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Archive for the ‘Poetry’ Category

Edgelands by Paul Farley and Michael Symmons RobertsEdgelands: Journeys into England’s True Wilderness, Paul Farley and Michael Symmons Roberts (Chivers 2011)

Many people will open this book and think: Ballardian. I certainly thought that. But I also thought: Simplish. That’s an adjective for something reminiscent of the Telegraph columnist Peter Simple, who wrote about the “mysterious urban poetry” of litter-choked ponds and abandoned power-stations. So do Paul Farley and Michael Roberts. They write about literal poetry too, quoting Philip Larkin and Ted Hughes to illustrate their ideas about the places that exist on the edges of towns and cities, that service our civilization while being ignored, overlooked or despised: industrial estates, cooling towers, rubbish dumps, mines, reservoirs, sewage works, recycling plants, warehouses, self-storage depots, airports, conference centres, and so on.

These are places that are often deserted by night or visited rarely by day, that sometimes shelter wild animals, birds and plants, preserve out-dated machinery and out-moded fashions, provide spaces for roaming children, inspire artists, poets and writers. J.G Ballard was one of those writers: Crash (1973) is a book about edgelands, both literal and psychological: airport hotels, mecho-fetishism. But Ballard was writing about edgelands from the beginning of his career, returning again and again to crumbling buildings and obsessive lives:

Outside his room, steps sounded along the corridor, then slowly climbed the stairway, pausing for a few seconds at every landing. Bridgman lowered the memo-tape in his hand, listening to the familiar tired footsteps. This was Louise Woodward, making her invariable evening ascent to the roof ten storeys above. Bridgman glanced at the timetable pinned to the wall. Only two of the satellites would be visible, between 12.25 and 12.35 a.m., at an elevation of 62 degrees in the south-west, passing through Cetus and Eridanus, neither of them containing her husband. Although the sighting was two hours away, she was already taking up her position, and would remain there until dawn. (“The Cage of Sand”, 1962)

So this from Edgelands is like one of Ballard’s short stories come to life:

One of the strangest encounters we had in the edgelands was following a visit to a breaker’s yard on an industrial estate near Morecambe. … We found a man standing by his car looking into the evening sky with binoculars. The sky to the west was still a bright indigo, touched with reds and turquoises, the last embers of a typically spectacular west-coast sunset. But this man wasn’t interested in sunsets. Or birds.

He had come to watch for an Iridium flare. Iridium satellites are a constellation of relatively small communications satellites, set in low earth orbit for over a decade. They have highly reflective, silver-coated panels that can catch the sun’s light, producing a reflection tens of kilometres wide at the earth’s surface, and if you’re standing at the right spot, they’re often easily visible. (“Cars”, pg. 26)

You can buy an iPhone app that tells you where and when to watch for one. The authors stand with the man and see “a slow and languorous brightening … flashing suddenly into brilliance for a moment, before fading away.”

Ballard would also have liked the section about “golf driving ranges”, where people pay to hit balls out into an open space. This “silent ritual” is odd by day, even odder after dark: as rain pelts down on a corrugated roof above the club-swingers, “out there, slow white bullets trace an arc across the sky, spinning right to left or left to right, crossing each other in the air. Six, seven, ten at a time, out into the night” (pg. 299).

An abandoned factory

An abandoned factory

The book is full of oddness like that, describing strange situations and surreal juxtapositions, mixing obscure history and miniature travelogue, introducing you to artists and writers you’ll want to investigate further, celebrating technology and questioning it. The writing could easily have been pretentious and Guardianista, but it never is. Perhaps that’s because Farley and Roberts are both northern and both poets. That doesn’t guarantee graceful or down-to-earth writing, but you’ll find both here. They can discuss horror vacui and industrial pallets with equal ease, celebrate the pleasures of tree-houses and the beauty of wild flowers.

And not-so-wild ones. One section I particularly enjoyed was their description of how English cities, homogenized by big business, are still distinguished by the flora that grows in their edgelands. Bristol is a “Buddleia city”, Swansea is “dominated by Japanese knotweed”; Sheffield is home to garden escapees like “feverfew and goat’s rue, tansy, soapwort and Michaelmas daisies”, Swindon has “extensive stands of St John’s wort, with wild carrot, welted thistle, great burnet, crow garlic and ploughman’s spikenard” (pg. 185-6). But in every city there are “branches of Starbucks, Carphone Warehouse, WH Smith, Dixons, Currys and McDonald’s”.

That commercial list becomes a refrain, a banal repetition heightening the richness and strangeness of the flower-names filling the spaces in-between. But then they’re talking about CCTV or floodlighting and finding something rich and strange there too. I learnt a lot from this book and re-thought some of my ideas. I enjoyed it a lot too. If you’re a fan of J.G. Ballard or Peter Simple, so might you.

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Front cover of A Hell for Heroes by Theo KnellA Hell for Heroes: An SAS Hero’s Journey into the Heart of Darkness, Theo Knell (Coronet 2012)

The title and sub-title suggested that this book would be heavily sentimental or highly warnographic or both. But it turned out to be one of the most interesting, enlightening and well-written war-books I’ve ever read. If it’s not ghosted – and it doesn’t seem to be – Theo Knell must be a very intelligent man. More unusually still, he can write good prose and help you understand what war and soldiering are like: loud, frightening, mind-and-marriage-destroying. I’m not so sure about the vers-libre poems that end some chapters. They’re interesting to read, but they aren’t as skilful or understated as the stories that precede them.

His first stories are about his childhood, which was disturbingly violent and loveless. Lots of children wouldn’t have survived it. In some ways he didn’t, but it made him tough and good at fighting, so he chose the army as a career. Like many others, he was also looking for family and comradeship: there is no bond like the bond of facing death together. Knell has come close to dying many times and can give you some idea of what it’s like. One of the earliest times was on what seemed at first like a routine armoured patrol through a country district in Northern Ireland. An armoured car got a puncture and the patrol stopped while it was repaired. Then a Land Rover drove up from behind carrying technicians on their way to repair a TV mast. They received permission to proceed and carried on up the road. A few seconds later, there was a huge explosion. When the patrol went to investigate, they found a twenty-foot crater in the road:

Although they had initially been invisible, as I now looked around me it became apparent that what I had thought were pieces of rubble were in fact human body parts, arms, legs and chunks of raw flesh. As I took in what lay before me the corporal said something that shook me to the bone:

“That landmine was meant for us. The Ferret getting a puncture and that Land Rover coming along the road when it did was the best bit of luck we’ll ever have, though the same can’t be said for them.”

… There were few visible signs of blood, considering that five men had been literally blown apart, but the smoke, with its smell of iron mixed with cordite, had now invaded my nose, mouth and throat and still hung mercilessly all around us. (“Like a Demon at My Shoulder”, pp. 84-5)

You don’t have to be a psychopath to be a soldier, but it must help at times. Knell isn’t a psychopath, but he’s done things that are very cold and callous from the civilian point of view. Later, in “No Second Chances”, he describes sniping against a sniper, who’s rumoured to be a “Russian or East German” brought in by the IRA to kill a difficult target. It’s a real version of Ian Fleming’s short story “The Living Daylights”. He also writes about the hardships of training and selection, a vomit-inducing practical joke on a parachute jump, serving as a mercenary in Africa, working as a bouncer and saving someone’s life as a medic. It was a difficult job and required all his skill. But he was warned not to do it:

“Don’t work too hard, mate. He won’t thank you for taking him home in that state. Although his wife and kids will initially thank you, he will never forgive you.” Sadly he was right. Although I managed to keep the injured man alive, albeit confined to a wheelchair, he never did forgive me, and although he didn’t die until some years later, he never spoke to me again. (“Angel of Death or Mercy?”, pg. 193)

You have to experience war to fully understand it, but this book will take you as close as paper can go.

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Front cover of The Metamorphoses of Ovid translated by Mary M. InnesThe Metamorphoses of Ovid, translated by Mary M. Innes (Penguin 1961)

Ovid’s Metamorphoses is one of the foundation-stones of European literature and it’s bad that I took so long to get around to reading it. What’s lost in this prose translation is the sinewiness and concision of Latin verse; what survives is the skill and intelligence by which Ovid wove dozens of disparate stories of transformation into a coherent whole. One story triggers or swallows another as gods and mortals turn into stars, stones, flowers, trees, animals, birds, fish and even more. The phantasmagoria is heightened by the beauty and strangeness of the classical names: Lilybaeum; Phaethon; Narcissus; Tmolus; Tlepolemus; Mygdonia.

Some of the scenes — Hercules’ fight with the centaurs, for example, or the house of the goddess Rumour — are uncomfortably vivid and realistic; others have all the beauty and strangeness of the names that flash through them like shafts of lightning. Latin is supposed to be enjoying a modern revival, but even if it weren’t Ovid’s final boast is safe in the hands of a translatrix as good as Mary Innes:

quaque patet domitis Romana potentia terris,
ore legar populi, perque omnia saecula fama,
siquid habent veri vatum praesagia, vivam.
(Liber XV, lns 877-9)

Wherever Roman power extends over the lands has subdued; people will read my verse. If there be any truth in poets’ prophecies, I shall live to all eternity, immortalized by fame. (Book 15)

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