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ng bare walls at the side still standing burnt piece of wood like a gibbet jutted out into the sky weary blistered firemen grimy half clad homeless mirror swinging steeples scorched and discoloured by fire the sound of swept off the streets a few seconds above the trees lines of figures asleep scrawled over obscene inscriptions the picture is vivid and that last word inscriptions offers a historical perspective suggestive of life s unchanging desolation the gibbet which jutted out into the sky recalls both hogarth s gin lane and dickens s opening image of marshland in the first chapter of great expectations john seed is a very important poet and i urge readers to get hold of a copy of this book whilst you are at it you might also search out snow 3 with his recollections of the durham coalfield this is poetry for our time ian brinton 18th september 2015 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 antonio gramsci charles olson charles reznikoff john seed robert creeley walter benjamin bookmark the permalink lee harwood ii the miracle of existence posted on july 31 2015 by tearsinthefence in january 2010 i gave a talk at eltham college literary society alongside lee reading his poems and these bullet points are extracted from some notes i used as a handout for the boys the epigraph to hms little fox oasis books 1975 is taken from pound s canto 77 things have ends or scopes and beginnings to know what precedes and what follows will assist yr comprehension of process pound s lines are accompanied by the two ideograms placed at the head of this blog the long black veil a notebook 1970 72 is the opening poem in the collection and lee s own notes on the cover account for the ordering of the poems in the volume this collection was written between 1967 and 1972 the work really has its seeds in my book the white room 1968 and also is where the sinking colony 1970 left off even though some of the work here was written at the same time as the work in that book and a few poems even before that time i want to state here my sense of this continuity it is a development from there towards a greater complexity and range not only containing varied information but having an energy and necessity as well the two qualities presentation of informations and the art as mover catalyst to somehow work together be one the collection is set out to be seen the way you see a plant it begins with the sequence the long black veil the end product the flower of my work to date and then moves on down to the origins the roots of that work the earlier poems and the poems written at the same time as i was writing the long black veil the whole book is one crystal in which things ricochet back and forth echo and re echo in which light enters and bounces out again changed in form and direction and the crystal itself alive and growing there are very many references to enclosed spaces gardens cloisters in your work right from the early days up until now what are these metaphors this question was asked in an interview with andy brown in the argotist online august 2008 and in reply lee related this sense of an enclosed space to a comment made to him by douglas oliver inside the harm is a clearing and it is one of lee s finest qualities as a poet to make this clearing more than something metaphorically abstract in the same interview he referred to a reznikoff quality to these images too in that they re real solid the courtyard with the fountain is an actual place charles reznikoff a jewish new york poet 1894 1976 wrote the lines among the heaps of brick and plaster lies a girder still itself among the rubbish jerusalem the golden 1934 the objectivist poet george oppen was deeply moved by these lines and wrote to his half sister june oppen degnan in february 1959 likely rezi could mull along and tell you what he had in mind but how other than with this image could he put into your mind so clearly the miracle of existence the existence of things it is only because the image hits so clear and sudden that the poem means what it means i don t know that he could make it any clearer by talking about it late in the second world war while he was driving a truck in a convoy oppen came under enemy fire and was forced to dive into a foxhole two other men also leapt in the foxhole and both were killed while oppen was seriously wounded from exploding shrapnel found myself trapped in a fox hole slightly injured and with no apparent means of escape certainly no possibility until night fall i waited i think some ten hours and during those hours wyatt s little poem they flee from me and poem after poem of rezi s ran thru my mind over and over these poems seemed to fill all the space around me and i wept and wept this may not be literary criticism or perhaps on the other hand it is letter to milton hindus late spring 1977 in the first interview with kelvin corcoran published in not the full story shearsman 2008 lee referred to little intense scenes shifting round you do get these moments of goodness whether it be in some of the pastoral scenes or a landscape of suburban railway tracks and oil refineries when talking about his education at queen mary college university of london he placed the reading of literature firmly in the world of objectivity i did a degree in english literature and language i had this terrific thing of walking from mile end tube or stepney green i was living in stepney anyway to lectures and then coming out of the lecture and walking back along mile end road so all that business of maybe going to a place like cambridge where you would float out of your lectures in your gown and walk to the quad and you could keep on living in that world was avoided it was knocked out of you because you immediately had reality in your face and you didn t go to high table you had bubble and squeak at the local transport café i think that gave me a lovely sense of the importance of literature but also in the world not in some isolated privileged world so you d always have the measure of what you d read of the poetry existing in a working society in the same interview he referred to a poem as a bundle of stories this building with fragments and suggestions building up like a chemical build up a bundle of voices getting to know the building bricks an interest in displaced locations and incomplete narratives the heaping up of fragments with reference to this last comment i suggested that the pupils might want to look at the accumulation of fragments in t s eliot s the waste land the ones he shored against his ruin i also recommended them to look at eliot s 1919 essay on hamlet the only way of expressing emotion in the form of art is by finding an objective correlative in other words a set of objects a situation a chain of events which shall be the formula of that particular emotion such that when the external facts which must terminate in sensory experience are given the emotion is immediately evoked part iii of my lee harwood memorial will continue tomorrow ian brinton 31st july 2015 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 english poetry memoir and tagged andy brown charles reznikoff douglas oliver george oppen kelvin corcoran lee harwood t s eliot bookmark the permalink living life totally as a moving growing thing in memory of lee harwood part one posted on july 30 2015 by tearsinthefence on march 22nd 2009 i had written to lee asking him to come to dulwich college to give a poetry reading alongside peter robinson i mentioned that i had been teaching the long black veil to my sixth form pupils and that i had also sent a copy of the poem to michael rumaker in new york i thought that mike would like to see this since he had been a close friend of both olson and wieners at black mountain college and after mike s letter back was typically on the nail finished lee harwood s the long black veil this morning enjoyment more than i can say except herein the process of a passion lightly deftly touched on over wide enchanting fields of language spatially breathing its poignancy leaving me breathless passion worth anything beyond it any pain any pleasure before it to have it to have lived to know one is alive the singer is alive his song alive what more can one ask many thanks for sending me this lovely gift of a poem on friday april 24th the reading took place in the masters library in the college and in addition to the sixth form boys present the audience included the australian poet laurie duggan and john welch we were also joined by roy fisher s bibliographer derek slade as peter robinson wrote to me this morning it was such an honour to have the chance to read with lee this of course was a memorable moment also on account of the review peter had written for the tls on 26th november 2004 in the reader s hands collected poems of lee harwood a few days later lee rang me at home to suggest meeting up for a drink in the alleyn s head in dulwich since he was staying in the area for a couple of weeks we met up on may 6th and spent a lot of time talking about loss the impossibility of registering absence in presence i gave him a copy of long distance the ferry press publication of poems by lewis warsh since we had been talking about the famous photograph lee had sent me a copy of that boston eagles at walden pond 1973 judith walker s photo of john wieners lee harwood lewis warsh william corbett on the back of which he wrote i thought this photo of four dodgy characters might amuse you i don t think you d buy a used car from them nor have them tarmac your drive though mr wieners gold lamé jacket and winning smile might fools some people in may he also sent me a copy of the hotel wentley poems which joy street press put out in 2006 this was i guess the final proof copy and they were ready to roll when bill corbett saw the many typos it seems a boston custom to have as many mistakes as possible from my own experience of publishing there anyway bill got it all right before the book was released sitting in the alleyn s head we were talking about o hara and lee gave me a copy of the piece he was asked to write by robert hampson a personal angle titled generosity of spirit memories of frank o hara and israel young we talked about charles tomlinson s poem written soon after george oppen s death and about lee s own poem from in the mists for paul coming out of winter on a bright winter morning sunlight catching the tops of white buildings a tree outlined against the sea a wall of flints to be able to stop and see this the luxury of being alive when the waves crash on the shore and a fresh wind streams up the narrow streets a moment like this lightens the darkness a little lifts the heart until you can walk down the hill near careless how can that be suddenly slammed up against a wall by memories of the dead loved ones completely gone from this place shafts of sunlight cutting through the clouds onto the everchanging sea below how many times we discussed the sea s colours all beyond description words a mere hint of what s beyond our eyes then and now on october 24th i drove over to abertillery to stay with ric hool lee was staying as well and we three drove over to the hen and chicks in abergavenny jeremy hilton phil maillard chris torrance will rowe lee and myself did an evening of readings in memory of barry macsweeney we talked of reznikoff and oppen and lee wrote to me in january of the next year to have the tangible to have real objects in a poem to be believed that what happens in a poem happens in this world we live in not just in books reznikoff s girder or in that marvellous sequence by oppen of being numerous the great stone above the river in the pylon of the bridge 1875 frozen in the moonlight in the frozen air over the footpath consciousness which has nothing to gain which awaits nothing which loves itself ian brinton 30th july 2015 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 english poetry memoir and tagged charles reznikoff john weiners lee harwood lewis warsh peter robinson william corbett bookmark the permalink benjamin hollander s memoir american posted on november 1 2013 by tearsinthefence dead letter office babel working group an imprint of punctum books brooklyn new york as the blurb puts it you will find in this memoir what it means for an alien to search for his family in a book outside the time of its writing you will find him discovering that translation is a personal story and that poetry might not have a home without it i have increasingly become one of those people whose reading unless i am focussed upon a particular piece of writing that i am committed to seems to take on a life of journeying of its own i read something and then find i need to travel down a path which arises from some memory of having read something else which in itself triggers another pathway and i am going to have to read everything i have ever read as well as read all those things i have only heard of which have been recommended i need to speak all languages i am tumbling off the walls of babel therfor was called the name of it babel for there was confounded the lippe of all the erthe genesis 11 9 translated by john wyclif 1382 having read ben hollander s memoir american which arrived in the post yesterday i feel energised and bewildered i want to set off on those pathways this is one of the most exciting short books i have come across for a long time and i can only suggest to you all read it the central study of a section from charles reznikoff s by the well of living and seeing is a delight as hollander contemplates what it means to hear see an american poet s voice transformed when it is written under the influence of other languages which do not need to manifestly show themselves to be felt present in the poem and which we know are evidenced in the poet s life and now i am being drawn in a way to re read paul auster s city of glass faber 1987 with its disturbing opening sentence it was a wrong number that started it the telephone ringing three times in the dead of night and the voice on the other end asking for someone he was not and then i am dragged off to look again at rod mengham s language bloomsbury 1993 with its study of the crazy attempt to erect a structure that might bridge the gap between earth and heaven showing the depth and intensity of a human need to be furnished with a language that not only matches the world of physical phenomena but which in some sens...