The New Irish Poets
If you find yourself in Dublin between pubs you could do an awful lot worse than pop into Books Upstairs. They have a fantastic Irish Poetry section, where I was lost in O’Hara-esque quandariness before picking up the terrific anthology The New Irish Poets, edited by my near-namesake Selina Guinness.
It features Irish poets who have published their first volume within the past 10 years, which means the youngest poet is Leanne O’Sullivan (21) and the oldest Fergus Allen (80) - both of whose collections I’ve read and recommend. There are a few other familiar (to me) names in the book, including Colette Bryce, Sinead Morrissey and Kerry Hardie. And I can’t believe Maurice Riordan qualifies, it feels as though he’s been around much longer than a decade.
I started the book on the no. 247 bus to the airport and honest to goodness this is where the book fell open:
Poetry
It’s a bit like looking through the big window
on the top deck of the number 47.I’m watching you and her and all of them,
but through my own reflection.(Nick Laird)
I couldn’t find the anthology on the Books Upstairs website (hence the Amazon link) but there’s plenty more online. And my experience of the shop was first class - I spoke to a fellow called Des who was very friendly and knowledgeable. Give him my regards if you visit the shop.
Magma 34 Audio Edition on the Poetry Library Website
I’m delighted to say the Poetry Library has recorded an audio edition of Magma 34, which I edited. This means that their online magazine archive includes recordings of many of the poets featured in the magazine, as well as the text of most of the edition.
Audio recordings are a new initiative for the Poetry Library and I’m thrilled that Magma is one of the first magazines to take part. For me personally it was a special treat to sit in on the recordings and hear so many excellent poets read in person. Poets you can hear include Mimi Khalvati, David Harsent, Lorraine Mariner and Alison Brackenbury, as well as Quentin S. Crisp reading the first UK translations of Machi Tawara, who is a huge star in Japan.
An added bonus of the recording was the opportunity to meet Chris McCabe and Dean Farrow of the Poetry Library, both excellent company as well as doing sterling work behind the scenes at the Library. For me the Poetry Library is the jewel in the crown of UK libraries. If you love poetry and you haven’t paid it a visit then you’re in for a treat - an entire library devoted to modern poetry, including every book you can imagine plus audio, video, magazines and the rarefied atmosphere produced by fellow poets at study! It reopens (after the Festival Hall refurbishment) on 4th July.
Poem - ‘Babel’ (Magma 32)
My poem Babel appeared in Magma 32.
The inspiration was Bruce Nauman’s ‘Raw Materials’ exhibition at the Tate Modern. Nauman lined the walls of the Turbine Hall with loudspeakers playing a motley collection of voices - you can hear a virtual version of the exhibition here.
Review - Roddy Lumsden, Tim Cumming (Magma 31)
Here’s my review of Roddy Lumsden’s Mischief Night and Tim Cumming’s The Rumour, which appeared in Magma 31.
Review - Longley, Clanchy, Kleinzahler and others (Magma 29)
Here’s my review for Magma 29, covering the Poetry Book Society’s quarterly selection of poetry books. The PBS Choice was Michael Longley’s Snow Water. The PBS Recommendations were Matthew Hollis’ Ground Water, Kate Clanchy’s Newborn, August Kleinzahler’s The Strange Hours Travellers Keep, James Sheard’s Hotel Mastbosch and George Szirtes’ translation of the Hungarian poet Agnes Nemes-Nagy - The Night of Akhenaton, Selected Poems.
Bashō on the road
Fleas, lice
and a horse pissing
next to my pillow!
via Bashō
Soulless Modern Technology
While we’re on the subject of writing and technology…
Via John Grant
Is Code Poetry?
If you look at the foot of the wordpress.org homepage you’ll see the slogan ‘CODE IS POETRY’. I’m not a programmer but I like that line - it shows a real passion for creativity and made me look at software in a different light.
I get a similar feeling from watching this video. I think every writer should see it, for the way it shows how the web is transforming writing - and us - whether we like it or not. There’s also something in the dynamic nonlinear character of computer code and hypertext that I think has an affinity with poetry.
Is this beautiful or have I been spending too much time blogging?
Via Problogger
Muldoon on MacNeice - Radio 4, 8.00 TONIGHT!
Just found out Paul Muldoon will be trawling through the Louis MacNeice radio archives on Radio 4, 8.00 tonight - In the Dark Tower: Louis MacNeice at the BBC.
As well as being fabulous poets, both MacNeice and Muldoon have worked as BBC Radio producers, so it should make for an interesting pairing.
I assume the programme’s timing has something to do with the imminent publication of a new Collected MacNeice - due out on 18th January according to Amazon and eagerly awaited in this household.
EDIT: Thoroughly enjoyed the programme, I was particularly impressed by the way MacNeice managed to get through a huge amount of work while still retiring to the pub at 11 in the morning most weekdays.
Lots of good recordings of the great man reading his work. He spoke with an interesting kind of Anglo-Irish received pronunciation - like a cross between Yeats and Professor Yaffle of Bagpuss fame. (If you’re not convinced, have a listen to these clips: Yeats; MacNeice; Professor Yaffle. I rest my case.)
McKellen Reads Gawain
I enjoyed the Radio 4 version of Simon Armitage’s Gawain and the Green Knight over Christmas. A lot of actors tend to (over)act poems rather than read them, but I thought Ian McKellen and the other performers made a pretty good job of it. And the sound effects were atmospheric without intruding too much on the verse.
The BBC could have given advance notice that they were broadcasting an abridged version - instead of the stately scene-setting of the Christmas feast in the original, the Green Knight fairly galloped on stage within a couple of stanzas, and the ‘fast forward’ button was pressed several more times - but I got used to that and was soon lost in the story.
Armitage was right to say (in his Guardian article) that a translation melts the “thin coat of ice” that lies between the original poem and a modern reader (or listener). Unless you’re an expert in Middle English (which I’m not) the language barrier inevitably slows you down, whereas a translation allows you to canter through the poem at the same speed as a its first audience. Which gave me a fresh sense of what a marvellous storyteller the Gawain-poet was - it’s a tale you can return to again and again and find new meanings. (Here’s a blog with some interesting reflections on the symbolism of the tale.)
Good as the production was, I’d still like to hear Armitage read the translation himself, in a studio hidden away from the BBC special effects department. Poems have sound effects built in - the poet didn’t take all that trouble over the alliteration and rhyme for nothing. And one of the things that attracted to me to Armitage’s version was the Guardian piece where he describes himself as “a northerner who not only recognises plenty of the poem’s dialect but detects an echo of his own speech rhythms within the original”. I was also intrigued by his description of hearing McKellen read the poem in the studio:
I went along to listen, and sitting in the studio in Manchester before he opened his mouth, I suddenly realised that for all my convictions about the importance of the human voice in this poem, I’d never heard a word of my translation spoken out loud. The voices, up to this point, had all been in my head.
This offers an interesting glimpse of Armitage’s writing process. With a long poem like this where the alliterative effects are such a prominent feature of the soundscape, I’d assume he’d have read at least some of it out loud, to test it out. Apparently not.
Ian McKellen gives his own take on the recording here.
It looks as though the recording has disappeared from the BBC website - if anyone finds it online, please let me know and I’ll post a link here.