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description=9 posts published by tearsinthefence during October 2014;

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Text of the page (random words):
e within the consumption of language reading words and digesting meaning makes us who we are and is provocative of movement not inertia from its greek origin onwards synergism suggests propulsion towards work odysseus was the only one who could string and draw that bow get out of the way suitors wrong time wrong place in her introduction to the second issue of litmus dorothy lehane directs our attention towards poetry which is inherently neurological and yet which doesn t labour to assign literary parallels for scientific theory nor promote heavy use of devices such as metaphor the work to be found within the hundred or so pages of this startling new issue of what already promises to become a major magazine player for the forthcoming years presents subtle coded work operating at the limits of collaborative engagement bucky would i suspect have appreciated dorothy lehane s poems and would also have had respect for the neurological issue of litmus dip into it and see ian brinton 27th october 2014 centenary of the birth of dylan thomas share this email a link to a friend opens in new window email tweet more print opens in new window print share on tumblr share on reddit opens in new window reddit like this like loading leave a comment posted in books english poetry and tagged buckminster fuller dorothy lehane dylan thomas litmus nine arches press bookmark the permalink give forest its next portent by peter larkin posted on october 23 2014 by tearsinthefence shearsman books in robert browning s poem from the 1864 sequence dramatis personae gold hair the poet refers to the beautiful girl who lived at pornic down by the sea yet earth saw one thing one how fair one grace that grew to its full on earth smiles might be sparse on her cheek so spare and her waist want half a girdle s girth but she had her great gold hair the word sparse is derived from the latin verb spargere to scatter and can refer to being widely spaced or spread out as well as distributed in all directions in the section from this new book from peter larkin sparse reach stretches the field 2011 the word is used on some twelve occasions and refers to an outward thrust of growth stretched at drawn out fully sparse in the earlier section of this lovely collection of writing exposure a tree presents following on from an epigraphic quotation from roger langley the tree it shows what we would call constraint it bursts through rock in calluses we are given a piece of prose which is unmistakably peter larkin already unsealed from itself but poor enough to steal attached life to a kit of relation a blunt jerk towards additions of acceptance copiously sparse rooted from edge the words push outwards unsealing becoming movements which steal in stealth with an unstoppable blunt jerk they are rooted from edge prayer like upwards and stretching towards what lies beyond the page prayer takes the flightpath of a world not yet cleared of trees but they already betoken its etiolation the by tallness of placing ascent to obtrude through seems already stretching past the flattened way firs obsess a periphery beyond what is their focal legion patrolling a prayer at its slender successors of margin section iii of praying firs attenuate 2014 when i wrote a short review three years ago of harriet tarlo s anthology of radical landscape poetry the ground aslant i referred to peter larkin s work in comparison with the prose poems of francis ponge and suggested that the french writer s eye had been attracted to contrasts edges contours meeting places those areas which define where one thing ends and another begins ponge s interest in edges boundaries bords de mer dispelled the vertigo of gazing at the overwhelming bulk of phenomena the grand ocean of victor hugo s language is dispelled by a focus on the particular and seashores offer a framework akin to the pages of a published piece of writing or as charles tomlinson put it in a poem composed in december 1952 reality is to be sought not in concrete but in space made articulate the shore for instance spreading between wall and wall the sea voice tearing the silence from the silence the taut and straining movement of peter larkin s work inevitably brings to mind the complexity of language used by gerard manley hopkins and i looked up the 1873 journal to find at the end of the month hard frosts wonderful downpour of leaf when the morning sun began to melt the frost they fell at one touch and in a few minutes a whole tree was flung of them they lay masking and papering the ground at the foot then the tree seems to be looking down on its cast self as blue sky on snow after a long fall its losing its doing as larkin suggests nothing squats in the midst of guileless void unless hollows a layer of intricate tackle out of the way of itself cunning of branch at a longitude of members if this is to allow itself at last there will be fewer withheld packets countering as sheer twist the vertical risk of thickets note please the absence of a full stop at the end of either of these quotations life continues to push outwards and sparse will lead to great gold hair ian brinton 23rd october 2014 share this email a link to a friend opens in new window email tweet more print opens in new window print share on tumblr share on reddit opens in new window reddit like this like loading leave a comment posted in books english poetry and tagged charles tomlinson francis ponge gerard manley hopkins harriet tarlo peter larkin robert browning bookmark the permalink the oxford handbook of contemporary british irish poetry posted on october 20 2014 by tearsinthefence edited by peter robinson as the editor makes clear in his introduction this oxford handbook is a collaborative effort at sketching a map of the always partially unknown its range is enormous and will serve for many years to come as a perspective upon the various aspects of the poetic scene and not the least of its values lies in its ability to sketch a space for curiosity and mutually enhancing accuracy of distinction that may help to mitigate the widespread self confusion by means of other denigration witnessed on all sides the substantial 750 pages are divided into five sections part 1 movements over time part 2 senses of form and technique part 3 poetry and places part 4 border crossings part 5 responsibilities and values the contributors range from martin dodsworth and jeremy noel tod to peter carpenter and adam piette from rod mengham and peter middleton to andrea brady and david herd the separate subject areas range from the unburied past walking with ghosts of the 1940s to a dog s chance the evolution of contemporary women s poetry and from auden in ireland to multi ethnic british poetries there are 38 separate articles of substantial length and all i can do here is offer a pointer towards one or two of the immensely informative and exciting contents rod mengham writes about the altered sublime raworth crozier prynne in which he quotes from fredric jameson on postmodernism or the cultural logic of late capitalism highlighting jameson s observations concerning former sources of the sublime such as the unconscious becoming incorporated progressively into the processes of commodity production he notes how the unconscious becomes saturated by the languages of media and advertising agencies although mengham concentrates specifically upon prynne s sequence the oval window we cannot ignore of course that earlier poem from brass the title of which refers to alain poher the president of the french senate who became president of france in april 1969 no poetic gabble will survive which fails to collide head on with the unwitty circus mengham also brings to our notice the essay by heidegger on poetry language thought as the authentic gauging of the dimension of dwelling as the primal form of building nor is poetry building in the sense of raising and fitting buildings but poetry as the authentic gauging of the dimension of dwelling is the primal form of building poetry first of all admits man s dwelling into its very nature its presencing being poetry is the original admission of dwelling one is tempted at this point to look up prynne s essay on huts which appeared in the journal textual practice in 2008 the article proceeds to look carefully at andrew crozier s the veil poem in which the focus is upon an embracing of material existence human relationships and natural cycles despite their mutability adam piette s contribution is on contemporary poetry and close reading in which he takes us back to william empson s elaborate reading of shakespeare s sonnet 73 with its unpacking of connotations in the reference to bare ruin d choirs where late the sweet birds sang as piette reminds us shakespeare s metaphor works because churches themselves are metaphors being built to resemble stone forests this timely reminder of the importance of close textual analysis is followed by an expert reading of denise riley s song and the article closes with another timely reminder which must never be forgotten close reading helps readers to construct a poem out of the distracted elements of their own lives and the lives of others and it is through such loving attention or heartbeat sensitivity to the elemental story in poetry s forms of language that poems begin to act upon the world ian brinton 20th october 2014 share this email a link to a friend opens in new window email tweet more print opens in new window print share on tumblr share on reddit opens in new window reddit like this like loading 2 comments posted in books english poetry essays and tagged adam piette j h prynne jeremy noel tod peter robinson rod mengham bookmark the permalink atmosphered by eléna rivera oystercatcher press posted on october 16 2014 by tearsinthefence in her act of translating those fragmentary pearl moments which had originally belonged to isabelle baladine howald to which i referred in the last blog eléna rivera revealed herself to be a poet one who understands the contours of language in translating the opening movement of august she had written word is too brief as though to call up in front of us that memorable line from bunting pens are too light take a chisel to write in this companion oystercatcher volume of her own poems atmosphered that hard edged clarity graven is evident from the opening holes in the ambit cherished in the box holes in the container not alone in this it is one of the abilities of poetry to bring a fresh sense of life to language communicating through sound as well as sight poetry weaves its traces in tone as well as stone engaging our eyes with what prynne referred to as the pearl bright moments of words moving along the currents of our changing times it could almost be with that in mind that we read rivera s delicate tracery of thought my limits my language mine mobile beyond all reason metamorphic above a given location a reed shaken by wind the intricacy of moving forward when contemplating our own limits our own language we have to question its provenance whose language is it that i am using as a friend of mine once put it the awful thing about words is that you don t know whose mouth they have been in before words are mobile they are constructed of those standing emblems on a page shaken by wind they move as prynne put it along the currents of our changing times however in the breath of the poet they are also the intricacy of moving forward currents and changing may well be inseparable from continuity these poems are delicate reassertions of an ongoing domesticity of existence return returns the pain of keep cleaning the closet recurrence vexation pullulation or simply keep dusting the security offered by language is the flipside of the coin repetition of the well worn epithet worn thin by usage which may be increasingly commercial may be unnerving to the acute sensibility of a user of language who has weighed out those tones and contours but ambushed by the image that meeting place in language snowed in couldn t move away read these poems they are striking and memorable ian brinton 16th october 2014 share this email a link to a friend opens in new window email tweet more print opens in new window print share on tumblr share on reddit opens in new window reddit like this like loading leave a comment posted in books and tagged eléna rivera isabelle baladine howald j h prynne oystercatcher press bookmark the permalink parting movement constantly prevented by isabelle baladine howald posted on october 15 2014 by tearsinthefence translated by eléna rivera oystercatcher press a delightful arrival from the oystercatcher a moving sequence of poems under the three headings august september october contained beneath a cover which merges the almost tangible sense of loss in the creation of adam on the ceiling of the sistine chapel with venetia lady digby on her deathbed by van dyck both paintings deal with stasis and movement a recognition of the living and an awareness of the irretrievable loss of parting the cover is of a statue stone and movement and is followed by an epigraph i have to find my place again and you have to move the personal intimacy of these poems rests with the awareness of the gap between people knowing you was never something i tried to achieve even as a child that s the way i conceived of things right from the beginning they remind me of rosemarie waldrop s conversation recorded in contemporary literature vol 40 no 3 autumn 1999 what matters is not things but what happens between them or if you take the linguistic model it is not the phoneme but the connection of phonemes that makes language the differences in the sequence the gaps keep the questions in relation as nikolai duffy put it in her shearsman publication relative strangeness reading rosemarie waldrop for waldrop poetry is the taking place of language in the spaces between words throughout her writing there is the sense that language can be experienced only as fissure gap aperture an empty middle into which the possibility of meaning both enters and escapes in projective verse charles olson writes at root or stump what is is no longer things but what happens between things these are the terms of the reality contemporary to us and the terms of what we are in aesthetic charles tomlinson writes about reality taking place in the space between things in howald s august the dominating sense is movement and stillness fullness and emptiness the room resonates without the furniture fragment 22 a day of arguing he had wanted to leave in his backpack his alarm clock a flashlight the clock presents an urgency of now whilst the flashlight suggests a stare into the future the fragments from september give us a world of beckett s play the touching urns and the fragmented relationship conveyed lyrically to us as dismemberment and dante s canto v from inferno with paolo and francesca fragment 6 i speak to him he rarely answers but he listens in a certai...
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