A Glimpse of What Hovers: Just a Moment by Ian House

house sunflowers

I’m sometimes a little suspicious of ekphrasis. I’m not sure why but I think it is related to a feeling I get that it is used for one of two reasons: either because the poet has run out of ideas of their own or they are showing off their knowledge and understanding of another artist’s work. A third reason might be that they are practising their own craft by tapping into the craft of another – there is nothing wrong with that of course, although it would seem more appropriate in a creative writing workshop than a published collection. I have similar suspicions about the use of extensive epigraphs and in-text allusion. A little cynical? Maybe. And I should say that as a poet I use ekphrasis, epigraphs and allusion as much as the next person, so it’s hypocritical too. Furthermore, there are countless examples of wonderful ekphrastic (and art- or artist-inspired) poetry online and in print, some of which I have blogged about before, for example this piece I wrote on Sasha Dugdale’s incredible ‘Welfare Handbook’ towards the end of last year. I mention my suspicions here only to acknowledge some of the prejudices I brought to my reading of Ian House’s New and Selected Poems, recently published by Two Rivers Press, and to add emphasis to the delight I found in having my suspicions in this case blown to smithereens.

To say that House’s poetry embraces ekphrasis does not do justice to what has clearly been a life’s project for him. His work, I think, transcends the very idea of ekphrastic poetry and finds instead an expression of the symbiosis of life and art. Yes, he describes visual works of art, as traditional ekphrasis would, and he does so beautfully, as in his central sequence of seven poems based on the paintings of Paul Nash ‘It Must Change’: e.g. “blazing yellows and oranges / intenser than all imagining / fierce as a fusion reactor / self-unsparing self-consuming / the sunflower hurtles downhill” from the sixth poem in the sequence (‘It Must Burn’). But many of his poems are not descriptions as much as contemplations and digressions, as in ‘Now You See It’, inspired by Ai Weiwei’s 1995 triptych ‘Dropping a Han Dynasty Urn’ in which House recreates the heartbreaking descent towards the ground of a priceless work of art before questioning our reaction as viewers (“Couldn’t you admire the man / who had the balls…?”) and then proposing a way of understanding the problems surrounding Weiwei’s paradoxically iconoclastic artwork (“We… / wanted someone to tell us / … / that we share no genes with the millions / who’ve shattered statues, burned books.”). On other occasions, the artwork is used as a point of departure from which to bury into a moment or a relationship from the poet’s (perhaps I should say the speaker’s) past: “When I came across Magritte’s L’histoire centrale, / the long, dumb wail,” he writes in a poem called ‘L’histoire centrale’, “there was no reason on earth it reminded me / of you”. The irony here of course is that the painting clearly does remind the speaker of the ‘you’ and their perhaps brief moments together outside the Rudolfinum concert hall in Prague, and so Magritte’s depiction of a “woman with the grey cloth over her head” and her suitcase which may or may not contain “louche / camisoles, canaries, cinnamon (and an) odour / of excitable gunpowder” becomes charged with the unspoken sexuality of a ‘brief encounter’ and a certain film-noiresque danger (via German Expressionism) which allows House to suggest a depth to the speaker’s relationship – however brief – with his interlocutor, and a profundity to his regret, that could not have been achieved without his use of allusion and ekphrasis.

Even when casting back to his childhood in ‘The Harbingers’ the first of the ‘new’ poems (which take up a good two-thirds of this ‘new and selected’) House recalls an early experience at an outside performance of ‘As You Like It’ in which his ten-year-old self is alert to the “shiver of leaves” which anticipates Orlando’s arrival through the “twilight and greenwood”. He takes this moment as representative (at least “a hint of a sense”) of the engagement with art as a way of understanding the world which has, it seems, remained with him throughout his life. He describes it succinctly and beautifully as “a glimpse of what hovers, / of what’s beyond presence”; but then takes it further with a stanza which I think goes to the heart of his poetic project: “and may be disclosed / in the unforeseen moment / by a tree or a smile or a chair”. It is this movement from ‘tree’ (natural/non-human) to ‘smile’ (natural/human) to ‘chair’ (a combination of the natural/non-human with the natural/human resulting in something non-natural/non-human but paradoxically both natural and human, i.e. art) which I think speaks to a complexity in man’s relationship with art which, were it not so precisely described by House, would approach the Spiritual. He concludes the poem with a stanza that captures the purity and peace he finds in art which many might turn to religion in order to locate (“a glass of water, say, / simply that, a volume / limpid and still.”) The double-meaning of “volume”, of course, is not lost here.

Elsewhere, House engages with the life and work of artists as diverse as Baudelaire, Wallace Stevens, Ovid, Kazimir Malevich, Djambawa Marawili and Gogol. And what a pleasure it is to be introduced in some cases to creative minds you have never heard of before, and in others to be reintroduced as though for the first time.

As ever when writing a review it is more difficult to decide what to leave out than what to include, but there are two further aspects of House’s work I would be very remiss not to mention.

The first is that, for all this talk of art and ekphrasis, House also writes beautifully about nature, and often surprisingly aswell, particularly in the selection from 2014’s Nothing’s Lost (“How sexy bream are” he declares in ‘Silver Bream’, “industrious lap dancers / in slinky chainmail”!). This is illustrated also in the following stanza from ‘Peregrine’, which also displays the poet’s abilty to bring that viscral and startling vision of nature back to his central artistic theme, leaving us with a heightened sense of both:

Not for her the hawk’s swerve
to the tossed gobbet. She’ll biff
a rook like a bullet, grab and rip
like a machine, strip life
to the bone, like poetry.

The colloquial and dated ‘biff’ is the surprise here, but paired with the more traditional ‘bullet’ it evokes perfectly the precision and blunt power of a falcon’s mid-air attack, and a further surprise is to have the violence of this attack compared to poetry, “strip(ping) life / to the bone”; but that really is what poetry does, isn’t it?

My second point will probably already be clear from what I have said above, but it is worth stating overtly: these are poems of great technical skill which balance form and content extremely thoughtfully. To illustrate this I will return to ‘L’histoire centrale’ from Cutting the Quick (2005). The content I have already mentioned, but it is worth pausing over the way the rhyme scheme forms a sort of vertical bracket around the poem’s ‘central story’ i.e. the “me” and “you” which end the lines of the fifth (of ten) couplets. The “head” of line one is reflected back in the “lead” of line twenty, as the “tuba” of line two returns in the “rubber” of line nineteen; and then the ‘almost’ semi-rhyme (suitcase/louche) in the second couplet is set against the ‘almost’ visual rhyme (Prague/rouge) in the penultimate. Between these rhymes the cetral protagonists are cushioned on either side by lovely and imaginative slant-rhyming: odour/powder, centrale/wail, mine/rain, hall/swell, and Don Giovanni/alchemy. I submit that the rhyme structure of the poem protects a valued memory as though it were encased in the heart’s india-rubber, as “whispered” by the speaker’s partner by the “twinkly Vltava” in the final couplet.

And I would furthermore submit this poem (see in full below) as evidence that in taking a lifelong engagement with visual and literary art as inspiration, Ian House has created his own, quite astonishing, works of art.

L’histoire centrale

The woman with the grey cloth over her head,
one hand behind a tuba,

has no need of the reticent suitcase
and its cargo of, let’s say, louche

camisoles, canaries, cinnamon, its odour
of excitable gunpowder.

When I came across Magritte’s L’histoire centrale,
the long, dumb wail,

there was no reason on earth it reminded me
of you

plaiting your words with mine
as we watched the skirmishing rain

from the door of the Rudolfinum concert hall
while Brahms and Mahler’s swell

drained through talk of Don Giovanni,
Arcimboldo, Rosicrucian alchemy

to beer and the backstreets of Prague.
The streetlights splotched your rouge.

You whispered that the heart was india-rubber.
The twinkly Vltava was sheeted lead.

You can buy Just A Moment from Two Rivers Press, here.

Small Hopes: Island of Towers by Clarissa Aykroyd


There is a short poem towards the middle of Clarissa Aykroyd’s debut pamphlet Island of Towers which is called ‘Lighthouse’ and in which an island and its lighthouse are metaphors for a person sighing and sobbing in their sleep. In three brief couplets (the third separated from the first two by a couplet-sized blank space, perhaps indicating the eclipse between flashes from the lighthouse) we get a powerful impression that the sleeper is lost in their own darkness, one more profound than the dark of night or sleep. “Morning hasn’t come” we are told, as though it should be here by now but has failed to arrive. Whatever this sleeper’s darkness is, it remains despite the fact that “the lighthouse lifts so high, (and) the island / streams with light”.
This image of an island with a tower sending its searching light out into the unknown is not only towards the centre of the collection in terms of sequencing; it feels, in fact, as though each poem exists while briefly lit by some central illuminating force (the reader’s eyes? the poet’s pen?) before disappearing back into the mystery of the unknown. That is not to say that the poems are unmemorable, the opposite is true and some of the images are wonderfully startling, such as the “green-eyed cat /…crossing no-man’s land to me/delicately carrying a fish.” (“Leningrad Spy Story”), but that there is much in Island of Towers to imply a search for some kind of light (I read this, in line with the lighthouse metaphor, as the reflected light of the poet’s ruminations – I don’t find anything to imply that it is the Light of religion; the searched-for light seems more likely to stand for ‘tranquillity’ if not quite ‘understanding’). With each poem failing to reflect the desired light, the poet moves on to the next, until the final two poems ‘Stained Glass’ and ‘Wicklow Mountains After Rain’, which both shine vividly, glaringly almost, with “white gold light” and “brushstrokes of gold”. But there is, it seems, no revelatory sense of ‘seeing the light’ because even in these final poems the light is either illusory (“this is fire that lulls to sleep”) or overwhelming (“I tried to grasp it, ran out but lost it”). Light is also blinding (“light blinds dark in fathoms” – ‘An Eye, Open’) and possibly damaging, like a stain on the retina (“And this is leaving, carrying the flash/behind my eyes, into the dark outside.” – ‘Dakar’). And so ultimately, a sense of mystery remains. It may be that the short sequence of Sherlock Holmes poems (and I happen to know that Aykroyd is an enthusiastic Holmesian) are a nod towards the sense of joy and adventure inherent in trying to solve a possibly unsolvable mystery.
I said above that each poem fails to reflect the desired light, but this is not a failing of the poems as much as the effect of each one being part of an ongoing journey (and perhaps a circular one, as in the sad and dizzying ‘Carousel’). Indeed, almost all of the poems are inspired by, named after, or contain references to specific locations around the world but this could not be described as a Poetry of Place because the places described are shrouded in darkness, internalised as ‘dream-worlds’, or expressed in terms of the ‘not-quite-arrived’ or the ‘just-leaving’ (“island to island, stone to stone” – Night on Cook Street’) – and usually all of these at the same time. Looked at from one angle, the titular “island of towers” is Cairo (from the poem of that name), but it could equally stand for any of the cities, ancient and modern, that this pamphlet ‘visits’. It does not take too great a leap of imagination to see the buildings of a city as an island rising out of the surrounding flatness, and every city sends out its own light streaming into the darkness – both actual electric light and the metaphorical light of life and culture. But in a sense, and more interesting to me, every poem in the pamphlet is a little island in itself, each with its own faint source of light, and the poet/reader becomes like the ‘he’ of the first poem, ‘As though we lived falling out of the skin into the soul’ (presumably the poem’s dedicatee Ivo Machado), who “…had to fly into the storm because there was nothing but storm”, but who still found and expressed a sense of positivity for the future in all the darkness and despair, “small hopes, each a distant light” – these distant lights are stars, island towers, and poems.
To conclude this brief review, Island of Towers is a pamphlet which finds space, in its twenty-three short poems, to mystify and beguile with the beautiful surrealism of an “invisible rainforest” in a London Underground station where “a girl in a long black dress / has one hand uplifted” and on her finger a jewel, or “a ladybird/…stars her finger” while “Her green eyes bloom like gardens” (‘Northern Line’), and elsewhere to guide the reader, through exquisite word-choice over just seven lines, towards the life, work and tragic suicide of Paul Celan, in a poem which unostentatiously displays a profound connection with Celan and ends with the unforgettable image of an “…impossible bone spur on my heart” (‘In Paris’).
But I would recommend this pamphlet above all, in these months during which we are overwhelmed by COVID-19, for the distant lights it provides, the small hopes.

Island of Towers is available from Broken Sleep Books, here.

Clarissa Aykroyd blogs on various poetry matters, here, at The Stone and the Star.

Disclosure: I know the poet a little through Twitter and we have found that we agree on a number of poetry-related issues. If this affects any of the above review, I am unaware of it.

White Poets & ‘Usefulness’

white & useful

Part One

Danez Smith recently said something in the Guardian which caught my attention. They said: “I want my work to be useful”.

This is hardly controversial and is, I have always presumed, what many poets and artists in general feel about their work, but what struck me immediately was how rarely I have actually heard anyone express it. The only other example I could think of was Denise Riley speaking about how her work in Time Lived, Without its Flow seemed “needed”. As I ruminated on this, and as I thought about the poetry I have read over the years, I started to question my original presumption. A lot of poetry discusses complex issues, holds difficult emotions and situations in unusual lights to help us see them and begin to understand how to deal with them, it allows us new ‘ways of seeing’ to use the old phrase, so I suppose to that extent it is useful. But do poets write to be useful? Or do they write to help themselves through something, or simply to express something they feel the need to express? Or (less generously) to hit the right topics, the ones that will get them published and be popular with the poetry reading public? Or to display their skill, their craft? Or to consolidate their position in the ‘Canon’ (whatever that is) and be remembered by future generations? ‘All, some, or none of these’ is the obvious and not particularly helpful answer. And perhaps motivation is not the point anyway – poetry written for all the above reasons might still be useful to any given reader. But if I’m writing poetry, I also want to be able to say it is useful, and I want to write it to be useful, actively useful in real sense.

So this brings me back to Danez Smith, a black poet writing for black people in their new book Homie, but for a wider, whiter audience in their award-winning Don’t Call Us Dead. Smith’s work is clearly useful in giving voice to an uncompromising and clear-sighted black anger that white audiences need to hear, to rattle the bars of institutional racism. In the US, Smith’s voice is not alone: Claudia Rankine, Terrance Hayes, Jericho Brown, Ocean Vuong, Don Mee Choi are just the names which come immediately to mind. All of them writers of colour writing ugently and ‘usefully’. Their voices are useful not only because of their individual talent, power and beauty, but because of the minority perspective they bring to the majority, dominant – let’s face it, white – culture. They challenge traditional and patriarchal forms (what Audre Lorde called “the word games of the white fathers”), they oppose the white male gaze, they extend what the culture of a white-dominant country is capable of encapsulating and expressing, and for all these reasons and more their poetry might actively make a difference to society. There are voices in the UK about which we could say the same: Jay Bernard, Vahni Capildeo, Sarah Howe, Kei Miller, Mary Jean Chan, again these are just the first names that pop into my head.

These are dynamic, vital voices. ‘Useful’ ones. But could a white poet write usefully about race? I don’t know of any who have tried, or at least who have tried and been published. It would clearly be a risky endeavour (see Part Two below) not least because if too many white poets did try and did get published on race, they would ultimately be likely to drown out the voices of colour and end up working to uphold the very structures that the work of their BAME peers challenges. But there are compelling reasons why a white poetry of race (a genuinely self-reflecting one) could have a ‘useful’ role to play. To provide a background on why I think this is the case, I would recommend two American texts in the first instance, White Fragility by sociologist Robin DiAngelo, and this thoughtful piece from The American Poetry Review by poet Joy Katz ‘Awake In The Scratchy Dark: On Writing Whiteness’. These texts are focused on American experience, but I haven’t found any specific to the UK (which is interesting in itself) and although there are differences, I think the similarities are sufficient to make them relevant here aswell. Part Two of this blog is about how difficult, as well as potentially risky, it is for a white person to write about race and – because I’m writing from the UK – about empire (from which British structural racism is inseparable).

Part Two

I’ve spent the last year and more attempting to write poems about race and the legacy of empire in the UK. Some of these have been okay, some pretty good, some terrible; all of them remain unpublished at the time of writing, and I’ve never posted any of them on my blog. Without looking for an “Aww, you poor lamb”, I must say, it’s not easy for a white person to write honestly about race and empire in the UK. I’m sure it’s not easy for anyone, but I’m white and so that is what I’m qualified to talk about. Why isn’t it easy? Well, on one level of course it’s obvious to say that published white poets, or white poets who want to get published, are nervous about saying the wrong thing and ending up actually getting something published which then prompts a career-ending twitterstorm and blaze of publicity. This is true – and I imagine editors have similar nerves around any white-written, race-based submissions they may have received (not all publicity is good publicity, if that myth was not debunked before social media came along, it surely is now) but it’s a bit poor, isn’t it? I mean, the nerves are understandable, there really is a lot of senstivity and anger around this issue, but let’s not be cowardly: white attitudes to race and empire matter, if only because those voices which represent and constitute the hegemon need to change if anything is going to change. There’s another obvious reason, too, this: white liberal/left poets (I’m not sure I need the slashed adjectives here – pretty much all UK poets fall somewhere on that spectrum, don’t they?) are likely to feel that white voices should not be cluttering up the spaces where voices of colour need to be heard more. They (I should say we) are quite right about this, but again I don’t think it will quite do. As Reni Eddo-Lodge pointed out in ‘Why I’m No Longer Talking to White People about Race’, white people will never be ready to talk to people of colour about race and ongoing structural racism – and therefore begin addressing social change – until they are able to talk to each other about it openly and honestly. It seems to me that poetry, with its capacity for concise and acute self-reflection is the ideal place to start doing this. A third reason might be that white poets genuinely don’t think we have anything to add on this issue, that we should step back and allow poets of colour to say what needs to be said because racism happens to them, not us. For a third time: this is not good enough. As DiAngelo says, thinking that racism is only an issue for people of colour is a classic internalised strategy for deflecting responsibilty. Beneficiaries of power rarely notice that they are beneficiaries at all, and those who have always stood at the podium cannot always see that they have been artificially elevated above the crowd. Until the present generation of black and Asian and mixed-race voices came of age and began speaking with clarity and strength, voices of colour, although they were there (and strong, clearly, you only need to think of Benjamin Zephaniah), they were relatively easy for the ‘85%’ to ignore, simply because they were not present in any numbers. This, I think, is no longer the case. Demographics are changing. We, white people, have to think through who we are and how we got here – and to talk it through.

But there is another difficulty for the white poet, a more profound one, and that is the fact that genuine self-reflection, which engages with a diversity of voices on national history, and which takes in all the many and deep ramifications of skin colour, family history, cultural memory and social structures, and which listens to and believes experiences which might seem peripheral to one’s own, and which sees the connections between all these things and is able to relate them back to the self, all this is likely to be painful. It will be easier for the white poet, no doubt, to feel (or perhaps to appropriate) the anger felt by many people of colour, and to aim that anger outwards, self-righteously positioning ourselves as ‘in-solidarity-with’. That is one response. No one wants to align themselves with the oppressor. But more difficult is looking inwards and being prepared to find and accept various levels of privilege, ingrained racism, denial and, yes, fragility. That a white poet will find these is almost beyond doubt, and when we do (this is the really tricky part) we will need to decide what to do about it.

Activism is not the purpose of this blog, poetry is, but I feel increasingly convinced that there is an area – not in the anthem (“Rise, like lions after slumber/In unvanquishable number”), and not necessarily in the poetry of protest (“The furious young/ran towards her through the fields of wheat”) – but somewhere less defined where these two, activism and poetry, cross. I believe the arts can act most effectively at a level below that of protest and anthem, at a level of collective cultural awareness and ultimately memory, where it can operate to either strengthen existing social structures or question and challenge them. I am far from an expert on Cultural Theory and so I would be surprised if this is anything revolutionary, but it is where I come back to what I said in Part One about being actively useful – I am advocating poetry as activism at the level of cultural memory.

I wouldn’t normally post my own poems as part of an essay on my blog, but in Part Three I will, in order to illustrate ways in which poetry might at least try to self-reflect on the legacy of race and empire. I’m not arguing for the quality of the poems, just for their attempt, in the ways described above, to be useful:

Part Three

Three Poems

white & useful poem 1


white & useful poem 2


white & useful poem 3


Some reading/listening that has informed this post:

Why I’m No Longer Talking to White People about Race – Reni Eddo-Lodge
White Fragility – Robin DiAngelo
Natives: Race and Class in the Ruins of Empire – Akala
Capitalism and Slavery – Eric Williams
The Anarchy – William Dalrymple
We Need to Talk About the British Empire – Afua Hirsch (6-part Audible series)
Your Silence Will Not Protect You – Audre Lorde
Awake In The Scratchy Dark: On Writing Whiteness – Joy Katz (article, in The American Poetry Review)

Guilt and Symbols: I beheld Satan as lightning fall from heauen by Steve Ely



I beheld Satan as lightning fall from heauen (New Walk Editions) is my first foray into the work of Steve Ely and I came away from my initial two or three readings feeling as though I had been shoved up against a wall by Tom Hardy in one of his more intense roles. I mean this in a good way. Ely’s pamphlet is an utterly compelling “Improvisation on Luke X” which maintains throughout its thirteen poems the extemporaneous power of a 19th century preacher in full flow. Ely does not preach the Word of God, however, but the bleak, apocalyptic ‘word’ of a guilt-ridden individual reflecting on his feelings and behaviour in relation to the miscarriage, many years previously, of a son he never really wanted. As in any poetry, we should be wary of equating the speaker with the poet himself, although as the pamphlet is dedicated to “a little boy and a little girl” and the surviving children are named as Briony and Elliot in the first poem, I think we are encouraged to assume that Ely is speaking as himself. And as such, these poems are remarkably frank explorations of the male psyche in relation to tensions between parental responsibility and paternal selfishness, and the intense remorse resulting from prioritising the latter over the former (…I shattered your joy / by proposing you have an abortion: a donkey kick / to the bleating womb, life offered sent bewildered back” ‘Exsultet’). The poet’s guilt is presented as if laid out on a table for dissection – although a better analogy might be a prisoner strapped to a rack for slow torture: the remorse to which the poems give expression is profound to the point of ostentatious. But the accusation of self-flagellation would belittle Ely’s project for two reasons I think. The first is that a genuine study of remorse must engage with both the remorseful and the remorseless, and the disturbing world opened up here lies right at the intersection between the two – like the lightning, that Talmudic “crack between worlds” of the title poem, through which a demon falls. Ely neither spares nor forgives himself (“You cannot / be redeemed” ‘Capernaum’) but forgiveness would be beside the point as coming to terms with his actions and emotions would close the door he has opened on a world so hideous that it is one into which he, with his intense self-loathing, fits perfectly. The second reason is that these poems are not simply a critique of the poet’s own shortcomings as a man and a father, but rather, the world to which his personal sense of guilt allows him access also acts as a surrogate vision of a bleak, violent and soulless wider world (the first two-thirds of the title poem is comprised of a list of tragic and despicable world events that took place in 1995, the year of the miscarriage). To forgive himself, therefore, would be to forgive us all; and that’s not going to happen.

Ely’s particular power comes from the technical dexterity with which he wields a King James biblical register and imagery alongside a cold, scientific vocabulary, the two worlds colliding much as Heaven and Hell might been seen to collide on Earth: “Nothing / begat physics     begat chemistry     begat biology / begat consciousness       begat self-consciousness / begat       physics and chemistry and biology / and consciousness and self-consciousness and /           Nothing. /      The four fundamental forces: / the quintessential fifth – a dark matter. /       The haploid cell, a cold spark of soul / awaiting ignition; the diploid cell, the lit pleroma.” (‘A Dog Speculates on the Mind of Newton’ – formatting approximated) This confident and skilful juxtaposing of worlds has an interesting effect, which I would say is in a sense ‘masculine’: there is a fearless facing (or at least the perception of facing) of Truth. These poems stand up and meet both Religion and Science eye-to-eye. To me this is similar to the tough-minded Richard Dawkins-style atheism which also has its own self-perception as ‘combative’ and ‘manly’ (Ely sees this I think and out-Dawkinses Dawkins with the line “Dawkinsian dope / of awe and wonder can’t numb us to the horror” (‘A Dog Speculates on the Mind of Newton’). The speaker of the title poem also sees himself, in his growing mid-1990s political awareness, as some kind of movie or computer-game assassin (“I taped a machete between my shoulder blades”), while the speaker of the final poem, ‘Haec Nox Est’, steps willingly (and bravely?) “from the cliff into the ocean’s / up-thrust, and plummet(s) in the darkness”. All of this is a dry-eyed acceptance of what must be accepted. Like a warrior facing death, the poet must accept the never-ending horror of his own guilt. But that’s not quite all; at two points we see a softening of the hard outer-shell. The first is in the wording of the dedication already quoted: “To a little girl and a little boy”, this is the voice of a loving father: not “To my children” or some other formation – this wording accentuates their smallness and their anonymity (they may after all not be the children in the first poem, despite what I said earlier) the one emphasising their need for protection and the other attempting to provide it. That there is tenderness here is undeniable, and that it comes at the beginning of all the bleak anguish which follows makes it all the more moving. The second moment of shell-softening is in the final stanza of ‘Ego te Absolvo’ where the repetition of the conditional past “wish” acknowledges, for once, the desire for a different outcome, in other words the poet relinquishes his embrace of his own guilt for a short moment before seeming to shake away the thought and returning to the unchangeable reality of the Now: “I wish he had been born / I wish he was twenty-three. I wish I had not hurt / his mother, that she did not know her sadness. /     I wished it. It probably made no difference. / I wish it. / It makes no difference.”

The poet draws on an almost obscene range of sources for a mere twenty-two pages of poetry. Apart from the obvious biblical references and immanent spirits of Milton and Blake, whose shades permeate everything, Ely quotes from or alludes to Egyptian hieroglyphs, the Talmud, the Nation of Islam, Nietzsche, Aleister Crowley, Charles Darwin, Albrecht Dürer, the American TV drama True Detective…and on and on. But they are all helpfully elucidated in the notes at the back, and there is no sense of ‘allusion for allusion’s sake’; the world Ely is conjuring here is one which requires the whole historic weight of western spiritual thought behind it. That is the point I think, that all this symbolism and search for meaning must come together in one man’s single regret: that he wished for his son’s death, and the wish came true. By drenching himself in allusion both he and his son together join their symbolic hosts in the Poetic Eternal (for want of a better phrase): “a flaming man / and a flaming child, with angels falling” (‘Haec Nox Est’). Perhaps if redemption is to be found anywhere in Ely’s dark landscape, it is here.

I should say, it’s not a pamphlet for the faint-hearted, and parts of it might be difficult for someone who has lost a child or suffered a miscarriage; there are lines here which seemed designed if not to shock then to jolt readers out of their slumbers (dogmatic or otherwise). I won’t quote them, not because they are so very horrible, but because I don’t want to take them out of context, and my feeling is that the lines which jolted me were all fully justified by their context – in fact I might say made necessary by their context. I’ll say no more on that partly to keep the review from running away with me and partly in the hope that curiosity compels you to pick up a copy of this excellent pamphlet.

You can buy I beheld Satan as lightning fall from heauen  from New Walk Editions, here.

The sea is like this: Odyssey Calling by Vahni Capildeo

odyssey calling

More than anything, Vahni Capildeo’s rich and diverse writing embraces plurality and togetherness; and their new pamphlet from SAD Press, Odyssey Calling, takes the ocean as its central metaphor for the expansive indivisibility of an unknowable, experiential world. I’m not sure if ‘together’ can be verbed (why not!), but togethering seems to be the best way to express Capildeo’s apparent project in this pamphlet, as it was previously and most conspicuously in their most recent full collection Skin Can Hold from Carcanet. There is no segmenting, bordering or othering in the great liquid oneness which covers two thirds of the globe – no single authority in the “flow of blue capillaries” (‘Spindrift Silences’) where there can only be “you” in the “dark room”, but an “only you” who cries “a thousand treasurable cries” and who sometimes finds, in “deeper water” and “emptier silences” that “outsider status drops expected but absent barriers”. “How can you be territorial about the sea?” the speaker asks in part three of the sequence ‘Odyssey Response’ (called, appropriately, ‘The Sea’) and set against this of course is the by-definition-territorial land, where there are both divisions and power relations (“people / who have power of health and employment over us”) but over which Capildeo invokes language as powerful transformative and levelling force (“as if lawyers were angels…as if death / were…an infinite set of paper doll kings / of terror, cancelled by a gentle fiery sword”). Words bring with them the same togethering that water brings, thus in part one of ‘Odyssey Response’ these lines, extending the Homeric metaphor of ‘winged words’ to unifying effect: “Words, take wing, fly commonly among all people / who share vulnerability on a trembling earth; / who drink, or hope to drink, sweetly, cool water.”

Elsewhere Capildeo sings an appreciation of birds at length in the glorious ‘In Praise of Birds’ and the reader recalls the previous alignment of words with birds and understands that this is also a hymn to language. ‘In Praise of Birds’ offers stanza after stanza celebrating their diversity, metaphorical ubiquity and general oddness (sometimes, in true Capildeo fashion, just revelling in simple birdy wordplay – “In praise of a good turn of cluck”).

As in Skin Can Hold, there is in Odyssey Calling a prose section explaining a group project approaching poetry in an innovative way. This time (perhaps evolving the ‘syntax poem’ reworking of Martin Carter – although I don’t know which came first) the new approach, “Azure Noise and Kinetic Syntax” makes use of a performance space carefully to reduce the pressure of interpretation (especially academic interpretation) on the audience and even discourage any active search for meaning at all – instead creating what Capildeo calls an “active silence”. Layered recordings of contemporary texts contribute, we’re told, to a soundscape that interacts with an audience moving in and out of various zones and multiple performances in a room including “swathes of fabric”, mattresses and sheets and stalls of marbles and other “simple lustrous things”. At the same time Capildeo reads “water poems” (an example of which presumably is what follows the prose section, quoted earlier, the beautiful ‘Spindrift Silences’), they read “softly, so the audience could choose their level of engagement”. All of this reflects the pamphlet’s overall sense of togethering: the individual here (poet, audience) does not exist in isolation either from the poetry or from the rest of the world, poetry is not me and mine, but us and ours.

As always in Capildeo, nothing is entirely straightforward, and the richly metaphorical ocean contains far more than a single simple reading, it also “covers over” and conceals, causes us to forget – history for example (“Memory is no good / to triumphant civilizations.”), and acts as a highway for Empire-builders and oppressors (“By Zeus, / Time Traveller, if you see Columbus, shoot on sight”) but it is also vulnerable (“The sea needs teeth. – How can there be freedom of the sea without protection?”).

The second of the pamphlet’s two central sequences (the first being ‘Odyssey Response’) is ‘Windrush Reflections’, which places modern and historical voices in two centos alongside the poet’s own voice to work towards a critique of empire, slavery, colonialism, immigration and their relationship to identity. Again, the ocean across which so many have journeyed in hope of a better life is the key metaphor of the piece (its traffic, economy, islands) with a disorientation, confusion, and the betrayal of British colonial subjects reflected in the woozily choppy waters of lines like:

“ …The finish
of those ships overlapping
as ships ineluctably do
with others, keening the curled
wake with a forward-looking wave.
The sea is like this.
What you expect nobody
can expect. What you accept
nobody can’t accept.”

Again, in this sequence it is a plurality of voices, overlapping like the wakes of boats – and perhaps presented in the poem like exhibits at the ‘Songs in a Strange Land’ exhibition in Leeds which prompted one of the poems in the sequence – that seems to concern Capildeo (“these shelves and these selves”). And by bringing them together the poet provides a sense that they are more than the sum of their parts. Maybe it is this discovery of something more in the togetherness of identities than exists in each individual identity that leads us so close, particularly at the end of the pamphlet, to prayer and praise. Birds, coffee (“which crosses the sea”) and the sea itself all come in for special thanks and admiration in this way – and the suggestion of something approaching apotheosis takes us back to both the Greek deities and heroes of ‘Odyssey Response’ and also the first poem in the pamphlet, almost Janet-and-John-like in its charming simplicity, ‘Holy Island’, which asks us, of the seals which have “gone to the other islands”: “What do they sound like? / They sound like ghosts”. There is no God or gods in this holy place – but if you join such ambiguous figures as these absent seals (simultaneously there and not there) in Capildeo’s mysterious and powerful ocean, who knows what you will find.

I say dive in.

You can buy Odyssey Calling from SAD Press, here.

Influences & romanticism in Lantern

sean hewitt lantern

We are going to need poets like Seán Hewitt, and I hope his pamphlet (Lantern, ORB), published last year and soon to be joined by his first full collection (Tongues of Fire, Penguin), proves to be the seed that will grow into a thoughtful, elegant and profound body of work. It is perhaps early to make such grand claims, but there is evidence in Lantern that this will be the case.

I say we are going to need poets like him because Lantern reveals, I think, a moderate romantic, and with the extreme and even radical passions that dominate discourse today, moderate romanticism is something that can help provide much-needed calibration. Among the gifts bequeathed us by the romantics was the ability to look into the darkness and chaos of nature and see not some terrifying ‘other’ to be destroyed or tamed, but instead a reflection of our own feelings and emotions. And it is in this sense that Hewitt’s ‘lantern’ lights a way through the various dark inner-worlds of his poems (“The world is dark/but the wood is full of stars” ‘Wild Garlic’). I wouldn’t be surprised to find that Hewitt has a penchant for Wordsworth, Coleridge et al. but he also deliberately references Christopher Smart (in ‘And I will lay down a votive to my silver birch’), who was thought by Yeats to be the prototypical romantic, while other reviewers have noted the influence of Seamus Heaney, who also has much of the romantic about him, and it is difficult to ignore the aforementioned darkness pervading almost every poem, which is so linked to romantic notions of the sublime (c.f. Edmund Burke). Yet a potential to lurch towards the unbridled passions and uber-sensibility of the Gothic is a concomitant danger of the romantic, along with the tendency towards ‘Utopias’ (both left and right) of which WH Auden was so aware in his famous criticisms of Shelley, Wordsworth and Byron. Politically, it could be argued, we live increasingly in a world of the romantically motivated extremes Auden feared. It seems important therefore that the heart is tempered by the head. This is where Hewitt’s moderate romanticism is welcome, and it can be seen in some of the other influences and references in Lantern. The first comes right at the beginning of the opening poem, ‘Leaf’: “for woods are forms of grief/grown from the earth” which, while casting forward structurally to the Smart poem, also clearly references Philip Larkin, who says, in ‘The Trees’: “Their greenness is a kind of grief”. Larkin does not tend to be thought of as romantic, although John Bayley (LRB, 5th May, 1983) pointed towards the similarities between him and Keats, but this early reference indicates a ‘Movement-influenced’ element in Hewitt’s writing: Thom Gunn is also there in the gay physicality, and so is Elizabeth Jennings in the many beautiful religious phrases and allusions (I would direct the reader to some of Jennings’ later poems such as ‘Among the Stars’ and ‘Walking in the Dark’ for comparison with the beautiful ‘Härskogen’), although we also find an idiom at times close to wonderful Hopkins pastiche: “glory be to the näckros, naked rose” (‘Waterlily’). One of the pamphlet’s most powerful moments occurs in ‘Dryad’, where the eroticism of woodland sexual encounters (“acts of secret worship”) leads, through a “perfect symmetry” between a lover’s body and trees themselves, to a rhetorical reflection which fuses the natural, the sexual and the religious: “But then/what is a tree, or a plant, if not an act/of kneeling to the earth, a way of bidding//the water to move, of taking in the mouth/the inner part of the world and coaxing it out.” I submit this sentence as evidence that Hewitt’s writing is more than the sum of its influences; there is something new and interesting here which is his alone. Such poetic moments, where the speaker appears to turn declaratively straight towards the reader, can come over as disappointing cod profundity, but here we see such a skilful weaving of the romantic with the erotic (the romantic subverted, we might say, by the erotic; with the latter then subverted itself by the religious) that the sentence yields insight on multiple levels. The mode is echoed in ‘Dryad’s partner piece, ‘Kyrie’ (“and what is a parent to a child but a god/who we turn to when we believe/everything is fixable”) with less individual power but functioning perfectly in tying the two poems together structurally, enhancing the original moment of reflection by over-layering it with the parent child image. The child imagery in the pamphlet deserves more space than I can give it here (if I can realistically expect anyone to make it to the end of my review!), and it is a theme I expect and hope to be developed in Hewitt’s forthcoming collection. I look forward to giving it more thought then.

However, to return to influences, there are other females here too, more obvious perhaps than Jennings. The way Hewitt gets so close physically to nature recalls Alice Oswald, particularly in ‘Häcksjön’ in which the speaker leaps into a forest lake (“for a long moment/I plumb its dark core”) just as the speaker of Dart does into the eponymous river. And against, or perhaps alongside, Oswald sits the Eavan Boland of ‘Anna Liffey’ (“A woman in the doorway of a house”) as the speaker in ‘Kyrie’ stands on the threshold of his house, under a “purple blush of sky” keenly alert to outside sensation: “I stand frozen/by the back door of the quiet house,/trying to listen, receptive but distrusting/my body – the ring of light from the kitchen/over my shoulder…”

In these collaborative-creative times it is easy to be unfair on poets who thank other poets in the ‘Acknowledgements’, looking for and sometimes finding overt influence of those who have been involved with early drafts of the poems. Hewitt mentions Andrew MacMillan, Helen Tookey, Okey Nzelu and Sarah Hymas and, seeing this, those who know their work might find evidence of their guiding hands at times in Lantern. But of course, if Hewitt had not thanked them, we would not have looked and probably not have noticed. There are interesting questions around authorship here, but they certainly don’t only relate to Hewitt’s poetry so I will leave them for another time. And what, we might ask, is influence anyway? Where does it begin and end? Hewitt has written about Henri Cole, Yeats, Hopkins and, particularly, JM Singe. Harold Bloom would no doubt say that the poems in Lantern arise from Hewitt’s anxiety relating to his readings and misreadings of all these poets and more; and that may be so, but the quote we need here is well-known, it is TS Eliot from his discussion of Philip Massinger’s indebtedness to Shakespeare in The Sacred Wood: “One of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different from that from which it was torn; the bad poet throws it into something which has no cohesion.”

We all borrow, then, we who write poetry, published or otherwise; the question is how well we ‘weld our theft’. I have chosen to focus on influence in this review not because I find Hewitt derivative (I hope I make clear above that I don’t) but because, and I repeat, we need him and poets like him who are able to take their wide range of influences and create poetry which is new, compelling, and which speaks wisely in a voice of tempered passion so that we might all be able to see more clearly through our shared darkness.

You can buy Lantern from ORB, here.

As of May 2020, you will be able to buy Tongues of Fire from Penguin, here.

Leviathan Down (poem)


A man face-to-pavement in his own juice rises
Lazarusian over minutes prorogued into hours,
The angel in his raincoats beating him upwards

Like a helium #balloon in a thick grey rag ¶
The mothership of his body has taken a hit,
With every pellet of rain a globule of phlegm#

He spent his whole life hocking into the sky,
Receiving now a baptism of saliva§sliding
And shaking as a newborn calf trembles in

Fluid of a sudden other’s making: the dance of
Amnion, Albion, Albumen, beneath the white
And yellow of the sun ¶ He staggers in his own

Gob’s oil and touches the long unnatural handle,
Gutted and so gutted as his internals, fluttering,
Blink like diodes and spit their last- -he spins

In that silent point at the centre of his- -dance,
Remembers the small white feathers on his tongue,
So quick to pluck for children who became old men©

This is no country for #them ¶ This is the world
Of a wounded rabbit waiting in terror between
Wheels and shadows of cars above§wheels

And shadows of cars above- -he spins in him-
Self      symbols fail him      moon!     he falls
Out of himself as a chimney falls away

From its own ghost #topples and #remains
At one time, twice ¶ Silhouetted in the sky’s
Single silver coin ¶ pooh! ¶ Icarusly he descends

With none of the dignity decline demands,
His thick middle is bleeding heavily in his hands –
Britannio, we thought you were something else

Altogether- -what have you left us right
Outside our library§and§cinema complex but
Two soft plops.

Them Negative Waves (comment)


The conversation about the pros and cons of negative poetry reviews is not a new one, in fact I’ve been reading lately some of the articles and posts that appeared in the flurry of interest in this around ten years ago. There are some great pieces here, and – even more so – some wise/intriguing comments below the line in many cases. I’m linking the sites I found in case anyone is interested in going over this still-relevant debate:

It all appears to have started in the US with Jason Guriel’s piece “Going Negative” for Poetry Foundation.

There was then a letter of general agreement from Kent Johnston in May Day Magazine, “Some Darker Bouquets”.

And then a continuation of the same argument, repositioned by V. Joshua Adams in the same magazine. Other responses were also interesting in this ‘roundtable’.

Then Magma got involved on the UK side, with a question from Rob MacKenzie: “What Kind of Poetry Reviews Do You Want?” which contains an excellent UK-based conversation thread in the comments and various links to the previous pieces and their below-the-line comments. There are links to three other blogs that continue the conversation (although not all of them work anymore).

Back in the US, Alfred Corn also joined in with some interesting comments in his blog post “Reviews and Objectivity”.

And then (chronologically whether it was ‘then’ I’m not sure but it’s the piece I came across last) was what I found to be the best all-round post on this, by Corey Van Landingham for West Branch: “Something To Talk About: A Case for Negative Poetry Reviews”.

It’s also worth including a few of the negative reviews referred to in the above pieces, which serve as interesting examples of the genre:

This by Michael Schiavo on Matthew Dickman.

This by John Tranter on Robert Gray and Geoffrey Lehmann’s The Young Australian Poets.

And of course now we also have this more recent one by Rebecca Watts on Holly McNish, “The Cult of the Noble Amateur”.

And I will add this 2015 review of Andrew McMillan’s Physical by Alan Dent for reasons that will become apparent below.

I’m sure there are many more, and if anyone knows of any useful additions, I’d be grateful if you posted them in the comments below.


The reason I started looking at these posts was a recent tweet in which Andrew McMillan reacted with pointed humour to a (very) negative review which his book Physical received a few years ago at the hands of reviewer/critic Alan Dent.


The poet was making light of something which had clearly hurt, and it made me think about whether Dent had been justified in writing so negatively (which I will come back to throughout what follows); and then I started to reflect on my own approach to reviewing, which has always been only to write positively about work I like.
Why have I done this? Well, I write poetry myself and I know how hard it is, so discussing what is good about the good seems kinder than pointing out the faults in the bad – even the writers of bad poetry (and we all fall into this category at least occasionally) are likely to have invested heavily one way or another in what they have published, do they need, and does the world need, another poet telling them where they went wrong? Also, there has always seemed to me a sort of arrogance, or at least a slightly blind self-importance, in an overly negative review, which reminds me of the Harry Enfield character who used to say “You don’t wanna do it like that, you wanna do it like this!” Is there anything wrong with writing glowingly about writing you admire? This has always been the point for me, a point that would be entirely defeated by laying into poems or poets I dislike.
“Kinder…? Do they need…? Are you a reviewer or a mouse?” I hear my inner-critic growl.
There are different positions on this and I don’t want to regurgitate the arguments that are well covered in the posts linked above, but there are a couple of points that I haven’t seen fully expressed that I’d like to give some rumination (with apologies for the doubling-up of cud metaphors).

The rest of this post, then, will be 13 ways of looking at negative reviews…

1) There seems to be an unquestioned assumption that if you put artistic work out into the shared cultural space, then that work must live or die on its own terms and on its own quality. The feelings of the artist should not play a part in a critic/reviewer’s commentary. I can see in academic criticism this is true, and I could be persuaded that in serious print/online journals this might also be true. But in a flourishing (mostly online and mostly amateur) artistic and critical community, does this necessarily need to be the case? I’m not sure it does.

2) Reviews are not always Criticism. They can also function as Celebration, and if they result in increased sales of the work under review, then that is a positive outcome of the review, not toadyism. It is not easy to separate either the word ‘review’ from (one of) it’s dictionary definition(s) as something implying criticism, or the word ‘criticism’ from (one of ) it’s definition(s) as something implying disapproval. But that is not to say it can’t be done.

3) As with competition judges, in the relatively small poetry world it is likely the reviewer/critic will have come across the poet personally in some context or another. This may colour the outlook they have of the work. This is just a fact we need to accept and move on. That there may have been prior contact should be assumed by the reader and it does not necessarily need flagging at the beginning of every review. Although having said that, why not?

4) Objectivity is impossible and reviews which try to make themselves sound objective are fundamentally dishonest. They are opinions, and as such they say as much about the reviewer as the reviewee (and sometimes more so – I emerged from the Dent review, as with the Schiavo piece linked above, with more thoughts and questions about them than their victims). The reviewer may have strong political or aesthetic views that align with neither the poet nor the review reader. Again you would hope that this would be assumed by the reader of the review, and it can be fairly easily researched with a bit of online investigation but there is no harm in reviewers making their personal predilections clear from the outset in some kind of manifesto, then the reader can make a quick and informed choice about whether to carry on reading the review. This is really just an extension of the very good point made by V. Joshua Adams about the “distinction we should make as readers of criticism (being) between reviews that are willing to make arguments and reviews that are only willing to make assertions” because arguments and assertions will tend to be affected by our preconceptions.

5) Why would a reviewer who thinks, for example, that poetry should rhyme review a collection of poetry containing largely poems which don’t rhyme? The only answer I can think of is that they wish non-rhyming poetry to lose its standing in our shared cultural space, i.e. ‘That which I dislike there should be less of, that which I like there should be more of’. This is faulty logic surely – why should there be less of that which you dislike? You are one among many. Who died and made you arbiter of what should and should not be? I dislike this attitude towards poetry reviewing and there should be less of it.

6) Negative reviews are often, it seems to me, takedowns based on the above premise. This might actually be valid (faulty logic notwithstanding), and if so should be made explicit, as Rebecca Watts did in “The Cult of the Noble Amateur”. NB – Alan Dent’s McMillan takedown seems less valid to me as he does not always give reasons for his criticisms (again, assertions not arguments), Watts was very careful to explain the reasons for her negative reaction to McNish’s work and her concerns about the popularity of what she saw as unskilled workmanship.

7) Overly negative reviews can hide valid comments inside their invective. There is an example of this in Dent’s comments on the potentially problematic valorising of gay porn in work like McMillan’s. This important and well made debating point gets lost amongst what comes over as intemperate mud-slinging. Perhaps the lesson here is ‘choose your targets carefully, and if that means a shorter review, so be it’.

8) And where, we might ask (particularly in relation to point 5 above), does the authority of the reviewer/critic come from? It seems reasonable to appeal to experience here – Oxford professor Craig Raine enjoys eviscerating those, such as Don Paterson, he sees (I assume) as clogging up a limited cultural space. He doesn’t feel it necessary to point to his years of experience as a poet and academic as a source of authority but why should he, most people reading him will know who he is. But would I carry this kind of authority if I chose to skin alive some poet I didn’t like? No. Do other reviewers who negatively review working poets? Not always. So it seems that the validity of a review depends on who writes it. One response to this might be that if the reviewer makes arguments rather than assertions, as per V. Joshua Adams, then the authority is internal to the review just as the deductive reasoning of a syllogism is internal. The reasoning is the authority. This is persuasive but misleading because the arguments within reviews can throw a blanket over the fact that ultimately, again, what criticism deals in is opinion – they do not succeed or fail through internal logic. The critic can say ‘you were trying to do x and you failed because of y’, but they can never really be sure that x is actually what the poet was trying to achieve. Equally, they can state that a rhyme choice is clunky or a metaphor unconvincing, but these are opinion words with which the poet may not agree. This might show a lack of sensitivity to harmonics or semantics on the part of the poet, but equally on the part of the critic. Fair use of quotes from the work will help the review reader understand whether they agree with the reviewer’s opinion but what such arguments often come down to is the critic saying to the poem, misquoting Geoffrey Hill, “You are mine and you do not please me in my current mood”. The problem of authority remains, and the review becomes simply an appeal to the reader for agreement. This is valid in itself but the honest approach would be to make a neutral pitch to the reader and allow them to make their own mind up rather than couching the review in negative opinion lexis designed to sway reader opinion.

9) Perhaps its worth considering, on reflection, that many people don’t read reviews for the poem or the poet at all, but out of interest in the comments of an admired critic. The critic’s authority in this case simply comes from the principal of supply and demand, all other considerations therefore become null and void, and the critic can be as negative, rude etc. (within legal bounds) as they want in order to keep their customers satisfied. What lessons we might draw from this I’ll leave to you.

10) A healthy critical culture is surely going to contain some negative reviews, maybe even a lot of them. But a distinction should be made, I think, between negative-negative and positive-negative. Or is that heading too far towards the Rumsfeldian? Maybe we could say neutral-negative (Watts) and angry-negative (Dent, Raine). I imagine that a neutral-negative mindset would be more likely to yield a positive contribution to ongoing conversations about poetry, while an angry-negative mindset risks shutting the conversation down (the only dignified response being something along the lines of McMillan’s tweet). There is also of course a balance to be struck between positive and negative comments, even in a relatively damning review. Bidisha got it right in her Autumn Poetry Review piece on Jay Bernard’s Surge. She was generally complimentary but selected one area, Bernard’s overly heavy similies, which she felt didn’t work, and she backed this up with examples. This is not too far off the pedagogical approach sometimes called Two Stars and a Wish, where students are encouraged to think of two good things and one area for improvement when giving feedback on each other’s work. A harsher critic might choose to go for Two Wishes and a Star… This may infantilise the process somewhat but, on one level, feedback is exactly what a poetry review amounts to.

11) The two previous points lead to a thought on the right of reply. The critic replies to the poet’s work in negative terms but, as pointed out by Sheenagh Pugh in the below-the-line Magma comments, most poets “feel it’s a terrible mistake to reply to a review” and so the poet does not (by the present accepted convention anyway) have a means to speak back, explain, point out faulty reasoning etc. The conversation, in other words, stops with the critic. Ten years ago, Jack Underwood, again in the Magma comments, suggested a review of reviews, in which presumably the critics work is subject to scrutiny by other critics and poets. This is a great idea, and perhaps in today’s wider, more inclusive online poetry culture there is a place for some corralling of reviews of reviews and critiques of criticism, so that the conversation can continue and more people be involved. Could Poetry Review, PN Review and others include sections on review reviews, I wonder? I’d read them.

12) There is also the question of whether you approach poetry (or let’s say a particular poem) in order to learn something or to teach someone something about the world. Poetry, by its very nature of playing, studying and intervening in language, has a unique status amongst the arts as a tool which we might see as a concave lens on philosophy, both widening and warping what language is capable of revealing. As such it is also a tool which allows both writer and reader to engage in a process of newly understanding the world (‘seeing afresh’ is the rather worn expression but it is essentially learning – unlearning, relearning). Critics and reviewers, it often seems, abandon their role as learner for that of teacher. They feel it is their job to explain to others their own parameters for reading a poem rather than searching for new parameters, or even considering that alternative parameters exist (Jason Guriel exhibited this in his recent review of Jeremy Noel-Tod’s prose poem anthology in The Walrus, which I commented on here). As I said above, this is entirely appropriate in some contexts; but what I’m getting at is that we might still learn something from a poem we consider to be awful.

13) I see this in terms of two different kinds of person. Someone who has already made their mind up about the world will find negative reviewing comes very easily because anything which does not fit into their already-formed outlook will likely require some kind of negating, and the more successful commercially or critically the work is, the more it will be perceived to require such negation. On the other hand, someone who is still on a journey of discovery in life, who hasn’t turned off all the taps and stoppered all the holes in their certainties, may choose a different approach to reviewing, one which may not be particularly critical or even celebratory, but just one of simple enquiry.


What this blogpost has not done, as it is already too long, is look at negative reviewing in relation to race and gender. This is a whole other area, two other areas, which I might pause before throwing myself into, but it was pointed out by Corey Van Landingham ten years ago that the majority – if not all – of the extreme negative reviews are written by middle-aged-plus white males. There are exceptions to this (Rebecca Watts being an honourable one, whose negativity anyway was well-argued; and see also Patricia Lockwood’s hilarious but withering John Updike takedown in the LRB “Malfunctioning Sex Robot”), but it is not an outrageous falsehood; the more bad-tempered reviews do seem pretty much a white male enclave. There are men, in academia particularly but not exclusively, who send out signals in their prose style and debating tone that they find something bordering on macho in the intellectual fist-fight. This does not make them wrong in what they say, but it is interesting to consider how far negative reviewing might on some occasions represent a kind of metaphorical muscle-flex or organ-comparison, which may in turn come from somewhere unacknowledged, a place of perceived threat, of fear and weakness.

Love and Darkness (an interview with Rachel Mann)

In her recent collection A Kingdom of Love (Carcanet), poet and Anglican priest Rachel Mann examines ways in which language (spoken and written, liturgical and secular) works in and around silence to maintain, or perhaps contain, notions of faith and worship. She interrogates both the public role of what might be called an administrator of faith (she is rector of St. Nicholas church in Manchester) and the private, unique faith of the individual; and, particularly in the second of the three sections into which the book is divided, she positions this interrogation firmly within a contemporary UK – the ‘Kingdom’ of the title becoming perhaps an ironic allusion to Brexit Britain as well as God’s Kingdom. This is also a ‘kingdom’ where Greek, Roman, Chaucerian and Biblical myths intermingle with the everyday, complicating the picture but also sharpening Mann’s analysis of who we are and where we are as a nation. The ‘Love’ is not quite as straightforward as it might at first appear either, with Mann several times curtailing the “God is Love” cliché to simply “God is”, the grammatical lacuna paradoxically suggesting everything and nothing equally. But the Godly love which replaces that of platitude is both a mother’s and an erotic love, sometimes simultaneously, and these can be painful, obsessive, bitter, overwhelming, as well as powerful, life-affirming, wonderful forms of love. There is also a suggestion of love lost or rejected I think, shown by the choice of the David Jones painting ‘The Garden Enclosed’ on the front cover and in lines like “If I am raised, I shall not care if you/Will be like unto severed hand/(Forgetful, free) and I the stump, mourning;” (‘A Kingdom of Love (3)’). So, nothing comes easy, but why should faith be either easy or comfortable?

As someone who has always swung between atheism and agnosticism but who has a genuine interest in trying to understand this mysterious thing called Faith, I felt intrigued (entranced, actually, there are moments of great lyrical beauty) but inadequate to review the book properly, so I emailed Rachel and asked if she would answer some questions to help me approach it. To my great joy, she agreed; so I submit this interview in lieu of a full review, not because the book is not worthy of one (it absolutely is) but because in this case I think the poet can provide more insight than the reviewer:


Rowan Williams calls poetry an example of ‘excessive speech’, meaning, if I understand it correctly, a way of using language which pushes us to see beyond what is immediately obvious and present. And in A Kingdom of Love, with incompletely-predicated constructions like “I am” and “God is” (‘Credo’) you seem to be suggesting an ‘ultimate unknowability’ of not only God but also the human ‘Self’ – or perhaps an acknowledgement of the rightness of Wittgenstein’s silence that must pass over what we can’t express. How does poetry figure in your exploration of your faith?


My earliest adult academic formation was in philosophy and, as a post-grad student, I became obsessed with Wittgenstein and ‘Linguistic Philosophy’. At that time, I wasn’t a Christian and – prior to my conversion experience – language was, pretty much, my god. I was simply obsessed with its possibilities: with the ways it gets away from us, forms us, or we imagine we can control it. After I came to faith, that fascination didn’t go away. However, it began to morph into a fascination with poetry as a locus for grace and, crucially, for my feeble attempts to say the unsayable. Without poetry, which is language straining at the edge of sense and remaking sense, I’m not sure God could get at us or we at God.


I’ve read that Wittgenstein (whom you quote at the front of the collection, and whom I spy in a number of poems) considered prayer to be something closer to ‘deep thought’ than anything like a request. Do you see a connection between writing a poem and praying? You also make a point of distinguishing “authorised words” – is this public versus private prayer? Where does poetry, which is both public and private, fit into this?


I’m not sure I can answer that terribly helpfully. One thing that fascinates me, however, is the extent to which (broadly understood) both poetry and prayer have to negotiate (for want of a better term) ‘privatisation’. I hear people say, e.g., prayer, faith, religion are all fine as long as they’re a private matter and kept out of the public square; there have also been times when poetry – especially women’s poetry – has been seen as an essentially private matter, centred on emotions and small concerns sometimes made public. While I think there is such a thing as the expressive or confessional mode in both prayer and poetry, it’s complicated. I find that in both personal prayer and in poetry the making is the creating; there is not a fully formed thought or idea behind the prayer or poem that simply needs to be presented to the world. We make meaning in public, in bodies which are always already in the world.


Some poems in A Kingdom of Love take parts of the liturgical day for their titles, as Auden did in ‘Horae Canonicae’ – what is the significance of this for you? Do you see any similarity between what you are doing in those poems and Auden’s incredible sequence?


Auden has long been on my mind. I certainly wasn’t attempting to mimic his masterful sequence, but I don’t think there’s any way for me to avoid a poet whose Anglicanism was simultaneously profoundly faithful, yet prepared to test out of the limits of orthodoxy. Upon his return to the church in the ‘40s, Auden brought to bear an independent, non-dogmatic intelligence. He was, as he wrote in ‘Horae Canonicae: Terce’, alert to the religious tendency to indulge in our own ‘secret cult’ and I think he resisted that magnificently. I hope I can be even half as successful.


In your memoir, you use Henry Vaughn’s expression “dazzling darkness” to express, I think, the depths of pain, doubt, horror in life etc. which is not ‘lit’ by the guiding God of cliched metaphor but which your ‘Dark God’ is intrinsically part of. I was struck by some of the dark images in A Kingdom of Love (such as “the frantic dove torn apart”) and some provocative ones too (“Jesus puts a tongue/into my mouth”). How far does this collection represent your own journey into darkness?


I suppose the priest who speaks in the opening sequence of A Kingdom of Love both is and isn’t me. The priest on the page escapes my control, as it were. However, I don’t know how this collection could have been possible without a wrestling with my own story, which of course takes in some challenging and beautiful encounters. If by ‘darkness’ we might mean ‘mystery’ and ‘possibility’ and ‘the liminal’ then these poems absolutely are committed to an investigation of the dark. Most of all I hope the poems take language seriously and explore the way it gives up its treasures in juxtapositions, allusions and a kind of tricksy benevolence and kindness.


A number of the poems also describe, or allude to, the physicality of the mouth and of sound-making. Can you say something about the point at which the physical becomes the non-physical and how important this liminality is to your poetry/faith?


I was reading one of Irigaray’s books recently – the one called ‘The Forgetting of Air’ – and your question reminds me of some of the things she examines in that book: the way that European cultures have often been obsessed with air rather than earth as metaphors of life and vitality. With Spirit and Ideas rather than Body. However, in A Kingdom of Love I want to wrestle with ‘breath’ – because breath is always physical, though there is a profound sense in which it is air too. I am fascinated by liminal places – by those places between what is body and not-body, breath and its absence and so on. I think that’s where we live most of the time, if not all of the time.


In Dazzling Darkness at one point you mention that you don’t “as a rule” write “religious” poetry. What changed your mind for this collection?


That’s a good question. I think in order to write A Kingdom of Love I had to come to terms with the deposit of faith in my own writing, life and language. I think when I wrote Dazzling Darkness, I was too obsessed with finding a language that was plausible beyond the communities of faith of which I’m part. I felt like I had to treat with contemporary poetry which, despite its indebtedness to religious gesture and language, is uncomfortable with the ‘religious’ as a mode or genre. As I wrote the poems which comprise ‘Kingdom’ I began to realise that I simply had to address my faith without embarrassment or apology. I had to travel through the features of faith rather than try to circumvent them.


Again in your memoir, you refer to God as ‘she’ but in A Kingdom of Love you use the more traditional ‘He’ on several occasions, and yet through your milk/mouth imagery you also suggest a mother/child relationship. I wondered whether you have changed your approach to the ‘gendering’ of God (if I can call it that).


Not really. A Kingdom of Love is very specifically about wrestling with linguistic and mythic inheritances. Male pronouns are so pervasive in religious discourse that I felt that I simply had to wrestle with them. As you say, there are female-coded references too, but I felt I needed to interrogate the dominant religious discourse.


In ‘Fides Quaerens’ you say “I don’t know what ‘believe in’ means/In the vast majority of cases”. This gets to the heart of it for me, as it seems to imply a difference between ‘Belief’ and ‘Faith’, two words which have always been synonymous for me. Can you distinguish easily between them?


It is a tricky distinction. I guess the line I explore in the poems is between ‘believe in’/belief as a propositional and intellectual matter and faith as a mode of trust and being. Of course, the line between them can be messy and I think that is part of the poetic riches found in both terms. I think it’s rewarding to treat them as concepts with ‘family resemblances’.

Many thanks to Rachel for taking the time to answer my questions.

You can buy A Kingdom of Love from Carcanet here.

You can buy Dazzling Darkness: Gender, Sexuality, Illness and God from Wild Goose here.