I was going to spend some time this morning writing about the way I feel about Geoffrey Hill (as opposed to think). This was going to be an entirely coherent and almost well-written follow-up to my debate on this blog with Tom Day. However, yesterday’s edition of the TLS contains an article/review on Prynne by Robert Potts.
I need to say at the outset that I’ve read this particular rag since I was 14 and it occupies an important part of my life. I don’t read it for the poetry however as this is usually fairly drab although they did publish a John Kinsella poem the other week.
Potts’ article is quite lengthy and covers the Glossator Prynne issue, the Brinton book, the Cambridge Literary review and ‘Sub Songs’.
Let’s start with the photograph, this is of Prynne riding a bike and is dated 2004. Suffice it to say that it doesn’t do him any favours but merely reinforces the ‘oddness’ image. There are much better pictures available and I have to question Potts’ choice (he is the TLS managing editor and therefore will have had a hand in this choice).
Potts starts badly but improves over the five columns. The first sentence is- “The poetry of J H Prynne is both obscure and difficult, qualities tolerated in canonical and foreign writers (Blake, Mallarmé, Celan, late Beckett), but treated with enormous resentment and suspicion in contemporary English poets”. This requires a bit of sorting out, ‘late’ Celan (after about 1963) can be said to be difficult but the critical reception of the later works was not one of toleration and there are still those critics who view the later output as a story of progressive decline. When did ‘late’ Beckett begin and is it really considered both obscure and difficult?
There’s a long debate going on in my head about obscurity and Potts does redeem himself by quoting Prynne at length on this very subject in “Difficulties in the translation of ‘difficult’ poems” but to start with such a bland description will deter many readers from proceeding further.
Further into the article Keston Sutherland wins applause for his Glossator piece on ‘L’Exthase de M Poher’ and the ‘unwitty circus’ section is quoted at length and Justin Katko gets plaudits for his essay on ‘The Plant Time Manifold Transcript’ (which I must get round to reading.
Interestingly Potts proceeds with “One yearns for a reading – academic or otherwise – that would start to explain Her Weasels Wild Returning (1994) or the impenetrable STREAK~~~WILLING~~~ENTOURAGE~~~ARTESIAN (2009)”. I haven’t paid much attention to the first of these but I have read and written about the second. I really must take issue with the ‘impenetrable’ jibe because this isn’t the case. ‘Streak’ may be wonderfully and brilliantly austere but it isn’t beyond comprehension. I’m not suggesting that this is achieved immediately but it is possible to grasp the outline of at least one significant theme and to be thunderstruck by the poet’s ability to say complex things in a new and inspiring way- ‘Streak’ is the Prynne sequence that keeps drawing me back in. I’ve just spent a couple of days looking at the fourth poem and remain astounded at how much is packed in to such a small pace and how contradictions are exposed and played with.
With regard to ‘Sub Songs’, Potts refers to ‘As Mouth Blindness’ but only to explain the title rather than what the poem may be ‘about’ which again is unfortunate because I’d quite like to read what someone else makes of it.
Potts does not mention either ‘Mental Ears’ or ‘Poetic Work’ both of which provide a good insight into the nature of the Prynne project- both of these are now available on the web.
The last half of the final sentence reads “but as the “century of suspicion” ends, aptly and predictably, in a credit crisis, J H Prynne’s poetry may – like it or not – be most fully and restlessly the music of our times”. I have to ask: why on earth didn’t he start with that? I almost feel a letter coming on….