Tag Archives: the triumph of love

Poetry and truth, a further response to Tom Dunn

Tom,

I’ll probably need to take my time with this because it strikes me that simply making a few assertions isn’t going to be helpful. I also want to avoid thinking about truth at the expense of poetry because that seems equally self-defeating. So, I need to start with the personal- I like poetry and I especially like poetry that I find to be useful. This usefulness (which is different from utility) may be simply that a poem can help me think more productively about something or it may challenge the way that I currently think or feel or it may show me something else that language or heightened language can do.

In adolescence I formed the view that the function of poetry was to describe the essence of things and it didn’t matter if these descriptions were terse and/or obdurate, they were useful if they were honest. I can still make a case for the ‘poetry is about what really matters’ faction but I now think that what ‘really’ matters is more about the relationship between things than some essential quality of the things themselves. It is true that I find some poems profound and moving but I think that those poems are more about the struggle for truth rather than its discovery or prediction.

I think poetry (as well as being far too poetic) can take itself far too seriously and I don’t think this is confined to the Cambridge School or other politically minded groupings. I think that this stems from two principle causes. The first of these is the fact that the making of poetry is an intensely personal and intimate act in that we are trying to express what we think and what we feel with an intensity that doesn’t occur in fiction. Because of this we tend to expect a serious and considered response which is usually the case because most readers are also poets. The other issue relates to the weight of history, poetry has built up around itself a body of knowledge which is expressed in sombre and considered tones, woe betide the critic who attempts a humorous tone even when such a response is required. In short, poetry’s image is conducive to a readerly expectation of essential truths.

This might be disappointing but I’m only going to use one example of poetic expression of secular/philosophical truth and two examples of the expression of religious truth.

Charles Olson and the Truth.

I’m going to start with Charles Olson’s use of Whitehead’s ‘Process and Reality’ in ‘The Maximus Poems’. I’m using this because it’s a philosophical position that I’m vaguely sympathetic to and because Olson expresses it really well with an enormous amount of skill.

Here’s a confession, I haven’t yet managed to get through ‘Process and Reality’ and am therefore dependent on what others have said. Broadly, Whitehead puts more emphasis on the relationship between things, suggest new ways of thinking about time and challenges the view that knowledge should be based on things that are fixed. ‘Maximus’ has many other conerns but it does Whitehead really well.

This poem is entitled ‘OCEANIA’ and dates from June 1966 and is about Olson walking around the New England town of Gloucester in the early hours of the morning. The poem is written in the present tense and is seemingly straightforward until we get to-

And now I look onto the marsh
away from the boulevard
lights-& there is the
whole back of the river's
mouth flooded as I had
5 yrs ago called it Oceania!

As a stiff and colder
wind too, straight down
the river as in winter
chills cools
the night people had sd

earlier they'd hoped
wld have been a
thunderstorm I had sd no
the wind's still
where it was

Excuse please no boast
only the glory of
celebrating

the processes
of Earth
and man.

And no one
to tell it to
but you

for
Robert Hogg, Dan Rice and Jeremy Prynne

I’d forgotten about the Prynne reference but the above is my favourite example of poetry expressing a truth really well. This occurs in the middle of the poem, Olson continues on his walk but now the reader is involved in and taking part in the ‘processes of Earth and man”. This is what poetry is good at but it does require enormous skill to get it right.

Geoffrey Hill and Godly truth.

‘The Triumph of Love’ is one of Hill’s most successful sequences and focuses on the terrible events of the last century but this is presented through the prism of his faith. Poem CXXV contains a longish debate about faith and philosophy and a number of deliberately provocative statements:

....................The intellectual
beauty of Bradwardine's thesis rests
in what it springs from: the Creator's Grace
praecedentem tempore et natura ['Strewth!!!
'already present in time as in nature'?-ED]
and in what it returns to-our arrival
at a necessary salvation. So much
for the good news. The bad news is its correlate-
everlasting torments of the non-elect; guaranteed
damnation for dead children unbaptized.

The poems then has a bit of a rant at those who choose to try and dilute the severity of this ‘news’ and ends with-

I have been working up to this. The Scholastics
mean more to me than the New Science. All
things are eternally present in time and nature.

Bradwardine’s chief claim to fame is that he wrote a tract defending the established Catholic church and its doctrines against a group of medieval reformers who were known as the ‘New Pelagians’. Hill’s faith leads him to side with the more conservative view but also has to accept what this means and there is some unease about this although the last line expresses a religious truth. The workings of grace and the nature of salvation play a big role in Hill’s work and he has spoken recently of his view that all his work is informed by his anxiety as to the fate of his soul. We may not share Hill’s faith but I think that we must recognise his ability to express difficult aspects of it with great skill.

Simon Jarvis and the nature of Grace.

I do intend to write something about ‘Dionysus Crucified’ in the near future in part as a response to two of the responses Simon give to the interview questions. Here I just want to give an example of how very innovative poets deal with religious truth. What follows is a couple of lines that are very long and unbroken in the original, the first line is spoken by Pentheus and the second is Dionysus’ response-

Here against undeserved instruments I with my year of worked seasonal graces apply to the ceaseless sodality made by the party of inextinct saints.
Apply to head office: grace lightens wherever it will, and your workings convert it to sacrifice so that its ghost may become the free gift you deplore.

How grace might function has been and remains the source of enormous strife and controversy, here Jarvis appears to be espousing a traditional view which is further elaborated in his references to the teachings of the early church. ‘Dionysus is an incredibly complex and ambitious work but I think that this brief extract demonstrates Simon’s ongoing concern with truth, both religious and secular.

What short poems do

When I was 15ish, I was of the view that poetry was about compression, that it’s primary purpose was to condense and intensify life as it is lived. I hadn’t arrived at this conclusion from any deep knowledge or understanding but I did know that Paul Celan had written the most obviously important poetry that I had come across and that the more austere later works were staggeringly good. This view was solidified by Samuel Beckett’s ‘Lessness’ which seemd intent on paring things down in a similar way.

Over the last forty years I’ve weaned myself off this early certainty and discovered the many joys of the longer poem and the pleasure to be gained in losing myself for page after page. The problem with having Celan for a template has meant that very few poems have met my early standards and those that do tend to be part of a sequence rather than a ‘stand alone’ poem. I was thinking about this the other day when writing about Andrew Marvell’s ‘Garden’ sequence and found myself trying to work out what I look for in short poems.

The first and most obvious quality is brevity but the kind of brevity that says a lot without appearing to try whilst the second is about depth or perhaps profundity but a depth that is worn lightly and thus avoids ramming the ‘point’ down my throat. The third is about a good start but a better finish in that the opening should attract my attention and hold my interest whilst the end should be both sharp and accomplished.

I want to use four short poems to try and demonstrate what I mean, I’ve chosen these because I think that they are successful in their own right (although three do belong to a sequence) and because they all manage to kick off a series of related thoughts which may or may not have been part of the original intention.

Reitha Pattison’s Fable I

I’ve written about this recently but I want to use to show just how much a few lines can hold:

A reflection: dog dropped meat
into dog and meat and evil were
rewarded in cold fronts on level
markers of repast left in the dish
after lights out; nights strung about
in stern cosmetic aches. Provisions
were got in and some still starved.
Providence is one solid thing, tight
far-off agrarian work ethic another.

The first element relates to fables and various other forms of the same kind of thing. Emblem books during the 16th and 17th centuries made great use of these stories so I’ve been led back to Whitney and the popularity of the emblem form and the conscious use that Spenser and others made of emblems. The illustration in Whitney’s great collection of the dog and his reflection is remarkable in its directness.

I’ve also been reading Alistair Fowler on the impact of the epigram on what is referred to as the English Renaissance and beyond and Pattison’s Fables do share many epigrammatic features which has brought me to think again about the use of such forms as life lessons and their equivalents in the popular culture of today.

The mix of Providence and an agrarian work ethic is startling because the two are not obviously related and it’s taken me a while to think this through. Providence is defined by Alexandra Walsham as a the “sovereignty of God and His unceasing supervision of and intervention in the earthly realm” whereas ‘work ethic’ is a term used by Weber to ‘explain’ the relative economic success of Protestant northern Europe when compared with the Catholic south. The story of the ant and the grasshopper tells of a grasshopper who does little during the warm summer months and an ant who puts stores food for the winter. Of course, the grasshopper has no food and starves having been rebuked by the ant for his idleness. The original point is reasonably straightforward but Pattison plays with it to bring other dimensions to bear.

Geoffrey Hill’s poem LI from ‘The Triumph of Love’

I am aware that the above sequence really needs to be read in its entirety in order to be fully appreciated but this particular poem meets all of the above criteria and succeeds in its own right. It also provides what is perhaps the central point of the work as a whole:

Whatever may be meant by moral landscape
is for me increasingly a terrain
seen in crass section: igneous, sedimentary,
conglomerate, metamorphic rock-
strata, in which particular grace,
individual love, decency, endurance,
are traceable across the faults.

This is particularly satisfying because it’s a quite statement in the middle of some quite dramatic flourishes which attempt to encapsulate some of the worst aspects of the 20th century and provides the key as to why we have come through those appalling experiences. So it’s a kind of riposte to those who see only brutality and mindless slaughter but it’s also a self-contained statement of faith in a ‘particular grace’ and the finer qualities that each of us possess and which run across and outweigh our many and various ‘faults’. It is a remarkable statement and one that continues to provoke a number of questions- as a more or less committed atheist, the notion of grace means little to me but I would argue that the other three qualities do play a huge part in getting us through although I’m not entirely sure that the geological analogy works for me it is still remarkably accomplished, keenly felt and a brilliant statement of quite a complex and nuanced position.

Andrew Marvell’s Poem VI from ‘The Garden’

I’ve written recently about another poem in this sequence so I don’t intend to repeat myself here. This particular poem stands out from the others both for its tone and for the things that it appears to be saying which ‘work’ on a number of different levels:

Meanwhile, the mind, from pleasures less
Withdraws into its happiness:
The mind, that ocean where each kind
Does straight its own resemblance find;
Yet it creates, transcending these,
For other worlds, and other seas;
Annihilating all that's made
To a green thought in a green shade.

I’m firmly of the view that Marvell has never been given his due and I think the above is an example of both masterful control and an ability to say complex things in startling ways. Nigel Smith’s commentary tells me that the above continues to give critics fertile ground for controversy and debate but I just think that it’s very, very well put together and contains a satisfyingly high level of ambiguity. ‘Green’ had a number of connotations apart from those relating to the environment in the 17th century, as did ‘shade’ and the contrast of these thoughts with the more psychological description is at odds with the rest of the sequence but also indicates just how different this period was from our own- something we tend to overlook especially when thinking about the English Civil War. I’m currently pursuing the role of green in the period and it is fascinating.

Paul Celan’s ‘I know you’

I want to finish with this because I started with Celan and he is the best and what follows demonstrates this. We often think of Celan primarily as Jew and in relation to the Holocaust but the four lines below were written to/for his wife, Giselle. By the early sixties the marriage had become strained primarily because of Celan’s ‘difficult’ behaviour which was due to his mental health problems. As someone who has similar problems, I read it as an exposition of the kind of tensions and pain that such issues can cause:

(I KNOW YOU, you are the deeply bowed,
I, the transpierced, am subject to you.
Where flames a word, would testify for us both.
You - all, all real. I - all delusion.)

This has also generated swathes of critical attention and debate but for me it’s heartbreakingly accurate, the use of ‘transpierced’ speaks to me at a very deep and personal level and the third line encapsulates so much of the desperation that many of us go through. It is also fitting that the entire poem should exist in a bracket.

There are very few poems (of any length) that manage to speak to me in this way and I remain awed by Celan’s incredible ability to make difficult things very solid. I’ve been thinking about the Meridian notes a lot recently and this for me embodies what Celan says about the poem as creating an opportunity for the encounter with the reader that is almost tactile. This does that for me.

Geoffrey Hill’s soul and ‘anarchical Plutocracy’

I know these two don’t really go together but I’ve discovered a bit more about one and I want to think out loud about the other.

The other is the thorny issue of the soul of Geoffrey Hill which the great man tells us has caused him lifelong anxiety in terms of its fate. He also informs us that all of his writing relates in some way to this anxiety. The obvious response to this would be “No it doesn’t” and then to move on but this would mean not looking deeper into this soul business and that would be a mistake.

If I’d been asked, prior to watching the Economist clip, I’d have said that Hill’s work is primarily about struggle and the wrestling that he does with faith, the dead, the landscape and politics and that it is the dynamics of this struggle that cry out from the work.

I’m resisting the almost overwhelming temptation to glide into counselling mode but I do need to point out that a struggle with faith always precedes anxieties about the soul. In order to recognise the existence of your soul and believe that it lives on after your death you need to have resolved a large part of your struggle with God. I must emphasise that I’m only having an educated stab in the dark here because I don’t share Hill’s faith.

I can say with much more certainty that I wouldn’t read poetry if I felt was mostly ‘about’ the poet’s concern for the fate of his soul. So, I’ve been looking on the work to try and separate out the struggle with faith from any specific soul-related concerns. I started with ‘The Triumph of Love’ (which is always a joy) and looked at the Bradwardine reference and then recognised that poems 38-45 might be worth having another think about. I then came to ‘The Orchards of Syon” (which is much less of a joy) which does seem to have a much greater focus on Dante in particular and the afterlife in general.

Before preceding any further with this purported anxiety, there is the abiding interest in and predilection for memorialising martyrs and others that Hill considers to have died well. One of the themes in Christian theology is the link between martyrdom and a place in heaven. When asked about this interest, Hill has spoken of his admiration for these individuals and explained that these are people that he would have liked to have known.

He’s also said that the art and literature of the late twentieth century require a memorialising, a memorising of the dead as much as, or even more than, expressions of ‘solidarity with the poor and the oppressed'”. This would seem to indicate a need to bear witness to the lives of others and maybe a hope that such actions will go some way to safeguarding their souls.

Turning now to the operatically magnificent ‘Triumph of Love’. In the interest of brevity, I’m going to rely on the following poems to think further about this particular anxiety:

                   XXXIX

Rancorous, narcissistic old sod - what
makes him go on? We thought, hoped rather
he might be dead. Too bad.So how
much more does he have of injury time?

XL

Ford wordly, read worldly; for in equity, inequity;
for religious read religiose; for distinction
detestation. Take accessible to mean
acceptable, accommodating, openly servile.
Is that right, Missis, or is that right? I don't
care what I say do I?

XLI

For iconic priesthood, read worldly picque and ambition.
Change insightfully caring to pruriently intrusive.
Delete chastened and humbled. Insert Humiliated.
Interpret slain in the spirit as browbeaten to exhaustion.
For hardness of heart, read costly dislike of cant.

XLII

Excuse me - excuse me - I did not
say the pain is lifting, I said the pain is in
the lifting. No - please - forget it.

XLIII

This is quite dreadful - he's become obsessed.
There you go, there you go - narrow it down to obsession!

I like to think of this as remarkably and utterly frank which is what makes it so powerful. There are many things in the above but I’m particular fond of the Max Miller vignette and that Hill uses the second part of the quote without italics. There’s also the forthright assertion ‘against’ accessible poetry which is probably more honest than the various explanations that he’s given in interview. In this context, I think we need to note that the ‘framing’ is about mortality and the struggle (pain) involved in being Geoffrey Hill. I don’t, however, detect any kind of anxiety about his soul and would have thought that this is the part of ‘Triumph of Love where it is most likely to occur.

I said before that I don’t like ‘The Orchards of Syon’ because of the homage to Hopkins and the misguided musings on Celan and Ingeborg Bachman. I’ve also been suspicious of the extent of name-dropping and what feels like a touch of self-importance. Having re-read the sequence, I may now need to re-assess what’s going on and try and see where it ‘fits’ in my current understanding of the work as a whole.

The whole sequence does seem permeated with matters eschatological with much use of Dante, Revelations and the Day of Judgement but I’m not sure whether this extract amounts to an anxiety about the soul:

LVIII

La vida es sueno and about time;
about hanging in there, about my self,
my mins as it is, to be remembered,
regarding timegraphs: these I understand
as the nongrammatical speech of angels.
I mean they're beyond grammar that reminds
us of our fall and the hanging out there.
My mind, as I know it, I still discover
in this one-off temerity, archnidous
abseiling into a pit, the pit a void,
a black hole, a galaxy in denial.
Life is a dream. I pitch
and check, balanced against hazard,
self-sustained, credulous; well on the way
to be hit by accident a coup de grace.
Intolerable stress on will and shall,
recovery of sprung rhythms, if not rhythm;
test of creation almost to destruction-
that's a good line; it can survive me.
In denial not my words, I'm moving
blindly, all feelers out. Cosmic flare wind
tilts the earth's axis, then returns us
with our ears singing, our eyes rolled back,
mute, Atlantean.

Having now typed this out, and thus taking care with the punctuation, this is better and more confessional than I thought. I’m even prepared to look fondly on the concern about posthumous reputation (‘can’ survive him rather than ‘may’ or ‘might’ but at some remove from ‘will’) and of the reference to Hopkins. The strongest part (in terms of technical efficiency and beauty) relates to his mind descending into a ‘galaxy of denial’. The other thing to note is that it is ‘our’ fall as if we are still unredeemed by the life and death of Christ but that’s more of a theological query rather than a personal one.

Whilst there is certainly anxiety here, it still seems to relate mostly to the present struggle rather than what lies in wait for the soul so. I’m now going to make a very big guess. Hill isn’t getting any younger and with old age (at least in the case of my parents) there seems to be an increasing awareness of mortality and a desire to make sense of the life that’s been lived in the light of that mortality and I think that this might be what’s going on with Hill, that he’s imposing this anxiety on his work in retrospect from his current position.

Of course the work is part of ‘Christian discourse’ whether he likes it or not and the essays also consciously make a series of contributions to that discourse. Whether Hill likes it or not, he writes as a Christian (as well as a ‘hierarchical Tory) and there is an audience to whom he speaks about God.

I’ll finish this with an update on the ‘anarchical plutocracy’ that Hill refers to. I’ve stolen this Hill quote from the eminently perceptive Don Share’s blog

<p?"Until very recently I thought that I had invented the term plutocratic anarchy, but it appears to have originated with William Morris… Morris’s term, to be precise, is “anarchical Plutocracy”. Anarchical Plutocracy destroys memory and dissipates attention; it is the enemy of everything that is summoned before us in Bishop Butler’s great pronouncement of 1729; “Everything is what it is, and not another thing”. Bad poetry, bad art, also dissipate the sense of things at once exactly and numinously understood. Great poetry is an act of unfailing attention; its frequently cited “music” must so be understood."

Butler features prominently in one of the later essays and I think the above may be an attempt to distance himself from the Morris speech which is the sort of nonsense spouted in the name of progressive politics by privileged rich boys down the ages. Here’s the last paragraph:

“Art is long and life is short; let us at least do something before we die. We seek perfection, but can find no perfect means to bring it about; let it be enough for us if we can unite with those whose aims are right, and their means honest and feasible. I tell you if we wait for perfection in association in these days of combat we shall die before we can do anything. Help us now, you whom the fortune of your birth has helped to make wise and refined; and as you help us in our work-a-day business toward the success of the cause, instil into us your superior wisdom, your superior refinement, and you in your turn may be helped by the courage and hope of those who are not so completely wise and refined. Remember we have but one weapon against that terrible organization of selfishness which we attack, and that weapon is Union. Yes, and it should be obvious union, which we can be conscious of as we mix with others who are hostile or indifferent to the cause; organized brotherhood is that which must break the spell of anarchical Plutocracy. One man with an idea in his head is in danger of being considered a madman; two men with the same idea in common may be foolish, but can hardly be mad; ten men sharing an idea begin to act, a hundred draw attention as fanatics, a thousand and society begins to tremble, a hundred thousand and there is war abroad, and the cause has victories tangible and real; and why only a hundred thousand? You and I who agree together, it is we who have to answer that question.”

The full text of the speech is available here. Anybody who can be bothered to wade through all of it will see that the Morris ‘position’ is a long way from anything espoused by Hill whose thoughts on the central role of attention are absolutely correct- whatever we may think of his faith and his politics.

Both @The Triumph of Love’ and ‘The Orchards of Syon’ are available from Abebooks.

Metamodernist poetics

This might take some time.

Over the weekend I fell across (largely by chance) ‘Notes on metamodernism’ by Timotheus Vermeulen and Robin van den Akker and read it. Normally I get quickly annoyed/bored by attempts to find a label for whatever replaced the last label but this makes a number of points that might have some relevance to the current state of British poetry.

The first thing that caught my eye was this quote from Jerry Solz in the New Yorker:

I’m noticing a new approach to artmaking in recent museum and gallery shows. . . . It’s an attitude that says, I know that the art I’m creating may seem silly, even stupid, or that it might have been done before, but that doesn’t mean this isn’t serious. At once knowingly selfconscious about art, unafraid, and unashamed, these young artists not only see the distinction between earnestness and detachment as artificial; they grasp that they can be ironic and sincere at the same time, and they are making art from this compound-complex state of mind.

These description seems to ‘fit’ with a lot of the poetry that has impressed me in recent years and I want to use this opportunity to think about the different ways that this ‘compound-complex’ mentality may have found voice in poetry.

A definition.

The authors make a case for the metamodern consisting of an ‘oscillation’ between the modern and the post-modern with a twist of neo-romanticism thrown in. I accept that this is a crude characterisation but I think it does get to the essence of the argument.

I continue to have an inherent distrust of labels and of periodisation because they usually hide lazy ways of thinking and the modern/postmodern distinction is often as useless as the medieval / early modern divide. However I am prepared to concede that something did seem to occur in the mid-seventies involving a loss of faith in the relentless march of progress. I’m also prepared to concede that modernism tends to be quite serious/pompous and that the postmodern sets out to undermine this by use of irony and pastiche.

The essay doesn’t bother to define oscillation which is a pity because I think that this might be the most salient point of the argument. The OED has a number of definitions- “movement to and fro; periodic motion about a position of equilibrium, as the swinging of a pendulum”, “A single movement to and fro; a vibration”, ” In music, same as beat‥or beating”, “Vacillation, fluctuation, or wavering between two states, opinions, principles, purposes, etc.; an instance of this” and ” A rapid alternation in the direction of flow of a current; the state of a circuit in which this is occurring. Also: an electromagnetic wave produced by such a current”. I think they mean a rapid movement between two points rather than as in a pendulum- because this would imply a ‘position of equilibrium’ which doesn’t actually exist. I’m trying to ignore the application of ‘metataxis’ because apparently it leads to things being ‘here, there and nowhere’ which is a vain attempt to have your cake and eat it.

Metamodern polarities.

Here’s some polarities identified in the essay;

  • a desire for sens / a doubt about the sense of it all;
  • enthusiasm / irony;
  • hope / melancholy;
  • naivety / knowingness;
  • empathy / apathy;
  • unity / plurality;
  • totality / fragmentation;
  • purity / ambiguity;
  • authenticity / pastiche
  • involved / detached;
  • elitist / democratic.

I’ve added the last two because they seem relevant to what the essay is trying to say.

You may think that this has little or nothing to do with contemporary poetry in the UK but I want to show this rapid movement is used by several different poets with very different aims in mind. I’m going to use Geoffrey Hill, Keston Sutherland, Simon Jarvis and Jonty Tiplady to attempt to demonstrate this. As ever, this is an entirely provisional view that may well be amended / refuted at some later date.

A metamodern Triumph of Love.

Geoffrey Hill is often described as a ‘late’ or a ‘high’ modernist poet. This isn’t particularly useful but a lot of his output does seem to sit firmly at the ‘modern’ end of the spectrum listed above. There are however a number of glaring and significant exceptions to this observation. Two of Hill’s finest works are ‘Mercian Hymns’ and ‘The Triumph of Love’ neither of which fit altogether comfortably into the exclusively modern camp.

‘The Triumph of Love’ is on one level a deeply serious consideration of the Very Bad Things that have occurred in the 20th century which concludes that grace, individual love, decency and endurance have enabled us to endure / survive. At the time of publication, Hill came in for some critical flak for the way that this very serious theme was interspersed with several much lighter / knowing elements. There are the editorial comments placed within the poems, the direct abusive addresses to three unfortunate critics and the occasional refrain from stand-up comedy. The sequence is made up of 150 numbered poems, most of these fit into one category or the other but some combine both. Poem LXIII belongs firmly at the modern end:

These obscenities which - as you say - you fancy
perverting the consecration; you hear them all right
even if they are unspoken, as most are. It is
difficult always to catch the tacit
echoes of self-resonance. Is prayer
residual in imprecation? Only
as we equivocate. When I examine
my soul's heart's blood I find it the blood
of bulls and goats.
Things unspoken as spoken give us away.
What else can I now sell myself, filched
from Lenten Hebrews?

Here we have a desire for ‘sens’ together with a strong interest in unity and authenticity. There’s also a very earnest and serious tone together with the elitist obscurity of the last two lines. It’s also significant that this kind of stuff epitomises how Hill is portrayed in the ‘quality’ press: religious; grumpy; obscure and more than a little intimidating.

At the other end we have poem XL:

For wordly, read worldly; for in equity, inequity;
for religious read religiose; for distiction
detestation. Take accessible to mean
acceptable, accommodating, openly servile.
Is that right, Missis, or is that right? I don't
care what I say do I?

Excessive wordplay, the self-conscious anticipation and defiance of criticism (to write accessible verse is to be ‘openly servile’) followed by pastiche- this is all fairly post-modern, isn’t it?

Now we come to oscillation, ie moving between the two extremes in a single poem this is CXXXI:

Mourning registers as celebration. Haydn
at sixty-six, his clowning majesty
of invention never bettered [He means,
I think, the late 'Erody' Quartets - ED]
Bartok dying in New York, unfinished
music among the sickbed detritus:
ta-Rah ta-Rah ta-rarara Rah

This is the third of five poems with the same last line, all of which are intended to be playful. This is the only one of the five to have an editorial intervention. There is a to-ing and fro-ing between these two devices and the serious point being made about how one element of mourning can be seen as a celebration of the dead person’s life (the whole business of memorialisation is a key factor in Hill’s work. So, can this movement be usefully described as metamodern? Or is it simply late modern with a few postmodern bits thrown in?

Keston Sutherland

We now come to the slightly more complex case of Keston Sutherland. I’m going to use ‘Hot White Andy’ and ‘Stress Position’ because they both throw up quite involved questions about the use of stylistic and formal devices. The first observation to be made is that Sutherland is a Marxist and, as such, he ought to be a clear advocate of modernism’s totalising and Grand Narrative tendencies. He should be writing deadly serious and committed poetry about the political and economic issues of the day, he should have no time at all for the playful fripperies of the postmodern.

There is also the problem of differentiating between the modernist sneer and postmodern playfulness. The first is profoundly elitist and undemocratic whereas the second runs the danger of being simply vacuous. The first example for consideration is from ‘Hot White Andy’ where “I remember that / they were showing Bleaching Lenny. which has this gloss at the bottom of the page-

British reality TV show. Famous comedian Lenny Henry is caught on camera indavertently bleaching himself, one body part per week. In the final episode (8) of the series we are given to contemplate a morose Henry, by this point a ghastly supernatural alabaster from head to foot except for his (since episode 7) quasi-autonomous scrotum, engaged in teabagging an unnamed but invidiously Chinese companion of unfathomable gender. Henry fails to detect through the dark suck-hole in her latex Marsillio Ficino mask, the two tiny hidden natatorium of bleach fashioned ingeniously out of an aluminium peel-lid from a peach yoghurt pot Henry dared to lick out in the first episode (2).

Using the ironic, knowing footnote is a postmodern device, an interest in celebrity is a postmodern trait. The language of the above is also an ironic comment on the glossing of poetry. For those who don’t recall, Henry started his career by impersonating and making fun of black immigrants to the UK from the West Indies and was subsequently pilloried (as a black comedian) for pandering to racial stereotypes. So, I guess we’re meant to go along with this rather facile bleach metaphor and have a bit of a white-boy sneer, all of which feels a bit second hand even if we pause to reflect on the inclusion of Ficino’s first name. I think I’m of the view that this is a piece of old=fashioned modernism trying quite hard to wear a postmodern frock.

The next obvious candidate for metamodernism is Sutherland’s ‘Stress Position’. It is deeply po-mo to include fictional characters from other periods and genres as if to flaunt notions of authorial/poetic chicanery and sleight of hand. Having Black Beauty (the horse created by Anna Sewell) as a main character in a poem about American imperialism and torture in Iraq would not normally be seen as a modernist device. I have written at length about the poem as a whole but looking at it in terms of this particular divide then it does contain many postmodern devices together with passages that are resolutely in a ‘modern’ voice. The clearest examples (apart from the horse) ar the b-movie quasi kitsch ending and the remarkable and very modernist dream riff on mental illness.

I’m not entirely clear that there is much oscillation going on between the two but I’ll give this further thought.

The Jarvis sneer.

With regard to Simon Jarvis, I’ve looked again at the Princess Di / Paul Burrell ‘theme’ in F0 and at the Cheryl and Ashley Cole quips and I can’t get much further than reading them both as straightforward modernist sneers. I’m prepared to accept that I might be missing some key ingredient but I see both as old-fashioned elitism. I’m not entirely sure where the Jarvis interest in the British road network and related signage fits in ths spectrum, if at all which might underline the problem with this kind of exercise.

Jonty Tiplady’s hurt face.

When I first read the essay, two poets were vying in my head for attention in the metamodern, Geoffrey Hill and Jonty Tiplady. The second of these was provisional but stemmed from something I’d written about Jonty’s contribution to ‘Better than Language’. I don’t normally quote myself but I am rather pleased with this- “This is really clever stuff that’s deceptively straightforward whilst actually managing to undermine to poetry-making business in a number of different ways. I’m particularly impressed by the humanity of the ‘voice’ running through this and the way in which the playful tries to batter the serious into submission”. I think this ‘battering’ process might be close to what the essay calls ‘oscillation’. It so happens that on my hard drive sits a prose piece by Tiplady that has yet to see the light of day. It is called “But my face hurts” and this is from somewhere in the middle-

Sit down in your room if you have one and think carefully about whether there is really anything left to say. Make sure you say in the next moment whatever it is you decide is then left. The end of the end is the end. You can find
my eyes in the sockets in my skull. Please come straight up to me and kiss me. Please rape me properly. Bugs Bunny is a
stupid fucking bunny rabbit. I am not interested in wearing any clothes anymore. I am not surprised by how many times I
pretend to have conversations with you. I am surprised by how cruel kindness seems. I have never had any idea what is
happening. Such cruelty comes from everything. I think I have a mania about the planet. This morning I was worried my
hands would hit me. Last night I was worried my Dad would be in the bathroom when I turned the light on. I am getting older and I will die eventually. My hands are so big. There have been several perfect moments.

At some time in the future I want to go on at much greater length about how utterly wonderful this is but here I want to point out the embodiment of the ‘everywhere and nowhere’ the utterly serious within the incredibly banal’ and the absence of earnest intensity that the metamodern might be about. I think the above demonstrates a very, very clever use of oscillation between and within registers. I was going to list the modernist and then the postmodern but I think they are reasonably obvious. What leaves me in jaw-dropping awe is how this very self-conscious series of statements manages to find by shifts in register and focus a very clear and compelling account of what it might be like to be alive in the clattering now.

So, am I now converted to labels? No, I don’t think that they are particularly useful but I do think that looking for common traits within those labels can be a useful way of rethinking some work. For example, I’m now more confident about what ‘The Triumph of Love’ might be trying to achieve and I’m even more convinced of the towering genius that is Geoffrey Hill. The New Yorker quote above has also pushed me into thinking about an ‘ethical turn’ that might be under way but I’ll need to think a bit more about this.

Reasons to like Geoffrey Hill

I’ve started to re-read Hill and have given some consideration to Tom Day’s view that Hill wants his readers to like him but then despises us for doing so. This isn’t going to be a lengthy analysis of the man’s psychology but rather why we should feel some affection for Hill as well as admiration for the strength of his work.

I’d like to start with why I find myself feeling genuine affection for Hill. First of all, he’s very, very clever and I like cleverness, his views and mine coincide on a number of subjects, we’re both against the teaching of creative writing and dislike ‘confessional’ poetry especially when written by Robert Lowell and Sylvia Plath. We both like the work of Anselm Kiefer and the poetry of Paul Celan and we share a strong interest in the history of 16th and 17th century England. We’ve also had more than our fair share of mental health problems.

So, there’s a number of affinities and it is generally easier to like someone when you have some common ground.

I don’t share Hill’s faith but I do respect it as it is clearly something that’s very important to the way that he is in the world. I view his politics as absurd, so absurd in fact to be part of the man’s charm (if that’s the right noun).

I am of course envious of Hill’s skill as a poet but it’s what he chooses to do with that skill that makes him likeable to me. The re-reading just undertaken has been an interesting process, there’s more pomposity and, paradoxically, more self-laceration in the work if you try to look at the man through the poems rather than for meaning.

There’s a couple of lines from ‘The Triumph of Love’ that speak to me in a very personal way-

I know places where grief has stood mute-
howling for half a century, self
grafted to unself till it is something like
these now-familiar alien hatreds,

My family is one of those ‘places’ where grief has stood mute-howling since the Somme offensive and which was then intensified by deaths in the following generation during World War II. It takes a lot to express this stuff when it is very close to home. I appreciate that the rest of this particular part of the sequence is Hill at his little Englander worst but ‘mute-howling’ and ‘self grafted to unself’ are the mark of a compassionate man.

Prior to this re-reading, ‘Comus’ was my favourite because it seemed to contain a more personable poet and I always took great pleasure in reading it for the breadth of thought and the amount of self-deprecation. I also thought that ‘Without Title’ was the weakest collection because it struck me as self-indulgent- especially the ‘Pindarics’ and the very bad Hendrix poem.

Both of these views have now changed, ‘Comus’ has been replaced in my affections by ‘A Treatise of Civil Power’ and I’m now more tolerant of the ‘Pindarics’ (the Hendrix poem is still very bad). I’ve also noticed that some of the earlier poems aren’t very good, ‘A Short History of the British in India’ from ‘Tenebrae’ now seems ineffectual and naff.
‘Without Title’ contains three poems on Ipsley Church Lane which are brilliant. I’m not normally keen on nature poetry but these three poems manage to address something in me- I find them almost therapeutic and have often stood in this lane in my head as a way of keeping my particular demons at bay.

Speaking of demons, I think it’s important to recognise that it isn’t easy being Geoffrey Hill, there’s the struggle with faith, the struggle with verse and the struggle with chronic depression amid bouts of OCD. There’s also the fact that Hill doesn’t think like the rest of us which can also be quite isolating. What’s likeable is that these struggles are never rammed down our throats, the nearest we get is the acknowledgement that poetry is a “sad and angry consolation”.

The full text of the Paris Review interview with Hill has now emerged from beyond its pay wall and this gives me another couple of reasons for liking Hill. There’s: “There is a kind of poetry—I think that the seventeenth-century English metaphysicals are the greatest example of this, Donne, Herbert, Vaughan—in which the language seems able to hover above itself in a kind of brooding, contemplative, self-rectifying way. It’s probably true of the very greatest writers. I think it’s true of Dante and Milton, and I think it is true of Wordsworth. It’s a quality that these poets possess supremely. The rest of us, even the very best of us, possess it to a lesser and differing degree, but I cannot conceive poetry of any enduring significance being brought into being without some sense of this double quality that language has when it is taken into the sensuous intelligence, and brought into formal life”. Which I love because of the image of language hovering above itself- articulating what I feel about Milton and Celan and pointing to my own fumbling and inarticulate aspirations as a poet.

One of the things that has always interested me about Hill is his interest in martyrs and martyrdom. In the interview he says: ” My interest in the Elizabethan Jesuits, and in particular Robert Southwell and Edmund Campion, is that they seem to me to be transcendently fine human beings whom one would have loved to have known. The knowledge that they could so sublimate or transcend their ordinary mortal feelings as to willingly undertake the course they took, knowing what the almost inevitable end would be, moves me to reverence for them as human beings and to a kind of absolute astonishment”. What is striking is that he mentions likeability prior to suffering.

“In Memoriam: Gillian Rose” is a remarkably humane tribute to the life and work of a remarkable woman. It contains:

I did not blunder into your room with flowers.
Despite the correct moves, you would have wiped
in the championship finals of dislike.

He’s right but I can’t get the image of Hill as suitor (with flowers) out of my head- an image that manages to be both funny and touching.

The poem ends with:

I find love’s work a bleak ontology
to have to contemplate; it may be all we have.

‘Love’s Work’ is searing in its honesty and the way that it looks at the prospect of imminent death. Gillian Rose was one of this country’s leading intellects and was particularly effective in the demolition of cant. In writing this poem, Hill lets us see as much of himself as we’re ever likely to get.

So, is Hill likeable? I think that he probably is and I don’t think Day’s assertion that he wants us to like him in order to despise us for it holds water. The sea-change that occurred when Hill started to put more of himself into his work doesn’t mean that he’s still playing out the extent of his permanent damage. Does it?

Geoffrey Hill and comedy

In the essential ‘Complicities’ collection Thomas Day has an essay on comedy and contexture in ‘Comus’. As a long standing reader/fan of this poem, I read the piece with interest and it has given me some cause to re-consider my reading. For those who aren’t familiar with Hill’s work, the response falls into three broad camps. The first camp levels the charge of wilful obscurity thereby denying Hill any poetic/creative status at all. The second camp acknowledges the brilliance of the early work but denigrates the later stuff which was written after Hill sought help for his mental health condition, these later poems are sneeringly referred to as the ‘Prozac stuff’. The third camp is of the view that Hill remains one of the most important poets writing in English. I am firmly in the third camp and came to that view by reading Comus before I read anything else.

One of Hill’s more endearing traits is that most of his jokes aren’t very funny but they have a level of self-deprecation that makes me smile. When I first read Comus I was struck by its confidence and exuberance and by the fact that Hill felt able to throw various aspects of himself into the poem without becoming mawkish or confessional. The first section is a brilliant collection of  maxims which lead us gently into the performance of Milton’s Comus at Ludlow. These stanzas are not without humour, there’s a wonderful play on accountancy and righteousness which is funny but not in the music hall way that Day seems to be looking for.

Given his reputation for difficulty, it may surprise some to know that ‘The Triumph of Love’ also strives for laughs but in a much more self-conscious knowing way with Hill parodying the best efforts of stand-up comics. I don’t feel that this earlier attempt works as well as the bad jokes in Comus, probably because it reads as if Hill is being a little too clever for his own good.

The other thing to realise is that nobody should come to anything by Hill looking for laughs. Hill’s work challenges the attentive reader to think again about the world and to consider anew the power of the poetic voice. The jokes are very much a by-product. Whilst Day covers important aspects of the poem, he fails to situate the comedy in the context of the work and this is disappointing. The one comedic aspect that is ignored is the figure of Geoffrey Hill as randy old goat primarily lusting after the Sabrina character in the original Comus. I find this kind of self-deprecation amusing and can’t understand why Day should overlook it.

Day quotes extensively from the critical plaudits on the back of the paperback edition of Comus as if to demonstrate that Hill has won the recognition that he deserves and also that Hill finds this validation a bit difficult. Day also makes the claim that Comus is a gauntlet thrown down at the critic’s feet in defiance of the view that his later stuff isn’t very good. Whilst it is obvious that Hill does care about critical reception, I don’t think Comus is particularly defiant- I think it’s much more an homage to a particular poem and a meditation on the possibility of poetry in this weighted world. Being very open about your past (marriage, earlier poems, childhood) is surely not the best tactic when confronting your enemies.

I may be biased (I often am), but Comus stands alongside The Triumph of Love and Mercian Hymns as Hill’s finest work. A very strong case can be made for each but it is a credit to Hill that he has produced three very different but equally enduring pieces of work. He’ll never be a great comedian but he will always make me smile.