Archive for the 'Poetry' Category Page 2 of 7



Philosophy as a creative art

I quoted poet Don Paterson on what he saw as Shakespeare’s use of the act of poetry-writing to learn what he intended to say in the poem being written.    And now, here is poet and philosopher George Santayana writing to William James in the same vein on philosophy:

If philosophy were the attempt to solve a given problem, I should see reason to be discouraged about its success; but it strikes me that it is [page-break] rather an attempt to express a half-undiscovered reality, just as art is, and that two different renderings, if they are expressive, far from cancelling each other add to each other’s value . . . I confess I do not see why we should be so vehemently curious about the absolute truth, which is not to be made or altered by our discovery of it.  But philosophy seems to me to be its own reward, and its justification lies in the delight and dignity of the art itself.” [Letter to William James, 1887-12-15, quoted in Kirkwood 1961, pp. 43-44.]

Reference:

M. M. Kirkwood [1961]: Santayana:  Saint of the Imagination.  Toronto, Canada:  University of Toronto Press.




Poetry as process, not product

I have remarked before on the mistake of assessing visual art as product rather than as process, for example, here and here.    Today’s Grauniad carries a fascinating article by poet and jazz musician Don Paterson on Shakespeare’s sonnets, which makes the same point about his poetry:

I wanted to say something to counteract the perception of Shakespeare’s compositional method as a kind of lyric soduku, and put in a word for the kind of glorious, messy procedure I’m quite certain it was, whatever the crystalline and symmetrical beauty of the final results. Like most poets, Shakespeare uses the poem as way of working out what he’s thinking, not as a means of reporting that thought. Often he’ll start with nothing more than a hangover, a fever and a bad night spent being tormented by the spectre of his absent lover. Then he’ll use the sonnet as a way of making sense of it all – a way, first, to extract a logic from pain, and then a comfort from that logic, however warped it might be. Form, in other words, allows him to draw some assuagement from the very source of the agony itself.”

Continue reading ‘Poetry as process, not product’




Poem: Sonnet II

A poem George Santayana wrote on the early death in 1893 of his close friend, Warwick Potter, who apparently died of cholera caught in Brest after being weakened due to severe sea-sickness experienced while yachting:

Sonnet II, from “To W.P.”

With you a part of me hath passed away;
For in the peopled forest of my mind
A tree made leafless by this wintry wind
Shall never don again its green array.
Chapel and fireside, country road and bay,
Have something of their friendliness resigned;
Another, if I would, I could not find,
And I am grown much older in a day.

But yet I treasure in my memory
Your gift of charity, and young heart’s ease,
And the dear honour of your amity;
For these once mine, my life is rich with these.
And I scarce know which part may greater be,–
What I keep of you, or you rob from me.

Previous posts of poetry are here.




Caute on Marechera

One did not have to visit many bars or nightclubs in downtown Harare in the early 1980s before encountering the late Dambudzo Marechera  (1952-1987), Zimbabwean novelist and poet.    I knew him slightly, as did anyone who was willing to share a drink with him and enjoy (or endure) a stimulating late-night argument on politics or literature.   Some of his writing, for all its coarse language, is powerful and sublime (in the tradition of Burroughs and Genet), and David Caute, in a book I have just read, argues correctly that he was a great writer.    The book also captures his personality well,  even if it gives the impression that Caute thinks the work forgives the man.   It does not.  As a person, Marechera was a victim of  his addictions and perhaps also of a psychosis – mercurial, abusive,  racist, foul-mouthed, illogical, self-destructive, and paranoid:   not someone who was nice to be around for very long.     Nothing forgives such poor behaviour, not even great writing.

As always when I read David Caute, I am reminded of Graham Greene:  both are writers who grapple with the major moral questions and issues of our time, yet both write in the sloppiest of language, insincere and vague, and have the tinnest of ears.  Woolly writing might be evidence of woolly thinking or evidence of malice aforethought (perhaps attempting to hide or obfuscate something, as Orwell argued); it could also be evidence of insufficient thinking.  In any case, Greene’s and Caute’s arguments are often undone and undermined by their style.  We only get as far as page 6 of Caute’s book on Marechera, for example, before we stumble over:

Piled high at the central counter of the Book Fair are copies of his [Marechera's] new book, Mindblast, published by College Press of Harare, an orange coloured paperback with a surrealist design involving a humanized cat and a black in a space helmet.”

A black what, Dr Caute?  A black what?  I guess you mean a black person.  Just two sentences later, though,  you speak of,  “An effusive white executive of College Press . . .” So, let me get this right  – white people are important enough to have nouns to denote them, but black people not, eh?  Hmmm.

Although the effect is racist, I am sure Caute is not deliberately being racist in his use of language here, but rather just sloppy.    But the sloppy expression, here as elsewhere, leads one to doubt his sincerity and/or his ear.   Of course, someone who spent a lot of time in the company of white Rhodesians could easily forget how offensive the first usage sounds (and is); and we know from Caute’s earlier books that he spent a lot of time in the company of white Rhodesians.

Pressing on, on page 43 we read:

Such rhetoric counts for little against the current surplus of maize, tobacco and beef which only the commercial farmers can guarantee.”

Well, actually, no, Dr Caute.  Tobacco and beef were in surplus at the time referred to (1984) due to commercial (ie, mainly white-owned) farms.  But maize was in surplus because the avowedly Marxist government of Robert Mugabe used the price mechanism when it came to power to encourage communal farmers  (ie, subsistence black farmers) to produce and sell surplus maize crops.   This was something so very remarkable – the country in food surplus for its staple food almost immediately after 13 years of civil war and 90 years of insurrection, and because of the fast responsiveness of peasant farmers   – that all the papers were full of it.  Surely Caute must have heard.  (See Herbst 1990 for an account.)  And even beef production was boosted by contributions from communal farmers, particularly after the Government decided not to prosecute the many illegal butcheries competing against the state-owned meat-processing monopoly, the Cold Storage Commission.  (One may wonder why a socialist government would not support its own state enterprise against privately-owned competitors until one learns that many members of the Cabinet had financial stakes in the competing butcheries.)

Is the sloppiness in Caute’s sentence then due to Orwellian sleight-of-hand – seeking to promote a case that was factually incorrect – or just  due to insufficiently-careful thought?   I suspect the latter, although it is throwaway lines like this – as it happens, lines so common in the conversation of white Rhodesians in the 1980s – that make me ponder  the sincerity of Caute’s writing.

And, finally, Caute seems eager to berate the left and liberals for their failure to call attention to Robert Mugabe’s ethnic cleansing in Matebeleland in 1982-84, the Gukurahundi campaign.  Certainly more could have been said and done, especially publicly, to oppose this.  But why is only one side of politics to blame?  Both the US and the UK had conservative administrations at the time, both of which (particularly Thatcher’s) made strong representations to Mugabe over the fate of several white Zimbabwe  Air Force officers detained and tortured in 1982.   These governments did not make nearly such strong representations over the fate of the victims of the Gukurahundi. Perhaps Mugabe was right to accuse the west of racism on this.  And Mugabe’s military campaign in Matabeleland was not launched for no reason:  As Caute must know, South Africa and its white Rhodesian friends were engaged in a campaign of terrorist violence against Zimbabwe from its inception, with terrorist bombings throughout the 1980s.   The Independence Arch he describes traveling under on the way to Harare Airport was in fact the second arch built to commemorate Independence:  the first had been blown up shortly after it was built.   And even Joshua Nkomo admitted (at a press conference following his dismissal from Cabinet in February 1982) that he had asked South Africa for assistance to stage a coup after Independence.  While Mugabe’s 5th Brigade was certainly engaged in brutal and genocidal murder and rape, the campaign was not against an imaginary enemy.

Although evil may triumph when good people do nothing, from the fact of the triumph of evil it is invalid to infer that nothing was done to oppose it by good people.  Where are the mentions in Caute’s account of the strong, high-level and repeated Catholic opposition (both clerical and lay) to Mugabe’s campaign?  Where is the mention, in the statement that Mugabe detained people using renewals of Smith’s emergency powers regulations, of the independent review panel established by ZANU(PF) stalwart Herbert Ushewokunze when Minister for Home Affairs, the Detention Review Tribunal, to consider the cases of people detained without trial?  The members of this panel included independent lawyers, some of whom were white and liberal.    Some people, even some of the people Caute seems to excoriate, were doing their best to stop or ameliorate the evil at the time.

FOOTNOTE: I speculated on Robert Mugabe’s possible CIA connections here.   If true, this may explain the reticence of Western Governments to publicly criticize him in the 1980s.

References:

David Caute [1986/2009]:  Marechera and the Colonel:  A Zimbabwean Writer and the Claims of the State. London, UK:  Totterdown Books. Revised edition, 2009.

Jeffrey Herbst [1990]: State Politics in Zimbabwe. Berkeley, CA, USA: University of California Press. Perspectives on Southern Africa Series, Volume 45.

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Poem: Mendelssohn Concerto

Following this salute to the Moscow Seven, a poem by one of the seven, Vadim Delone (1947-1983, pictured in Paris in 1982), written in 1965, presumably following a performance of Mendelssohn’s E minor violin concerto (translation my own, with help from a Russian-English dictionary, a strong coffee, and Google Translate):

Mendelssohn Concerto

Outside indefinite and sleepy
Autumn rain rustled monotone.
The wind howled and rushed in with a groan
At the sound of a violin, a concerto of Mendelssohn.

I have long been used so painfully,
How long I have not sat sleepless,
So tired and so passive,
Since escaping to a concerto of Mendelssohn.

Running a telephone wire,
Voice of my pain betrayed involuntarily,
You asked me nervously -
What happened to you, what is it?

I could not have answered in monosyllables,
If you even thus groan,
What sounded in the night anxiously
The tempestuous strings of Mendelssohn.

Moscow 1965

Notes and References (Updated 2010-08-08):

All poetry loses in translation.  Working on this poem, I learn that the Russian word for violin, skripka, is close to the word for creak or squeak or rasp, skrip.  In an earlier version, I translated the last line of the poem as “Fiddling passionate Mendelssohn”, but this does not capture the original’s double meaning of violin-playing and rasping.   I am very grateful to violist Lev Zhurbin for suggesting what is now the last line.  With no folk violin tradition in Russia (unlike in Moldova or the Ukraine), there is no equivalent Russian word to the English word “fiddle”.

Websites (in Russian) devoted to Delone are here and here.

Another poem about a violin, Joe Stickney’s This is the Violin, is here.    Other posts in this series are here.




Five minutes of freedom

Jane Gregory, speaking in 2004, on the necessary conditions for a public sphere:

To qualify as a public, a group of people needs four characteristics. First, it should be open to all and any: there are no entry qualifications. Secondly, the people must come together freely. But it is not enough to simply hang out – sheep do that. The third characteristic is common action. Sheep sometimes all point in the same direction and eat grass, but they still do not qualify as a public, because they lack the fourth characteristic, which is speech. To qualify as a public, a group must be made up of people who have come together freely, and their common action is determined through speech: that is, through discussion, the group determines a course of action which it then follows. When this happens, it creates a public sphere.

There is no public sphere in a totalitarian regime – for there, there is insufficient freedom of action; and difference is not tolerated. So there are strong links between the idea of a public sphere and democracy.”

I would add that most totalitarian states often force their citizens to participate in public events, thus violating two basic human rights:  the right not to associate and the right not to listen.

I am reminded of a moment of courage on 25 August 1968, when seven Soviet citizens staged a brave public protest at Lobnoye Mesto in Red Square, Moscow, at the military invasion of Czechoslovakia by forces of the Warsaw Pact.   The seven (and one baby) were:  Konstantin Babitsky (mathematician and linguist), Larisa Bogoraz (linguist, then married to Yuli Daniel), Vadim Delone (also written “Delaunay”, language student and poet), Vladimir Dremlyuga (construction worker), Victor Fainberg (mathematician), Natalia Gorbanevskaya (poet, with baby), and Pavel Litvinov (mathematics teacher, and grandson of Stalin’s foreign minister, Maxim Litvinov).  The protest lasted only long enough for the 7 adults to unwrap banners and to surprise onlookers.  The protesters were soon set-upon and beaten by “bystanders” – plain clothes police, male and female – who  then bundled them into vehicles of the state security organs.  Ms Gorbanevskaya and baby were later released, and Fainberg declared insane and sent to an asylum.

The other five faced trial later in 1968, and were each found guilty.   They were sent either to internal exile or to prison (Delone and Dremlyuga) for 1-3 years; Dremlyuga was given additional time while in prison, and ended up serving 6 years.  At his trial, Delone said that the prison sentence of almost three years was worth the “five minutes of freedom” he had experienced during the protest.

Delone (born 1947) was a member of a prominent intellectual family descended from a French doctor who had stayed in Russia after Napoleon’s defeat.   Delone was the great-grandson of a professor of physics, Nikolai Borisovich Delone, grandson of a more prominent mathematician, Boris Delaunay (1890-1980), and son of physicist Nikolai Delone (1926-2008).   One of B. Delaunay’s students was Aleksandr D. Alexandrov (1912-1999), founder of the Leningrad School of Geometry (which studies the differential geometry of curvature in manifolds, and the geometry of space-time).  Vadim Delone lived with Alexandrov when, serving out a one-year suspended sentence which required him to leave Moscow, he studied at university in Novosibirsk, Siberia.   At some risk to his own academic career, Alexandrov twice bravely visited Vadim Delone while he was in prison.

Delone’s wife, Irina Belgorodkaya, was also active in dissident circles, being arrested both in 1969 and again in 1973, and was sentenced to prison terms each time.  She was the daughter of a senior KGB official.  After his release in 1971 and hers in 1975, Delone and his wife emigrated to France in 1975, and he continued to write poetry.   In 1983, at the age of just 35, he died of cardiac arrest.   Given his youth, and the long lives of his father and grandfather, one has to wonder if this event was the dark work of an organ of Soviet state security.  According to then-KGB Chairman Yuri Andropov’s report to the Central Committee of the CPSU on the Moscow Seven’s protest in September 1968, Delone was the key link between the community of dissident poets and writers on the one hand, and that of mathematicians and physicists on the other.    Andropov even alleges that physicist Andrei Sakharov’s support for dissident activities was due to Delone’s personal persuasion, and that Delone lived from a so-called private fund, money from voluntary tithes paid by writers and scientists to support dissidents.   (Sharing of incomes in this way sounds suspiciously like socialism, which the state in the USSR always determined to maintain a monopoly of.)  That Andropov reported on this protest to the Central Committee, and less than a month after the event, indicates the seriousness with which this particular group of dissidents was viewed by the authorities.  That the childen of the nomenklatura, the intelligentsia, and even the KGB should be involved in these activities no doubt added to the concern.  If the KGB actually believed the statements Andropov made about Delone to the Central Committee, they would certainly have strong motivation to arrange his early death.

Several of the Moscow Seven were honoured in August 2008 by the Government of the Czech Republic, but as far as I am aware, no honour or recognition has yet been given them by the Soviet or Russian Governments.   Although my gesture will likely have little impact on the world, I salute their courage here.

I have translated a poem of Delone’s here.

References:

M. V. Ammosov [2009]:  Nikolai Borisovich Delone in my Life.  Laser Physics, 19 (8): 1488-1490.

Yuri Andropov [1968]: The Demonstration in Red Square Against the Warsaw Pact Invasion of Czechoslovakia. Report to the Central Committee of the CPSU, 1968-09-20.

Jane Gregory [2004]:  Subtle signs that divide the public from the privateThe Independent, 2004-05-20.




Poem: Out of the Cradle Endlessly Rocking

An excerpt from Walt Whitman’s superb Sea-Drift, written in 1859, about alone-ness and becoming a poet.

Out of the Cradle Endlessly Rocking

Out of the cradle endlessly rocking,
Out of the mocking-bird’s throat, the musical shuttle,
Out of the Ninth-month midnight,
Over the sterile sands and the fields beyond, where the child
leaving his bed wander’d alone, bareheaded, barefoot,
Down from the shower’d halo,
Up from the mystic play of shadows twining and twisting as if they
were alive,
Out from the patches of briers and blackberries,
From the memories of the bird that chanted to me,
From your memories sad brother, from the fitful risings and fallings I heard,
From under that yellow half-moon late-risen and swollen as if with tears,
From those beginning notes of yearning and love there in the mist,
From the thousand responses of my heart never to cease,
From the myriad thence-arous’d words,
From the word stronger and more delicious than any,
From such as now they start the scene revisiting,
As a flock, twittering, rising, or overhead passing,
Borne hither, ere all eludes me, hurriedly,
A man, yet by these tears a little boy again,
Throwing myself on the sand, confronting the waves,
I, chanter of pains and joys, uniter of here and hereafter,
Taking all hints to use them, but swiftly leaping beyond them,
A reminiscence sing.


Once Paumanok,
When the lilac-scent was in the air and Fifth-month grass was growing,
Up this seashore in some briers,
Two feather’d guests from Alabama, two together,
And their nest, and four light-green eggs spotted with brown,
And every day the he-bird to and fro near at hand,
And every day the she-bird crouch’d on her nest, silent, with bright eyes,
And every day I, a curious boy, never too close, never disturbing
them,
Cautiously peering, absorbing, translating.

Shine! shine! shine!
Pour down your warmth, great sun.’
While we bask, we two together.

Two together!
Winds blow south, or winds blow north,
Day come white, or night come black,
Home, or rivers and mountains from home,
Singing all time, minding no time,
While we two keep together.

Till of a sudden,
May-be kill’d, unknown to her mate,
One forenoon the she-bird crouch’d not on the nest,
Nor return’d that afternoon, nor the next,
Nor ever appear’d again.

And thenceforward all summer in the sound of the sea,
And at night under the full of the moon in calmer weather,
Over the hoarse surging of the sea,
Or flitting from brier to brier by day,
I saw, I heard at intervals the remaining one, the he-bird,
The solitary guest from Alabama.

Blow! blow! blow!
Blow up sea-winds along Paumanok’s shore;
I wait and I wait till you blow my mate to me.

. . .

Previous poems are here.

Reference:

Walt Whitman [1982]:  Complete Poetry and Collected Prose.  Selected by Justin Kaplan. New York, NY, USA:  The Library of America.




Poem: Rectius Vives

It has been some time since we had any Horace, so here is Ode X from Book II (translated by David West):

Rectius Vives

You will take a better course, Licinius
if you do not always thrust over the deep sea,
or hug the dangerous coast too close,
shivering at the prospect of squalls.

Whoever loves the Golden Mean
is safe (no squalor for him in a filthy garret),
and temperate (for him no mansion
that men will envy).

The huge pine is more cruelly tossed
by the winds, the loftiest towers
have the heaviest fall and lightning strikes
the tops of mountains.

The heart well prepared hopes in adversity
for a change in fortune, and fears it in prosperity.
Jupiter brings back ugly winters
and Jupiter

removes them. If all goes badly now, some day
it will not be so. Sometimes Apollo rouses
the silent Muse with his lyre. He does not always
stretch his bow.

In a difficult strait show spirit
and courage, and when the wind
is too strong at your back, be wise
and shorten the bulging sail.

Reference:

Horace [1997 AD/23 BCE]: The Complete Odes and Epodes. Translation by David West. Oxford, UK: Oxford University Press.

Previous poems by Horace:  Tu ne quaesieris (Ode I: XI) and Vides ut alta (Ode I: IX).

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Poem: Petit Testament

About time we had another poem by Australian modernist, Ern Malley (Liverpool, UK 1918   1943 Sydney, Australia).  That Malley was not an existential being does not make his poetry any less powerful.

Petit Testament

In the twenty-fifth year of my age
I find myself to be a dromedary
That has run short of water between
One oasis and the next mirage
And having despaired of ever
Making my obsessions intelligible
I am content at last to be
The sole clerk of my metamorphoses.
Begin here:

In the year 1943
I resigned to the living all collateral images
Reserving to myself a man’s
Inalienable right to be sad
At his own funeral.
(Here the peacock blinks the eyes
of his multipennate tail.)
In the same year
I said to my love (who is living)
Dear we shall never be that verb
Perched on the sole Arabian Tree
Not having learnt in our green age to forget
The sins that flow between the hands and feet
(Here the Tree weeps gum tears
Which are also real: I tell you
These things are real)
So I forced a parting
Scrubbing my few dingy words to brightness.

Where I have lived
The bed-bug sleeps in the seam, the cockroach
Inhabits the crack and the careful spider
Spins his aphorisms in the comer.
I have heard them shout in the streets
The chiliasms of the Socialist Reich
And in the magazines I have read
The Popular Front-to-Back.
But where I have lived
Spain weeps in the gutters of Footscray
Guernica is the ticking of the clock
The nightmare has become real, not as belief
But in the scrub-typhus of Mubo.

It is something to be at last speaking
Though in this No-Man’s-language appropriate
Only to No-Man’s-Land.
Set this down too:
I have pursued rhyme, image, and metre,
Known all the clefts in which the foot may stick,
Stumbled often, stammered,
But in time the fading voice grows wise
And seizing the co-ordinates of all existence
Traces the inevitable graph
And in conclusion:
There is a moment when the pelvis
Explodes like a grenade. I
Who have lived in the shadow that each act
Casts on the next act now emerge
As loyal as the thistle that in session
Puffs its full seed upon the indicative air.
I have split the infinite. Beyond is anything.

 

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Mnemosyne

Ljova and the Kontraband have today released a video of their song, Mnemosyne, a setting of the poem by Joe Stickney which I posted here.  I mentioned listening to their superb album here.  

The evocative video uses footage from Ilya Khrjanovsky’s film 4, and is available here.