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The poem-book of the Gael. by: Hull, Eleanor, Publication date: . Topics: Irish poetry, English poetry. Publisher: Chicago.
Table of contents
I think art can often be too concerned with perfection. These minds of ours — they are distractible, finicky, and full of quirks, but they are also capable of going in one direction at the same time as they go in another.
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They can, in other words, contain so much. And this poem was an attempt to honor that kind of containment, the spilling over-ness of our minds and thoughts and feelings. I share the poem especially when an intuitive sense gnaws at me and I trace the crumbs of our fragility and disconnections in relationships that may manifest. How do these poems take shape in being an encounter with the subconscious? This is such a lovely, generous question. I think of that so often in the aftermath of writing. My front-of-mind intents are always muddied.
But underneath all of that is a subconscious that is making connections, drawing out dreams, deepening emotions. I think of writing as opening as many doors to that as possible, of building a house with room after room of the ordinary, filled with doors flinging wide open to the extraordinary.
There is a spirituality in the silences and breaks in the poem. Would you describe how you arrive at deciding lineation for your poems? Thank you for saying that.
I grew up with strong faith, and a strong practice of that faith, and though that has lapsed now, I think of prayer a great deal while writing, and that particular poem feels in large part like a prayer to me. I created those very spatial line breaks with the intent to mimic the brief pauses one feels while trying to organize a rush of emotion, the kind of breathlessness that wants to be spoken but still needs room and space to breathe in order to be spoken at all.
Prayer can be so many things. It can be want and wish at the same time as it can be apology and forgiveness. It can be an act of courage or a plea for courage. In all seriousness, his work, along with a bit of permission and goofiness on my part, has opened up my conception of poetic titles. And I mean that sincerely! As far as process goes, I usually wait to title a poem until I finish it, and then the title serves as almost a mood board, like throwing a phrase Jackson-Pollock-like onto the poem, splattering paint all over its words.
If a title is like a diving board into the pool of a poem, how high do I want the fall to be? How low? Is it more of a slide into the poem or a full-on jump?
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These are the kinds of questions poetic titles bring about in me. This idea is amply reflective in your poems as well, and I admire the tenderness in which you write about the father-son relationship. What attributes would you say lead you to this place of self-exploration and light from which you create? Masculinity is toxic, but the more we can talk about gentleness, about vulnerability, then the more willing, perhaps, men will be to explore these things in their own lives.
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Poetry has allowed me that self-exploration. Reading poetry was what first allowed it.
Exclusive Price This is exclusive price for our esteemed customer. Size Chart. Hi, Select Your Zone Share pincode for faster delivery by local sellers. We will notify you when product is available Notify. Sold Out. Shop now! Product Id : Be the first to write a review. Join Now. Charles is settling down at school. Put the Great back in Great Britain. Write a letter to The Times. Lots of fun with Billy Butlin. Here are two further examples:. Daily they toiled across the dunes of snow, Northward and northward on that twilit sea, Knowing before they started that their goal Was but the day of their own turning back.
But they did not know that, as they marched So strictly north, beneath the ice The ocean moved them southward, just as fast — And measured by the stars they had not moved at all. Remake the world? Remake myself? Troubles enough rewriting this. The modes Turnbull makes use of are both old and new and not necessarily those one would expect of a card-carrying modernist.
The poem-book of the Gael | Poems, Books, Rose williams
There are a significant number of works that make use of simple ballad forms alongside the less conventional structures. The forms, in all cases, match their perceived purpose. This might seem anomalous until we realise that the use of recurring lines might lend itself to the sensibility of someone who would later develop forms of his own that used the devices of repetition, intertwining and circularity. In an autobiographical piece, Fisher mused on the early s and on his first contact with Turnbull.
They are digging up the street Where I used to walk Going for the milk. They have put up a sign Warning me to stop Lest I fall into a pit. The familiar surface Of geometric concrete Has given up its secret. I had not thought, Going for the bread, That the daily journey hid Such a mountain-depth of darkness. Down Wheeler Street, the lamps already gone, the windows have lake stretches of silver gashed out of tea green shadows, the after-images of brickwork.
A conscience builds, late, on the ridge. Thanks and praise for the knot in the wood across the grain making the carpenter curse where a branch sprang out carrying sap to each leaf. From a relatively early date Turnbull was also making use of forms that would ultimately desert the conventional book page. His use of the column in some of these pieces carries an awareness of the shifts in concentration, the synapses, that permeate our consciousness.
How lovely slowly a wave stirring softly a breeze safely lightly beckoning clear. These columnular works often do more than hint at circularity in that the way words fall out might gradually work its way around to the beginning of a sequence. The phrases or qualifying words might partner themselves differently, the whole coming to seem like a dance in which you eventually meet the one you accompanied to start with. As does this one further example:.
This approach to poetry could also be said to revive one of its early usages: as charm and riddle. Even when the premises might suggest it, his aleatory works are never allowed to harden into exercises. These words, capitalised, may appear anywhere in the poem other than as first or last word.
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They vary from common terms to technical ones. The resulting poem is work of a high order as this section shows:. Although he did not ignore the lyric Turnbull chose often to work in very short and in extended forms.