Sunday, 30 November 2014

How to make the Greenwich traffic problem worse. John Clare’s November

It was a fine day on the South Downs yesterday, the opposite of November, one of those days which could be early spring.  Misty air shone above the hills’ green humps, and on one side of our faces the sun was almost warm.  Even there it wasn’t possible to escape traffic – the roar of an A road floated up from the valley.  

Here in South East London, traffic sound is constant: on summer nights with window open, the Blackwall Tunnel (under the Thames) road half a mile away sounds busy at 3am.  During the day it is often congested as are the main east/west roads, Trafalgar Road parallel with the river and the A2 further south.  

The air’s polluted: up to 2.5 times the EU limit for nitrogen dioxide (NO2) in the worst spots – which are mostly in the poorer areas.  From the GLA’s website: “At high concentrations, NO2 causes inflammation of the airways.  Long-term exposure can affect lung function and respiratory symptoms – it can also increase asthma symptoms.”

But all this may soon get worse.  Here are two reasons why, one a large-scale project, one local.  

The powers that be, including the GLA itself and TfL plus Greenwich and Newham Councils, want to build a new Thames tunnel – a sort of relief road for the Blackwall Tunnel.  It would be called the Silverton Tunnel.  Haven’t they learned that more roads lead to more cars?  How about spending the £750m they say this would cost on public transport instead, reducing congestion and pollution and allowing necessary vehicles a clearer road? 

There’s a well-organised campaign with an excellent website: No to Silvertown Tunnel.  It provides arguments, advice on taking part in the TfL consultation (which runs until 19 December) and NO2 data, see above for the results.  

Blackwall jam. From No to Silvertown website
Another traffic-breeding threat is smaller scale, more local and immediate. IKEA has outline planning consent for a large store on the site of the Sainsburys in Greenwich Peninsula and the eco-park behind it. 

In some inner urban areas IKEA have had to plan car-free stores, but not here.  Greenwich Council rolled over.  IKEA claim that the store will reduce traffic: but who’s going to take flat-pack furniture home on the bus (or more likely three buses)?  A lack of parking spaces and nearness to… guess what… the Blackwall Tunnel will also add to congestion.  
Eco-park. From No IKEA website

IKEA would bury the eco-park plus a community orchard – rare green spaces and scarce, pollution-filtering trees.  It would replace Sainsburys’ pioneering eco-store with the usual box. 

There’s a glimmer of hope.  Local group No IKEA Greenwich has just been given legal advice by an experienced planning barrister that, contrary to what some councillors have been saying, the plans could still be changed. 

Demo: next Saturday afternoon 6 December, starting in the eco-park.  See No IKEA (another good campaign website) for details.

As an antidote to all that, here are the first three verses of ‘November’ from John Clare’s long poem ‘The Shepherd’s Calendar’.  The rest is here. 

The landscape sleeps in mist from morn till noon;
And, if the sun looks through, 'tis with a face
Beamless and pale and round, as if the moon,
When done the journey of her nightly race,
Had found him sleeping, and supplied his place.
For days the shepherds in the fields may be,
Nor mark a patch of sky — blindfold they trace,
The plains, that seem without a bush or tree,
Whistling aloud by guess, to flocks they cannot see.

The timid hare seems half its fears to lose,
Crouching and sleeping 'neath its grassy lair,
And scarcely startles, tho' the shepherd goes
Close by its home, and dogs are barking there;
The wild colt only turns around to stare
At passer by, then knaps his hide again;
And moody crows beside the road, forbear
To fly, tho' pelted by the passing swain;
Thus day seems turn'd to night, and tries to wake in vain.

The owlet leaves her hiding-place at noon,
And flaps her grey wings in the doubling light;
The hoarse jay screams to see her out so soon,
And small birds chirp and startle with affright;
Much doth it scare the superstitious wight,
Who dreams of sorry luck, and sore dismay;
While cow-boys think the day a dream of night,
And oft grow fearful on their lonely way,
Fancying that ghosts may wake, and leave their graves by day.

Monday, 17 November 2014

Aldeburgh: Rubble Flora, double nostalgia

After Aldeburgh, its tangle of events and impressions, the impossibility of going to everything, there are always threads to follow – and at least one obsession.  This year mine was the festival’s absent centre, [East] German poet Volker Braun who was unable to come, and in particular one poem of twelve end-stopped lines. ‘Property’ was written at and stands for a turning-point in history, after the fall of the Berlin Wall while Germany was moving towards reunification.  I’m going to type it out, for the pleasure of doing so.  I wouldn’t normally do that (copyright) but this poem, originally published widely in the German press in 1990, now appears to be the best sort of common property.  Hope someone will tell me if not.

Das Eigentum

Da bin ich noch: mein Land geht in den Westen.
Ich selber habe ihm den Tritt versetzt.
Es wirft sich weg und seine magre Zierde.
Dem Winter folgt der Sommer der Begierde.
Und ich kann bleiben wo der Pfeffer wächst.
Und unverständlich wird mein ganzer Text
Was ich niemals besaß wird mir entrissen.
Was ich nicht lebte, werd ich ewig missen.
Die Hoffnung lag im Weg wie eine Falle.
Mein Eigentum, jetzt habt ihrs auf der Kralle.
Wann sag ich wieder mein und meine alle. 

Here are the first few lines of Karen Leeder’s translation.  It captures the poem’s bitter stateliness. 

That’s me still here. My country’s going West.
I helped it out the door with all the rest.
What paltry charms it has it gives away.
After winter comes the summer of excess. 

The full translation is here.  And here is Braun himself, reading the poem.  The Aldeburgh Poetry Paper has an excellent piece by Leeder on Braun and the poem’s context.  As she points out, Braun did not want to prolong the “winter” of the GDR – “I helped it out the door”.  He wished for a third way between that and the excesses of the West, a democratic, independent country with socialist ideals.  A utopian spring perhaps.  “Property” means not only individual replacing collective ownership (including the theft that went on in former Warsaw Pact countries) but also a sense of identity and the very meaning and purpose of Braun’s own poetry – my whole text becomes incomprehensible, he says.  To succeed, poetry has to find and fill an empty space; a crucial role when political repression multiplies such spaces, but who needs it in times of excess? 

How many poems both say and stand for so much, in twelve lines?  More of Braun’s are here at Modern Poetry in Translation.

In a talk on bearing witness, which deserves a whole post to itself, Leeder said Braun had asked her to tone down her translations to the simplest language. 

Idea for next year, which I hadn’t thought of when I filled in the festival survey: if Volker Braun’s health still prevents him from coming (I’m assuming/hoping they’ll reinvite him), maybe the Poetry Trust could commission some recordings? 

There’s a new selected poems, Rubble Flora, out from Seagull Press, translated by Karen Leeder and David Constantine.  Unfortunately it’s only in English.  The best German volume to buy alongside it is Lustgarten, Preußen. I know that thanks to a downpour at Snape one night, which led to a brief conversation in an archway with Leeder and her fellow German specialist Ian Galbraith who stood in for Braun at the reading.

Galbraith also did a Close Reading of the poem Braun had chosen, ‘Tränen des Vaterlandes’ (Tears of the Fatherland) by Andreas Gryphius, who grew up during the Thirty Years’ War.  The poem is stuffed full of war horrors, including a river choked with corpses:

Dreimal sind schon sechs Jahr, als unser Ströme Flut
Von Leichen fast verstopft, sich langsam fort gedrungen.

Contemporary sources, said Galbraith, confirm that Gryphius was not exaggerating.
***   ***   ***

Kathleen Jamie gave a fabulously good reading – she has a clear, strong, confident voice to fill out and inhabit her spare and lyrical poems.  Some of these were from a new sequence reflecting the months up to the Scottish referendum. 

It was good to meet (just before the final bus) Dan O’Brien who read from last year’s Aldeburgh first collection prize winner, War Reporter.  Again, hearing the poet’s voice was a treat – how did he manage not to run out of breath reading these urgent, horrific and often long poems?  Of which there are two new ones in the new Rialto. 

Another reading that stood out: Karen McCarthy Woolf from her new book, An Aviary of Small Birds, very moving.  Other people really liked her talk on Poetry and Disobedience, which I missed – am hoping the Poetry Trust will podcast it and everything else on that festival theme which was hexed for me, I missed the lot.  For once, people said, the opening Saturday panel discussion lived up to its promise... and I was still in Aldeburgh, having a swim and eating porridge.  Festival blogger Anthony Wilson wrote about it here.

More readings: New Poets Chrissy Williams and Kayo Chingonyi, both strong readers and very brainy writers.  I especially like her surrealism and his syntax.  (I was told recently that ‘surreal’ is sometimes used as a put-down for female poets.  It is emphatically not that here.)  Helena Nelson, last-minute stand-in for storm-bound Jen Hadfield, filling the hall with her presence.  Togara Muzanenhamo (born in Zambia, lives in Zimbabwe) reading from his new collection Gumiguru, a calendar for the farming year.  When I met him in London recently he said that from his farm’s study he has a view of fields and cows.    

Thomas Lux did a Close Reading of Hart Crane’s ‘The Air Plant’, written in wonderfully irregular yet perfect iambic pentameter.  It could have been written to illustrate Lux’s quote from Emerson:

For it is not metres, but a metre-making argument, that makes a poem,— a thought so passionate and alive, that, like the spirit of a plant or an animal, it has an architecture of its own, and adorns nature with a new thing.

(This works for Volker Braun’s ‘Property’, too.)  A few of Lux’s metrical readings were debatable… afterwards people were going around saying to each other, “he thinks ‘balloon’ is a trochee!

Lux read with panache to close the festival.  At the end, two huge bouquets of white flowers with legs appeared on stage, to thank outgoing festival director Naomi Jaffa for 22 years of her life.  Of course we gave her a long and standing ovation.  The legs turned out to belong to the other members of the Aldeburgh triumvirate, Michael Laskey and Dean Parkin.  Naomi welcomed her successor, Ellen McAteer, who has written about the weekend on her own website.       

There’s plenty I haven’t written about: Brazilian poet Adelia Prado, Karen Leeder’s talk on the poet in old age, South African poet Beverly Rycroft discussing poetry and illness with Anthony Wilson, the wit of another South African, Finuala Dowling, Hannah Silva’s Schlock! – I think someone else is going to write about Schlock!, will post a link if so.  Now, one more thing.

***   ***   ***
Friday afternoon, ten days ago.  Michael Laskey was ending his launch with the last and title poem from his new collection, Weighing the Present, (smith|doorstop) in the Peter Pears gallery, one of the old Aldeburgh venues.  It’s off the High Street up an iron outside staircase, which somehow makes it seem as provisional as the wooden fish shacks on the beach.  Naomi Jaffa had told the crowd that festival founder Michael wouldn’t take full festival honours, so no Main Reading slot. 

Nostalgic for the present moment as well as the past, his poems unwind themselves around something simple in daily life – going for a bike ride, digging potatoes.  Mostly the nostalgia is pure tone.  It surfaces in ‘Together’, which is set in bed:

even then, so close to her all
but inaudible sigh of wellbeing,
I miss her, I grieve for her, ache
for the small of her back I’m actually
making much of, stroking – better
pull yourself together, mgl.

Those who know Michael can hear him in the U-turn of that last line and a bit. 

Anyway, he was almost at the end of the last poem when the fire alarm went off.  Loudly, to startled but gentle laughter.  Perhaps someone set it off on purpose, so that he would have to read the poem again.  It’s one of several in which the dead appear in dreams.      

For an instant he was alive
or I had died, though I knew
neither could be true and pressed on

to the post office past my friend
with the present that needed weighing,
more or less knowing nothing
was impossible, even heaven.

The alarm was silenced, ‘Weighing the Present’ re-read.  Will Michael write a poem about this non-incident?   

Afterwards there was time for a quick walk along the Martello tower path, to watch a just-past-full moon rise over the sea: tarnished but very bright, part-hidden by black clouds blowing up in dramatic shapes, moonlight reflecting on thinner cloud below and on wind-ruffled waves.   

Gales and the moon, on and off all week – I stayed up there.  Only the weekend mornings were swimmable.  No fish at the fish shacks.  And now I’m feeling nostalgic for it all.  Double or triple nostalgia?  So many layers…

Friday, 31 October 2014

The Rialto issue 81: poets on reading to write

The new Rialto’s out..  and now I want to mention everything it contains, so will open it at random.  On page 43: a terrific poem by Roy Marshall – one of those poems which makes such an impact at first reading that when you read it again, the shadow of that first time is still there.  It’s called ‘Carrying the Arrest Bleep’.  On page 42: John Prior’s ‘At the Level Crossing’, whose central image is so striking that level crossings may never look or feel the same again.   

Other things: Chrissy Williams on stingrays and, separately, the gift wrap of LOVE; Nick Makoha and Dan O’Brien on aspects of war; Camino-Victoria Garcia on Serco vans; and a water poem from Clare Best that reflects in more ways than you’d think possible (weirdly difficult to proofread, I hardly dare look at it).  Kjell Espmark’s graveyard voices summon a ghostly Bach, in Swedish and in Robin Fulton Macpherson’s translation; Emily Wills is on the receiving end of a complaint, but death and her mother get in the way; Michael Laskey encounters an excruciating word.   

There’s something we haven’t done before, too.  Our feature this time is about reading to write.  Here’s our introduction:

We asked over thirty Rialto contributors past and present a question: Which poet(s) do you read, in order to write?  (And why – if you have any idea why?)  For example, if you went off to a desert island for 6 months to write, and could only take a handful of books, what would you take to help the writing?  If your answer’s ‘no-one’, ‘someone different every time’, or ‘I keep my mind empty of all previous poetry in order to storm the next frontier’, that’s also interesting, so please tell us.

We wanted to know because this is rather mysterious.  Read-in-order-to-write poets aren’t necessarily the same as favourites or influences, or may be a sub-set of those.  The link between input and output, so to speak, may not be clear. 

There was a tremendous response – replies full of interest psychologically as well as poetically. They reveal a wide range of approaches, and the richness and diversity of sources people go back to.  Contributions appear roughly in the order they arrived, on time for our tight deadline despite holidays, writing retreats and work crises. 

Our respondents range from Lorraine Mariner to Pascale Petit, David Morley to Jon Stone, Liz Berry to Dan O’Brien, Nick Makoha to Fran Lock.  Many of them do read to write but each one differently, and some more deliberately than others. 

A common theme is poets at a distance – dead poets (mostly 20th century), American poets, non-English language poets.  Some names come up several times, not necessarily the ones you’d expect.  The reasons for people’s choices are fascinating. 

A few respondents describe what happens when reading turns into writing. There are stings and kicks, and Christina Dunhill gets “a physical response like a click”.  And birds: Luke Yates is a regurgitating owl, Emily Wills a magpie anxious in the presence of strange objects.  A couple of people say that reading gives them permission to write.  Some read to read, and are equally interesting about this. 

Everyone writes so well and with such enthusiasm, in our mean allowance of 100(ish) words – a fascinating cross-section of contemporary reading/writing practices.

And they were all so generous, to do this for us – and so efficient, meeting our less-than-a-fortnight deadline despite all the conflicting ones of daily life.

If you want to know who helps Hannah Lowe get into narrative vein, which foreign language poet Kim Moore has five different translations of, how Niall Campbell moves physically from writing to reading and back again, which book gets Mimi Khalvati into a dream state, who loves reading poets he’s taught, which poet likes Herodotus and Groucho Marx and which the Flora Britannica, then… you can find the new issue of The Rialto here.