Archive for the Literature Category

Stone Thoughts

Posted in Poetry with tags , on December 1, 2011 by telescoper

I speak cold silent words a stone might speak
If it had words or consciousness,
Watching December moonlight on the mountain peak,
Relieved of mortal hungers, the whole mess
Of needs, desires, ambitions, wishes, hopes.
This stillness in me knows the sky’s abyss,
Reflected by blank snow along bare slopes,
If it had words or consciousness,
Would echo what a thinking stone might say
To praise oblivion words can’t possess
As inorganic muteness goes its way.
There’s no serenity without the thought serene,
Owl-flight without spread wings, honed eyes, hooked beak,
Absence without the meaning absence means.
To rescue bleakness from the bleak,
I speak cold silent words a stone might speak.

by Robert Pack (b. 1929)

 

All You Who Sleep Tonight

Posted in Poetry with tags , on November 26, 2011 by telescoper

All you who sleep tonight
Far from the ones you love,
No hand to left or right
And emptiness above –

Know that you aren’t alone
The whole world shares your tears,
Some for two nights or one,
And some for all their years.

by Vikram Seth.

 

Not Waving but Drowning

Posted in Poetry with tags , on November 19, 2011 by telescoper

Nobody heard him, the dead man,
But still he lay moaning:
I was much further out than you thought
And not waving but drowning.

Poor chap, he always loved larking
And now he’s dead
It must have been too cold for him his heart gave way,
They said.

Oh, no no no, it was too cold always
(Still the dead one lay moaning)
I was much too far out all my life
And not waving but drowning.

by Stevie Smith (1902-1971)

P.S. This is by far the most famous poem by Stevie Smith; it even has its own wikipedia page.

 

Kennst du das Land

Posted in Music, Poetry with tags , , on November 16, 2011 by telescoper

I listened to this recording on CD last night and couldn’t resist sharing it on here because it’s so lovely. It’s Hugo Wolf‘s  setting of a poem by Goethe,  called Mignon’s Song, which is actually a reminiscence about Italy (hence the distinctly Italianate flavour of the images in the video).  I’ve actually posted the verse before;  I learned it at school, where I studied German for one year before giving it up to concentrate on science subjects.

I had a rather eccentric teacher who thought the best way to learn a language was to read poetry rather than learning how to say banal things like “Please can you direct me to the railway station?”. It wasn’t a very good idea from an educational point of view, but at least it left me with bits of German poetry still in my head over 30 years later. I can still remember every word of this wonderful poem…

Kennst du das Land wo die Zitronen Blühn,
Im dunklen Laub die Gold-Orangen glühn,
Ein sanfter Wind vom blauen Himmel weht,
Die Myrte still und hoch der Lorbeer steht,
Kennst du es wohl?
Dahin! Dahin,
Möcht ich mit dir, o mein Geliebter, ziehn.

Kennst du das Haus? Auf Säulen ruht sein Dach,
Es glänzt der Saal, es schimmert das Gemach,
Und Marmorbilder stehn und sehn mich an:
Was hat man dir, du armes Kind getan?
Kennst du es wohl?
Dahin! Dahin
Möcht ich mit dir, o mein Beschützer, ziehn!

Kennst du den Berg und seinen Wolkensteg?
Das Maultier sucht im Nebel seinen weg:
In Höhlen wohnt der Drachen alte Brut;
Es stürzt der Fels und über ihn die Flut,
Kennst du ihn wohl?
Dahin! Dahin
Geht unser weg! o Vater, laß uns ziehn!

For an English translation you can look here. But  here it is in its beautiful musical setting by Hugo Wolf,  as performed by the inimitable Elisabeth Schwarzkopf. Gorgeous.

 

The Connoisseuse of Slugs

Posted in Poetry on November 12, 2011 by telescoper

I couldn’t resist posting this, one of the strangest yet most beautiful love poems I’ve ever read,  by the American poet Sharon Olds. The damp climate of Cardiff makes it something of a paradise for slugs and they’re such a nuisance in my garden that I never dreamt anyone would write devotional verse about them. Anyway, I love it and I hope you enjoy it too.

When I was a connoisseuse of slugs
I would part the ivy leaves, and look for the
naked jelly of those gold bodies,
translucent strangers glistening along the
stones, slowly, their gelatinous bodies
at my mercy. Made mostly of water, they would shrivel
to nothing if they were sprinkled with salt,
but I was not interested in that. What I liked
was to draw aside the ivy, breathe the
odor of the wall, and stand there in silence
until the slug forgot I was there
and sent its antennae up out of its
head, the glimmering umber horns
rising like telescopes, until finally the
sensitive knobs would pop out the
ends, delicate and intimate. Years later,
when I first saw a naked man,
I gasped with pleasure to see that quiet
mystery reenacted, the slow
elegant being coming out of hiding and
gleaming in the dark air, eager and so
trusting you could weep.

Insensibility

Posted in Poetry with tags , , , on November 11, 2011 by telescoper

It’s the Eleventh Day of the Eleventh Month which means it’s Remembrance Day. I’ve posted about my thoughts about this time of year before (see, for example, here and here). Rather than say it all again, therefore, I decided to post a poem by the greatest poet of the First World War, Wilfred Owen. I might even go as far as to say that this is Wilfred Owen’s greatest poem. It’s certainly one of his most complex and ambivalent works, as it juxtaposes the necessary insensitivity of men who have to survive in conditions so appalling
that they might otherwise go mad, with the unawakened or even wilful insensibility of people who have never been confronted with the horror of what war is really like. Lest we forget.

I

Happy are men who yet before they are killed
Can let their veins run cold.
Whom no compassion fleers
Or makes their feet
Sore on the alleys cobbled with their brothers.
The front line withers,
But they are troops who fade, not flowers
For poets’ tearful fooling:
Men, gaps for filling
Losses who might have fought
Longer; but no one bothers.

II

And some cease feeling
Even themselves or for themselves.
Dullness best solves
The tease and doubt of shelling,
And Chance’s strange arithmetic
Comes simpler than the reckoning of their shilling.
They keep no check on Armies’ decimation.

III

Happy are these who lose imagination:
They have enough to carry with ammunition.
Their spirit drags no pack.
Their old wounds save with cold can not more ache.
Having seen all things red,
Their eyes are rid
Of the hurt of the colour of blood for ever.
And terror’s first constriction over,
Their hearts remain small drawn.
Their senses in some scorching cautery of battle
Now long since ironed,
Can laugh among the dying, unconcerned.

IV

Happy the soldier home, with not a notion
How somewhere, every dawn, some men attack,
And many sighs are drained.
Happy the lad whose mind was never trained:
His days are worth forgetting more than not.
He sings along the march
Which we march taciturn, because of dusk,
The long, forlorn, relentless trend
From larger day to huger night.

V

We wise, who with a thought besmirch
Blood over all our soul,
How should we see our task
But through his blunt and lashless eyes?
Alive, he is not vital overmuch;
Dying, not mortal overmuch;
Nor sad, nor proud,
Nor curious at all.
He cannot tell
Old men’s placidity from his.

VI

But cursed are dullards whom no cannon stuns,
That they should be as stones.
Wretched are they, and mean
With paucity that never was simplicity.
By choice they made themselves immune
To pity and whatever mourns in man
Before the last sea and the hapless stars;
Whatever mourns when many leave these shores;
Whatever shares
The eternal reciprocity of tears.

November Graveyard

Posted in Poetry with tags , , on November 2, 2011 by telescoper

All of a sudden it’s November and the arrival of the new month has found me in the mood for a bit of Sylvia Plath. This is November Graveyard, read by the poet herself in that uniquely unsettling voice of hers. Sylvia Plath was born in America but eventually moved to England after she married the poet Ted Hughes. Her accent sounds to me neither American nor British. Her diction, as polished as cut glass but also as brittle, is that of a person striving  to re-invent herself. And failing. Her voice sounds to me redolent with alienation, and its coldness gives this reading of this bleak poem an even harder edge than the text alone.  Plath took her own life in 1963 and was subsequently buried in the same graveyard referred to in the poem,  in Heptonstall, Yorkshire.

The text, as read, differs from some published versions:

The scene stands stubborn: skinflint trees
Hoard last  leaves, won’t mourn, wear sackcloth, or turn
To elegiac dryads, and dour grass
Guards the hard-hearted emerald of its grassiness
However the grandiloquent mind may scorn
Such poverty. So no dead men’s cries

Flower forget-me-nots between the stone
Paving this grave ground. Here’s honest rot
To unpick the elaborate heart, pare bone
Free of the fictive vein. When one stark skeleton
Bulks real, all saints’ tongues fall quiet:
Flies watch no resurrections in the sun.

At the essential landscape stare, stare
Till your eyes foist a vision dazzling on the wind:
Whatever lost ghosts flare,
Damned, howling in their shrouds across the moor
Rave on the leash of the starving mind
Which peoples the bare room, the blank, untenanted air.

How to reply to a libel threat…

Posted in History, Literature with tags , , , on October 19, 2011 by telescoper

A couple of days ago I bought a copy of Private Eye: The First 50 Years by Adam MacQueen, which I’ve been dipping into from time to time. This is in an  A-Z format that encourages one to sample rather than read straight through  like a history book. I think it’s excellent: not only great fun, with several “laugh-out-loud” passages, but also a very interesting piece of social history.

Last night I came across the book’s account of the famous episode of Arkell versus Pressdram , one of the Eye‘s many brushes with libel law, Pressdram being the name of the company that publishes said organ. I thought I’d post it here for those who haven’t heard of it because I find it quite inspirational. It’s actually been a while since anyone threatened me with a libel action but when that did happen, many moons ago, my response was similar in spirit (though not in form) to the memorable reply given by the Eye in the correspondence below (with, I might add, the same result):

Solicitor’s Letter to Private Eye:

We act for Mr Arkell who is Retail Credit Manager of Granada TV Rental Ltd.

His attention has been drawn to an article appearing in the issue of Private Eye dated 9th April 1971 on page 4. The statements made about Mr Arkell are entirely untrue and clearly highly defamatory.

We are therefore instructed to require from you immediately your proposals for dealing with the matter. Mr Arkell’s first concern is that there should be a full retraction at the earliest possible date in Private Eye and he will also want his costs paid. His attitude to damages will be governed by the nature of your reply.

Response from Private Eye:

We acknowledge your letter of 29th April referring to Mr J. Arkell.

We note that Mr Arkell’s attitude to damages will be governed by the nature of our reply and would therefore be grateful if you would inform us what his attitude to damages would be, were he to learn that the nature of our reply is as follows: fuck off.

No further letters were received from Mr Arkell’s solicitors. This legendary exchange of letters has now become a well-known in-joke for solicitors. So if you ever get a letter from a solicitor trying to frighten you with threats of libel, or simply want someone to fuck off for some other reason, I suggest you refer them to the Reply Given in Arkell versus Pressdram.

The Ex-Queen Among the Astronomers

Posted in Poetry with tags , , on October 17, 2011 by telescoper

They serve revolving saucer eyes,
dishes of stars; they wait upon
huge lenses hung aloft to frame
the slow procession of the skies.

They calculate, adjust, record,
watch transits, measure distances.
They carry pocket telescopes
to spy through when they walk abroad.

Spectra possess their eyes; they face
upwards, alert for meteorites,
cherishing little glassy worlds:
receptacles for outer space.

But she, exile, expelled, ex-queen,
swishes among the men of science
waiting for cloudy skies, for nights
when constellations can’t be seen.

She wears the rings he let her keep;
she walks as she was taught to walk
for his approval, years ago.
His bitter features taunt her sleep.

And so when these have laid aside
their telescopes, when lids are closed
between machine and sky, she seeks
terrestrial bodies to bestride.

She plucks this one or that among
the astronomers, and is become
his canopy, his occulation;
she sucks at earlobe, penis, tongue

mouthing the tubes of flesh; her hair
crackles, her eyes are comet-sparks.
She brings the distant briefly close
above his dreamy abstract stare.

by Fleur Adcock.

 

Welsh Testament

Posted in Poetry with tags , on October 11, 2011 by telescoper

The video recalls the snows of last winter but the poem, read by the poet R.S. Thomas, is deeper still…

All right, I was Welsh. Does it matter?
I spoke a tongue that was passed on
To me in the place I happened to be,
A place huddled between grey walls
Of cloud for at least half the year.
My word for heaven was not yours.
The word for hell had a sharp edge
Put on it by the hand of the wind
Honing, honing with a shrill sound
Day and night. Nothing that Glyn Dwr
Knew was armour against the rain’s
Missiles. What was descent from him?

Even God had a Welsh name:
We spoke to him in the old language;
He was to have a peculiar care
For the Welsh people. History showed us
He was too big to be nailed to the wall
Of a stone chapel, yet still we crammed him
Between the boards of a black book.

Yet men sought us despite this.
My high cheek-bones, my length of skull
Drew them as to a rare portrait
By a dead master. I saw them stare
From their long cars, as I passed knee-deep
In ewes and wethers. I saw them stand
By the thorn hedges, watching me string
The far flocks on a shrill whistle.
And always there was their eyes’ strong
Pressure on me: You are Welsh, they said;
Speak to us so; keep your fields free
Of the smell of petrol, the loud roar
Of hot tractors; we must have peace
And quietness.

Is a museum
Peace? I asked. Am I the keeper
Of the heart’s relics, blowing the dust
In my own eyes? I am a man;
I never wanted the drab role
Life assigned me, an actor playing
To the past’s audience upon a stage
Of earth and stone; the absurd label
Of birth, of race hanging askew
About my shoulders. I was in prison
Until you came; your voice was a key
Turning in the enormous lock
Of hopelessness. Did the door open
To let me out or yourselves in?