Though November has just transformed itself into December here, still Ted Hughes’ sodden, rain-soaked poem from Lupercal (1960) comes to mind as I watch the TV footage of floods in the North-West of England. I’ve never thought enough attention has been given to the role of the narrator in this poem. It’s one of the selected poems studied on the Cambridge International Examinations’ A-level. Students are asked to discuss one specific poem in detail or two poems from a more thematic perspective. What follows is a loose version of the first type of question (apologies for some loss of formatting in the poem itself). NB. For another close discussion of an early Ted Hughes poem – ‘Meeting’ – click here.

The month of the drowned dog. After long rain the land
Was sodden as the bed of an ancient lake,
Treed with iron and bird less. In the sunk lane

Update (June 2019): I have written more on ekphrastic choices in a recent review published in Agenda Poetry.

Ekphrastic poems (ie. poems stimulated by visual art) are on my mind a great deal as I have been planning the all-day workshop I have been asked to run at the Holburne Museum in Bath on the 25^th February, 2017. This particular exhibition, ‘Breughel: Defining a Dynasty’, opens on the 11^th February and was in the news recently as it will include, among many others, a newly-rediscovered painting by Peter Breughel. I’ve been reading a variety of poems derived in some fashion from the poet’s encounter with visual art and I wondered if there was a way of categorising the various approaches. There are probably many – but these 14 ways (in 5 subgroups) are what I have come up with and they might usefully serve as a way to…

Last week I posted on Tony Harrison’s ‘A Cold Coming’. The following discussion of another extraordinary Tony Harrison poem originally appeared in book form in Tony Harrison: Loiner (Clarendon Press, 1997), edited by Sandie Byrne.

‘Them and [uz]’ – listen to Harrison read this poem here.

for Professors Richard Hoggart & Leon Cortez

I

αίαι, ay, ay! … stutterer Demosthenes

gob full of pebbles outshouting seas –

4 words only of mi ‘art aches and … ‘Mine’s broken,

you barbarian, T.W.!’ He was nicely spoken.

‘Can’t have our glorious heritage done to death!’

I played the Drunken Porter in Macbeth.

‘Poetry’s the speech of kings. You’re one of those

Shakespeare gives the comic bits to: prose!

All poetry (even Cockney Keats?) you see

‘s been dubbed by [Λs] into RP,

Received Pronunciation, please believe [Λs]

your speech is in the hands of the Receivers.’

‘We say…

Miriam Nash’s new, 180 line poem is fascinating in the transformation of its sources in Norse myth, its quiet yet firm challenging of racial and gender hierarchies and in its exquisite presentation by Hercules Editions, accompanied as it is by an essay from Jóhanna Katrín Friðriksdóttir and textiles imagery created by Christina Edlund-Plater (in fact, Nash’s mother).

Friðriksdóttir gives those of us not up to speed with the Norse sagas some explanation. It seems the gods were actually not primary but descended from the race of giants. Yet since gaining supremacy, the gods have excluded and denigrated the giants. Generated from a hegemonic point of view (the top people in medieval Icelandic society), these Norse myths (as do most) tend to “justify and naturalise the status quo”, as Friðriksdóttir puts it, and what is being naturalised is a particular view of history, ancestry and masculinity. The anxiety of the Norse…

Your cell phone rings
but you’re not listening
because you left it
in The Fox and Vixen
behind the cistern
in the last stall on the left
next to the condom machine
and now it’s 4 am
your wife sleeps soundly beside you,
in the corner of the room
your hangover squats
sorting a tray of instruments.

It all began with a few beers,
some Christmas Cheer
so how did it get
from there to here?

Slowly you remember or think you remember….

Did you really poke your boss in the chest
and tell him that you know better
that you know best?

Did you really down three shots of scotch
grab Mark from marketing by the shoulders
and proclaim “I love you bro”
over and over ‘till he begged you to stop
to let go?

And why, why, why
did you call that shy Dutch girl from accounting
“sad-eyed…

there comes a day — the sacred basil plant
becomes leafless as the sun turns aloof &hides
behind the rich notes of a sugar-white air.

you are winter’s errand boy — hours
spill out of your deep coat pockets, dog-
minstrels struggle for every minute
they can perform — you would rather be away

down a bazaar of oddities where they
sell woollens by weights (first-rate &down),
or in the alleys where many a breath paused,
and never set again amid a litter of chests.

you are my winter’s warning prayer
that can only rise so far above before
the fog envelops you whole. your words
taste of stale chocolate, peanut husks,
&a once-hot-tea gone cold — but your lips,

crooked dreamlike, magenta &apple-rose lit
give me loss and warmth — our wreathed
solemnity is like burning coal. it is red-hot,
to last the long mass of our heathen sighs.