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the love will be found in the swarm even the love will be found in the swarm there is little evidence of olson s depth and inventiveness here little open form or use of the page as a compositional field no intensity akin to maximus torrance s poems here are as mundane as the likes of a hundred other forgotten poets full of forced epiphanies squeezed from the everyday around the author full of emotional angst opaque mood s and the dark hail of self unfortunately for the reader visions connections conviction and self assurance are no guarantee of good or interesting poetry and this attempt to shoehorn torrance into some kind of alternative canon is undeserved rupert loydell 31 st october 2023 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 1 comment posted in books english poetry and tagged andrew crozier charles olson chris torrance iain sinclair phil maillard bookmark the permalink selected poems 1980 2020 by rachel blau duplessis chax press a long essay on the long poem by rachel blau duplessis university of alabama press posted on july 19 2023 by tearsinthefence rachel blau duplessis is an intriguing poet including collaged visual poems and critic her selected poems can t help but feel centred around perhaps grounded by her drafts project 114 cantos which rework or fold 19 poems six times over riffing and refining tangenting away from and interrogating the texts themselves and the author s processes and poetical understanding the sequence is both a challenge to and a critical deconstruction of some of the very male modernist long poems of sequences such as pound s cantos and olson s maximus project and the long poem is also the subject of a recent critical volume there are under a 100 pages of poetry preceding drafts in this selected poems mostly fragmented lyrics perhaps most akin to the work of say rae armantrout the last line of the very first poem included here 1970 s a poem to myself acts as a kind of manifesto or flagging up of what is to follow come in come in i say to all the fragments perhaps the most intriguing early piece here is writing from tabula rasa which is immediately followed by writing on writing which in part explores marginalization and the author s desire to understand it but also create a form and writing that facilitates it setting the poem so there is a bringing of marginalization into writing no center of a section alternates with small contained sections sections contained by other sections over writing writing over or simultaneous with so that one section does not have hegemony so the reader does not know which to read first or how to inter read drafts which follows in some ways contradict this the individual poems cantos are numbered and presented in order although of course they have previously been published individually and the reader can also follow a poem through its folded reversions using the included grid which acts as a visual index the actual selection of poems from drafts is intriguing mostly presenting self aware texts that explore a number of ways of writing about itself redaction a conversation on the page and various declamations i want polyphony i want excess i want no art object i want the wayward and unpredictable caused by anything draft 85 hard copy 15 trample the vanity of the poem draft 107 meant to say this however is coupled with an awareness of the impossibility of weaving everything or indeed perhaps anything together with the same poem going on to note that it is your archive as well as mine this little piece of nothing this part of the imaginary whole the selection of duplessis work concludes with excerpts from a pair of stand alone book length collage poems which build upon two collaged texts in drafts and from an ongoing serial poem traces with days as yet although i have several volumes from this project it hasn t drawn me in in the way drafts did and continues to do so it will be interesting to see how it develops hand in hand with the writing s own self evidenced poetics is the more academic approach of a long essay on the long poem which explores some of the ideas mentioned above particularly how to include everything but also how to shape a poem and indeed how to end it duplessis notes that long poems may certainly be self contradictory and oscillatory dialogic here using the shift from epic polemic episodes to lyric quest between books two and three of olson s maximus as an example the desire for inclusion is usefully explained as long poems become magnetic fields of ongoing events and materials in their discourses and commentaries not isolated items or singular insights once an author accepts and embraces the notion of polyphony inclusion digression and segmentivity they are able to notes duplessis invent or adopt a bewildering number of writing strategies they can reinvent the quest or epic they can write back to canonical works reversioning and implicitly or explicitly critiquing and questioning they can embed their work in a field of quotations pound or paraphrase they can adopt postmodern slippage fragmentation and lexical or grammatical subversion or disruption ashbery they can use appropriation and collage duplessis also discusses confronting gender with varied examples of texts and statements from authors such as alice notley anne waldman and h d as well as considering subjects such as cognition truth conspiracy numerology and theology she is of course constantly aware that a long poem may develop by rethinking its strategies and rationales as it is written and if i am somewhat disappointed by the concluding paragraph of the book which suggests not only that the author becomes possessed by language but that the poem finally chooses you a long essay is a thought provoking and illuminating exploration of its subject one that neither this brief review nor a single read can do justice to rupert loydell 19 th july 2023 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 4 comments posted in american poetry books and tagged alice notley charles olson ezra pound rachel duplessis rae armantrout bookmark the permalink covodes 1 19 an interview with robert hampson by belinda giannessi posted on july 28 2022 by tearsinthefence bg i have just finished reading and listening to your covodes i i found them very interesting because they catch not just the historical events that mingled in our memories but also the emotions the fears and the frustration that we all experienced if you don t mind i would like to ask you some questions first do all the references to music give a sort of frame to the collection keeping together and giving order to all the fragments of the last two years of plague rgh i think i would see the musical references as a motif rather than a frame there were various motifs i was conscious of developing as the writing proceeded the musical references were also to be taken with the references to poetry and the visual arts as a celebration of the value of the arts in the context of the british government s attacks on the arts and humanities there was a notorious government poster about re training it showed a ballet dancer in a tutu and said something like next year she could be a computer programmer some of the musical references i am thinking of the dedication to juliette greco and the references to her life in covode 8 were in response to recent deaths bg is it possible to see your covodes as also chronicles of the covid age although it is not possible to have a clear narrative yet rgh yes indeed i was very conscious of defoe s journal of the plague year and boccaccio s decameron when i started and i was thinking of the covodes as a form of documentation i knew i needed an open ended form because nobody knew how this would end and i wanted to be able to respond to events as they happened precisely because there wasn t a clear narrative i also wanted a form that permitted multiple voices and a number of different characters i would write a new covode about every three weeks using the materials i had accumulated in that period covodes 1 19 covers only the first year of the pandemic it took a while to put it into book form and to record the cd since then i have written covodes 20 38 to bring the sequence up to the present bg is the lyrical i that appears throughout the collection a sort of linking character does the cruise ship have a similar function rgh i allowed myself to use an i in this sequence but the i is different characters none of them necessarily me i am thinking for example of covode 1 i was an experienced serosurveyor or covode 14 i am normally up in retail the pronouns are all very unstable the he she we have shifting referents the cruise ship enters the poem because of the early stage of the pandemic when cruise ships were picking up the virus and not being allowed to land but that historical detail then provides the basis for a motif it is also combined with other examples of confined spaces recording studios luxury bunkers space capsules and space stations as a way of registering the claustrophobia of lockdown thanks to elon musk there is a whole science fiction fantasy going on which also brings in davd bowie the spiders from mars and colonel tom sitting in a tin can bg your style in covodes 1 19 reminded me of eliot s works prufrock and the waste land and american poetry in general are there different ideal readers rgh i think eliot s working title for the waste land taken from our mutual friend by dickens he do the police in different voices is very relevant to the effect i was trying to achieve and i can see the link with prufrock s fragmentation and the use of a character but the poets in my mind were pound and charles olson with both there is the problem about how to write a long poem that is able to respond to contemporary events pound had the idea that he would be able to fit it into a dantean structure and felt that he had failed to do this for me pound s failure is the important lesson i am hoping to follow pound s model where the cantos were published originally in small groups a draft of xxx cantos followed by eleven new cantos and so on but there is no over arching structure improvisation is an important principle throughout as for the reader i was working so much with my own free associations to the contemporary materials that i am hoping readers will be sparked by the fragments and references to make their own associations with that period bg thank you 1 robert hampson covodes 1 19 artery editions 2022 the accompanying cd a reading od f the complete set of poems is accompanied on cello by joanna levi 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 conversation english poetry interviews and tagged belinda giannessi charles olson daniel defoe david bowie ezra pound robert hampson t s eliot bookmark the permalink seven leaf sermons by peter larkin artwork by rupert loydell guillemot press posted on august 19 2020 by tearsinthefence in part i of a n whitehead s process and reality the title of which suggests the connection between being and movement the philosopher asserts that the number one stands for the singularity of an entity and that the term many presupposes the term one a quarter of a century later charles olson was to write to robert creeley that the term one makes many had been overheard by him as being uttered by cornelia williams the cook in black mountain college and the phrase was then adopted by olson as an epigraph for the maximus poems on similar lines olson wrote an autobiographical note in november 1952 stating that there is no such thing as duality either of the body and the soul or of the world and i that the fact of the human universe is the discharge of the many the multiple by the one in the opening stanza of the sixth of peter larkin s intensely focused poems we can recognise this inseparable connection between the one and the many as a bough is poised between heaven and earth full in leaf points to its latent interceding the moving outwards of points leads on to the later thought in the same poem the tree would have no firmament without its cloud of leaves in its hebraic origins the word firmament may well suggest expanse as in the treading out of metals the beating out the making firm of a primal source all journeys have sources and the many is an outspreading of the one in terms of travel however there is always loss as well as gain and the opening poem contemplates this inevitable relationship the tree was soon parted from its leaves but not its wintering seed what s this casts off any distress of tree simply wrinkles in leaf like leaves from a tree words have an outward yearning towards different meaning and leaves contains an echo of parting just as the word wrinkles hints at the thomas nashe lines from summer s last will and testament beauty is but a flower which wrinkles will devour brightness falls from the air in his journal dated 17th october 1873 gerard manley hopkins noted the unending connection between tree and leaf the one and the many as the end of the month brought severe 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 contemplating movement which is loss peter larkin uses language in his seven leaf sermons which breathes an echo of the early seventeenth century lacking leaf a tree is not unhoused but homeless enough a leaf at last turns its page it became apron only to the underclothing of indigent tree litter for free saw leaves no longer interior scapes of trunk passed across branch scape but sole sly ratchet in gear above tree the homelessness of unhoused brings before us the king lear whose address to the fool signals the opening of a moment of meditative prayer the rhetoric of which would be at home in an early dissenting sermon he exclaims you houseless poverty before falling to his knees and addressing the world peopled with houseless heads and unfed sides peter larkin s sermon 3 presents us with a leaf that breathes in rain but drinks from the root and the etymology of words the foundation of language is the precursor of expression the one leading to the many the sound of rain is its light rattle itself offers a continuation from larkin s publication from last year trees before abstinent ground shearsman books 2019 in which an out where of woods feathered at ...