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NEW RELEASESODES by Sharon Olds (Cape) CROWD SENSATIONS by Judy Brown (Seren)A WHOLE DAY THROUGH FROM WAKING by Jacci Bulman (Cinnamon Press)LIFE IN SUSPENSION by Hélène Cardona (Salmon Poetry) READING THE FLOWERS by Linda France (Arc Publications) HOMING by Mary King (Smith/Doorstop)CHAN by Hannah Lowe (Bloodaxe)GREEN CITY by Sue MacIntyre (Stonewood Press) GARDENING WITH DEER by Kathy Miles (Cinnamon Press) THE IMMIGRATION HANDBOOK by Caroline Smith (Seren)THE MONTHS by Susan Wicks (Bloodaxe)TROUBLE by Alison Winch (Emma Press)Measures of Expatriation by Vahni Capildeo (Carcanet)‘my main craft challenge is not tying things up so they sound better than they need to’POETRY PERISCOPE Public sound-art installation the Poetry Periscope is on tour. The bright yellow, tubular poetry jukebox, started in the Czech Republic,is a joint project between Piána na Ulici (Pianos on the Street), the Poetry Society and the European Literature Festival. It plays recordings of poems from 30 European cultures, including work by Makar Jackie Kay and Irish language poet Doireann Ni Ghriofa. The poems are all available in theiroriginal language and in English translation. Installed initiallyon the British Library piazza,the Periscope (aka Poesiomat) is currently at New Street Station in Birmingham, before heading to Palace Green Library in Durham on 16 September for the Durham Bookfest. Thereafter it’s off to Ukraine, Russia, Germany, the US and Poland. www. VS COOKERYWaterstones have promised to pay more attention to poetry after Carol Ann Duffy’s touring poetry supergroup poured scorn on the paltry selectionof books in high street chains. Duffy, Imtiaz Dharker, Jackie Kay and Gillian Clarke wenton a 14-day tour, reading their work at indie bookshops in recognition of their cultural importance. Clarke commented that the indies ‘support poetrywith a passion’, while highstreet chains stock only ‘old favourites and popular stuff’. She added: ‘the poetry corner has shrunk and shrunk at the big chains because they make money out of cookery books’. Fiction Buyer at Waterstones Chris White admitted that although ‘poetry is a vital part of our business,’it lacked the focus it deserves. ‘We are reviewing which poetry collections we stock with a view to reinvigorating these sections and injecting them with a sense of integrity, authority and pride.’ Watch this space.NATIONAL POETRY DAYIt’s nearly that time of year again – no, not NaPoWriMo – but National Poetry Day. This year NPD will take place on Thursday 6 October, so save the date, jot down the theme (‘messages’) and start looking out for events (or why not plan your own?).as Britain grapples with its place in the world. The line ‘Expatriate, I had acquired the confidence to hurtle into having to start over. It was a way of going on’ should ring in all our minds. ❐HOW I DID ITMy father was a poet, and my mother is a gifted storyteller.The house was full of words and songs. My earliest memories include using copybooks and any other paper I could find to write what I called ‘poems’.I want writing to be adequateto, co-extensive with, everything that goes on: said and unsaid,in the mind and body and life. Not always to be neat; but alsoto be the unsaid, the unsayable, the explosion or retuning of ways of moving through language asif it is itself a place. People edit themselves too much.My main craft challenge is not tying things up so they sound better than they need to. It isthe temptation that comes from ‘performances’: the temptation of the fine finish.I would characterise my poetry as secretly formal. I count syllables, check line breaks, pattern white space, try everything out loud, hold the page close to and away from my eye to check what field or score or scatter graph it makes. Any form is up for exploration. VAHNI CAPILDEOWHAT'S NEWPOETRYPOETRY REVIEW‘I hold the page close to and awayReview and interview by ALEX PRYCE 72 Sep/Oct/Nov 2016 mslexiafrom my eye’Issues of migration, identity and ‘foreignness’ havenever seemed so urgent in Britain, post-Brexit. Vahni Capildeo’s Measures of Expatriation is the seventh collection from the Trinidadian poet who lives in the UK. The poems here address the complex interplay of memory and marginalisation with wit and linguistic experimentalism. In the title poem sequence, the bright realisation is that ‘my having had a patria, a fatherland, to leave, did not occur to me until I was forced to invent one’. There are many such moments of clear- sighted observation.Capildeo has always been a poet of fierce and unrelenting energy. This collection intensifies these qualities as language often propels them. In ‘Neomarica sky jet’ the speaker pleads ‘no please no more keeping in touch/ you have already taken so much/ of myself from myself ’; while in ‘A personal dog’ we are told ‘linesare all/ lines of approach’. The crafted disintegration goes so far that syntax is disrupted. At one point, there is no room for spaces: ‘whensleeplessiimaginepeople iknowinemblematicpostures’.Yet even when strangely pieced together, the reassurance from the title poem is that ‘Language is my home. It is alive other than in speech’ – just ‘not one particular language’.Capildeo is a skilled writer, comfortably moving between long and short forms. The longer works, such as the ten-page‘Too solid flesh’ are significant achievements and offer sustained interrogations of the collection’s overarching themes. Drawing on myth, faith and personal history, they cast a socially critical eye on the contemporary world.It seems fitting that work so engaged with the aftermath of Empire should be on both the Forward Prize for Best Collection and the T S Eliot Prize shortlists

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