Doubleplusungood

Lament

Lament


Here now, it’s hard to believe this place –
yellowed wallpaper, towels hung over
every decent lager except the guest –
is where we first met and that blur

of brilliance – a world from this pint
and the torn fabric of a duff pool table –
meant the next week, the next fortnight,
were the closest things ever get to simple.

So if this is how I know us, want us –
the two who clicked on an understanding
of close as close to sparseness, bluntness –
then that’s why, aware or drifting,

I’ve come to sit in this selfsame chair,
selfsame spot; listening to the traffic
which you must be a part of, somewhere,
pitched as it is among frantic and Orphic

while one by one the pigeons flutter off;
draining the glass and closing my book
as the lights click on, someone coughs,
and the place is good as lost, however I look.



Ben Wilkinson

Review: Paul Henry's The Brittle Sea: New and Selected Poems

As the poet-critic Nick Laird recently pointed out in a review of the poet’s letters, the influence of Louis MacNeice is everywhere in contemporary poetry. His sprightly, masterly way with form and his sprawling themes – the blurring of past and present, personal and public, darkness and light – have made an impact on some of the best-known British and Irish poets currently writing. Paul Henry may be an unfamiliar name to some, but like the work of many of his better-known contemporaries, The Brittle Sea, his new and selected poems, owes much to the Belfast-born “laureate of in-between-ness”. This hefty volume takes in twenty-odd years’ worth of work, selections from five collections and a batch of new poems, yet like an intricate Venn diagram, all are linked by their abiding themes: how the past haunts the present, and how people and places change, as do our relationships with them.

Despite their MacNeice-ish content and formal bent, however, stylistically Henry’s poems are often expressionistic, even symbolist. Early pieces such as “Double Act” and “Love Birds” – both about couples making the most of the hand that life has dealt them – combine suggestive images and wordplay with short lines, oblique clauses and a subtle music. In the more reflective, avowedly lyrical poems, this restraint and exactitude remain, serving to reign in sentiment and keep self-indulgence in check. “The Visitors”, a sequence from Henry’s third collection, The Milk Thief, conjures female relatives from the poet’s childhood with eerie concision, while “Between Two Bridges”, in which the poet stalks his younger self around a changing city, employs a similar matter-of-factness:

Wind scales the river in its mud.
It squirms and pirouettes to the tide’s score –
dance of a reptile, forging its cast in silt.

Here comes a friendly stray, with marble eyes.
And here, someone’s ditched a fridge. Boats
ghost-boats, Anon’s boarded up work …

The effect can be gripping, but Henry can go too far in his attempt to avoid solipsism: cloaking personal intimations in a wilful mysteriousness that leaves the reader behind. It is the new, previously uncollected poems that best strike a balance between the emotive and the clinical, often with formal skill and time and space-bending panache to boot. Here, a “gap between the railings” becomes “thirty-five years” and a meeting room sprouts wheels, sending us “through tunnel after tunnel”: the imaginative leaps justified, the emotional reach profound. They represent the best work of a lyric poet who deserves a wider readership.

first published in the Times Literary Supplement

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Young British Poets in The Manhattan Review

An interesting, varied and substantial biannual publication, The Manhattan Review has long been featuring exciting work by leading American, British and international poets alike, from John Burnside to D Nurkse, Pascale Petit to Les Murray, Ruth Fainlight to David Constantine, George Szirtes to Penelope Shuttle, and of course the late, great Peter Redgrove, who remained a regular contributor until his passing.

But of special interest in the latest issue, as well as work by Tim Liardet, John Kinsella, Polish poet Julia Hartwig and a number of those listed above, is an important feature – something of a welcome, occasional aspect of the publication, taking stock of trends and developments in contemporary poetry across the globe – in this instance, ‘Seventeen Young British Poets’, edited and introduced by Todd Swift.

As a successful editor – having put together Poetry Nation and 101 Poets Against the War, both of which featured a broad, eclectic sweep of established and emerging poets, as well as the Life Lines: Poets for Oxfam recordings – Swift’s selection is a thoughtful one, and his understanding of British poetry as a partial outsider (a Canadian living in London, both British and North American influences are much in evidence in his own poetic sensibility and attitudes) makes his introduction and its justifications an intelligently written and largely convincing read. The seventeen poets featured, then, are a selection of those which both Swift and co-selector Philip Fried (longstanding editor of The Manhattan Review) suggest are currently most successfully drawing from, developing upon, and in rich conversation with the complex poetic ‘schools’ that precede them, most obviously the British lyric tradition (whose current talented practitioners, as Swift notes, include Sean O’Brien, Don Paterson, Roddy Lumsden, George Szirtes, and Hugo Williams) and the more modernist-influenced British avant-garde, whose linguistically interrogative approach is perhaps best exemplified in the work of J.H. Prynne.

Though bold and, as with all such predictions, less than certain, then, the central claim to the selection is not an unreasonable one: that ‘every one of these poets would likely be found on a list of the thirty most impressive, or original, new younger writers to start publishing in the 21st century’. So who are these poets? They range from the lyrically gifted Jacob Polley to the linguistically dextrous Daljit Nagra, and span from recent Eric Gregory Award winners and other emerging voices to those whose recent prize-winning books are slowly helping to reshape, develop and evolve British poetry today. Among them are the playfully inventive wit of Luke Kennard, the quirky and fresh lyricism of Emily Berry, and the markedly contemporary suburban tales of Kathryn Simmonds. They are seventeen poets at varying stages of their still collectively early development as writers, and this feature gives a taste of their early output with two new poems by each, something which, to The Manhattan Review’s great credit, few other magazines have the space or ambition for (also worth mentioning are its regularly featured lengthy essays on contemporary poetry, as in the current issue’s ‘Smuggled Under the Threshold of Listening: Encountering Alice Oswald’).

It’s well worth picking up a copy of the Fall/Winter 2008/9 edition, then, which can be ordered from the magazine’s website here, not only for the important and interesting Young British Poets feature itself, but to sample the poems, essays and translations of a publication worth subscribing to.

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Mick Imlah: The Lost Leader

His first collection of poems in twenty years (since the acclaimed Birthmarks in 1988), and Mick Imlah's new Faber volume, The Lost Leader, is sure to be one of the most significant poetry books published this year. In this weekend's Guardian, Peter McDonald reviews it.