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A Bit of a Song and a Dance
The Solex Brothers (Redux), Luke
Kennard (£12.99 hbck, Salt)
The Harbour Beyong the Movie,
Luke Kennard (£12.99 hbck, Salt)
It Comes With A Bit of Song,
David Grubb (£12.99 hbck, Salt)
My Thieves, Ethan Paquin
(£9.99, Salt)
Covers, Tony Lopez (£12.99
hbck, Salt)
Prop, Peter Jaeger (£12.99
hbck, Salt)
Aerolith, William Cirocco ($14,
Harbor Mountain Press)
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Let's make no bones about it: I know and have published
most of these writers. If you want detached, aloof critical commentary leave
now. ÒStep away from the review. Turn round slowly and lie down with your
hands behind your head.'
Luke Kennard? What can I say? Larger-than-life Luke somehow combines Monty
Python with avant-garde poetics, a genial and bumbling personality with
critical insight, and still writes glorious poetry and prose whilst
researching the prose-poem so we can call him Doctor. (Doctor Kennard? Oh,
really!) Anyway, like I was saying, I know this chap, used to hang out with
him in Exeter... and published the original The Solex Brothers, which I'm sure will make it highly collectable
and sought-after in years to come; what a pity I only kept one file copy.
For this new edition, Kennard has done a T.S. Eliot and added an absurd (and
absurdly good) set of notes, which have no relevance or bearing on what they
supposedly refer to, but are a new piece in themselves. Here is prose-poetry
taken to new heights of absurdity. I still laugh out loud at this book, from
the blurb ('Like a toboggan of wolves who have eaten their rider, The
Solex Brothers rushes blindly through the
forest...') through the text to the biographical note on the back wrapper. I
never knew Kennard had 'an involuntary rictus of disdain', but now I do.
Cheers!
Yesterday's Guardian Review
contained a review The Harbour..., which is a good thing, but managed to link
Kennard with surrealism, which is not. I've never had much time for
Baudelaire and his boys, still don't. Stay away from the surrealists Luke! The
Harbour... is a wider- and wide-ranging book,
which is perhaps in the end less silly than The Solex Brothers. Some of these poems tackle big issues, as well as
sliding around in language. Puns, wisecracks and unnerving and enervating
commitment to bluster and tangents, juxtaposition and jokes, are Kennard's
tools, and here he sculpts a great number of succesful and approachable poems
and prose-poems.
At this point, can I be the first to say I don't actually like the new Salt
hardbacks? I loved the fact that, until now, Salt did bumper paperbacks. I
like having a good 100-page wodge of poetry to read... And now we have skinny,
overpriced hardbacks. Yes, they look nice, but, but, but... Back to the
Collected, Selecteds and voice of chunk please.
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David Grubb seems to me to especially lose by going slimline
(though I note with some relief that Salt have somehow persuaded him, which I
could never do, to become plain old 'David Grubb' without any initials in the
middle [hypocrisy I know]). Grubb's work thrives on the fact that he returns
to themes over and over again, niggling at them, scratching away at sores,
until they bleed. It's a process that works, the reader (this reader, anyway)
starts to feel they know Grubb's mother, father and other subjects, starts to
understand the doubt that always plagues the poet and his embrace of
spirituality and belief.
That aside, It Comes With a Bit of Song
is one of Grubb's finest volumes. Like Kennard, he ranges far and wide, knows
a lot about language, but is never less than highly enjoyable and
approachable. Like Kennard, he has a knowing and witty tone, but never strays
into slapstick or satire. Grubb is concerned with how language affects him
and his readers. How can he tell others what he has seen being done in the
war zones he has visited? How convey his bewilderment and joy at the
narratives we make of our lives, how share the everyday and the unseen? A
poem sparked by a reading we did together at Falmouth Library not so long ago
is followed by a short list poem, 'Why We Do', preceded by a bitingly
satiricial piece about the President and his speech entitled 'Be Very
Afraid'. As someone inclined
toward planning thematic or processual collections of poems I have no idea
why this scattershot approach works, but work it does, as does the constant
narrative confessional tone Grubb adopts:
This is me. I
am sitting in an alone.
I do this
every day to know that I am alive.
There are
voices, on and off. There is the
noise of my
own voice to tell me that I am.
('Voice')
I for one am glad that Grubb's voice is here again in this important new
collection.
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Like Luke Kennard, I published Ethan Paquin's first UK
collection which later got reissued by Salt in tandem with another volume. My
Thieves is his strongest yet, although I
know that I take that view partly because of the subject matter: 'the
relationship between the visual and literary arts'.
Like Grubb, Paquin wrestles with the question 'What is Language?' although he
draws more on Robert Lax for form than Grubb's take on W.S. Graham. There are
two things I question with Paquin's work here: the notion of mimicry and the
occasional lapse into archaic 'poetic' language. Paquin I'm sure knows what
he is doing, indeed he questions the whole notion of influence, hommage,
pastiche and approrpriation throughout this book; and opens it out even
further to question 'self' as a concept. Like Kennard, Paquin can be very
funny and also experiments with form, including the prose poem.
But I like Paquin's writing best when he lets lyric and language relax into
poems. I'm afraid I find some of the more awkward and experimental work
simply that, awkward and experimental. The scaffolding doesn't seem to
justify the building; I'd like to see what has been built now finished off
and edited further. I am, however, glad that Paquin continues to experiment,
innovate and elaborate, and come up with wonderful openinglines like this:
Rothko has
made us notice daily
the spider's
chance--
('Nothing
But Setting Out')
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Tony Lopez has always used process, particularly collage
and juxtaposition, but until now he has always syntactically and
grammatically smoothed out his poetry before publication. I don't mean it's
been easy reading, but the collage is never in your face. Until now. In Covers he chooses to make a feature of process and
linguistic awkardness as part of his social critique. It's devastating stuff,
vitriolic and (justifiably) aggressive at times towards its subject(s).
Strangest of all, perhaps, is a talk piece Lopez performed at a conference,
where he navigates around a text the audience do not get to read or hear via
discussion of its substance and subject, demanding of the audience both
evocation and invention. I'm not one hundred percent convinced, but it's a
brave and risky piece of writing. (I wasn't witness to its actual
presentation.)
What's interesting with Lopez is that hand-in-hand with the indignation,
satire and comment, there is a lyrical and at times elegiac voice which
surfaces and won't be kept down. Whilst you'd perhaps expect it in a poem
like 'The Estuary Oliver' a poem for Douglas Oliver, it's more surprising
within the scatterbomb approach of 'Unfolding', which concludes
A bomb on
Hammersmith bridge explodes
the greatest
sorrow I have ever known
or 'Equal Signs', a mash-up of Ezra Pound, where
Sounds and
energies
during the
course of
acute
loneliness
does indeed
fuse
revolution or
death
This is astonishing writing.
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Equally astonishing, to me, is the fact that I have never
come across Peter Jaeger's work until Prop arrived here. His brief, short-lined lyrics are fragile and
delicate, but hesitant and exploratory too. They are rooted in the moment,
self-awareness of thought and vision and place. Imagine Robert Creeley writing
imagist versions of Basho (this is praise by the way). Look at the way this
(untitled, as indeed all the work here is) poem moves between emotion
('need'), abstraction ('monkey tides') and the purely visual & notated
('sun-bleached logs'):
need was
cooler than a shout
for drifting
anchored loosely
pulling here
& there
the monkey
tides lap up
against the
sun-bleached
logs, how
they come & go--
what anchor
but a yellow petal
gust of wind or
even
Note, too, how the poem opens up at the end, its total resistance to closure,
despite that very real yellow petal in the wind. Prop is full of apparently slight and casual poems like
this, that through clever and deft image and word, stick in the mind.
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William Cirocco's poems in Aerolith work in a similar way, although many of the pages
here contain even fewer words for the reader to mull over. I know Cirocco
mainly as a fine printer and publisher, and own beautiful editions of both
Robert Lax and his own work; it's quite a shock to see a trade edition, and
realise it is Circocco's first! Like Jaeger Cirocco combines the everyday
seen with leaps of imagination and thouht to make something new for the
reader. Circocco's poetry is perhaps less surprising than Jaeger's, but it
too is full of beautifully crafted song and vision. My favourite poem in the
book at the moment is this:
HEART MURMUR
Night crushes
consciousness
with the onus
of memory,
the mind
excavates sleep
no bird
sings,
no
wind mourns,
and the still
stars
are the eyes of the dead.
© Rupert Loydell 2007
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