30 ends with a full stop.

There's no reason to suppose a single motive lies behind all these revisions. Those in 26 and 29 seem prepared to blur what had formerly been more direct.


*

Title ("Export Zone"). The term is not simply denotative in itself. It recalls the Agri Export Zones or Export Processing Zones set up in developing nations to enable making money through exports; the latter are free trade zones which are tax-exempt and often deregulated (allowing sweatshop labour). A refugee camp could be compared (ironically) with the penning yards of e.g. Kenya's "livestock export zones".

Line 2-3. ("burundi" "un" "hcr"). Burundi has been a long-standing source of refugees, the latest wave in 2015. The UNHCR (the UN refugee agency) is active in Burundi and in neighbouring countries.

The refugee camp, a location implied here and perhaps too in line 14, is too important a feature of our world to pass unremarked. The average stay of a child in a refugee camp is said to be 17 years. Life does not, of course, stand still. The PLO took form in the late 1960s in the refugee camps of Jordan and Lebanon.

Line 3. ("is that enough milk") One of several intrusions from the typical exchange in a chain coffee-shop. Burundi is poor in natural resources and coffee accounts for 93% of its exports (Wikipedia).

Lines 5-7 ("exotic imports" "bushmeat" "extinction"). In 2003 it was reported that 100 of Burundi's 300 hippos had been killed to sell as bushmeat (considered a delicacy in the cities), a trade driven by poverty.

Line 14 ("abcde"). Possibly the protocol for assessment of clinical emergencies such as patients with multiple traumatic injuries or acute illness (Airway, Breathing, Circulation, Disability, Exposure).

Line 28 ("matching gifts programme") An arrangement, common in large corporates, whereby the employer matches the employee's donation to an approved charity (thus doubling its value).


Gareth Prior has blogged about the poem. 

Showing the slit across the thigh, she anchors
the erotic by which burundi girls buy un
hcr relief. Is that enough milk
foaming venus blood shot through narrow arteries
sewn up with grass and thorn. Exotic
                 imports unsold sweating
bushmeat, a race for extinction won at the starting
gun. Every tactic is neurotic, down to the wire



"Export Zone" appeared in the Forward Book of Poetry 2015. It was Highly Commended for the 2014 prize, perhaps (as Ken Edwards mused) by Jeremy Paxman, or possibly Vahni Capildeo. [Intercapillary readers might like to know that also Highly Commended were poems by S.J. Fowler, Lee Harwood, Colin Herd, and Marianne Morris. Denise Riley went one better and was Shortlisted. In the past the Forward anthologies have been regarded as typifying the most mainstream of the mainstream but evidently it is not as straightforward as that now.]

Nevertheless I feel like there's a wry appropriateness in its being this Brady poem, in particular, that flickered before the eyes of poetry's larger readership. Maybe that's because Costa Coffee sponsor a major literary prize of their own. Maybe it's because the ingredients of the poem, salted and whipped, the plight of Burundi refugees, violence against women, free trade deregulation and smug enjoyment of exported coffee, inadequacy of charitable donations, dubious value of writing poetry, seem at first to compose an argument that's rather too easily digestible; already pre-digested in fact.  In a miserable, grisly kind of way, We know all this. So far as the opening of the poem is concerned, you can say that it shadows forth a sort of Political Poetry Lite.

But that's where the poem begins, not where it ends.

"Before the noon bulletin / I’ve sucked off two enemies and crossed / my arms over my mouth" (9-11)

It's reasonable to suppose that "I" is the Burundi girl refugee of line 2.  Reasonable, yes. But then that provokes a further question, what kind of voice is this? It's neither mimetic of a personal spoken narrative of horrible experience, nor is it gravely impersonal in the way that an emblem may be given a speech-bubble in which to announce its significance. It's emotionally neutral, but not in a traumatized way, but rather in a totally inappropriate mundanely-chatty way. (The present perfect tense has a lot to do with conveying this impression.) As if somehow the cafe had merged with the refugee camp and the lines were only saying "Boy, I've had a really busy morning and gotten a whole lot done."

Pronouns here are unstably connected to dramatis personae. Even in the opening sentence:

Showing the slit across the thigh, she anchors
the erotic by which burundi girls buy un
hcr relief.

Is "she" in fact a Burundi girl herself? Maybe, and maybe not.

What about this?

I sat in front of the terminal bowed by
happy news. He's coming, down the basra
              highway the eastern mainline toppling regime

Another mini-narrative is shadowed forth, but it seems to have a new cast-list. And once more, we're aware of a vague inappropriateness in connecting anything happy with Iraq's highway to hell.

To generalize, the poem seems reluctant to maintain the firm separation between the coffeed-up westerner and the abused refugee upon which the irony inherent in the hypothetical Lite poem seems to depend.

This might be the right moment to survey the text before us rather as if it were a Prynne-style poem from which the reader-tactic of construing syntax is excluded. Among other things we might notice: (1) In the first stanza, the chiming of "erotic", "exotic", "tactic", "neurotic". (2) Duplication of certain words in different contexts: "relief", "sucked", "bowed", "salt", "whipped", "pink"; or pairings of related words such as "buy"/"purchase". (3) Violent imagery of sexual wounding and repression. (4) But notably, a marked absence of such negative words such as "violence" or "horror". Instead (inappropriately?), a marked presence of positive words such as "happy", "relief", "coming", "intimacy", "pleasure", "celebrate".  (5) The progression "sacrifice", "easter season", "celebrate time".  (6) A rhetorical pattern in which the closed question "is that enough milk" comes to be replaced, in the second half of the poem, by four open questions based on the word "how".

Not Why or What, but How. It's the least radical, the most pragmatic, of question-words, because it doesn't question the objective (at least not openly) but only the means by which that objective is to be attained. Increasingly, the questioner becomes more identifiably the poet herself, and the poem ends:


Doctors refuse to look at a local sample, even these
lines sucked tight as zippers betray
their sex with pink flapping. How to feel
pleasure when writing is a work of repressive
sympathy, how do you celebrate time?


(Interesting then that the pronoun becomes "you". Can indeed be fully accounted for as the normal sociolinguistic reluctance of educated people to say "I" when "I" is really what they mean.  Desire to reassure that the question is of wider relevance. Could also place the question as part of a conversation with other writers.)

What the question does not say: 1. It doesn't repeat Adorno or Celan. It's in dialogue with them, maybe, but that's true of most modern poems.  2. It doesn't ask what good is writing, or what use is writing, but what pleasure is writing.

That risks being thought distasteful or shallow or solipsistic, in the context. Brady takes that risk.

I'd argue that emotion, the "pink flapping" of line 33 (specifically its place in a political life and in relation to suffering) is the topic at the heart of the poem.

The composite question could shortly be answered, decidedly in the negative, by proposing an apocalyptic/activist poetic. Feeling pleasure, we could answer shortly, is irrelevant. Celebrating time is by no means an essential requirement for poetry;  only indeed in the  post-Romantic nineteenth century did it begin to seem so, when the bourgeoisie began to live longer. Time in sixteenth- and seventeenth-century poetry was likely to be regarded as an enemy, nothing to be celebrated.

That thought brings into consideration the chain of Christian references in the poem. I would say that the poem takes seriously the Christian framework for thinking about suffering (e.g the theology of sacrifice and the conception of Christ suffering with us as well as for us) but does not accede to it. If line 4 of the poem distantly recalls "See see where Christ's blood streams in the firmament!",  then Christ has been pointedly replaced by Venus.

The poem is not there to supply answers, but it seems apparent that the line of thought stubbornly insists on assigning greater importance to personal emotion than is permitted by the apocalyptic/activist one, or mediated by the Christian one.


STRAY NOTE

Re "1 Will Be Back At Nine", Arethede, literally ere-thede = past people. Appears only in the Middle English phrase "in arethede" (among people of old, in times of yore). (MED)














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Tuesday, May 19, 2015

a sense of complicity - scratchpad

This is a theme that crops up a lot in the vicinity of Andrea Brady's poetry. Commentators mention it. The poetry mentions it. ("Winter Quarters", "Friendship 2") - the poetry, everywhere, is alert to it. You might almost say, lives and dies by it.

In our world it's hard to escape.

So thanks, Obama administration.

I am not very happy, right now, with the activities of Royal Dutch Shell, as they crow over their arctic adventure go-ahead.

Yet I drive, eat, heat and earn. (It's been estimated that 20% of pension funds are invested in fossil fuel companies.)

(I think we should now routinely call them fossil fuel companies. "Energy companies" is an attempt to occupy the centre ground that is now totally inappropriate.)

In fact you could say that a general unease and disapproval of fossil fuel industries goes back with me to teenage years. That was 40 years ago, and I don't think I'd heard of global warming, but it seemed vaguely wrong to me (and of course many others) that we were "using up the planet's resources". We were very protective of the planet, this big bouncing baby that was suddenly wriggling in the arms of my generation after all those millennia of being far too big for human beings to conceive let alone affect.

This was how I felt when university pals went off to earn big bucks with Schlumberger.

It was in the late 80s when we began to think that "the greenhouse effect" presented a more immediate danger than exhausting the planet. Svante Arrhenius had floated the concept in 1896, but no-one had thought it was really happening. Then the papers told us that the poles were melting. Cows and termites might have something to do with it, but it was mainly all about fossil fuels. 1998 was the hottest year on record.



Meanwhile Schlumberger's site characterizes the present time thus: "In this new decade, Schlumberger products and services are more relevant than ever, as E&P moves into more complex and environmentally extreme areas – especially offshore and in deepwater – and the search for unconventional oil and gas intensifies."

http://www.slb.com/about/history/2010s.aspx

 E&P means Exploration and Production.

http://www.epmag.com/ 

One of the many interesting things about the above publication is that it contains a story by Tim O'Connor of the Environmental Defense Fund. As its motto indicates ("Finding the ways that work"), the EDF is known for building bridges with industry and working closely on practical solutions. They are not intrinsically anti gas, indeed they see the real priority right now as replacing dirty coal with cleaner gas. I think that might be right.

A sense of complicity may lead to pursuing a greater understanding of what we deplore yet comply with. That is an intrinsically open research. It risks, and may interfere with, the political beliefs you began from. I don't claim that this happened for Andrea Brady when she sought to understand WP. But she knew she had to understand why we people ourselves, not excluding my and her complicit selves, desire light and fire and violence and energy so much. What drives this? She had to risk celebrating it.

A sense of complicity has deep connections with suspicion of judgment and a sense of moral relativism, even though they are in obvious ways opposed. (The sense of complicity does plant a moral flag.)

*

Complicity has, as it were, two frameworks. One of them is material: it traces, with more or less credibility, the way in which our personal economy is implicated in larger evils. I cook a meal; the gas I burn comes from Russia, the profit goes to BP and Rosneft. Igor Sechin.

The second framework, not always clearly distinguished, is spiritual - a sense of global community. A sense that what is enacted by Monsanto execs or ISIS pan-national wreckers is done by all of us, and by myself, because I am a sinful human being too. Though I may not be able to make the direct connection in the way that I can connect the economics of Siberian gas to my tin of ravioli, yet I believe we're linked. Purity I don't accept. And since purity means polarization means the end of dialogue, maybe there's something to be said for this.

Yet the material framework is the more moral one. The spiritual framework is rhetorical: one beats one's breast for the actions of our fellow-sinners, but this avowal of community involves no real personal responsibility for the consequences of those actions. The material framework, on the other hand, convicts us, personally, of sharing in the responsibility. We may or may not allow ourselves to feel guilty (that depends on our mood and our character and our skill in concealment and denial), but we know we are responsible.

*

Schlumberger makes no political contributions, directly or indirectly, and only funds Trade and Industry Associations which do not make political contributions themselves.

A glance at the American Petroleum Institute website suffices to show it as a very political animal indeed, vigorously struggling against the chains of regulation. The very slender threads of regulation, as arctic Alaska is finding. One of the more disturbing statements in API's account of its struggle with the Obama administration is the claim that it represents not only 625 oil and gas companies but "They provide most of the nation’s energy and are backed by a growing grassroots movement of more than 25 million Americans".

What does this mean?

Since when do we "back" corporates?

No wonder they don't need to give contributions to anyone else. This IS a political party.

Or rather, it's a gang.

In a time when polarization of beliefs threatens to break down the social consensus that allows democracy in the US, I'm concerned about the implications of this remark. It hints at a return to dark-age tribalism, in which people survive by aligning themselves to a chief who rewards you with loot. The chiefs, in this case, being bosses.


A search on the Schlumberger site (with sparse results) for "environmental impact" or "global warming" is an enlightening indication of how the industry thinks, and what it never thinks.

Here there is not much sense, yet, of perceiving oneself as in the same boat as the tobacco industry and makers of white phosphorus: still legal, but unfit to be seen.

Yet slowly this perception is coming to be. The Guardian's divestment from fossil fuels is a tiny but significant measure of the direction we are going in. It's beyond time.

In the mean while, on with the species extinctions.

Consciousness of complicity is mostly just background radiation but sometimes it grows to be like a wave of nausea. It is a tweak, it says, you either find a way of tranquilising yourself or you'll have to do something you don't want to do.

After all, in reading about Shell or Schlumberger I'm reading about myself. Didn't I fly to Australia this year? We are oil-persons.

Consciousness of complicity is a middle-class guilt thing. Poor people don't have consciousness of complicity. Complicity indeed requires power; but then everyone has some power. It doesn't make the garden of complicity necessarily a bad place to cultivate. Though bad things grow there easily enough.


 ... * I've just discovered that the Guardian published a profile of Schlumberger today. Nice coincidence.

http://www.theguardian.com/environment/2015/may/18/where-there-is-oil-and-gas-there-is-schlumberger


*

The focus of Brady's Wildfire (2010) is incendiaries (from the shirt of Nessus to Greek Fire to the white phosphorus used by US troops in Falujah). But when the focus is this intense it starts to suggest wider concerns.

One of those is fossil fuels, as is apparent from the epigraph and from the chapter entitled "Crude".

Another is the psychological or spiritual drive that produces the unbridled capitalism, exploitation, violence and self-harm of our species. A drive that is also the need to give and receive love.

(That's why petrochemicals are so hard to give up. And it's what permits the "enablement" argument.)

Maybe we can add Rabindranath Tagore in 1914: "Gradually we came to see that outside of the nations Europeans considered their own, the torch of European civilization wasn't used to illuminate but to start fires. That's why they rained cannon-shells and lumps of opium, both at once, into the heart of China..."  (Kalantar, 1914)

*

There can't be any more poetic forms now; at least, no interesting ones. The only new forms are those that break poetry.

The subtitle casts doubt on whether Wildfire should be thought of as a poem. It was published both as a book and on the internet. (http://www.krupskayabooks.com/wildfire/poem.html). The latter format is in fact essential, because it contains the hyperlinks that take us to all Brady's source-texts. Reading those source-texts is a study in itself and an essential part of the Wildfire experience. This is truly an essay in that it has a clear topic and is intimately linked with other writing on that topic, to the extent that its presence as a poem can end up being forgotten. (As Brady herself commented in the interview with Andrew Duncan.)

Bring milk and fire, and my blood I bring him again; tear me in pieces, give me the sword with a ball of wildfire upon it.

(Tamburlaine, Part I, V.1.310-11)

Zabina's speech (just before she smashes her brains out) stands out from the remorseless pentameters elsewhere, both because it's in prose and because articulation breaks up into fragments. Some of the arsenal of rhetoric is at last laid aside; the fragments that are left exposed, like this ball of wildfire, attain a clarity not found elsewhere.

This is "wildfire" in the same sense that Brady's poem uses it: an inflammable, phosphorus-based material used as a weapon. It's fire that can be directed and that sticks. It is the "Greek Fire" of medieval warfare (though the exact composition of Greek Fire is a matter of dispute, but phosphorus must have been a large part of it).

As white phosphorus (WP, Willie Pete) it is still used in modern warfare. US troops used it in Fallujah. It probably should be banned as a chemical weapon, but its use is often excused as merely providing illumination, or to flush out enemies that can then be attacked by other means. Even though WP itself is deadly. This all comes from the informative links mentioned earlier. If Wildfire existed only to connect those links, it would still be a formidable essay.

Illumination, from the fire. Obscurity, from the dense smoke. WP produces both: it could be an image of poetry, specifically the kind of poetry that Brady writes. Or, it could be a commentary on the Tagore passage quoted earlier.

It exists, certainly, to link Part 7 of Ancrene Wisse, G.H. von Schubert's remarkable Der Geschichte der Seele, Browning's "Karshish", the siege of Acre, and so on - too much!

"The poem began as an attempt to bypass the vulnerability of writing to occasion. I'd got tired of susceptibility, ground in airy feeling. I wanted to write a forensic poem, one whose structure could accommodate an excess of social  information. ... I was tired of trying to position "us" on the ground... " (from Brady's end-note to Wildfire).

I interpret this "susceptibility" as principally moral susceptibility, and I interpret this "trying to position" as a weighing of complicity. In short, Wildfire is an attempt to move outside of the logic of complicity - which has its preciosity, as well as pitilessness. (Mutability can be seen as driven by a similar determination, though employing totally different means.)

Yet, a page or two further on, Brady says: "I don't want to fabricate a critique which spares me, in whose light I glow with ethical priority". Nor of course does she want to spare the reader, with her closing salvo of "What would make you throw yourself out".  The answer to that question, however, is probably not "A sense of complicity".



*

ENABLEMENT

The sale of oil has been and probably will be the most effective source of funding for ISIS.

(G.W. Bowersock in the NYRB, speculating on what might happen to Palmyra)

Nor, of course, is the economy of ISIS unusual in that region. The semi-autonomous Kurdish state is founded on oil. One can't have a simple view of the consequences of "enablement".

The "Enablement" argument has become popular among fossil fuel companies as a justification for their line of business.

For instance, Peabody used "enablement" to justify coal extraction; they said it brought heat (and therefore hope and a decent life) to poor villagers in China.

The Chinese woman who presented this heart-warming video was, however, not a poor villager. She was shortly afterwards identified as a Monsanto executive. (Peabody and Monsanto are both based in St Louis.)

The enablement argument is what lies behind Tony Abbot's self-serving claim that coal is "good for humanity".

Today it's Commonwealth countries who are most aggressively exploiting the dirtiest fuel sources. Canada's tar sands, and the massive coal deposits in Australia's Galilee Basin.

I feel a sort of transferred shame about those profiteering ventures, just as I do about Norway's insensible explorations. But in one sense this is a mistake; it is too preoccupied with nations. This is an international matter.

A sense of complicity is an ethics for a globalized outlook. It states simply that "we" (whichever group or nations we identify with) - we can't be clean until the whole earth is clean. That religious belief has turned out to be true, after all: because the common atmosphere is the measure of all our burnings.

Another form of the enablement argument is the claim that burning fossil fuels buys us time. Time for prosperity. Prosperity in turn brings scientific research and social progress. That, eventually, is what will solve the global warming issue, and it will solve it while we live in comfort. In fact, while we live our times. For doesn't someone who turns their back on fossil fuels step out of our time altogether, go back to the dark ages, become an irrelevance? Indeed, aren't energy efficiency and clean energy in conscience-stricken Europe and America themselves an irrelevance? They aren't the growth market for fossil fuels. The enablement argument is pitched at developing nations like China and India. Consumption in developed nations is static.

But these rhetorical questions need to be answered with "No". What happens in Europe does matter. Fuel-efficient technologies and economically-persuasive clean energies need a proving ground.

I'm reminded of university days again. By the end, some of the post-grads had cars. As we popped across to Seaham to see the Bloody Cranesbills wavering on the coal-strewn shore. in the freshness of the experience, in arriving at Castle Eden Dene to see  at first hand what I'd previously only read about, we discussed the enormous enlargement of possibility that the car was giving to us. We contrasted this wild accessibility with the logistical nightmares we had previously negotiated in reaching the lake district or Osmotherley by public transport.

Though we didn't know it then, we were using the enablement argument.

But, so far as I myself was concerned, it never did enable anything. I never wrote that history of the North York Moors. I've driven up and down a lot of motorways, made hasty flying visits in which too much experience was and wasn't crammed, mostly to no good purpose.  I time-sliced my life with fleeting glimpses of lives I'd never lead. I was addicted to getting there. I ticked boxes instead of living.

That's what having a car enabled.

*

In the history of the notion of complicity, one of the most critical documents is Ivan's deunciation in The Brothers Karamazov. Here he recounts a number of piteous accounts of children being sadistically tortured and killed. The Kingdom of Heaven, he says, is eternally tainted by these histories. God was complicit. And Ivan, though only a weak ordinary human being, is more moral than God, because his soul rejects a system that is complicit in torture.

Ivan's intention is to indict God. God, after all, is supposed to be perfect.

No-one claims the same of humanity and its civilizations. Yet to be accountable is to be measured by a standard of perfection. And besides, terrible histories such as those told by Ivan place self-defence itself under a moral cloud. In the face of such evils the only decent thing, it seems, is to humbly confess to a universal complicity.  (Agamemnon "made politic respects to heaven" in Chapman's Homer).

I wanted to remark that no-one has ever made a convincing defence of God against Ivan's argument. But in a way that's not true: complicity is a weak accusation. The argument forces us to make a distinction between the insanely sadistic general and the intensely moral forces of heaven. The latter can be tainted, but all the shock-value of the taint lies in the disparity. In the same way, identifying the complicity of educated domesticity with mortar-bombing of Fallujah depends for its force on a recognition of disparity. And in that way, the complicit (whether it's us or God) begins to wriggle off the hook. The weakness of the complicity argument is that it's insufficiently "forensic" (quoting Brady's end-note again).


*




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Monday, May 11, 2015

the snowy scratch-card







OK, I admit it, I'm only posting this to see how my new email subscription service Feedburner (sign up over there on the right!) will handle multiple posts in a single day. (Not something that's likely to happen very often, but hey.)



[The piece that followed this flippant opening grew into a ten-part essay about Andrea Brady's poetry that was finished in September 2015 and has now been moved to Intercapillary Space. 

http://intercapillaryspace.blogspot.co.uk/2015/09/andrea-brady-cut-from-rushes-etc.html

]

*

 After an immersion on this scale there's a strange sense of being reborn to life and feeling able to take a look around. And naturally, one of the first things I see is all the things I've missed out of my essay, of which the most glaring is Dompteuse, Brady's response to Hannah Höch.


The wire mother is a terrible cage regardless
serves its purpose. Same cloth
cuts an obscene hourglass against their figures,
proportioned to a Spanish drama on the Bangalore line.

*

And here's another free extra for those who've arrived at this obscure post:

The Brady poem I came nearest to writing about without actually doing so was "Tunic" (in Wildfire).

Coincidentally, (I'm writing this on October 1st 2015), I've just received my copy of the anthology of innovative women poets Out of Everywhere 2 . Brady is one of the 44 poets and is represented by "Tunic" (most of it, anyway), along with some extracts from Mutability.







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Friday, January 23, 2015

magical moments in literature

[This post consists of raw notes towards an essay on Andrea Brady's poetry. The finished essay (eight months later) incorporated some of this, but not much.]


 *



 OK, it's my mission to dash something off for Intercapillary Space, but what about? Let's check out what's in my backpack.

Edward Thomas, Werner Aspenström, William Shakespeare... hmm, it's not quite what I'm looking for.

Try another pocket. Tim Allen's Default Soul. Well that's more like it, but people are going to be fed up with me writing about Tim Allen. Anyhow, that's where we'll begin.

*

Default Soul (Red Ceilings Press, 2014) contains 44 poems that are all in the same format (three four-line stanzas). "Stanzas" is quite a misleading term here, but at least you'll understand what the poems look like.

The end-paper says that it's the first of a trilogy of such books, and I hope that turns out to be true, because of all the various Tim Allen books I've read I think this is the most imaginatively intense.

It's a small pamphlet and a very good thing to carry around in a pocket because you don't need to read much to get a hit off it. Each poem consists of 12 sort-of-jokes. They interact in a mainly subliminal way.  If I claimed that I'd laughed out loud a few times, you'd think that I'm lying, but anyway I've definitely chuckled. I think one of the lines was

chilly on the terrace even in the cubby hole


When something's a limited edition of 35 copies it seems ridiculous to call it popular poetry, but it kind of is. If you can imagine one of those comic compilations of amusing or wacky newspaper headlines, then that's not too far away from what you've got here,

physicist's life is in ruins he insists



Or, "Tutankhamun's beard glued back on, say Egyptian museum conservators". Oh no, that one's real. But back to Tim's physicist. It starts as a joke, but it doesn't end there, because this is poetry. After the chuckle, the analysis: Why is this funny? Something about the unfettered emotionalism of "my life is in ruins" in absurd contrast to the way we expect a physicist to talk. And what does that expectation say about science, and about us?

Another thing that often comes to mind is the clues in a cryptic crossword. It's to do with the lack of articles and the replacement of names by categories.

young man blinks as old writer decomposes
or

bird in highest tree is singing the lowest note
or

church porch quite possible without a church

Next time round he should supply the grid.

Then there are fragments.

the handrail is a Letraset bird of prey

That makes perfect sense if you assume that it's a fragment, and is missing the opening word "On". So why miss it out, then? I don't really know, but it isn't just to create a gratuitous difficulty. Compare this by Andrea Brady:

the sheep's skull must have cracked
when it plunged onto the strand from the pasture.  (from "Table Talk")

That's a neat way of telling us that a sheep fell off a cliff but without mentioning the cliff. Again, not gratuitous difficulty. Somehow the process of working this out produces a kind of delight that isn't separable from the enhanced vividness that comes from perceiving something that you haven't simply been told.

This sort of delight is not what Brady's poems usually do. Highlighting it might be a false beginning. I guess I'll leave it hanging there.

Back to Allen. Put together these one-liners into quatrains and you end up with something a good deal more complicated:

audience of monsters and proud star gazers
judge retires to a convent to shave
cannibals in the attire of anyone called Rousseau
devastating poverty blights your first day
seabirds potter in their pyjamas
beach debris desert boy makes premier soaps
glyptic holy girl calculating grotto's dimensions
summer hols summary has a cold conviction

I can't resist laying this side to side with another teasing quatrain poem, J.H. Prynne's STREAK~~~WILLING~~~ENTOURAGE  ARTESIAN (Barque, 2009):

Cursive slow dropper forbear manipulated order to
save them allusive eat till suited, offering help
them single them fairly wit tackle. Into wicket
fainting team alloy white iron bait, aril did them
Claimant at first. Getting them out to margin few
to allow by pair iridescence gain the hold step,
strim loose panic back go slant copy as broken out
for them this counter waveform, less same fusion

I don't want to pre-empt what conclusions you might want to draw from this juxtaposition. But, in a general way, the difference strikes me this way. Allen's poetical challenge is the world-as-experienced; how to get it in to poetry, which is always resisting it.  That's the challenge in itself, and it's challenge enough. But I conceive Prynne's poetry as more sceptical about the coherence of  the world-as-experienced; he aspires to get beneath that illusion and to tinker with the workings. In that respect I see Prynne's enterprise as grandly romantic in a way that Allen's is not.



*


Robert Potts: "One yearns for a reading – academic or otherwise – that would start to explain Her Weasels Wild Returning(1994) or the impenetrable STREAK~~~WILLING~~~ENTOURAGE~~~ARTESIAN (2009)".


Streak Willing is an easy text in some ways. Most people will agree that the six stanzas on each page represent a discrete poem, a supposition confirmed by each sixth stanza ending in a full stop, which none of the others do. And it's quite easy to identify themes within each poem, so we can give the twelve poems working titles, like this.

1. closed box
2. broken / fragment
3. water / margin
4. hunger
5. enamel / bitten
6. would / eye / wood cut
7. them
8. front
9. rapid / soon
10. rest.
11. At for was.
12. some / same /ours

Other minutiae to ponder: 1. Each stanza begins with a capital letter which, except for the first in each poem, is purely metrical.  2. The poems contain few articles, but each has at least one (in Poem 10, "the" arrives only in the last line; Poem 11 has only "a"s).  3. The lines get gradually longer, so poem 1 averages about 12 syllables a line, but poem 12 averages about 16.  4. The poems are lyrical. The most basic lyrical word of all - "oh" - appears in poems 1,2,3,6,8 and 11. The word "how" is also prominent and I think usually ejaculatory. Besides a surprising amount of emotive, even anguished, language.  5. "At" is a basic word in Prynne's poems and is prominent here. 6. But the key word here is "same", which appears multiple times in every poem, and with special emphasis in the last.  It seems to be linked to both "some" and "shame",  also to the first syllables of "summary", "summons", "summer" "salmon", "simulate", "simper" etc.) 7. Following on from that observation, it's clear that the sound of words, or the sound of bits of words, may be a decisive factor in the patterning. Consider the "-ic" suffix that shows up in Poem 1 as "civic.. Tantric.. Galvanic.." Poem 9 plays a game with "-ic" and "x": "relics", "pernix", "proximal", "exit", "phalanx", "ethic", "ferric", "synthetic", "Suffix", "metric", "traffic". The closer you read, the more of such games you'll see. 8. The word "graven" appears in Poems 3 and 4, "limit" in 7 and 9, "livid" in 1 and 5, "defect" in 4 and 11, "metric" in 5 and 9.

John Armstrong has written numerous posts on the sequence. His key contention is that it refers to The Troubles and more specifically the blanket protest and hunger strike at the Maze Prison in 1980-81. This contention mainly took shape in these two early posts.

https://bebrowed.wordpress.com/2010/02/08/reading-prynne-very-very-closely/

https://bebrowed.wordpress.com/2010/03/14/reading-prynne-closely-a-vindication/

As an idea I think it has quite a lot to be said for it. Armstrong has pointed to the significant debate in leftist circles around the time of the split between the official IRA and the provos in 1969 - did violence between the working classes only aid the cause of capital?

But ultimately my view is that associating Prynne's poem with a single historical locus isn't right. To put it crudely, the striking differentness of Prynne's approach (so demanding to write, and so demanding to read) couldn't really be excused if all that lies behind it is merely an engagement with a single piece of history. My belief is that Streak Willing is a polysemous poem; it isn't about Long Kesh and Bobby Sands in the same sort of way that Richard Hamilton's The citizen and Steve McQueen's Hunger are. Prynne's text can interconnect many things.

For example, Poem 4, the "hunger" poem, uses the word "trucial". Now this can certainly be interpreted in a Northern-Irish context, since truces with the British government  (hypothetical or actual) are a major part of the history of the struggle.

But the Arabian context ("Trucial States", as they were before 1971 - subsequently the UAE) ought to be followed up for its own sake, too. For this single word directs us to the astonishing transformation of life in the southern Arabian peninsula that came with the discovery of oil; the auto-destruction of the Bedu way of life; the uncorrupt hungers and thirsts of the desert, as poignantly hymned by Wilfred Thesiger in Arabian Sands, inevitably replaced by the desalinated water and green villas of Abu Dhabi.

Is a willed hunger, in this context too, the appropriate protest to an oil-propelled globe and to the independent commercial zones of Dubai, the Middle East's London?

But I wouldn't want to argue that this, either, is the true hidden theme of Prynne's poem. I believe the text is a honeycomb of larger ideas that permits a searching meditation on the basic roots of our capitalist civilization, and it partly does what it does by glancing at multiple loci. But it's only a working hypothesis, and there's a greater element of faith in it than I'd wish.

A year after Streak Willing was published, Andrea Brady said: " I have profound misgivings about the political methods of Prynne’s late poetry". I'm taking that out of its context, which certainly wasn't the right moment to expand on that remark. Still, it was an interesting one. "Political methods" ... Not "political views". Not "poetical methods". Where is that going?

 *




OK. Andrea Brady, Cut From The Rushes (Reality Street Editions,2013).

"The Rushes", I think, is a sort of collective name for Brady's occasional poems: speedy here-and-now one-off poems which don't belong to a larger project such as the extended verse-essay Wildfire (Krupskaya 2010). What's cut from the rushes here, then, are two swathes: Embrace (previously published separately in 2005), and Presenting, which consists of more recent poems. The implication, maybe, is that there's a whole marshland of other uncollected poems out there. Which is quite an impressive thought, because Cut from the Rushes is an exhausting reading experience. Not for the number of poems , but for the demands made by each one.

The title might mean a bit more. At any rate, "cut" is a word that turns up very frequently in Brady's texts (as it does, also, in Prynne's). In one word it concentrates the grand themes of physical violence and cultural manipulation; public opinion is manufactured;  - as Brady noted in her Quid essay about post 9/11 grief.

[Actually "rushes" is a film-making term, but it was another eight years before I discovered this!

Rushes (AKA daily rushes or dailies) is a film production term used in some countries to describe the raw footage from a day's shooting. The "rush" refers to the speed with with the footage must be prepared — this was more of an issue in earlier days of movie-making when film footage needed to be processed before viewing.

]

You might entertain the hope that the occasions of the poems would be obvious, and in some cases this is true. E.g the much-discussed "Saw Fit" (Lynndie England, Abu Ghraib) or "The Gloucester, The Illustrious" (Operation Highbrow, evacuation of British citizens from Beirut in 2006) or  "Vision in Neutrals" (sub-titled A Coalition Pastoral). Reading the reviews, which naturally favour what the reviewer can talk about, you sometimes get the impression that the poems are all like this. But they're not. Most of the poems are highly oblique about their occasions. Most often the poem-titles are riddling puns ("Sight Unseen") or just riddles ("In Album Men") or personal notes ("To Castellina").

A poem like "In Album Men" has an occasion, all right, but not really a public occasion: more about holidaying in Turkey. The locations include Uçhisar in Cappadocia, Olympos in Lycia, and maybe the Lydian aqueducts.

 Mevsimlik sailors cut the Eurovision frigate in to hove 

See, I told you the word "cut" was a regular. "Mevsimlik" is Turkish for Etesian - the summer northerly of the Aegean, considered "a good steady sailing wind preferred by many leisure sailors" (Wikipedia). There's a sneer lurking here, about the leisure sailors. In the poem the sneer (and the leisure) becomes applied to the cultural tourists who file through Turkey like Xenophon's mercenaries. I.e Brady herself. While Mutability was very specifically domestic in its concerns, this was nothing new. Brady has always uncaringly done things that are supposed to typify mainstream poets: for example, writing about herself, family, relationships, the domestic and quotidian, and holidays. Of course the way she does it is distinctive. But the point is, she doesn't need to demonstrate where she stands in the poetry world.

This is surely a strength. After all, there are reasons why these subjects are so popular among the poets and audiences of today. They are itches we need to scratch. They are politically sensitive and much-cut-up battlegrounds. They are the place where we play out a dialogue of feeling and forgetting our complicity. They are where the money gets spent. They are the site of desire and of such values, visions and ideals as still remain to us.

In some other respects, too, Brady stands out from the mass of post-avant writing.

Much post-avant writing disdains the similes and metaphors that mainstream authors cherish. Brady is willing and able to deploy brilliant similes.

                                       Flock of friendly parables catch
the air like whiffle balls. Hard to loft, they are harder to gather.   

(Paradise Gardens 1 and 2)

(This reminds me that Brady is an American poet as well as a London-based poet. Precinct comes easier when the word is interpreted in a US way.)


will you recognize the innumerable frosted branches, the field used like a scratch-card, as your park?


(Mutability, p. 109)

smoke unbundled like measuring tape

(Hymn On The Nativity)

                                               hand
grenades, built to appeal to the hand
like an American football

("Thrown Fire", in Wildfire)


Most post-avant poems avoid a resonant ending: not open-field enough: they cultivate a muted fade. But many of Brady's poems end with a knockout.

                   so gorgeous
a hush falls down
the fault of language.
(To Be Continued)


Or this, a clincher that is also a brilliant simile.

Because you are righteous you open your
head every day, joy cut-in like a kite mark. 

(Commercial In Confidence)


Nevertheless, the poems are difficult. They never resolve into simple or single meanings. And yet the urgency of the poem challenges us to find meaning, and not just any meaning either.

The poems are difficult. That's less true of Mutability, a book that many will be able to read with simple happiness. In a different way it's also less true of Wildfire, because at least you know what the poem is about.


*






I need help with reading Brady. Fortunately there's some genuinely helpful stuff around on the internet.

The most searching piece is still the one by Marianne Morris that was printed in Jacket in 2006. This deals with Embrace.

http://jacketmagazine.com/29/morris-brady.html

I just think that Morris asks questions that fall less easily into the familiar terms of debate about Brady.

The other essential piece on Embrace is by John Wilkinson ("Off the Grid: Lyric and Politics in Andrea Brady's Embrace" (Chicago Review vol 53 no 1 Spring 2007, reprinted shortly afterwards in his collection of essays The Lyric Touch  - Salt 2007). This isn't available online, which is a damn shame.

[Yes, it is now, thanks to the Free Library:

http://www.thefreelibrary.com/Off+the+grid%3a+lyric+and+politics+in+Andrea+Brady%27s+Embrace.-a0163374237

]

But it may be some consolation to know that The Lyric Touch is a fairly indispensable book. The Brady essay is typical - probably, indeed, the keystone essay - in its extraordinary flow of insights and in its marked disputability. Both book and essay pretend to prove more than they prove, are oracular on big ideas and slipshod on small ones.

Though Wilkinson characterizes Morris' piece as "wayward" and takes specific issue with her reading of "Saw Fit". both essays are in some sort of accord inasmuch as they register much faith in Brady pointing the way out of a poetic impasse.

They're also in accord in tending to approach Embrace via what each sees as characteristic imagery (encountered in multiple poems). In Morris's case it's bodies being pierced and distended and split; in Wilkinson's case it's things being fed into slots, hatches, grids and grates.

To which may be prefixed Sam Ladkin's remarks, since they touch on most of the consensual opinions about Brady's poems:

Andrea's poetry has always disclosed within its fierce political insights the sentimentalities which are the stage management techniques of the political class. Her poetry frequently operates by bringing into alignment and misalignment the machinery of varieties of economy; the spaces and rhetorics which are their constituent cogs and the locations for conflicts of value. Hence Vacation of a Lifetime registers the debt of leisure and the domestic arena in the experience of alienation, and Cold Calling a conflict of ethical and legal economies. The new work in Chicago Review I think contains Andrea's most persistent attempt to salvage different economies of experience from such abasement. The task of making space is never free and delirious from rhetorical, financial and critical intrusions (and one of their subjects is how to save experience from rhetoric) but there is a persistent hope for the dominion of friendship, pleasure, and intimacy.

This is from his chatty Chicago Review Tour Report , c. 2007.


*

In connection with the above is Sam Ladkin and Robin Purves, "An Introduction" (Chicago Review, Vol 53, No. 1, Cambridge Poetry Issue (Spring 2007), pp. 6-13

http://www.thefreelibrary.com/An+introduction.-a0163374213

The essay is partly a counter-offensive against its own failure to introduce (the four poets, Andrea Brady, Chris Goode, Peter Manson, Keston Sutherland). They say in the first paragraph: "[W]e want to avoid the kind of reassuring exposition that would seriously blunt the impact of poetry that is designed to confront and unsettle."  (Ibid, p. 6)

Why should they feel that the poetry is so weak that they could snuff out its spark with a carelessly reassuring exposition?

There seems no reason to believe that exposition, reassuring or not, blunts the impact of poetry. It doesn't seem to have done so for the most exposited texts of all, the Bible and Shakespeare.

Exposition tends to sharpen and deepen impact. Impact is not an individual but a communal endeavour. A poetic that believes that the creator-author shapes impact with a lacerating edge, and then the edge is progressively taken off when anyone talks about it, is absurdly individualistic.

But why, anyway, should the introducers feel bound to assist the poetry in doing what, in their opinion, it's designed to do? Who claims that the design is as it should be? -; poetry is not self-validating. Poetry is a design, but it cannot control its reception. To treat it as a device that must be allowed to confront and unsettle - is to treat it as exactly what it isn't, a panacea (instructions on the bottle to be followed) rather than an intervention in a much wider debate.

But to continue.

The difficulties this poetry poses for readers are potentially daunting. Complex hierarchies of syntactical dependence have to be followed and retraced, highly condensed and thoroughly dislocated references to the social world and its myriad discursive fields have to be followed up -- and all the while readers' efforts are sabotaged by bathetic collapses, pratfalls, and aggression. It is the kind of poetry that seems to require introduction.And yet the quickness of prosody and critique refutes in advance the sure-footed preface that would measure up each poet and sing a dirge to finalize their interment. (Ibid, p. 10)

(Just who are these sure-footed prefators, these reassuring expositors?  Most modern poetry languishes for lack of any comment at all. Ladkin and Purves themselves would come nearly top of my list of people who can step with reassuring sure-footedness through this landscape. And good on them!)

We cannot circumscribe this work, principally because its most fundamental concerns circumscribe us; who am "I", who are "we", how am "I" made and, in that making, who suffers as a result? (Ibid, p. 10, continuing previous quote.) 
That's brilliantly and helpfully said, as is their characterization of the encountered difficulties. I feel here a strong sense of common ground - a recognition that we've read the same poetry and had similar experiences to contend with.,

Because contending is what it does amount to. Complicity ("who suffers as a result?") is a continuous preoccupation of Brady's poetry. As soon as you begin to take an interest in Brady's poetry it begins to turn personal: "Is this about me too?"

On that last sentence, they explain further:

... the truth that our identities, as we crouch over a laptop or eat a clementine on the subway, are dependent for their making and sustenance on the catastrophic exploitation of the unfortunate inhabitants of other places (Ibid, p. 10)

Tussling with the details of this should not be taken as implying anything but fierce agreement with its general drift. Nevertheless, it deserves thinking out a little more.  I might come back to this.

For the rest, their introduction shows strong influence from Wilkinson's "Off the Grid" essay, notably as regards its sketch of recent UK poetry history, objection to the "Cambridge" tag, Brady's supposed lack of self-regard...

The latter isn't something I disagree with, inasmuch as it importantly highlit the analytical and generalized concerns of Brady's poetry. Yet Marianne Morris (chided by Wilkinson) had seen that Brady's poems were of course highly aware of their own dazzle. And in fact since these essays were written her work has increasingly trodden a fine-line ghazal on the edges of the autobiographical mode; the distinction between personal and public is being forcibly broken down. Neither of which observations imply that Brady's poetry is self-regarding in the vaguely pejorative sense that Wilkinson or Ladkin/Purves seem to mean. Just that private virtues like "lack of self-regard" have little meaning in the complicit world we live in.
















*

http://www.argotistonline.co.uk/Brady%20interview.htm

Andrew Duncan interviewing Andrea Brady, soon after the publication of Wildfire (2010).

*

And finally a more recent review of the whole of Cut From The Rushes by Andrew Spragg in HixEros (January 2014)

In the same month, Ashleigh Lambert reviewed Mutability: Scripts For Infancy for The Rumpus.

Vicky Sparrow's review of Mutability in The Litterateur (Dec 2013)

Neither of the above three pieces really attempt anything like critical engagement, just appreciation and a little elucidation. And most likely that's all I'll manage here.

*

Brady is by birth an American poet, and there are times when her poetry reminds not of Cambridge but of Indiana. "Child Stars on Trial"  sounds like it ought to be a poem by Arielle Greenberg. At the same time no-one would call Brady a Gurlesque poet, she's too committed to a central knot of ideas and values, she'll never just spin and incandesce. There are heavy costs to that commitment.  The reader too needs to decide it's worth it.

*

Complicity

This is a theme that is often mentioned by Brady's commentators. I'm talking about social complicity of the kind that educated people, such as poets and their audiences, all feel and have to make some accord with.

It's a highly complicated topic with a vast literature.

http://democracyeducationjournal.org/cgi/viewcontent.cgi?article=1098&context=home
























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