Poetry

Thursday

Dot Wordsworth

Very bad poems on the Underground

My husband was surprised by quite a bit when we travelled by Underground in London the other day. Although he has a Nelson Mandela Memorial Freedom Pass, he seldom chooses to join us Morlocks down below. ‘Is this the work of a Chinaman?’ he asked, nodding towards a poster. ‘You mustn’t say “Chinaman”, dear,’ I said firmly. The poster showed people with vertical slits for eyes and no noses. They stood hunched in an Underground carriage, dressed in T-shirts, as if in a scene from some dystopian film like Idiocracy. Above the image, words were arranged in lines: ‘We really don’t mean to chide / But try to move along inside,

Thursday

Dot Wordsworth

A learned poet’s mystifying mistakes

I enjoy Poetry Please, but was shouting mildly at the wireless the other day when a northern woman poet was using the whining intonation that some seem to think the proper voice in which to recite verse. So I was glad that Bernard O’Donoghue came on, with an accent formed by a childhood in Co. Cork. His poem ‘Gerund’ was about an only child who ‘grew up in a county council cottage by the roadside’ but was allowed to go on to secondary education (as many in Ireland then did not) because of his intelligence. At school, the poem says: ‘When Joe Garvey asked/ “What part of speech is desperandum?”,/

Thursday

Steerpike

Always at my back I hear, Chris Bryant tweeting near

Yesterday’s PMQs was a sombre affair, because of the untimely death of well-liked Labour MP Paul Goggins. The party leaders made a concerted effort to be a little more civil to one another. And backbenchers seemed subdued by the loss of one of their own. There were a few exceptions, though. Labour’s Chris Bryant took great pleasure in singling out Matthew Hancock for ‘not quite entering into the spirit of today’ when the Tory Minister dared to suggest that Labour’s jobs pledge had been ‘absolutely demolished’. As usual, Bryant gave a running commentary of proceedings online. He made a passing literary reference when the Prime Minister donned some glasses: Cameron

Thursday

Wynn Wheldon

Deserter, wifebeater, great poet: the shame and glory of Vernon Scannell

Vernon Scannell was a thief, a liar, a deserter, a bigamist, a fraud, an alcoholic, a woman-beater and a coward. Plenty of material for a biography, then, especially given that he was also a novelist, a critic, a memoirist, a boxer, a teacher, a broadcaster, a loyal friend, a passionate lover and ‘a fun grandfather’. Most of all, he was a poet. Walking Wounded was the title of a Scannell poem and collection published in 1965, and James Andrew Taylor is right to use it as the title for this biography. Beaten viciously by a thug of a father, uncomforted by an unloving mother, by the time he was 19

Thursday

Richard Davenporthines

What would Auden have deemed evil in our time? European jingoism

‘Goodbye to the Mezzogiorno’ was the first Auden poem that Alexander McCall Smith read in his youth. He discovered it in an anthology, and it puzzled him because he had not then visited Italy. A little later, Smith found Auden’s elegy to Sigmund Freud, and was enthralled by its promise that psychoanalysis frees people ‘to approach the future as a friend/ without a wardrobe of excuses, without/ a set mask of rectitude or an/ embarrassing over-familiar gesture.’ When Smith began his careful, systematic reading of Auden while living under civil war conditions in Belfast, he found the hostility, menace and anxiety of Auden’s pre-1939 poems attuned to his environment. The

Thursday

Jonathan Aitken

Jonathan Aitken’s diary: My life as a Christian outreach speaker

The last time I wrote for The Spectator I was sitting in a prison cell. I sent the then editor a poem called ‘The Ballad of Belmarsh Gaol’. Instead of printing it in the poetry column, Frank Johnson put it on the magazine’s cover. It received what is euphemistically called ‘a mixed reception’ — so mixed that I have never again tried my hand at verse. In those dark days 14 years ago I was wrestling with my self-inflicted agonies of defeat, disgrace, divorce, bankruptcy and jail. As I contemplated my non-future, its only certainty was that I would never again be in demand as a public speaker or as a

Thursday

Wynn Wheldon

A Strong Song Tows Us, by Richard Burton – review

How minor is minor? ‘Rings a bell’ was more or less the response of two English literature graduates, now successful fifty-somethings, when asked what the name Basil Bunting meant to them. It is, after all, a good name, a memorable name. I asked a younger friend, about to start his Eng. Lit. degree at Keble: ‘Nothing.’ I asked a former literary publicist: ‘No, nothing.’ I quizzed a chap from the FCO: ‘Nothing, I’m afraid. Sorry.’ Perhaps not deep research, but I’d be surprised if Basil Bunting’s work was familiar to anyone not a poet or scholar of English modernism. Is this as it should be? Does he deserve a 600-page

Thursday

Dot Wordsworth

Dot Wordsworth’s week in words: Did William Empson have the first clue what ‘bare ruined choirs’ meant?

I am shocked to find that William Empson, famous for his technique of close reading, was no good at reading at all. A paragraph of his in Seven Types of Ambiguity, concerning one line in Sonnet 73 by Shakespeare, is called a great example of literary criticism. In the London Review of Books, Jonathan Raban wrote recently about how Empson’s book made him ‘learn to read all over again’ in 1961. As for this paragraph, he had been ‘ravished by its intelligence and simplicity’. The line is ‘Bare ruined choirs, where late the sweet birds sang’. ‘Of course!’ the young Raban exclaimed after reading Empson’s remarks. ‘After all, Shakespeare was

Kate Chisholm

Autumn shake-up in Radios 2 and 3 scheduling

This time round in the autumn shake-up of the schedules it’s Radios 2 and 3 who are on the frontline of change. They have had to face ‘tough decisions’ and to address ‘the financial challenges due to the licence-fee freeze’. Radio 3 has lost most of its ‘live’ Saturday-night transmissions from the Metropolitan Opera in New York, on the grounds that they cost too much to set up. It’s also given the chop to one of my favourite weekend programmes, World Routes, because of the ‘high costs’ of sending its presenter Dr Lucy Duran to far-flung places round the globe in search of unusual music. But this was never travel

Thursday

Wynn Wheldon

Six Bad Poets, by Christopher Reid – review

Is poetry in good enough health to be made fun of in this way? The irony is that this long, funny poem describing the incestuous peccadilloes of contemporary poetry’s social purlieus deserves to be read, and almost certainly will be read — and purchased — by far more readers than all but a few collections of poetry, even those by rather good poets. Christopher Reid was known originally as a poet of the ‘Martian’ school, which sought to find new ways of looking at the familiar: ‘Splitting an apple, / I find a cache of commas.’ More recently he gained wider attention as the author of the award-winning A Scattering,

Fram Dinshaw

Music at Midnight, by John Drury – review

When John Drury, himself an Anglican divine, told James Fenton (the son of a canon of Christ Church) that he was writing about George Herbert, Fenton replied with gnomic brio ‘The poet!’ adding ‘Both in intention and execution.’ Herbert’s authentic lightness and strength, pathos and wit, alertness and sympathy have long been as precious to poets as to fellow believers. In Music at Midnight Drury has produced a pleasantly old-fashioned account of Herbert’s life and poetry which will serve as an introduction to new readers and remind devotees of many favourite passages, sometimes interestingly contextualised. He declares at the outset that ‘poetry comes from life’ and that ‘the biographical structure

Tuesday

J P O'Malley

Interview with a poet: Richard Murphy, an old Spectator hand

Richard Murphy was born in County Mayo in Ireland in 1927. He spent part of his childhood in Ceylon (now Sri Lanka) where his father was the last British mayor of Colombo. From the age of eight he attended boarding schools in Ireland and England, eventually winning a scholarship to Oxford. In 1959 Murphy moved to Inishbofin, an island off the coast of Connemara in County Galway. He settled there for twenty years, writing poems inspired by tragic tales from the local fishing community. These include ‘The Cleggan Disaster’, ‘The Last Galway Hooker’, ‘Pat Cloherty’s Version of The Maisie’ and ‘Sailing to an Island’. The latter describes a dangerous boating

Friday

David Blackburn

Must read: Jenny McCartney on Seamus Heaney and Ulster’s divide

If you haven’t already done so, I urge you to read Jenny McCartney’s piece in this week’s issue of the magazine. Together with Christopher Fletcher’s personal appreciation of Seamus Heaney published here earlier this week, it is among the most original and thoughtful takes on the late Nobel Laureate’s life and work. It’s typical of Jenny’s ability to tease and test details, to coax them to a wider context. And, my, is she readable. The best place to start is at the beginning: ‘The one and only time I met Seamus Heaney, in 2007, he was making tea in the kitchen of his Dublin home when he asked — more modestly regretful

Thursday

Jenny McCartney

Seamus Heaney’s poems are for Protestants too

The one and only time I met Seamus Heaney, in 2007, he was making tea in the kitchen of his Dublin home when he asked — more modestly regretful than coy — ‘Did you have to do the poems at school?’ I grew up in Belfast, and certainly we had to do the poems at school. Even in the early 1980s, in a disputatious city that was frequently contemptuous of life but rarely of poetry, it was Heaney whose reputation already seemed cast in bronze. His lines on Northern Ireland defined us internationally, like it or not: it was clear that we had somehow grown someone big, a poetic prize

Monday

Christopher Fletcher

A Little Something: remembering Seamus Heaney

‘So.’ So begins Seamus Heaney’s translation of ‘Beowulf’. I know it didn’t come easy to him. The morning after he had been awarded the Whitbread Prize for the work I found myself having breakfast at the Savoy with him and his wife Marie. I’d asked some time before whether I could borrow some of the manuscript pages for a literary exhibition at the British Library. I was a curator there at that time and for a special limited edition of his book had helped get a facsimile image from the original thousand year old manuscript, next to which I now wanted to show his drafts. He tossed an envelope across

Lynn Shepherd

What if Byron and the Shelleys had live tweeted from the Villa Diodati?

It’s one of the most famous – indeed infamous – episodes in English literary history. In the summer of 1816 Lord Byron took a villa on the banks of Lake Geneva. He was attended by his doctor, John William Polidori, and another nearby house was rented by Percy Bysshe Shelley, Mary Wollstonecraft Godwin, with whom the married Shelley had eloped two years previously, and Claire Clairmont, Mary’s stepsister and Byron’s mistress. The weather was terrible that year – so bad they called it ‘the ‘year without a summer’ – and the party spent most of their time indoors, gathered about the fireplace in Lord Byron’s drawing-room. And it was there,

Thursday

Nigel Farndale

The views that inspire writers

Unimaginatively, I usually take the same route for a morning walk when on holiday in Cornwall, over the dunes to Brea Hill, inspiration for Betjeman’s poem ‘Back From Australia’. I know the scenery so well I no longer see it. But for a change the other day I walked along the other side of the estuary and it was like seeing an entirely new landscape: the gently scalloped sandbanks, the clarity and blueness of the water, the breadth of the sky where it met Pentire Point. There were no clouds, which emphasised the white of the sails, the seagulls, the cabbage butterflies. Imagine having this as the view from your

Monday

Austen Saunders

Is England too good for the English? Shakespeare’s John of Gaunt seems to think so

From Shakespeare’s Richard II, lines spoken by John of Gaunt. This royal throne of kings, this sceptred isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise, This fortress built by nature for herself Against infection and the hand of war, This happy breed of men, this little world, This precious stone set in the silver sea, Which serves it in the office of a wall, Or as a moat defensive to a house Against the envy of less happier lands; This blessed plot, this earth, this realm, this England, this nurse, this teeming womb of royal kings, Feared be their breed and famous by their birth,

Monday

Austen Saunders

Discovering Poetry: Thomas Traherne’s life lessons

From ‘Wonder’, by Thomas Traherne How like an angel came I down! How bright are all things here! When first among his works I did appear O how their glory me did crown? The world resembled his eternity In which my soul did walk; And every thing that I did see Did with me talk. The skies in their magnificence The lively, lovely air; Oh how divine, how soft, how sweet, how fair! The stars did entertain my sense And all the works of GOD so bright and pure, So rich and great did seem, As if they ever must endure In my esteem. A native health and innocence Within

Friday

Rod Liddle

George the Poet on illegal immigration, courtesy of the Guardian

I watched this thinking it would be hilariously bad, but ended up quite liking it; especially the line, near the end, ‘it’s not British, it’s brutish’. Ok it ain’t T S Eliot. But then the wizened old chap would sit oddly at the Guardian. (‘In the room the women come and go, talking of George Monbiot’).