Tuesday, 18 August 2015

Tweening, Larkin and Rupert Bear

When Disney animations were hand-made, the master artists drew the key frames (the "keys"), leaving assistants to complete the frames in between (a job they called "tweening"). If apprentice artists could tween, why not knowledgeable audiences? Poetry has such an audience. But there are consequences to sacking the tweeners -

  • Suppose people tween differently? As long as the distance between keys isn't large, there shouldn't be problems. The keys act as checkpoints so that people can resynchronise if they feel they need to
  • If the distances become too large there might be a loss of narrative. Consequently there's a tendency for each key scene becomes more self-contained. The keys become a series of disconnected tableaux - a triptych, a gallery.

A common way of tweening in literature is to supply backstory, motivations, or justifications - in short, telling rather than showing. The amount of this varies according to the style. In the TV series "The Wire" there's little "telling"; the writers decided that all sound had to be sourced - no voice-overs and no background mood music. All music had to come from a car radio, an open tenement window, etc. Some poetry has a similarly purist approach, using juxtaposed images to keep "telling" to a minimum. The risk is that such poetry becomes a game of charades, a dumbed-down mime-show. Complex arguments are difficult to show, concepts like fate harder still.

Sometimes the "telling" (the interpretation, the moral) is only at the end, though this is rather unfashionable nowadays. One way to convey the information without despoiling artistic purity is to employ metalepsis, making it hard to distinguish between the "show" and "tell" elements. A cinematic example would be for there to be a voice-over scene during which a character walks into the frame speaking the voice-over.

Another, more reader-friendly approach is that adopted by the Rupert annuals. The Rupert Bear stories began as a newspaper cartoon strip, but soon became better known for the annuals. The page layout supports several reading modes. Each page has the story title at the top. Beneath that there's a page subtitle. Young children can follow the pictures. Each picture has a rhyming couplet beneath it - e.g. He meets Pauline, and straight away/ He tells her all he has to say. At the foot of the page is prose - Rupert and Snuffy run towards the tent. Pauline is the first Guide he meets and he pours out his story. People can read the verse, the prose or both.

An entertaining exercise is to take a poem (by Larkin, say, The Whitsun Weddings) and give it the Rupert treatment, pictorialising the imagery (at 1.20pm on a sunny day, a quarter-full train with all its windows open leaves a city station), adding sub-titles to describe how none thought of "how their lives would all contain this hour". Trying the same exercise with Larkin's "Toads" would yield a very differently proportioned layout. I suspect that with some poets their poems would all have the same proportion of text to pictures.

Sunday, 9 August 2015

Non-elitist, working class, or political UK literary magazines

Here are 3 UK magazines for non-elitist, working class, or political poems and stories -

  • Prole - "We want to appeal to a wide audience and reconnect a broad readership with excellent examples of poetry and short prose. Anything that sniffs of literary elitism is highly unlikely to make it through the editorial process. If it does, it’s only because we won’t have noticed and the piece has other areas of merit. Obscure references and highly stylised structures and forms that exist only to aggrandise the writer and appeal to the coffee lounges of our older universities are not welcome."
  • Proletarian poetry - "a home for poets and poems that portray working class lives from many different angles; corrugated iron and bricks, brass bands, rogues, grandparents, historical figures, imprisoned poets, the contradictions of capitalism and communism, suffragettes, homeless, transgender revolutionaries, postman, bookmakers, and many, many more."
  • The Stare's Nest - "send poems about current affairs, our culture, media, or political system. As well as poems about political problems and the occasional out-and-out rant, we would like to encourage positive poems about hope, inclusivity, lessons from the past and visions of a better future. Above all the poem should be relevant to both poets and non-poets"

Monday, 22 June 2015

Poetry, Evolution, and The Interpreter's House

Habitats

The UK has many Creative Writing degree courses now, generating more jobs and more poets. These poets have been brought up on newer (often US) influences, producing newer styles of poems. But where do they get published? At first it was difficult, marginal habitats being all that was available. Gradually however, magazines changed. Some (Weyfarers) disappeared, some (Iota) were taken over and rebooted by young editors. Book publishers were the slowest to change. When old editors didn't move aside, new publishers (e.g. Salt, Nine Arches) emerged and encroached.

Conditions for change

As well as a growing mass of poets, there were external conditions that encouraged change

  • Lack of external threat and obligation - poets were no longer expected to produce marketable books or compromise for the general public. Certainly they weren't expected to speak for their generation. The energy freed from the need for self-protection or pronouncement could be used for experimentation
  • Hot-house isolation - It became easier to incubate novelty in secure (academic), supportive surroundings, using the internet to find like-minds wherever they were.

Change

New genres emerge from old much as new species emerge -

  • Mutation
  • Combination - a fusion of 2 or more genres: magic realism for example. Some hybrids may be sterile.
  • Arrested development (neotony) - e.g. a sketch treated as a finished work
  • New habitats - a new media will encourage new or adapted genres
  • Asteroids - New material might have arrived from elsewhere

The simplest mutations adjust the proportions of what already exists, perhaps removing some parts completely. A common recommendation is to chop the first few "set-up" lines of poems. Often the final, cloying closure's removed too. These minor mutations can set off a chain of changes - less reliance on narrative for example, more fragmentation. Before long a new species buds off from the evolutionary bough.

Adaption

Faced with habitat change, some older poets sought more congenial surroundings (e.g. when US Formalists found the going hard, some found a welcome in the UK). The risk of shrinking habitats broken up into isolated patches was ameliorated by the improved communication that the Internet offered. Some poets (e.g. Alison Brackenbury) were good enough to survive the changes without needing to change, others (e.g. George Szirtes) encompassed so much variety that change was just a matter of judicious selection.

The Interpreter's House (issue 59), June 2015

I found this magazine (Martin Malone's the main editor) an interesting read, and typical of the new breed of quality, relaunched periodicals. It shows how change and continuity can ride tandem. It contains 2 stories and about 60 poems, some of the latter being chosen by competition judge Liz Berry. Amongst the contributors are many Creative Writing students past and present, Ilkley and Bridport winners, and people with books by Red Squirrel Press, Enitharmon, Smith Doorstep, Shoestring, tall lighthouse, Nine Arches Press, Poetry Salzburg, Cinnamon, Shearsman, etc - in other words, impressive credentials, with far fewer mentions of esoteric publications than "Tears in the Fence" has. Significantly perhaps there's also nothing about older publishers like Bloodaxe and Carcanet.

I liked a few of the poems, and liked parts of others (though perhaps for inappropriate reasons). A few I thought suspiciously plain, as if I'd missed the point. The rest, though evidently crafted, were difficult for me, especially the competition pieces. Let me pick 2 examples by 2 clearly accomplished poets

  • Here's the 1st section (of 4) from "What Colour Is The Sea?" by Rosemary Norman.
    Every evening a dog barks
    in the stairwell.
    Separate from our talk -

    though that too echoes
    off tiled walls -
    the bark's inflection's not

    unlike human complaint
    as if the dog
    hoped earlier for better.
    Norman's passage in itself makes prose sense, the dog used as analogy, though it sounds a mite strange, and doesn't work for me as an independent piece.
  • Rob Miles' "A skinful" has
    A clown

    brought in to cheer, waves
    and turns two hoop-wands, as if to tantalise

    and sharpen the fingers of those screaming children
    with frogspawn. Let's you and I stroll over
    This is more puzzling - sharpen fingers with frogspawn? Is "Let's" a typo or a colloquialism?

In both pieces the line-breaks are beyond me, but that's nothing new. Nor are the part/whole issues. I'm happy to delay interpretation with no expectation of an eventual integrative aha!, but I still dwell on the parts individually and in combination. Both poems allude to (but aren't unified by) their title, though they leave it rather late -

  • The final part of Norman's poem commences with mention of the (until now neglected) title - "The sea is greenish-blue,/ grey, silver, lilac -/ absurd this giving names// to colours picked up idly/ and returned/ all as one, with the sea's authority", which may be the presiding theme of the poem (something to do with inadequacy of language). The poem ends with "They'll hear it/ gather gulls' cries/ in its din total like silence. I can't parse that, unless it means that the din is as overwhelming as silence. "they" might refer to the colours or the third-person couple in part 3. I don't think it refers to the first-person people in the first part.
  • Miles' poem ends with "there's this/ lustrous rainbow crazing on something// also taking a skinful, for a moment/ holding its own" which leaves me none the wiser, though I was expecting something about alcohol or intoxication.

I wondered how superficial the differences were between some of these poems and some typical older ones, whether they share the same template, varying only in surface fashion. I get Stuart Henson's piece (I suspect it's no coincidence that it's in rhyming couplets) and James Giddings' poem, perhaps because they're standard templates told more slant than usual. Several of the other pieces are slight mutations of standard templates -

  • Sarah Westcott's "Bats" is only partly descriptive ("You cannot hear us but you'll feel/ our hunting song across your teeth/ defiling the laws of physics/ with frequencies beyond this")
  • Tammy Adams' "Finger Plan" starts with a sort of palm reading, taking a page to imagine making the persona's hand into a giant city ("There is excited talk of an extra finger") before ending with "Or, one day, another hand/ might extend towards yours./ And you will want to take it.// What of your city then?". The closure is standard, the length and sprawl of the first section isn't. In Stalking the Typical Poem Jan Schreiber identifies a New Yorker poem template: "It is unmetered and unrhymed; It is focused on a particular event; Its details are slightly fantastical but not incomprehensible; It invites metaphoric or symbolic interpretation; It can be reduced to a simple, unsurprising observation; It ends inconclusively – in this case with an unanswered question". This poem's not so far away from that shape. Idle speculation suddenly clashes with reality.

In the context of such poems, some of the more prosaic pieces stand out more than they usually might. I don't get Jack Houston's piece, unless I've overestimated its intentions - it's prose with odd white space. Gary Wilson's straightforward "Sonnet" (Highly Commended) seems minor, beginning with "You said I ought to phone my wife and I/ agreed. Chinese veg in black bean sauce,/ a bottle of wine, chopsticks, colourless/ tea".

Meanwhile

The emergence of new species doesn't necessarily imply the extinction of the old, though the old may return to niches or seek pastures new. The Web is a new continent, offering new audiences and confrontations for poets young and old. New magazines and courses are appearing to cater for people suddenly interested in writing poetry. Such people tend to have an easy time with the older poetry.

Saturday, 13 June 2015

Dana Gioia in "The Dark Horse"

Dana Gioia has an article in the 20th anniversary issue of "The Dark Horse". In it he points out that

  • "there is no human society, however isolated, that has not developed and employed poetry as a cultural practice", p.11
  • "Until quite recently, poets still assumed that the typographic text would be vocalized in some way", p.12

He thinks that "Poetry speaks most effectively and inclusively (whether in free or formal verse) when it recognizes its connection - without apology - to its musical and ritualistic origins", p.13. Inclusively, yes, but "effectively" is more controversial. He thinks that "Poetry offers a way of understanding and expressing existence that is fundamentally different from conceptual thought", p.17. Different, yes, but I'd contest that it's "a way of understanding and expressing existence". He then considers academia -

  • "Critical analysis remains deliberately outside the full experience of the poem, which is physical, emotional, subjective, and intuitive as well as intellectual", p.16
  • "The work of [The New Critics] represented a great moment in American intellectual history. Yet their immense success also had an enduring negative impact on the popularity of poetry", p.19
  • "No one intended the decimation of poetry's audience or the alienation of the common reader. Like most environmental messes, those things happened as accidental by-products of an otherwise positive project", p.20

I think that critical analysis is less like that nowadays (we know what makes adverts and political speeches effective, and are more likely now to apply that knowledge to poetry), and I think that The New Critics weren't that massive. He suggests 2 ways to improve the situation -

  • "to recognise the power of enchantment in teaching poetry", p.24
  • "critics, scholars, and teachers need to recognize and respect non-conceptual forms of knowledge, which are fundamental to all literature, especially poetry ... These are often difficult elements to summarize in abstract terms, but their resistance to conceptual paraphrase reflects the limitations of criticism not the limits of art", p.24

He points out that "Poetry Out Loud has just celebrated its tenth anniversary. Two and a half million students have participated in the competition", p.23. Good news.

Apart from the points I've already made, I disagree with little he says, though when he uses the word "poetry" I understand it as having different meanings depending on context. There are different type of poetry. Some (free-form or formalist; sung or read) are popular with the public but not theorists, and v.v. Some are popular with both. That's not meant to be a value judgement, it's just how they are. I think that popular poems/songs are as popular as ever, nowadays often experienced on the move. I don't think that affects the popularity of serious poetry which has never been popular, though there have been times when the culturally engaged felt more obliged to buy the latest poetry books than they currently do, even if those books weren't read. Serious art - even modern art as displayed at Tate Modern) - has always been more popular.

There are biologists and flower-lovers. One interest may lead to the other, but there's no particular reason why it should. Flower-lovers may become formal flower-arrangers, or large-scale flower growers. Biologists may end up doing chemistry. That's just how things are.

Friday, 5 June 2015

My poetry rejections

The great Capablanca in his book "Chess Fundamentals" decided to show nearly all of his losses. It would take too long for me to do likewise here for my poems, but maybe there are lessons to be learnt from my failures.

Single poems

MagazinePoems
sent
Poems
accepted
Iota4619
Rialto463
Envoi3713
Acumen366
Poetry Review270
Magma170
Poetry London130
PN Review130
Here are the extant magazines I've sent the most poems to ("Weyfarers" and "Other Poetry" aren't active nowadays), along with my success statistics. I usually send poems in batches of 3, so even if one of them's accepted that counts as 2 failures. The last 4 magazines in the table belong to a tier of publications that I'd like to appear in, though I can go years without sending them anything. I usually know when I'm beaten, but I keep trying with "[The] Poetry Review", especially when they have a new editor. I read somewhere that they accept 1 poem in 500, so I suppose I'm not doing too badly. I've been close with "Magma", corresponding with editors on rewrites, but nothing yet.

Collections

Recently I've looked back at my attempts to produce follow-ups to my Moving Parts pamphlet. Here are the near misses -

  • From Poetry Wales -
    Poetry Wales is delighted to be able to finally reveal the results of the 2011 Purple Moose Poetry Prize. As always, it’s been a challenge for our judges, Zoe Skoulding and (judging the prize for the first time) John Barnie, but they have decided on a winner. And the Winner is: Archimedes’ Principle by Rebecca Perry. Congratulations Rebecca!

    In a slight break from the conventions of the last two competitions, the judges felt that, in addition to listing 3 or 4 highly commended entries, another collection warranted the recognition of being Runner-up: Facing Facts by Tim Love. Well done Tim.

    The winner’s work will be published by Seren

  • From Cinnamon Press -
    The debut poetry collection prize 2014 was adjudicated by Matthew Francis. The finalists were: Patricia Helen Wooldridge, Philip Madden, Frances-Anne King, Tim Love and Jane McLaughlin and we are delighted to announce that the overall winner was Jane McLaughlin with her collection Lockdown which will be published in September 2016.

The winners of these competitions have both had more success than I - Rebecca Perry's become a Bloodaxe poet and Jane McLaughlin's been shortlisted in the 2013 Bridport prize, longlisted in the 2014 National Poetry Competition, etc - so part of me thinks that I was lucky to get as far as I did. But all the same, being this close is disappointing.

Conclusions

  • Single poems - Magma has different editors each issue, so I should try them more.
  • Collections - Looking at the short-lists makes it clear that several people repeatedly get close to being published. There are however only so many places one can send the same poem or collection to. Eventually some new poems are required. Or at least new selections of old poems. Perhaps I should be more bold in the poems I submit as a pamphlet. A pamphlet's not always the best place to display one's breadth. It can afford to be tightly-focussed - even unrepresentative.
    I've created various pamphlet selections, each with fewer odd-men-out in terms of aesthetic demands required by the reader. The pamphlets overlap, but that's a problem I can deal with later.

I've been looking for proverbs that express the idea that narrowly losing can hurt more than being nowhere near winning. There's "a miss is as good as a mile"; "close but no cigar"; "so near and yet so far", etc. but nothing comes to mind that expresses how one feels coming 4th in an Olympic final that you never thought you'd reach. Suggestions welcomed.