Tag Archives: laurence crane

Slow poetry: a manifesto

Whilst trying to earn some money this week, I’ve also been thinking about the poem that I published here a few days ago and wondering whether this particular vein should be pursued. Positive feedback from Jim Kleinhenz and my daughter makes me think that it might be worthwhile but as working with repetition and small changes is new to me, I thought I’d put a few thoughts down before I progress any further with the material.

This started when I was listening to Laurence Crane on Radio 3 last week.  He was being interviewed as a way of introducing each piece. In the introduction to ‘Ethiopian Middle Distance Runners’ he said that he was interested in repetition and the effect of small changes and also in the way that these changes can still carry something of the original. My immediate response was to groan inwardly because I’m not usually fond of this level of austere abstraction.

The piece was then broadcast and I listened whilst trying (again) to write something interesting about Bloody Sunday. about two or three minutes into the piece I found I was listening intently to the repetition  and waiting for the change to occur. The pen was then put down and I gave the rest of the piece my full attention.

Things then began to fall into place quite quickly, I recdognised that repetition and small changes could be used in verse to produce similar effects. I’d had a line running through my head- ‘we don’t die enough’ that I’d absorbed and adapted from Blanchot and started to make a few notes. I have to say that I was pleased with the result because it provided a ‘use’ for the line and also pointed to other possibilities. I then tried to be a bit more ambitious with a description of a wound taken from the original Bloody Sunday pathology reports and developed that using less repetition and more complex changes to the line. I found this satisfying to do primarily because I was working with language in a different way and because the ‘technique’ seemed quite straightforward.

I then read the two pieces aloud and had a bit of a panic as to whether they should only be read aloud or printed on the page as well. I then found that I had a need to put these initial efforts on this blog- something I haven’t done for many months and that this need wasn’t so much about getting a reaction but more about display for it’s own sake- I still haven’t made sense of this impulse.

That’s by way of a longish introduction to a manifesto on what I’ve decided to call ‘slow poetry’. I think that this has two main strands-

  1. the use of repetition to encourage greater attention and to provide emphasis- a kind of incantation;
  2. the use of small changes to demonstrate (indicate) the complex relationship between the words and ‘sense’

There are a couple of other provisos, the first is that the initial line has to be quite strong, by this I mean that it has to gain and hold the reader’s interest and that it has to hold the potential for development. The second proviso is that things when modified shouldn’t become too complex or busy. The third is that the piece needs to end properly and that the last line requires as much thought as the first.

These have all come to light since I’ve started to see what repetition can do. I’ve also discovered the joys of appropriation, in working out ‘strong’ first lines I’ve found that it is feasible/reasonable to plunder bits of philosophy and to subject these to repetition and modification. I’ve done something with a line (which is almost an aside) from Derrida’s ‘La carte postale’ which has led me to think quite hard about this line in particular and what Rorty says  that Derrida’s doing with this  tome.  The good thing about slow poetry is that I’ve been able to work through very very gradually what might be going on. I’ve also discovered that appropriation is misnamed, it is much more about selection than theft.

There is also the documentary aspect, I have on my hard drive many of the witness statements provided to the Saville Inquiry and twenty or so of these describe one particular event in many different ways. I’ve been using some of these differences to experiment with what language does to sense described above. This has been immensely rewarding because I’ve spent 18 months using the ‘superabundant’ approach  to achieve the same effect and this minimal approach seems so much cleaner and more disciplined.

Bloody Sunday is important to me for several reasons and one of the things that it shows is how complicated and fragile the witness / knowledge / proof / judgement  process actually is and that this fragility undermines our notions of knowledge and ‘truth’. What slow poetry gives me is an opportunity to demonstrate this in a reasonably compelling way.

I’m very encouraged by Jim’s response primarily because he’s a very accomplished poet who gives a great deal of thought to what he writes. Both Jim and my daughter throw up ways of thinking about this stuff that I haven’t considered and will need to incorporate in the near future. I’m also intrigued to see Jim’s use of repetition on his blog this week.

The other thing that comes to mind is that I’ve spent this week thinking more about language (in all its forms) and less about poetry……. I also feel the need to post more of this stuff.


Poets on film and the rest of my cultural week.

I need to get this off my chest. The good news is that YouTube are now carrying important film of Keston Sutherland, Jeremy Prynne and John Matthias. The bad news is that only the Sutherland is watchable / listenable. This is particularly disappointing for those of us who have been waiting to hear Prynne read ‘Streak~Willing~Entourage~Artesian’ (me anyway)- I know that he reads this because he repeats the title but the words and the phrasing are almost inaudible. This is doubly annoying because in the same film Sutherland gives an excellent reading of all of Stress Position which is perfectly audible throughout.

The Matthias is a performance of “Automystifstical Plaice” where the camera is too far away from the performers and the sound is indistinct. This again is unfortunate in that the work isn’t available (as far as I know) in print in the UK any more.

So, I’d like to make a plea to those people who produce these things. Producing this material in usable form is not technically difficult, there are now a vast array of inexpensive gizmos that are almost idiot proof. The reputation of serious poetry is in a bad way and is not helped by the display of poorly produced stuff on the web. In fact if it isn’t adequately produced it shouldn’t  be made available at all.

In complete contrast, I’ve spent the last ten days or so being spellbound by film of Vanessa Place reading at the Cross-Genre Festival which has been published on the openned site which is clear and effective. I’m a recent convert to Place’s stuff and the more I read the more impressed I become even though the piece published in the last CLR was a bit too knowing for my taste. She’s considered to be a conceptualist but I think there’s a bit more going on.

The major cultural event of the last seven days has been the publication of a book review by George Steiner in the TLS on a book about the ‘warfare’ between Derrida and Habermas by Pierre Bouretz. George surveys the well known history of Derrida’s reception and of the Habermas position and then throws Richard Rorty into the equation. The point that is made about Rorty is a pertinent point but also manages to misconstrue the finer points of the Rorty position. I’ve been reading Steiner for thirty five years and he still makes me smile with everything he does.

Listening to Richard Barrett, Laurence Crane, Brian Ferneyhough and a band called Mostly Others do the Killing who manage to be accomplished and funny at the same time. I first heard Crane on Radio 3 on Saturday and what he said about repetition led me to try it with verse- hence the previous post.

Also reading Caroline Bergvall, Ezra Pound, David Jones’ ‘The Sleeping Lord’  and trying to finish the last Diarmaid MacCulloch on the history of Christianity- without much success.

Have a new strategy for Satantango (7 hour long film)- have watched it straight through twice a couple of years ago and am now watching it in more manageable segments. It is much more eventful than I recall and a lot wordier… It’s almost as good as Tarr’s ‘Damnation’ which is really bleak but much much shorter.

Lastly, a resolution to sit down and read Browning’s Sordello and to stop re-reading ‘self portrait in a convex mirror’ and to recognise that trying to make my mind up about Ashbery is more than a little futile. Also to find the time to listen to Hill’s first lecture in his current job.