In Conversation with Beth Soule Turning Japanese - Tanka Found Poetry - Confessions of a Traitor: Trials and Tribulations of Translating Poetry A ...
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Confessions of a Traitor: Trials and Tribulations of Translating Poetry A Close Reading: 'The Straight Jacket' by Pascale Petit In Conversation with Beth Soule Turning Japanese – Tanka Found Poetry
N otice to Contributors
C ontents
13th March 2020 is the deadline for poems Contacts 2
from SPS members for the next issue. This Thoughts from the President 3
will enable them to be circulated to our Words from the Chair 3
referees for their recommendations. If you Notes from the Editor 4
are sending poems please put your name Confessions of a Traitor 5
and contact details (preferably email A Memory of George Crabbe 6
address) on each page. Submissions not A Close Reading 7
conforming to this requirement will not be Found Poetry 8
considered. Turning Japanese 4: Tanka 10
10th April 2020 is the deadline for the next Letter to the Editor 11
issue for all items other than poems: In Conversation with Beth Soule 11
articles, write-ups of events or workshops, Selected Poems 13
reviews, etc. The preferred format is an 6th Festival of Suffolk Poetry Review 16
attachment to an email to A Clutch of Larks 20
editor@suffolkpoetrysociety.org.uk but you may SPS Events
send them by post to: Border Crossing 22
Bridges and Crossings 22
The Editor,
64 Broom Street, Inspired By The Rubáiyát 24
Great Cornard, Tea at The Priory 24
Sudbury, National Poetry Day 24
Suffolk, Other Events
CO10 0JT. Bugs and Blossoms Workshop 26
They Toil Not Workshop 26
It is very important that your name and Brandon Pop-Up Poets 26
contact details (preferably email address) Book Reviews (BR)
are written on the item you are sending. Nine Days (BR) 27
Images, drawings or photographs are Exposure (BR) 27
welcome. Please send them, in as high a After-Images (BR) 28
resolution as possible, to Dreams of Flight (BR) 29
webmaster@suffolkpoetrysociety.org.uk. Other Items
Remembering Stephen Glason 29
Front cover: Café Poets' Corner – Sudbury Café Poets 30
Photograph by Derek Adams. Future Events – 2020 31
Lavenham Press workshops 31
C
Chair
ontact details
Florence Cox
: suffolkpoetrysociety.org.uk
chair@suffolkpoetrysociety.org.uk
Vice Chair Beth Soule vicechair@suffolkpoetrysociety.org.uk
Secretary Sue Wallace-Shaddad secretary@suffolkpoetrysociety.org.uk
Treasurer Colin Whyles treasurer@suffolkpoetrysociety.org.uk
Membership Diane Jackman membership@suffolkpoetrysociety.org.uk
Tel: 01379 642372 for new membership enquiries
12 Rivers Editor Fran Reader editor@suffolkpoetrysociety.org.uk
Publicity Derek Adams publicity@suffolkpoetrysociety.org.uk
Portfolio Secretary Pat Jourdan portfolio@suffolkpoetrysociety.org.uk
Crabbe Competition Rosemary Jones crabbe@suffolkpoetrysociety.org.uk
Stanza Rep Derek Adams stanza@suffolkpoetrysociety.org.uk
Webmaster Colin Whyles webmaster@suffolkpoetrysociety.org.uk
Published by Suffolk Poetry Society, c/o Fairweather Law Ltd, Solicitors, Copyright © 2019 Suffolk Poetry Society
16 Wentworth Road, ALDEBURGH, Suffolk, IP15 5BB, UK Registered Charity 1162298
2
T houghts from the
President
.... or rather it hasn’t yet gone wild
but with typical quiet attention
some local Quakers are reflecting
doubt that whether we are
imported or native Suffolkers, the
contrast of our deep, quiet
The Quaker Graveyard Has on what that might mean for wild landscape with the sharp-edged,
Gone Wild life, visitors and, not least, pervasive noise of present-day
mourners, if it were to be ‘re- politics is especially poignant.
grasses clamber on the deep-cut wilded’.
What do you think? Is it either or?
simple stones, This beautiful county of ours quite Should we as poets turn away from
flashes of colour clearly and in many places the racket of the newsroom and
light up the path demonstrates the same dilemma. celebrate our heritage of natural
and where there was once ordinary The small woodland path, once beauty? Should we grapple with
silence neatly barbered, that I walk on the big questions of our national
the deep voiced ministry almost every evening when in life in our poetry? What is a
of bees Suffolk is now overgrown. It ‘political’ poem? Is there such an
blazes with straggling plants, animal?
speaks.
many with sharp teeth. We have
perhaps got used to a rather more Having accepted the privilege of
Now we are scattering the ashes
tidy version of husbandry than we being your current president and
of that plain, silent, image heard, seen and read your work, I
of ourselves see in the hedges that lean and
flash their changing leaves over the don’t doubt that you have the skills
we like to believe and the heart to do what poets
roads - and yet it’s beautiful. Is
is who we are must and shine the light of poetry
change always a paradox?
and a small, bright eyed wherever it needs to fall.
hedgehog joins our Meeting All of us are grappling with that
Kate Foley
and the bees. question at the moment and I don’t
W ords from the Chair I passed the test to get on the
course but, although I heard
there were some unfilled spaces,
Now I usually gather the
elements of a poem in my head,
sometimes letting it stew for as
I’ve been thinking about how a I didn’t receive the offer of a long as three weeks. Then I sit at
poem gets into its final shape. place. I sat on the steps outside my computer very late in the
When I was younger and a poem the college and wept. When a day, literally and metaphorically,
was demanding to be written, I man walking past asked what and type it up. I love the ease of
would scribble it down on the matter was, I sobbed,‘I want re-drafting on the computer and
whatever came to hand: the back to study here!’ Unbeknown to I save each draft as I go along.
of a cheque book, an empty cake me, he was the Director of the Sometimes, after a lot of
box, the edge of a page of my college. A few days later I was alterations, I return to the raw
university lecture notes or even accepted on the course, and early version and make it the
on a till receipt in very tiny because of it, I was able to earn a definitive one. For over a
writing! Later, I would transfer decent living and swap my quarter of a century I have
these drafts, sometimes with dingy room for a Paris flat with shared my poems with a couple
modifications, into a succession my very own shower, toilet and of poetry writing groups, where
of thick exercise books, hot water. fresh insight can be gained,
unearthed from my usual criticism taken on board and new
domestic clutter when I had a I worked for a dynamic company
ideas exchanged. I store my
spare moment. on the western edge of Paris, and
poetry in ‘year’ folders, so all the
it was here that I typed up my
poems for the first time. My poems I have written in one
I didn’t learn to type until I was
typing was entirely fuelled by particular year are in one place.
24. I had cycled from Ipswich to
rage; I had a new colleague, very But I must admit that I find it
Southwest France the year before
attractive and smartly dressed, difficult to locate poems with a
and was living in a gloomy
but her lunch hours lasted all connecting theme. I would love
upstairs room equipped with one
afternoon and the work that she to hear any ideas on how other
cold tap. The toilet was at the
was meant to be doing arrived poets store their work so that
back of the yard and was shared
on my desk instead. I decided retrieval is easy.
with fifteen people. I was doing
temporary work as a cleaner that when my extra work was
I often wake in the night, and
when I heard that I could apply done, I would type up my poems
sometimes a few lines of new
until she deigned to put in an
to do a full-time bilingual poetry occur to me which I shape
appearance. I soon filled a
secretarial course at a college in carefully in my head. But if, in
whole folder with my early
the town and receive the works. my drowsy state, I make the
minimum wage while I studied.
3mistake of not writing down the were set to music by Colin of exploring the fusion of poetry
fledgling poem on the nearest Whyles and, accompanied by with art and photography during
piece of paper, in the morning I Colin, sung by Lynne Nesbit; the fascinating talk by the
cannot for the life of me Virginie Roidiere’s harp music Suffolk poet Clare Best.
remember the lines that had beautifully enhanced the poetry
Poetry is not an island. Every
seemed so vivid and exciting. of the Rubáiyát and the a capella
sort of artistic endeavour can
group Triangle provided
This brings me to the exciting create associations in our minds
entertaining and lively songs for
year of shared poetry in Suffolk. to inspire us. Whether your
the Members’ reading. I
In May, we had another poetry is typed, memorised or
performed at the open mic at
successful Festival of Suffolk scribbled on the back of an
FolkEast for the first time, both
Poetry in Stowmarket, followed envelope, it is enriched by
saying poems and singing a
in June by the Rubáiyát event in experiences, ideas and
ballad of mine, whose lyrics
Ipswich and our annual impressions which can help to
were praised by one member of
Members’ reading in Walpole bring your words to their fullest
the audience afterwards! At the
Old Chapel. Each of these events flowering.
SPS Members’ tea party on
was enhanced by a musical September 8th, held at the Florence Cox
element; at the Festival selected
beautiful home of Victoria
poems by James Knox Whittet Engleheart, we had the pleasure
N otes from the Editor
I hope this issue will provide 2. Book Reviews – it is very special
readers with pleasure in poetry for Any existing member renewing for to receive books and pamphlets
the winter months ahead and will 2020 before 31st December 2019 from SPS members for review in
inspire contributions for the will get their membership at 2019 Twelve Rivers – please keep them
forthcoming issues in the first year rates. coming. Where possible we will
of the new decade. I find myself ensure that all books and
wondering what this new decade Potential new members joining in
pamphlets are reviewed but, if this
will look like – will these Twenties November / December 2019 will
is not possible, books and
‘roar’ with new ‘isms’ like they have free membership for
pamphlets received but not
did one hundred years ago? November and December 2019 and
reviewed will be noted as per Vol.
start the annual subscription at the
10 Iss. 1 p.27.
Now to two important messages 2020 rates from January 2020.
for existing and potential members: We aim to ensure that all reviews
The 2019 Membership / Renewal
can be seen to be independent, so
1. Membership – I have been asked Application Form can be used for
please do not make
to remind all members that their 2020 membership and renewal
recommendations about a
annual membership fee is rising applications before 31st December
preferred reviewer when
for the first time in five years. This 2019.
submitting a book or pamphlet.
increase was agreed at the AGM in
March 2019 and will ensure that The 2019 Membership / Renewal
All books or pamphlets to be
Suffolk Poetry Society (SPS) has the Application Form is available on
considered for review should be
funds to continue to run its annual the website suffolkpoetrysociety.org.uk –
sent to the Editor – as per the
events, cope with the rising cost of this form will change to the
address on the Notice to
postage and publish Twelve Rivers. updated 2020 forms and rates from
Contributors on p.2. Each
January 1st 2020.
reviewer is sent the copy received
The membership fee is due in and asked to write a review of
January of each year and in 2020 The Privacy Form on the reverse of
the Membership / Renewal around 500 words by the agreed
will be: deadline for each issue. Each
Application Form only has to be
• Individual membership: £18.00 completed by new members – not reviewer may keep the copy of the
by renewing members. book they’ve reviewed. If you are
• Couple membership: £23.00 interested in becoming a reviewer
• 18+ and in full-time education: please email the Editor at
£5.00 editor@suffolkpoetrysociety.org.uk
• Postal Portfolio Membership Fran Reader
(optional extra)1: £20.00
1 Numbers of members of the Postal Portfolio are limited to keep it manageable.
4C onfessions of a Traitor:
The Trials and Tribulations of
Translating Poetry
about an eminent scientist who had
declared, around the time that
bicycles were invented, that cycling
unfamiliar while still being a writer
with something interesting to say to
today’s reader. What I thought
must be impossible: if you did not might particularly appeal was what I
fall off one side, you were bound to saw as his psychological acuity in
fall off the other. And yet cycling describing a relationship with a
continues to happen. And so does woman he called Cynthia, whether
verse translation. or not she really existed (the current
academic orthodoxy is that she was a
Why? Many poets through the ages literary invention).
have doubtless simply felt inspired
to render a poem they admired in As I began work, I didn’t have much
another language into their own. going for me if my efforts were ever
When, in the 1st century BC, Catullus to make their way beyond my
translated into Latin a love poem computer hard-drive or, at best,
composed by Sappho 500 years some kind of Internet self-
previously, he was writing for an publication. I had made my entire
audience who knew the original career in 24-hour journalism and was
Greek as well as he did; he may have unknown in the world of letters. I
wanted to flatter an erudite was not (and still am not) an original
girlfriend he had already compared poet in English. But I had an early
to the poet of Lesbos. But the main stroke of luck when the head of the
justification for literary translation, Manchester-based poetry publishing
including of poetry, has always been house Carcanet Press, Michael
Patrick Worsnip to share important works with a Schmidt – someone I had known
wider public, however imperfectly. slightly at university forty years
Born in Gloucester, Patrick Worsnip Dorothy Sayers’ Penguin Classics earlier – agreed, without
read Classics and Modern version of The Divine Comedy, commitment, at least to look at
Languages at Merton College, published in the 1950s, may look whatever I could come up with. (It
Oxford. He worked for more than dated and even odd nowadays. was to be five years before Carcanet
forty years as a foreign Does it match the original Italian? eventually decided to publish the
correspondent for Reuters, Of course not. But the fact is that, book as part of their new Classics
reporting from over eighty thanks to her, thousands of English- series). And I was inspired by being
countries and covering stories speaking people who would not able to translate many of the
ranging from the collapse of the otherwise have done so got to read hundred or so extant poems while
Soviet Union to the conflicts in the Dante’s masterpiece. spending my summers in a village in
Gulf. the Italian region of Umbria just a
Some such consideration was on my few miles from Assisi, where
Since retiring in 2012 he has mind when, a few years ago, I Propertius was born more than a
devoted himself to translation, retired from a four-decade career as millennium before St. Francis.
mainly of poetry. His version of the a Reuters correspondent and
Poems by Sextus Propertius was decided to try to finally realise a I was guided more by instinct than
published by Carcanet Classics in youthful ambition to translate Latin anything else in choosing a style and
2018. He is currently working on poetry. But which author to pick? I form to adopt. For a long time, the
the poetry of Umberto Saba and - settled on the love poet Propertius, curse of translation from the Classics
for relaxation - Dante's Divine writing in the Augustan era roughly had been archaism. By a process of
Comedy. He divides his time between 30 and 15 BC. I was still logic that eluded me, translators had
between Cambridge and Umbria, enough of a newsman to judge that thought that, because the original
Italy. Propertius was “news” in a way that works were written a long time ago,
the heavily translated Catullus and the translations should be in the
Most of the memorable things that Ovid, part of the same wave of English of a long time ago. But 17th
have been said about translation, poetic talent at that time, were not. I century English is no more similar to
especially of poetry, have stressed its knew that many readers of English Latin or ancient Greek than 21st
impossibility. From the Italian poetry were vaguely aware that, century English is. Yet usages like
proverb “traduttore/ about a century ago, Ezra Pound had “thou” and “thee” and “hasteneth”
traditore” (translator/traitor) to published a poem called Homage to and “hearkenest” lingered on in
Dante’s comment that “nothing Sextus Propertius – for the record, translation well after they had died
harmonised according to the rules of something between a translation and out in original English poetry. Even
poetry can be translated from its a loose adaptation of parts of some when they finally disappeared
native tongue into another without of Propertius’ poems, jumbled around the mid-20th century, they
destroying its original sweetness and together. But how many people had were replaced all too often by an
harmony”, to Robert Frost’s actually read it? And of those, only a unexceptional English that was
definition of poetry as “what gets fraction would have read the Latin timeless and, in my view, colourless.
lost in translation”. I am reminded author either in the original or in a Pound aside, the translations of
how, when I was a child, my father more conventional translation. From Propertius that I glanced at didn’t
told me a probably apocryphal story my perspective, Propertius had the look like poems written by a real
advantage of being relatively person. Somewhere in the back of
5my head (and no amount of the “creative” translators, who are out of translation and into
googling has enabled me to track essentially trying to write a new something else.
down who said it) was the phrase work of their own. They could
“alive and writing in English include Samuel Johnson with The The book was published in
today”. That was the impression I Vanity of Human Wishes (based on September 2018 (https://
wanted Propertius to create. Juvenal) or Edward Fitzgerald with www.carcanet.co.uk/cgi-bin/indexer?
Rubáiyát of Omar Khayyam. product=9781784106515) and was
There was a further problem relating fortunate enough to get a
to the poetic form to adopt. All of I didn’t adhere to either of these recommendation from the Poetry
Propertius’ work is in an unrhymed schools. I didn’t want Propertius to Book Society. Publication is not the
Latin metre known as the elegiac look like a museum piece. But end of the matter for the translator,
couplet. I won’t go into detail here, neither did I think I could do better though – the most unexpected issues
but suffice it to say that you can’t than him. I wanted to foster the can arise. I’d agonised for a long
reproduce it in English. To reflect illusion (and I concede it’s an time over whether to translate
the variety of the poems, I went illusion) in the reader that when “puella” – a word Propertius
instead for a mix of English forms, reading my work, he or she was repeatedly uses for adult women –
ranging from free verse to limited reading Propertius, not Patrick literally as “girl”, before eventually
use of rhyme and half-rhyme and Worsnip. To try to write in the doing so on the grounds that it was
various kinds of metre or rhythm. living language of the present day not my job to turn him into a
(while avoiding ephemeral slang) modern “new man”. But, in its
All translation is difficult. But if didn’t seem to me a particularly review, the London Review of Books
your original author is new, and revolutionary idea. But reactions took me to task for playing down
especially if the language is little from readers have suggested that sexual violence in a poem where
known – Albanian or Icelandic, let’s maybe it was more revolutionary Propertius threatens to forcibly strip
say – it is down to that author to than I thought. These have ranged Cynthia, bruising her arms in the
impress the critics or not. The from “He seems very modern” (a process, if she does not voluntarily
translator needs to do a decent job, welcome comment) to “Did undress before going to bed with
no more. But taking on an Propertius really say that?” (less him. (In another poem, it is Cynthia
established Classic, writing in one of welcome). Expressions I used such who beats up Propertius).
the great world languages, is a as “put-down”, “flip-flops” (the
different matter. The reputation of footwear) or “megacity” have raised Ah well. I’ll be more careful next
Sophocles, or Petrarch, or Goethe is eyebrows but seem to me genuinely time. To translate a Classic is an
beyond question. The onus is on the the most exact translations now object lesson in humility. The most
translator to make the case for available of the Latin. And for those the translator can aspire to is to
having had another shot when there who equate any Latin author with interest a new generation of readers
are plenty of translations out there dusty schoolrooms from decades in an author, but you cannot hope to
already. There’s no hiding place. ago, let’s remember that Propertius have produced the definitive version
Then again, translators have tended seemed very modern to his for all time. Even monumental
to fall broadly into one of two contemporaries. On the other hand, achievements like the King James
camps. There are the literalists – I’ve eschewed glaring Bible were later considered outdated
Vladimir Nabokov, for example, anachronisms. In one poem, and in need of replacement. Sooner
with his version of Pushkin’s Propertius laments that he’s lost his or later, your effort is going to be
Yevgeny Onegin, or the founders of writing tablet – a wax-covered consigned to history, and others will
the magazine Modern Poetry in wooden board. If you update the take their turn to produce a
Translation. They believe that tablet and have him losing his iPad, translation more appropriate to their
fidelity to the original text is you immediately lose your reader, age.
paramount, even if the result looks who knows very well the ancient
awkward in English. Then there are Romans didn’t have iPads. You’re
A Memory of George
Crabbe
Rector. In the evening the whole
party adjourned to the Rectory,
where they found Crabbe playing
* Kilvert's Diary, Volume 3
Selections from the Diary of the
Rev. Francis Kilvert 14 May 1974 -
* From the Reverend Kilvert’s diary whist with three friends in a large 13 March 1879, Chosen, edited and
drawing room. Crabbe’s son (who introduced by William Plomer
Monday, 5 October, 1874
was acting as his father’s curate) (1960) pp, 91-92
This month there is in the Cornhill was present, a keen-looking
(George Crabbe died 3 February
Magazine an article on Crabbe’s laughable man…..He came
1832 aged 77. His body is buried in
poetry. My Father says he forward to receive the visitors
Trowbridge and his heart in
remembers staying with the while Crabbe continued his game.
Aldeburgh.)
Longmires at Wingfield about the My father describes the poet as
year 1830. They took him one day being a small plain insignificant- Frank Wood
to a book sale at Trowbridge, of looking old man, bald and with a
which parish the poet was then whitish yellow complexion.
6T
' he Strait-Jackets' by
Pascale Petit:
a close reading
breathing easily; nostrils, almost;
don’t, know; how, hours; asleep,
cheeks; catch, wrap, strait-jackets.
surprisingly, For the first time since
I've arrived / he's breathing easily,
had the father also been dreading
this meeting, and confronted by
The poem culminates with two past misdemeanours found some
Derek Adams
internal rhymes in the final line sort of relief?
‘deep’, ‘sleep’, and the W sound of
‘wake’ and ‘once’, which also echo At the end of the poem all the
the word ‘work’ in the penultimate hummingbirds are retrieved and
line. This relentless rhythm is once more returned to the strait-
intensified by the block form of the jackets and, by inference, to the
poem, as well as the enjambment case, so perhaps this hospital visit
of many lines and the heavy use of has not been as cathartic as it first
alliteration: lie, live; feed, from, seemed. While the father sleeps like
flask; inserting, into; from, face; a baby, does the poet find herself
hover, he, humming; audible, once more, like the hummingbirds,
above, attached, almost; work, trapped by her own mental
wake; deep, doesn’t. straight-jacket?
In contrast to this tension, the
poem is full of soft words: gently,
cushioned, swaddled, flower, The Strait-Jackets
feathers, eyelids and quietly. This by Pascale Petit
gives the poem a feeling of
tenderness on the part of the poet,
In this issue we will take a close she tells us the birds fly close to her
father’s face as if he’s a flower… I lay the suitcase on Father's bed
look at a poem from Pascale Petit’s
second collection The Zoo Father and unzip it slowly, gently.
It comes as a bit of a surprise to
published by Seren in 2001. ‘The find that this poem is from the first Inside, packed in cloth strait-jackets
Strait-jackets’ is the first poem in section of the book that deals with lie forty live hummingbirds
the book. In it the poet tells us she the poet’s reunion with a violent tied down in rows, each tiny head
has smuggled forty live and abusive father, whom she had
hummingbirds into her father’s cushioned on a swaddled body.
not seen since childhood, while he
hospital room and released them. was dying in hospital and she was I feed them from a flask of sugar water,
I chose this poem as I feel it is an undertaking therapy to help her inserting every bill into the pipette,
interesting example of Pascale’s come to terms with her past. then unwind their bindings
poetry and shows how she invites However, this poem contains clues
to the strained relationship of the so Father can see their changing colours
you to suspend your belief with her
two characters, the hummingbirds as they dart around his room.
surreal poetry. After the intriguing
title, she lulls you with a very are ‘tied down’, their bodies They hover inches from his face
ordinary-sounding first two lines: I ‘swaddled’, which seem to echo the
as if he's a flower, their humming
lay the suitcase on Father's bed / and way her father is held by the
hospital bed, tied down by the just audible above the oxygen recycler.
unzip it slowly, gently.
oxygen recycler and the cannula/ For the first time since I've arrived
The next six lines introduce the attached to his nostrils. The strait- he's breathing easily, the cannula
hummingbirds. Here Petit piles on jackets of the title not only hold the
attached to his nostrils almost slips out.
the detail of how they are secured hummingbirds down but are also
in the case and how they are fed; the strait-jackets of family ties I don't know how long we sit there
this wealth of intricate detail makes which bind father and daughter but when I next glance at his face
everything sound plausible and together, despite years apart, and he's asleep, lights from their feathers
this allows you to accept the the trauma suffered by the poet
fantastical, or magical realist, that caused the separation. Of still playing on his eyelids and cheeks.
elements of the poem. course, the most important thing in It takes me hours to catch them all
the poem are the hummingbirds, and wrap them in their strait-jackets.
There is a lot of tension built into these little metaphors of memory
the sound of this poem by the use I work quietly, he's in such
and feelings that the poet has
of internal rhymes and echoes, carefully packed away in a suitcase a deep sleep he doesn't wake once.
often in the same line, sometimes over the years, tied down so they
in adjacent words: lay, suitcase; can’t escape. When she finally sees
unzip, it; slowly, gently; packed, the father who abused and From The Zoo Father (Seren 2001)
strait-jackets; Inside, lie, live, tied, abandoned her so many years ago, reproduced with kind permission
tiny; down, rows, cushioned, on; helpless in his hospital bed, she can of Pascale Petit and Seren.
sugar, water; unwind, bindings; at last release what had for so long
Father, dart; hover, flower, recycler, been suppressed. Perhaps
cannula; arrived, attached;
7F ound Poetry everything. In found poetry, the
poet is allowed to operate like the
proverbial magpie and ‘steal’ words,
other poems or other textual
sources, as already mentioned
above.
Nicola Warwick lines and phrases from other texts
(not just other poems) to create The following example shows how
something which is frequently it can be done, on a very basic level:
referred to as collage. In fact, the Here’s a great way to keep the kids
Found Poetry Review describes it as entertained.
‘the literary version of a collage’,
using not just traditional sources The neighbourhood cats keep using
such as books, magazines or
newspapers, but also the less the flowerbed
traditional, like packaging or junk around our house as a litter tray.
mail. By joining extracts from the We regret we do not have facilities
chosen sources, the poet creates for pets.
something that is and is not part of
the original text. As Annie Dillard I was upset to find the stones
says ‘by entering a found text as a in one of my favourite brooches
poem, the poem doubles its context.
were loose.
In July, Roger Bloor was announced The original meaning remains intact
but it now swings between two By removing the bottom of a plastic
as the winner of the Poetry London
Clore Prize 2019, with his poem ‘The poles. The poet adds, or at any rate lemonade bottle
Ghost of Molly Leigh Pleads, Yes increases, the element of delight!’2 you find useful compartments
Cries for Exemplaire Justice Against Found poetry can also be used to to hold all your bits and bobs.
The Arbitrarie, Un-exampled inspire poems if you don’t know We store deposits in a secure
Injustice of Her Accuser’, described what to write or if your writing is account.
by the judge, Sasha Dugdale as a inspired by a phrase or title of an
poem of ‘mesmerising rhythm and already published poem and you Please note anyone who has not
accumulative power’1. Leaving just want to free-write from disclosed
aside its extremely long title, what whatever first seizes your attention.
makes this poem remarkable is that a health problem. I prefer to buy
A good example of this is Linda
it is an example of what is known as man-sized tissues. I punch holes
France’s 2010 collection You are Her,
‘found’ poetry. At the time of the title of which was discovered on in the front of the boxes,
writing, the winning poem has yet an information board at Hadrian’s useful all year round as curtain
to be published but is described as Wall, not far from the poet’s home. ties.
using ‘found text and elements from The missing final ‘e’ from the sign,
the legends that surround Molly’s originally ‘You are here’, enabling Groups of ten or more adults may
life’, Molly Leigh being a 17th- the visitor to locate their position on qualify
century woman who was accused of a map, set the poet off on a journey
witchcraft. for a discount, using just a piece of
of writing poems both of location
and disorientation. The title poem of slate,
But what exactly is found poetry,
the collection ends ‘…. you are her, some pebbles, correction fluid
and how can it generate such
apparent intensity and power? Most and her, and her, always guessing/ and a marker pen.
poets will experience what is the missing letter, a perfect
The poem was created by combining
sometimes called ‘writer’s block’ at mistake’3. Found poetry, then, can
phrases taken from ‘brainwaves’ or
some point in their career. The have a disorientating effect on the
‘your tips’ pages of two weekly
reasons for this ‘block’ are various: reader (and the poet) in the way it
women’s magazines and some lines
lack of confidence, demands and encourages a thought process that is
from the terms and conditions of
stresses of life outside the poetry both surprising and imaginative.
booking a place on a residential
world or simply just not reading I first encountered found poetry on course with the Field Studies
enough. I find the more poetry I an Open University course and Council. Some phrases seemed to
read, the more I want to write; when what appealed to me primarily was knit together quite easily; others
I’m not reading poetry, I’m less its experimental nature and the fact needed a little more persuasion.
likely to write it. Taking all this into that I could legitimately have fun Nevertheless, the poem has some
account, a good technique for when writing a poem. Peter Sansom, very unexpected and surreal lines,
creating a poem, while waiting for in Writing Poems describes a found as well as some which are witty and
the muse to strike (or if the muse is poem as ‘plagiarism as art’. It can playful.
of the distinctly tardy kind) is to also, he says, be like ‘ “sampling” in
have a go at found poetry. Of course, there are more ‘creative’
pop music; though it tends to reline
prose as poetry (rather than methods of making a found poem.
So, what is it? Arguably, all poetry The Found Poetry Review sets out
is, to some extent, ‘found’: in the borrowing from other poems)’4. The
idea of ‘borrowing’ is crucial here, four techniques for creating found
mind of the poet, within the poetry2:
experience which inspires the poem, although I would go further and
the idea of ‘seeing’ poetry in describe it as recycling or even re- • Erasure - using an existing
purposing material, either from
8source of no more than a The resulting poem has a just to be touched and dirtied
couple of pages, erasing the surprisingly logical narrative flow. by something.
majority of the text and The final lines were not taken in the
creating a poem from the order they appear in the book, The resulting poem retains some of
remainder, read in order enabling them to be repurposed into the atmosphere of the original (the
something which makes sense and title itself is taken from the first line
• Free form excerpting and has a surreal quality to it. This of Vicki Feaver’s poem) yet moves
remixing - taking words and method of writing, creating a text away from it by focusing on the
phrases from the source text from other texts, is also known as speaker’s feelings of rejection, on the
and rearranging them in any intertextuality, which describes how absence of her husband as he
order a piece of writing relates to other concentrates on the harvest and
texts, whether this is by allusion, ultimately providing for his family,
• Cento - using lines from other Although lacking the drama of
adaptation, translation, parody,
writers’ texts into a new poem, ‘Judith’, this poem retains a sense of
pastiche, imitation or other ways of
keeping the original lines power and emotion, not lost by
transformation6. Intertextuality is
intact, but rearranging them also the name used to describe weaving fragments of the original
found poetry made where the into new lines.
• Cut-up - physically cutting or
tearing up a text into words or original text is cut up and worked Using ‘found’ material, then, is a
phrases from another writer’s into another. way of making poems which seem
work and rearranging to form In the example below, the original random but highly focused. The
a poem lines and phrases from Vicki collage style can generate raw and
Feaver’s ‘Judith’7 are shown in exciting work and is an exercise in
To avoid accusations of plagiarism, shaping words and phrases into a
when using words or phrases from italics:
poetic form, taking them away from
another writer’s work, the poet A good woman the original context, yet keeping a
should provide attribution, unless it foot in the source text. Above all
is impractical or inappropriate to do there is risk involved, a sense of not
Watching his sleeping, wine-
so. knowing how successful the
flushed face
These four techniques can be more resulting work will be, as if some
my body flooded by a rush of kind of magic is in operation, as
fluid, for example, the following
poem was created by taking the last tenderness, a longing poet Sean Kiely says, as part of the
lines of some of the poems from to lie sheltered and safe in his Poetry Book Society’s #POETIPS,
Vicki Feaver’s 1994 collection The arms, ‘It’s alchemy......An attempt to turn
Handless Maiden5, with only a small lead into gold’8.
a vessel in safe harbour.
amount of manipulation.
First light, and he’s gone; lured
After Vicki Feaver References and Further Reading
to the glare
The smell of arousal of the barley field; the dust and All poems quoted in full are the
heat of harvest, writer’s own previously
makes him wear slippers. unpublished work.
It’s a butterfly to his bubbling the men breaking their backs to
gather it all in 1. Poetry London Clore Prize 2019 -
chest, judges report see: https://
like boiling mare’s milk before a break in the weather. poetrylondon.co.uk/competition/
with two fried eggs. And the heat – the merciless 2. For more on this, see: http://
www.foundpoetryreview.com/about-found-
Blind drunk from politeness, heat
poetry/
he unzipped his furry pelt. slipping from warm to balmy
3. Linda France - ‘You are her’ in You are
It was like the hiss of a tide to unbearable before water Her (Arc Publications, 2010)
withdrawing, could be 4. Peter Sansom - Writing Poems -
pressed to his lips. Bloodaxe Poetry Handbooks: 2
dancing out on the edge (Bloodaxe Books, 1994)
of another century. My husband pushing away the 5. Vicki Feaver - The Handless Maiden
sponge (Cape Poetry, 1994)
His wife gave birth
I pressed to his burning head, 6. Chris Baldick - The Oxford Dictionary
to their only child,
batting away the balm I held of Literary Terms 4th edition (Oxford
her curled fists University Press, 2015)
to his blistered skin.
swirling past an orange moon 7. Vicki Feaver - ‘Judith’ from The
The harvest becoming his new Handless Maiden (Cape Poetry, 1994
like souls in limbo.
wife, 8. Poetry Book Society - Sean Kiely’s
He wanted to fit her into the sky the farm a family he must #POETIPS: https://www.poetrybooks.co.uk/
of untouched clouds blogs/news/poetips-2019-sean-kiely
provide for -
to prove that space exists, the mornings when I rolled in the
to see if she’d sink or swim. ash of the fire
9T urning Japanese 4:
Tanka
Dr Tim Gardiner
those killed without ceremony we gather
without ceremony and place in the
bonfire
There are deviations from the classic
structure above, but it’s useful to
write proficiently in this style before
Equally moving is Masuda Misako’s experimenting. Many poets who
tanka: struggle with the sparseness and
brevity of haiku find that the extra
each time I see a boy’s body I bring my two lines and greater scope for
face close to see if he’s my boy as I travel emotional reflection are more suited
in search to their style. A number of
The atomic bomb literature includes publications accept tanka, including
many more examples of tanka, the British Haiku Society’s Blithe
which I have displayed in one line Spirit magazine and the Tanka
due to the absence of obvious line Society of America’s flagship,
breaks in the source poem. Many Ribbons.
tanka were also written about
Nagasaki, further underlining the Tanka can be combined with prose
sparse form’s value for emotional to form tanka prose, a newly-
poetry. emerging form which is similar to
Tanka is a classical form of Japanese
haibun. More on this in a future
poetry which has existed for around Tanka traditionally consist of five
article. I’ll leave you with a few
1400 years and came to be known as units (often treated as separate lines)
waka for many centuries. In ancient hints to remember when writing
usually with the following pattern
times, it was a custom between two of on (often treated as the number of tanka.
writers to exchange waka instead of syllables per line): Tim’s tanka tips:
letters in prose, and the form
became part of aristocratic culture. 5-7-5-7-7 1. No rhyme, although it can be
Tanka were also commonly used subtly
The 5-7-5 is called the kami-no-
exchanged between lovers. The ku (upper phrase), and the 7-7 is 2. No title
writing of poetry was a desired called the shimo-no-ku (lower
pursuit of emperors, to display their phrase). 3. Mostly reflective, but can be
learned nature. about any subject
Tanka can be broken down into an
Emperor Meiji (reigned 1868-1912) image/experience in lines one and 4. Humour must be light-touch
was a noted writer of tanka two, followed by a pivot line for the 5. Usually written from first person
(allegedly, he wrote 100,000 poems third which changes the tone. The perspective
in his lifetime, roughly 4-5 a day), fourth and fifth lines provide the
some of extremely high quality, such emotional, reflective response to the 6. Syllables are less important than
as this famous one about clocks: upper phrase (lines 1-3). content and feeling
in endless numbers
pale blue confetti experience/image
O
all our clocks have been wound up ur Web Presence
and then together smothering yellow experience/image
they tick in perfect order primroses
and this brings us much pleasure swept away by the pivot line Our website:
wind suffolkpoetrysociety.org.uk
He was renowned for his wide
the joy of a spring reflective response
breadth of subject matter, even Our shop:
wedding
writing about the process of writing shop.suffolkpoetrysociety.org.uk
in this classic tanka: so quickly forgotten reflective response
Facebook:
being all alone facebook.com/SuffolkPoetrySociety
and consoling our own heart From Tanka Journal Issue 1.
for this one day Instagram:
Emperor Hirohito, towards the end
the time was spent quietly @suffolkpoetrysociety
of his reign, speculated with some
in the writing of poems
melancholy about World War II: Twitter:
Emperor Meiji’s tanka are significant @SuffolkPoetrySo
in the history of the form because receiving celebration experience/image twitter.com/SuffolkPoetrySo
they were written at a time when
Japan was opening up to the world. from the people experience/image YouTube:
Even more effective are tanka I’m happy but pivot line youtube.com/c/SuffolkpoetrysocietyOr-
written from the survivors of the looking back reflective response
gUk2015
Hiroshima atomic bombing in 1945. I’m ashamed reflective response Donations:
Here is an extremely sparse, yet totalgiving.co.uk/donate/
powerful, poem from Sasaki Suffolk-Poetry-Society
Yutaka:
10L etter to the Editor I have had over 1,200 traditional
form haiku published in a wide
variety of publications, some
Charmion Watson on the inside back
cover of the Spring / Summer 2019
Twelve Rivers which contained both
Can I respond to comments about definitely in the 'top' layer. I have humour and an unexpected final
haiku expressed in all three of the won national haiku prizes and my line? Another haiku writer whose
'Turning Japanese’ articles? The illustrated seasonal series of 112 work I admire, Denise Margaret
author states that 'these free-verse haiku - known as haikai - sold out Hargrave, has also experimented
haiku allow a certain amount of and had excellent reviews in several with enjambment in her haikai
freedom for the writer' which national poetry magazines. In series.
suggests to me that traditional 'five- writing these haiku I have used
seven-five syllables, three lines and a extended metaphor, assonance, None of the above possibilities
seasonal word' haiku suffer from alliteration, personification, asked compromises the traditional haiku
that lack of freedom. He also adds questions, deliberately repeated the form and all are published
that it can be difficult to get such same words and incorporated examples. How, then, can this long-
haiku 'published in many of the top references to art, music, other poets established haiku form deny the
journals and magazines'. and religion. If this is starting to poet 'a certain amount of freedom'?
read like an ego-trip CV then can I Richard Stewart
That has not been my experience. add the traditional form haiku from
R esponse to Letter suggests that there is an openness of
structure in the country of origin.
One US publication (Haiku Journal)
writer should concentrate on the
contrast in imagery and intended
meaning. Without hinting at subtle
I note that Richard Stewart asserts will only accept 5-7-5 poems. I think emotions haiku are no more than a
that ‘traditional’ haiku written in 5- there is room for both approaches picture of nature. Richard Stewart
7-5 syllable format offer the writer and I have written many traditional writes excellent haiku with layers of
plenty of freedom for expression. In haiku, too, one of which was meaning. One of my favourites of
my workshops, I pose the question published in the East Anglian Daily his that has been widely published
of haiku structure in a discussion Times in 2017: is:
and encourage participants to
choose their preferred form, either a day’s last sunlight Two peacocks fly up
free-verse or 5-7-5. Given that many falls on Iken church tower – Spiralling in a bright sky
Japanese publications accept haiku lone seawall shadow Covered by larksong.
in free-verse or traditional form
Whichever form is chosen, the Tim Gardiner
I n Conversation with
Beth Soule
‘The Ballad of Dan McGrew’, and he
later introduced me to ‘The
Rubáiyát’. At elocution lessons I
a workshop, the research notes are
kept too. I have always kept diaries
varying from detailed accounts and
had to learn poems by heart and, in reflections to a bare record of
order to recite them meaningfully, appointments and events with
my teacher emphasised that we had related ephemera stuck in, too –
to understand them, and this was a tickets, flyers, grandchildrens’
wonderful training for my own later drawings. I have boxes full and I go
writing. My suffragette back through these every now and
grandmother encouraged us to then for ideas, or memory jogging. I
think we could do anything but that did have a go at script-writing once
we should always aim to support but the results were dismal!
ourselves. So being practical, rather PJ Which poets have been
than follow a dream to act and to
Pam Job interviews Beth Soule as particularly important to you, Beth,
write, I taught English and Drama,
she retires from being Secretary to both as a reader and a writer, and
the next best thing.
the Crabbe Competition. could you say why they appeal?
PJ I know how all-consuming BS From my teens I loved Philip
PJ I’m interested in your early teaching can be so I wonder if you Larkin’s and Thomas Hardy’s
poetry experiences, Beth. Where did did manage to keep writing while poetry. I liked that both manage a
all this start for you? you were working? really tight control of rhyme and
BS My mother claimed my first BS Poetry pushes itself through form while achieving an almost
poem was ‘written’ when I was when events or situations prompt it, conversational tone. Ted Hughes
about three – I scrawled on a surface so I always had, and have, a was (is) another favourite along
newly painted by my father. When notebook on the go for poems, parts with Seamus Heaney but my earliest
she remonstrated with me, I said of poems, ideas, and the occasional loves were probably Gerard Manley
‘You say nuffink/ an’ I say nuffink/ reflection or even a short story now Hopkins, Wilfred Owen, Dylan
an’ he won’t know nuffink about it’, and then. Interesting facts, Thomas and T.S. Eliot. My parents
but it was my father who recited information, anecdotes get recorded bought me an LP recording of Under
poems to me at bedtime. for later, and now, when I get Milk Wood, and that would certainly
I remember ‘The Highwayman’, started on a theme or I’m preparing accompany me to a desert island!
11I used to sit in my bedroom under BS I love what the Society does and
the eaves and listen to that amazing it felt right to help with the
voice on my little Dansette record organisation of events – our
player when I was supposed to be contributions to Poetry in
writing essays on Goethe or Keats. I Aldeburgh and National Poetry Day
think because of my Speech and for instance. I enjoy running
Drama training, poems that perform workshops and have done so for
well really attract me. Now the Waveney and Blyth Arts and for the
poets who stir me are people like Suffolk Walking Festival. I was
Alice Oswald, Emily Dickinson invited to read at Sudbury Poetry
(why was she never on the school Café and Poetry Aloud this year,
syllabus!), Mimi Khalvati, Finuala which I found exhilarating.
Dowling, Sharon Olds, Blake PJ What about publication?
Morrison, Liz Berry. My recent
discoveries include Mary McCrae, BS I have had poems published
Camille Ralph (an Emma Press under the name Elizabeth Soule in
poet), and Yvonne Reddick. Twelve Rivers, in Write to be Counted
(an anthology in support of PEN)
PJ Well, that’s quite a gallop and I have a couple of poems
through the poetry canon, and it’s
scheduled for publication in The
certainly a very recognisable path Dawntreader. I’ve also had work PJ You really seem to have grasped
through the forest. I shall check out published online by Second Light, how technology can be harnessed to
the last three poets you mention, Virtual Verse, Poetry24 and Norwich poetry in imaginative new ways.
new to me. Interesting that the later Café Poets. Good luck with that, Beth, you’ve
poets are mostly women, and you
PJ What’s the next step, Beth, now left me breathless by the scope of
are right – where were they in our
you have stepped down from your ambitions now you have the
school reading – not even Christina
administering the Crabbe time, hopefully, to really let rip!
Rosetti or Elizabeth Barrett
Competition, which I imagine has Good luck in all your ventures!
Browning to give us the idea that
women wrote poetry too. I’m sure entailed an enormous amount of
Dickinson is a fixture now, unseen work!
thankfully. BS I have been trying to get a
You have returned to your early pamphlet published for the last
passion for poetry in retirement. couple of years but I’m not Textile Terrorists
How did that come about? consistent enough in submitting to
periodicals to get my name Overnight
BS I joined Suffolk Poetry Society recognised. I’ll probably self-
and was fortunate to have two the High Street has become
publish next year if my current
poems published in the Norwich efforts don’t bear fruit. I have a a shrine to grannies.
Writers’ Circle 40th Anniversary sequence of poems about Boudicca Street furniture carefully
Anthology. I then had the that has been performed twice, as lovingly
confidence to join Bungay Poetry has ‘Wicked Women’, and both are swaddled
Circle, a wonderfully encouraging about pamphlet length. In all in lurid squares of double knit.
group. honesty, I like reading/performing Lamp-posts and bollards,
PJ Do you belong to any poetry more than the hassle of trying to get
published, and I like the process of telegraph poles and post boxes
groups at the moment?
researching and writing better still. purled and plain-ed,
BS Yes, I belong to four poetry Because I have been running poetry cabled and fair-isled
groups – Bungay Library Poets; workshops, a lot of my creative love-bombed
what used to be the Bungay Poetry energy has gone in that direction, into a snugly smothering gesture
Circle and is now Ivy Poets, another something to cut back on if I am
small group that meets fortnightly, of elderly defiance.
serious about submissions. I am
and a group that grew out of courses We are not grey.
working on my own website – my
run by Helen Ivory in Norfolk. I husband is good at producing short We are not even silver.
didn’t attend those courses myself videos so it may include a couple of We are a Joseph’s Dreamcoat
but was invited to join the group ‘performances’. I do love that the of crimson and gentian,
later. Over recent months I have internet is democratising poetry and jade, turquoise, cerise and olive,
been so busy I’m not sure I would music; I’d like to have a go at
have written very consistently if I cerulean blue
Instagram. I’m fascinated by the
hadn’t had these groups to spur me and vivid, vivid
literal translation of ‘a poem’ as ’a
on. thing made’. I love to make poetry flame.
PJ You are now on the SPS artefacts and photograph them. Beth Soule
committee so you are really
delivering on your commitment to
poetry in a very practical way, too.
12S elected Poems
The Editor thanks Antony Johae and James Knox Whittet for acting as referees for the selected poems.
Note: All poems are submitted to the referees anonymously.
Melting Snow Jackdaw
Over time One morning in the station car-park
you grow a narrative, She was approached by a jackdaw which
irrigate and hoe Folding its granite wings
a kind of order from the chaos, Spoke to her in the voice of an old man
yielding harvests of familiar sentences, Calling her by name.
weaving a screen round the wasteland,
After that no one could ever
word-wall against the wilderness.
Persuade her she was mistaken.
One day in early Spring I glimpse That things of this sort do not happen.
a small bird foraging
Now each day, when the cranked-up sun
beneath the hedge, green shoots
Tips sliding photons on the rooftops,
revealed by melting snow,
She is there at the casement window, properly dressed,
and suddenly recall Asking the city, hunting clues.
the awful day we cleared his flat, So far we know:
the poem neatly copied out (I have it still)
It was intended as a message:
about the thing with feathers
Something declarative at last.
that perches in the soul
The bright eye and the alien beak,
- though not in his,
The head racked left
and stumbling, I reach out for the wall, Like with a wiring fault of some kind.
clutch at sentences to break my fall.
Jackdaws are of course well known
Sheila Lockhart To imitate human speech.
Alternatively: there was a message
But it was not delivered. Only her name
Before something took fright,
A squabble of wings, and he was gone up.
Urban Fox If only the clouds had not parted thus
And swallowed him.
Is a Quaker among us
Lately, without meaning to, without intent,
Passing soft-footed through our absences
She has been scribbling over parts of the map,
Testing the crumbling green corridors
Deleting junctions and sidings
Only betrayed by sudden snow.
Smoothing the ambiguity of points and crossings.
Richard Stewart
She sheds her past like beech leaves
And becomes
A winter tree, comfortable by moonlight.
It is autumn after all that really hurts.
Neil Fleming
13Under the Ancient Mulberry at
Gainsborough’s House
A Broader View of Shelling Beans
What greetings to offer?
I am a trespasser. Shelling broad beans is tedious
Wait till I am spoken to. previous experience informs me.
Time is set aside to bide in the unzipping –
She has claimed the space, reached that gripping moment of discovery.
an understanding with the house. How many in the pod?
She is accommodated The odds are on four.
and has pride of place. It’s rarely more if they’re fat.
She leans on old elbows. Her branches But then the shock
finger purple silences. to see the inner shell.
A stately dowager of ancient lineage You couldn’t tell before you thought
whose silk is privilege. you’d unzipped the lot.
Her thistles set their bayonets, her nettle guards And what have you got?
say keep out. Woodlice The inner layer.
in hard hats Tricked by something trickier.
clean out her spongy crevices. Pick it off with care
She lets in the windrock since the innermost fruit is there
in whorls and whispers. Her dark-staining fruits are soft, beautiful, vulnerable.
an acquired taste. I’ve learned a great deal in the peeling.
She is not interested in pleasing me. Been to the heart of things.
Broadened my own understanding
After all, she can remember that
while shelling.
Shakespeare
Maybe got closer to God with each pod.
planted her sister.
Her roots weave through history. Lynne Nesbit
I bow down before her to touch
her split limbs, kiss
her ring of carbuncles.
By the River Alde
Christina Buckton
The sails of a distant wherry
Butterfly Lodge swim through the reeds
in which you walk
That's my name for it. The sign says
You are the foreground
The Tavern House though it closed to drinkers
in an autumn painting:
long before the insects died. Only once
a dark shadow approaches
have I seen the door open: peeled paper,
drag marks in the dust, a bumping sound The river is calm, uncaring
that stopped as I reached the step. but persistent, nibbling at the path
downtide to Iken
No-one came, no-one comes. The dried corpses
dangle on the nets, their colours evaporated A boardwalk bridges the marsh:
over long summers. Yet the wing patterns skeleton trees
are still perfect in black and white black against the sun
as though drawn carefully in ink, the butterflies In the distance an island church
in different attitudes as though pinned. tempts us to risk the water:
On the day the door was open, an admiral offers us baptism
almost stirred. Did it stretch a wing, or isolation:
flutter an antenna? I tapped a key on the pane, behind us maltings rear up,
like chinking glasses, rapped with a knuckle hide the mooring places.
to evoke the drayman's horse,
unable to conjure a butterfly sound. Tim Lenton
Clive Eastwood
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