Monday, 19 November 2018
I don't often get asked for interviews, partly because the world has thus far failed to recognise my coruscating genius (read: I haven't won anything to speak of, at least not recently, and have not even published a poetry collection yet.)
However, a couple of generous souls out there in poetry-world have recently been posting wide-ranging interviews on their blogs, with a variety of writers at varying points in their careers. I was delighted to recently appear in both of these interview series.
The first was 'my (small press) writing day' curated by rob mclennan, a Canadian writer who has published more than 20 books of poetry, fiction, and non-fiction. His main blog can be found here. The piece I wrote for him wasn't so much an interview as a description of my writing day. Since I don't really have a writing day, it went off at a tangent. You can read it here: http://mysmallpresswritingday.blogspot.com/2018/10/clarissa-aykroyd-my-small-press-writing.html
The second was part of the 'Wombwell Rainbow Interviews' series by UK poet and local historian Paul Brookes. This is more of an interview where I answered a series of questions about my reading and writing background and development. I really enjoyed answering the questions and they made me reflect on where I've come from (and although I included a lot, I now suspect I also left out quite a lot...it's never-ending.) You can read the interview here: https://thewombwellrainbow.com/2018/11/14/wombwell-rainbow-interviews-clarissa-aykroyd/
Friday, 12 October 2018
I think that poem publications are much like buses in that often there are none for ages and then there are a few at once. Or at least two.
This week, my poem 'Healer' appeared in Ink Sweat & Tears, as part of their National Poetry Day feature (which they have a tradition of turning into National Poetry Week). The next day, my poem 'In Paris' was published in The Interpreter's House, which has just moved to a new online format.
I wrote 'Healer' a couple of years ago when I did a residency with the Poetry School and London Parks & Gardens Trust, in Cleary Garden, a historic public garden in the City of London. Although it was named after Fred Cleary, who campaigned for public spaces in the City, Cleary Garden was originally founded by Joseph Brandis, the subject of the poem. There aren't a lot of details about Brandis (that I'm aware of) but he was a member of the Cordwainers Company, and he did such a good job of transforming that particular bomb site into a garden that the Queen visited in 1949. The theme of this year's National Poetry Day was 'Change', so the poem was perfect for the Ink Sweat & Tears feature.
'In Paris' was written last year, after my last visit to Paris (a weekend meet-up with my brother). I've now been reading Paul Celan for over 20 years, and his importance in my writing and reading life can hardly be over-estimated. I've written a few poems more or less inspired by or dedicated to him, but this is definitely the one I'm happiest with. I always think of Celan in Paris, although, as the poem says, I've never gone as far as Pont Mirabeau (he lived nearby and is presumed to have jumped to his death from that bridge).
Photo: Cleary Garden, London. Taken by Clarissa Aykroyd
Saturday, 6 October 2018
Occasionally I read poems from past decades which seem extraordinarily present in our own time - to borrow a cliché, they seem like they've been ripped from today's headlines.
This poem by Sidney Keyes, who did not survive World War II, is one of them. Initially it made me think of the refugee crises of recent years, but there was much more, such as "the politicians with their stale/Visions and cheap flirtation with the past".
I realise I have been an infrequent blogger recently, and I completely failed to write about National Poetry Day on Thursday. I do hope that everyone had a bit of poetry in their day - and I will have a little more to add to that next week.
EUROPE'S PRISONERS (Sidney Keyes)
Never a day, never a day passes
But I remember them, their stoneblind faces
Beaten by arclights, their eyes turned inward
Seeking an answer and their passage homewards:
For being citizens of time, they never
Would learn the body's nationality.
Tortured for years now, they refuse to sever
Spirit from flesh or accept our callow century.
Not without hope, but lacking present solace,
The preacher knows the feel of nails and grace;
The singer snores; the orator's facile hands
Are fixed in a gesture no one understands.
Others escaped, yet paid for their betrayal:
Even the politicians with their stale
Visions and cheap flirtation with the past
Will not die any easier at the last.
The ones who took to garrets and consumption
In foreign cities, found a deeper dungeon
Than any Dachau. Free but still confined
The human lack of pity split their mind.
Whatever days, whatever seasons pass,
The prisoners must stare in pain's white face:
Until at last the courage they have learned
Shall burst the walls and overturn the world.
21 May 1941.
Photo: Fence and barbed wire by Alexandre Dulaunoy. Used under Creative Commons license
Wednesday, 29 August 2018
In the past year, I started reading a series of books by Adam Hall (one of the pseudonyms of British author and playwright Elleston Trevor) about a spy known only as Quiller. Quiller is something of an enigma who also bares his mind's intricate workings to an uncomfortable degree: it's as though you're in his body, seeing through his eyes, and calculating the angle at which a very fast car is going to ricochet when it hits the guard rail.
The terse stream-of-consciousness poetry of Hall's writing, and the multiple layers of his central character, attracted me to this series even more than the undeniably exciting plots. A few books into the series, I read The Striker Portfolio (1968) and The Tango Briefing (1973) within a week. At this point, something both strange and familiar started to happen: the books went into my head and started talking to the other books, and poems, that I've stashed in there over the years.
In The Striker Portfolio, Quiller finds himself on the Frontier between West and East Germany, at night, following a man through a minefield. 'It was an eerie place,' he says, 'a landscape with dead figures: the posts leaning like gibbets and the web of the wire breaking the flat two-dimensional background into sections as if the whole scene were cardboard, a badly lighted stage. Perhaps it was difficult for him to believe in the unlikely: that a man was standing not far from him, thrown up from the waste of earth where armies had once passed, leaving their dead.'
When I read this, I suddenly flashed to the war poems of Keith Douglas: 'a landscape with dead figures' called up his poem 'Landscape with Figures 2':
On scrub and sand the dead men wriggle
in their dowdy clothes. They are mimes
who express silence and futile aims
enacting this prone and motionless struggle
at a queer angle to the scenery
crawling on the boards of the stage like walls
deaf to the one who opens his mouth and calls
In The Tango Briefing, Quiller is sent to the Sahara (as usual, with minimal information) to investigate a plane crash. Preparing for his mission in the crumbling Auberge Yasmina, he notes 'a forecourt buried under the shade of rotting palms where I could hear rats running.' Later: 'The curved fronds of the palms hung piled against the minarets and the filigree of window-grilles, their tips burned brown by the heat of never-ending noons; in them I could hear rats rustling.' Amidst the nervous tension of these scenes, I found myself thinking of TS Eliot: 'I think we are in rats' alley/Where the dead men lost their bones' (The Waste Land), and the 'rats' feet over broken glass' of 'The Hollow Men'. Sent into the desert on a glider (an eerie voyage which made me think of Antoine de Saint-Exupéry's writings, particularly Vol de nuit) and isolated in an extraordinarily dangerous environment, Quiller has to seek a specific outcropping of rocks, his only point of reference...
[...] you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock) [...]
(TS Eliot, The Waste Land)
Does any of this mean anything, I wondered? Was Adam Hall reading Keith Douglas, TS Eliot or Saint-Exupéry? Was he alluding to them, consciously or otherwise? Maybe. Probably. Probably not. But what I realised as I flashed back and forth between the books I was reading and the poems I carry around with me was that this dialogue (for want of a better word) in my head was a strong indicator of how much the books were affecting me. Not all books will awaken these tenuous and uncertain echoes. I think it means that they've already entered one of my mind's inner rooms, where bits of literature meet and talk to each other. It's a compliment to all of the writers involved, and it's also a source of creativity, a catalyst, an opening into a further palace of doors.
Photo: Desert of Legend by Preston Rhea. Used under Creative Commons license
Monday, 23 July 2018
I was recently reading the accounts in Luke 5:17-26 and Mark 2:1-12 describing how Jesus healed a paralyzed man after he had been lowered through a gap in the roof of the house. I was reminded of the poem 'Miracle' by Seamus Heaney, inspired by these accounts, which appeared in Human Chain, Heaney's last collection in 2010. Heaney also referenced this event in 'The Skylight', part of his 'Glanmore Revisited' sequence.
'Miracle' was, I think, my favourite poem from Human Chain. It can be read from either a spiritual or a secular perspective, as it describes a miraculous occurrence, but focuses on the friends of the suffering man and all that they do to help him. Their "slight lightheadedness", caused both by their physical exertions and by the wonder of what they've witnessed, is so human. The poem is partly a tribute to Heaney's own friends who helped him after he suffered a stroke in 2006, and it reminded me that in small or large ways, we can play our own part for good and help to make things greater than ourselves come about.
Photo: Ramp up to the Rafters by Paul Sableman. Used under Creative Commons license
Sunday, 22 July 2018
I went to the Rodin and the art of ancient Greece exhibition at the British Museum (on until 29 July). It's almost impossible to go wrong with an exhibition like this: it's Rodin, it's classical Greek art, it's Rodin's history with the British Museum...what's not to like? To my surprise, I also found that the words of Rainer Maria Rilke were everywhere.
Rilke went to Paris in 1902 to write a monograph on Rodin, and subsequently became his secretary for a time and his friend. (You can read a fascinating excerpt from You Must Change Your Life: The Story of Rainer Maria Rilke and Auguste Rodin by Rachel Corbett, here.) All over the exhibition, writeups on the artwork were accompanied by Rilke's words on Rodin, often on the specific piece. Sometimes they made up the entirety of the writeup: this was especially moving where Rilke had written about the intensely emotional The Burghers of Calais. No one, it seems, has been able to improve on Rilke's words. This increased immeasurably my enjoyment of an already marvelous exhibition.
Here's what Rilke said on the figure of Pierre de Wissant in The Burghers of Calais:
He created the vague gesture of the man 'passing through life'... As he advances he turns back, not to the town, not to the weeping people, nor to those accompanying him. He turns back to himself ... his hand opens in the air and lets something go, somewhat in the way in which we set free a bird. He is taking leave of all uncertainty, of all happiness still unrealised... This figure, if placed by itself in some old shady garden, would make a monument for all who have died young. (Rainer Maria Rilke, 1902. Translator not named)
Thursday, 19 July 2018
A thoughtful review of my poem 'Carousel', recently published by Strange Horizons, appeared on Charles Payseur's Quick Sip Reviews, and you can read it here: https://quicksipreviews.blogspot.com/2018/06/quick-sips-strange-horizons-06182018.html
In translation news, I joined the Poetry Translation Centre workshop a few weeks ago to help translate an Arabic prose poem, 'Savannah' by Amjad Nasser. I was really pleased that a few sixth-formers (that's high school...ish...for the North Americans) joined the workshop with their teacher, made interesting contributions, and evidently enjoyed it.
Monday, 25 June 2018
Strange Horizons, an American journal of speculative fiction and poetry, has published my poem 'Carousel', which I wrote a few years ago. It's always good when a poem finally finds a home.
You can read 'Carousel' here: http://strangehorizons.com/poetry/carousel/
And here you can listen to a quick podcast about the poem: http://strangehorizons.com/podcasts/podcast-carousel/
The podcast consists of an introduction by editor Ciro Faienza, a few comments from me about the inspiration for the poem, and finally, my reading of the poem.
Photo by Clarissa Aykroyd