Skip to main content

...And We Must Go On

Life continues, amidst the dread. I am still reading tomorrow (Saturday) at the major poetry festival - Ledbury. It is an honour to be there, and the poet I am reading with sounds remarkable. I include her biographical note below.

Born in Sri Lanka and educated at Oxford, Pireeni Sundaralingam currently lives in San Francisco. She is co-editor of Writing the Lines of Our Hands, the first anthology of South Asian American poetry (forthcoming 2005) and Poetry Editor of the political journal LIP. Her own work has been featured in anthologies including The Oxford and Cambridge Anthology of Poetry (1992), So Luminous the Wildflowers: the Tebot Bach Anthology of Californian Poets (2003) and Risen from the East: the Poetry of the Non-Western World (2005) and is featured in the documentary film Veil of Silence. A PEN USA Rosenthal fellow, Pireeni was named as "one of America's emerging writers" by the literary journal Ploughshares in 2004 and her poetry is due to be featured in the International Museum of Women.

The poems I am reading will be a mix of the political and the less so. The timing makes me unsure about exactly what tone to strike. Ledbury is somewhat sheltered from the ravages of the last day, being set in lovely countryside hours from London, and so to be too solemn might be just as inappropriate as to be cavalier.

I shall simply try to read the best poems, in 35 minutes, that I have so far written. While I may dip into my earliest book Budavox, I will likely concentrate on poems from Cafe Alibi, Rue du Regard, and my latest, fourth collection, still in manuscript (many of these new poems written under the tutelage, at UEA, of George Szirtes and Denise Riley).

Rightly, the reading I was supposed to be a part of, last night at The Museum of London, was quickly cancelled in light of the attacks. It is doubtful that will be rescheduled.

It is curious and unexpected, but London has become the centre of the world in about a week - first Live8, then the Olympic bid win, and now the bombs.

One wishes London could almost find some blessed anonymity for a while.

Comments

Popular posts from this blog

A  poem for my mother, July 15 When she was dying And I was in a different country I dreamt I was there with her Flying over the ocean very quickly, And arriving in the room like a dream And I was a dream, but the meaning was more Than a dream has – it was a moving over time And land, over water, to get love across Fast enough, to be there, before she died, To lean over the small, huddled figure, In the dark, and without bothering her Even with apologies, and be a kiss in the air, A dream of a kiss, or even less, the thought of one, And when I woke, none of this had happened, She was still far distant, and we had not spoken.

Poetry vs. Literature

Poetry is, of course, a part of literature. But, increasingly, over the 20th century, it has become marginalised - and, famously, has less of an audience than "before". I think that, when one considers the sort of criticism levelled against Seamus Heaney and "mainstream poetry", by poet-critics like Jeffrey Side , one ought to see the wider context for poetry in the "Anglo-Saxon" world. This phrase was used by one of the UK's leading literary cultural figures, in a private conversation recently, when they spoke eloquently about the supremacy of "Anglo-Saxon novels" and their impressive command of narrative. My heart sank as I listened, for what became clear to me, in a flash, is that nothing has changed since Victorian England (for some in the literary establishment). Britain (now allied to America) and the English language with its marvellous fiction machine, still rule the waves. I personally find this an uncomfortable position - but when ...

IQ AND THE POETS - ARE YOU SMART?

When you open your mouth to speak, are you smart?  A funny question from a great song, but also, a good one, when it comes to poets, and poetry. We tend to have a very ambiguous view of intelligence in poetry, one that I'd say is dysfunctional.  Basically, it goes like this: once you are safely dead, it no longer matters how smart you were.  For instance, Auden was smarter than Yeats , but most would still say Yeats is the finer poet; Eliot is clearly highly intelligent, but how much of Larkin 's work required a high IQ?  Meanwhile, poets while alive tend to be celebrated if they are deemed intelligent: Anne Carson, Geoffrey Hill , and Jorie Graham , are all, clearly, very intelligent people, aside from their work as poets.  But who reads Marianne Moore now, or Robert Lowell , smart poets? Or, Pound ?  How smart could Pound be with his madcap views? Less intelligent poets are often more popular.  John Betjeman was not a very smart poet, per se....