Poetry

Homer Simpson in a chasuble

This is one of the most remarkable, hilarious, jaw-droppingly candid and affecting memoirs I have read for some time — not since, perhaps, Dave Eggers’s A Heartbreaking Work of Staggering Genius or Rupert Thomson’s This Party’s Got to Stop. Patricia Lockwood is a poet — dubbed ‘The Smutty-Metaphor Queen of Lawrence, Kansas’ — who, after unexpected and costly medical bills, was forced to move, with her husband, back to her parents’ home. Her mother is more than mildly neurotic, fretting over things like children jumping out of windows in imitation of Superman. Her father is a bad player of the electric guitar, an enthusiast for guns and hunting, a veteran

Books Podcast: How freakin’ zeitgeist are you?

In this week’s Books Podcast, I meet the poet Murray Lachlan Young. In the 1990s, Murray became notorious: the first and only poet in history to get a million-pound contract with a record label. Naturally, those living in the standard-issue garrets developed some envy issues. As he promotes his collected work, How Freakin’ Zeitgeist Are You?, Murray talks in detail for the first time about the wild and eventually traumatising ride that took him from obscurity, via the main stage on Glastonbury, to obscurity again — before he picked up the pieces and returned to the stage. He also shares a somewhat disrespectful poem about a former editor of this

The Spectator’s notes | 12 April 2017

Each Easter, I think of David Jones (1895-1974). He was a distinguished painter and, I would (though unqualified) say, a great poet. There is a new, thorough biography of him by Thomas Dilworth (Cape). A sympathetic review in the Guardian wrestles with why he is not better known: ‘The centrality of religion to Jones’s work offers a clue to his obscurity.’ Jones recognised this possibility himself, writing about ‘The Break’ in culture, which began in the 19th century. He thought it had to do with the decline of religion, but more with a changed attitude to art, caused by mass production and affecting what he called ‘the entire world of sacrament

Poetry in motion | 6 April 2017

Films can be poetry — or like poetry; or poetic, at least — but can poetry ever be film? That is our question for today, and I’ll attempt to answer it, although there is absolutely no saying that I’ll be able to do so. Always touch and go, that. A Quiet Passion is Terence Davies’s biopic of the 19th-century American poet Emily Dickinson, author of ‘Hope is the thing with feathers/ That perches in the soul’ and ‘Because I Could Not Stop for Death’ (look it up; do) and, all in all, 1,800 (incredibly wonderful) poems, of which only 10 were published in her lifetime. Who was this woman? She’s

Fragments of the future

Science fiction is not the first thing one thinks of in connection with the Polish poet Czeslaw Milosz, though the Nobel Prize for Literature has in fact been awarded for science fiction poetry — Harry Martinson’s Aniara was an epic about a spaceship. Then again, many English speakers probably don’t primarily associate Milosz with poetry either, but with The Captive Mind, his damning critique of the moral crisis of artists under authoritarian regimes. That book had, however, science fiction elements in its discussion of the ‘Murti-Bing pill’ — which reconciled the vanquished to their conquerors (lifted from Insatiability, a utopian novel by Stanislaw Witkiewicz, published in 1930) — and the

Welsh wizardry | 30 March 2017

When Stravinsky visited David Jones in his cold Harrow bedsit, he came away saying, ‘I have been in the presence of a holy man.’ Other admirers included T.S. Eliot (his publisher) and the Queen Mother (who wrote asking if she could buy some of his work). Harold Bloom, Kenneth Clark and W.H. Auden were all not merely admirers, but passionate in their admiration. Auden thought Jones’s long Eucharistic poem ‘The Anathemata’ the ‘finest long poem written in English this century’. Yet Jones remained completely his own man, belonging to no ‘set’. He had very little money and has never, as far as one can tell, been part of the Eng.

Why Milton still matters

Just 350 years ago, in April 1667, John Milton sold all rights to Paradise Lost to the printer Samuel Simmons — for £5, with another £5 due once Simmons had the first run of 1,300 copies off his hands. That sounds like a bargain for the 12-book epic poem of Satan’s war with Heaven, Eve’s ‘fatal trespass’ and the expulsion from Eden that soon became a monumental pillar of the literary canon. Samuel Johnson — who as a Tory deplored Milton’s revolutionary politics — placed it first (for design) and second (for execution) ‘among the productions of the human mind’. Some readers, though, have always found it dear at any

A vintage that tastes of Old Possum

Eliot. After 50 years trying to make sense of his verse, and at the risk of admitting to rampant philistinism, I propose three conclusions. At his best, he is one of the finest poets in the language. Partly because he is straining language and thought to the uttermost — an analogy with the final Beethoven piano sonatas — he is sometimes incomprehensible: sometimes, indeed, falls into arrant pseudery. Finally, his anti–Semitism before the war, his rejection of Animal Farm after it: this great man and devout Christian was not exempt from original sin. Gerontion. ‘The Jew squats on the window sill, spawned in some estaminet of Antwerp.’ We turn our

The nature of genius

On 21 December 1945, Ezra Pound was confined to St Elizabeths hospital in Washington DC. He had broadcast for Rome Radio from 29 January 1942 to July 1943. To avoid his almost certain conviction for treason (and the death penalty visited on William Joyce, Lord Haw-Haw), the superintendent Winfred Overholser testified that Pound was insane and unfit to stand trial. Overholser connived with Julien Cornell, Pound’s lawyer. He elided the testimony of six psychiatrists, whose verdict was more equivocal. He concentrated instead on Pound’s brief, understandable breakdown after being kept in a cage at the Disciplinary Training Centre’s stockade in Pisa. A. David Moody in his exemplary three-volume life of

Hull’s a poppin’

In early January, lastminute.com recommended its top 15 destinations for 2017. In 12th spot, just above Montreal, Croatia and Japan, was Hull. And if you’re tempted to opt for a snooty chuckle at this point, my advice would be to go to Hull — because, judging from my recent experience, even on a cold January weekend, the place is buzzing with a hugely infectious, if still slightly bashful, sense of rediscovered civic pride. ‘I’ve lived here for 50 years,’ one man told me, ‘and this is the greatest thing that’s happened to the city in my time.’ The ‘this’ he’s referring to is, of course, Hull’s status as the UK

Lloyd Evans

Playing dead

It could be the nuttiest idea ever. The protagonist of this American musical is Death, who secretly reprieves a beautiful Italian princess, Grazia, and spends the weekend at her father’s palace where a house party is in full swing. The dad knows the gatecrasher’s identity. But Death introduces himself to the others as a suave Russian duke. All the womenfolk promptly fall in love with him, including Grazia, who sets out to bag the mysterious foreigner. Where can this strange plot go next? Nowhere. Once Grazia learns that Death has come to terminate her existence the story will end. So the script is padded out with additional entanglements between a

Joining the dots

A new website, radio.garden, lets us browse radio stations across the globe. Nothing new about that. That’s been a key feature of wireless since the days of valves and crystals. Turning a knob and stopping off at Hilversum, Motala, Ankara or Reykjavik, if and when short-wave reception was possible, is part of radio’s magic, listening in to life elsewhere without having to leave the house. Now, though, with radio.garden (developed in Amsterdam by Jonathan Puckey for the Netherlands Institute for Sound and Vision, and part-funded by the EU), it’s possible to turn the globe that appears on your computer screen as soon as you log on to the site and

From Balzac to the Beatles

All biography is both an act of homage and a labour of dissection, and all biographers are jealous of their subjects. Most keep it cool, but some like it hot and have created a distinct category in which jealousy becomes murder followed by necromancy: the one they hug is asphyxiated — but lo! — they breathe their own air back into it. Sartre’s book on Jean Genet is such a work, as are Brigid Brophy’s on Ronald Firbank and Roger Lewis’s on Anthony Burgess. Claude Arnaud’s on Jean Cocteau is yet another. Its approach is intensely romantic. Everyone is heaving in lurid colours. Arnaud certainly knows his material; and that

Why do people hate poetry?

Why do so many people think poetry is important, and so few of them read it? And why does what might pass unnoticed as a minority activity, like — say — tiddliwinks or sniffing bicycle seats, arouse such strong views in the public at large? The award-winning American writer Ben Lerner has a theory. In this week’s Spectator books podcast I talk to him about his new collected poems, his monograph The Hatred of Poetry, and how he drew inspiration from the gigantic Wal-Mart in his hometown of Topeka, Kansas. You can listen to our conversation here: And if you enjoyed that, please subscribe to the podcast on iTunes for

All about my father

My father had many faces. There was much that made up the man. If you think you ‘know’ John R. Cash, think again. There are many layers, so much beneath the surface. First, I knew him to be fun. Within the first six years of my life, if asked what Dad was to me I would have emphatically responded: ‘Dad is fun!’ This was my simple foundation for my enduring relationship with my father. This is the man he was. He never lost this. To those who knew him well — family, friends, co-workers alike — the one essential thing that was blazingly evident was the light and laughter within

James Delingpole

Don’t try to be liked, and buy your steak at Aldi – the lessons I’ve learned in 2016

Merry Christmas everyone. Here are some things I learned — or relearned — in 2016.   1. That which does not kill you makes you still alive. It’s weird to think that less than 12 months ago I was in hospital, dosed up with morphine, battered and bruised with a broken clavicle, numerous cracked ribs and a pulmonary embolism which can actually kill you, don’t you know. And now it’s as if the whole thing never happened. Well, apart from the hideous titanium plate, like a giant centipede, which I can still feel all stiff across my collar bone. And the bastard hunting ban my family has imposed on me…

Northern exposure | 8 December 2016

In this season of watching and waiting as we approach Christmas and year’s end, radio has a precious role. At the switch of a button you can be taken straightaway into another kind of life, a different world, where present realities are not relevant or can at least be made to feel less imperative. While the screen can transport you to places you’ve never been, its visual escapism never quite overwhelms the imagination in the way that words, sound effects, music will do if subtly shaped into audio magic. Who needs images when in an instant you can be taken in your imagination to the wilds of northern Finland, crunching

In life divided

The ten pallbearers at Thomas Hardy’s funeral in Westminster Abbey on 16 January 1928 included Kipling, Barrie, Housman, Gosse, Galsworthy, Shaw and both the prime minister and leader of the oppposition. This distinguished gathering was not strictly necessary for the job at hand, because Hardy’s coffin merely contained his ashes — all that there was room for in Poets’ Corner. At exactly the same time in Dorset, at a smaller funeral, a casket containing Hardy’s unincinerated heart was being borne to its final resting place alongside his parents and his first wife in the churchyard at Stinsford. As Mark Ford observes, this macabre compromise between the nation’s and the author’s

Larkin, Keats and Hardy can all be summed up in a word – but not Shakespeare

What can be said in a word? A lot, if you are a poet. Poets annex familiar words and empower them. Sometimes a single word, as used by them, can provide a key to their whole work. Here are some examples. (In this game, I permit two words if one is a definite or indefinite article or a preposition.) Blake: ‘lamb’; Milton: ‘high’; Keats: ‘blushful’; Gray ‘in vain’; Cowper: ‘stricken’; Tennyson: ‘the deep’; Pope: ‘Man’ (not ‘man’); Housman: ‘lad’; Burns: ‘lass’; Herbert: ‘sweet’; Hardy: ‘darkling’; Larkin: ‘almost’; Betjeman (this a good suggestion by my wife): ‘Aldershot’. In the case of T.S. Eliot, I am torn between the too general ‘time’,

The Spectator’s Notes | 3 November 2016

It is a great relief that there will be no inquiry into the ‘Battle of Orgreave’ in 1984. The weirdness is that Mrs May’s people ever entertained the thought in the first place. The push for an inquiry is a classic example of the attempt by the aggrieved, usually on the left, to turn history into a trial. If we were to inquire into the miners’ strike, more than 30 years on, it would be far more pertinent — though still a very bad, divisive idea — to establish the full facts about how Arthur Scargill got money from Gaddafi’s Libya and was promised it by the Soviet Union. The