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Editorial Reviews. About the Author. Cristoffer garcia author of "A hero in black and white" experiments with the future of poetry in this new book.
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His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed.
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But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress. Chronologies normally give a sense that there was only one way for events to play out. If you are trying to find information on a specific topic, I suggest that you visit the Topic Clusters tab or use the Search boxes top right—the NINES search is much more precise and includes relevant text snippets.
If you prefer to browse, click on the Timeline at the top of this browser window. Throughout, you will find links to geospatial information for locations mentioned in the article, with the first instance in each article marked by the geolocation image to the right. Dino Franco Felluga, General Editor. The poem originally read:. As creative writing teachers, we often try to communicate to students the importance of editing, which is difficult to convey when someone is new to writing — that one might have to make twenty drafts is somewhat off-putting.
I consider editing part of the process of inquiry, and it may well be one of the most important facets of this process. The poem was eventually edited to:. In the poems presented here, the use of page space became a way to suggest movement and a sense of knowing the objects. The other inspiration here came from the act which led to observations of the flower: a gift from my partner. The conflating of flower with human form also prefigures a topic which would re-emerge later in the festival: the body.
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Initially, this poem ventures into imagined details:. The first two stanzas attempt to use detail to anchor the reader in the scenarios described. The reference to uncertainty then acts as a pivot back to the memory of a period of life characterised by uncertain career choices. This continues back in time to a memory of a birthday and the premature end of childhood, which experience is then transposed to a brother in the specific detail of an alarm clock placed in a tin to rouse him from slumber.
My response to Armitage affirms the importance of uncertainty and unknowing to creativity, and my description of the process of writing illustrates the movement from unknowing to knowing. The important realisation here is that what you possess in a shoe box reflects experience, and therefore what you know. Some of the items listed are themselves sources of inspiration or motivation, or incomplete efforts.
This aroused in me memories of Greensplat, the hamlet in Cornwall where I grew up. Like other small villages which disappeared during my childhood, it no longer exists, engulfed by an open-cast clay mine. Greensplat was situated at the top of a steep, winding hill, three miles from the town of St Austell in mid-Cornwall, the hub of the china clay industry.
The following poem invites a few notes for the reader. The white peaks are the small mountains of sand that formed the waste product of china clay mining. My grandmother always used a stone hot water bottle and, when I left, they were still available in Cornwall. I wrote a poem about the Greensplat road during that trip to further solidify the place and those memories, but unfortunately I lost it.
Placing certain phrases which might have occupied two lines on the same line with spaces between them allows for the conflating of ideas. Unexpectedly, the phrase takes up less space on the page by not occupying a line on its own, and the result is a stronger emphasis. Knowing is contained in memory, though prey to subjectivity and error. But something about the physicality of that walk made its memory particularly embodied and strangely accurate, in ways that memories of interactions between people seldom attain.
But revisiting a place known well in the past confronts such memories and the fear that one has remembered amiss. The past is re-grounded and knowing the past becomes once more a form of knowing the world. The first three stanzas deal with what the body is not. When it reaches the affirmative, the images are consistently embodied ones:. The concepts associated with the body continue to burgeon, embracing the totality of things, perhaps because the individual body is implicated in, and sometimes forms an exemplar of, each reference, from alofa and aroha, to the land masses of the earth and our ancestors.
The poem concludes:.
- Anne Boleyn, a tragedy;
- This L=A=N=G=U=A=G=E!
- The Ten Lives of Talberts.
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- The Magic Of Oz.
The image of the net reiterates that the body contains many dimensions and elements. The text reconfigures religious symbology. It is an attempt to understand the body apart from the mind: through the body. In figurative language, my response to Avia considers the zones of the body with some influence from the Hindu chakra system , and how they feel rather than appealing to conventional biology.
Memories are slippages through time, unreal yet present. The mystery of companionship corrects past experience, including family squabbles. The intention to love is personified in the smiles across the table. In this sense, the suite of poems inspired or generated by the festival comes back full circle to the other. One invariably finds out something. We find things out about past events by processing them in divergent ways — poets are noted as divergent thinkers Nettle We realise our inconsistencies in this most searching form of writing and interrogate them.
This is the principle underlying many poetic techniques, such as metaphor and metonymy. Poets make poetry out of autobiographical material in various ways. Whether we always create new forms of knowing is an attractive and difficult question. Writing poetry can be seen as a touchstone for the unknown in general.
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The problems that face poetry are a weird microcosm of the whole. I could claim that I demonstrate knowing how to write poetry when I write. I am demonstrating how to form a poetic narrative. I am increasing knowledge about the relations between parts of language, for myself, and for the reader. I am adding to my own understanding of poetic process, especially when I engage in diverse forms, or consider hitherto unexplored content. I am suggesting new paths to the engaged reader too, some for their own poetic efforts if the reader is a poet, and potentially to other artists as well [6] , where any form of originality is achieved.
I realise and stress the subjective overlay to each of these claims. I cannot consider the writing process without also considering reading, because they are so intimately related. As a reader, how do I know that new ways of knowing and doing are possible through poetry? The answer must be, through those poets whose work has affected me, not just as an influence on the style or techniques of my own writing, but who have changed my way of interacting with the world and with other people.
In some ways, reading is more life-changing than writing. At the level of technique and form, the poem I read adds to what is possible for me to practise. At Poetry on the Move, I was sparked by works being read by their authors, increasing my potential range in just such a way.
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This gave me an example to follow, one which was flexible enough and that lead me into a new and necessary for me avenue of enquiry. But how do I know if a poem has succeeded or failed? The only relatively objective gauge I can offer as to the success of the poems is publication.