Thursday 13 October 2011

At Grass, the Blinking Stars ... Doctored Art?

I'm certain I recall reading in Andrew Motion's biography of Larkin (Philip Larkin: A Writer's Life, Faber and Faber, 1993) that, though he much admired Larkin's well known poem about racehorses put out to grass, he was disturbed by the inaccuracy of the final line of the final stanza ...

Only the groom, and the groom's boy,
With bridles in the evening come.

Motion feels that racehorses 'At Grass', taken by grooms to their stables, by implication, would be led by 'halters'.  The line, then, should read:

Only the groom, and the groom's boy,
With halters in the evening come.

Motion is absolutely right here. The bridles suggest horses equipped for a race, which is quite the opposite of the poem's mood of 'Veterans at Rest' and 'Triumphs Past'.

This brings me to the heretical idea that works of art, conceivably, could be tweaked and doctored to engage more empathetically with latter-day sensibilities. Do I mean bowdlerisation? No! Of course not!

I mean that some modern meanings of certain words can torpedo the effects the lyricist intended.  Shall I ever forget the ripple of laughter at the Royal Festival Hall when that splendid Toulonnais, Gilbert Becaud, sang an English translation of one of his songs: 'The blinking stars are dancing ...'  He simply could not understand the Londoners' (not unkind) laughter.

My sensibilities are also disturbed by the jarring appearance of 'free lances' in Louis MacNeice's classically perfect 'The Sunlight on the Garden', even though I know very well the meaning MacNeice intended, and its pathos. It's just that so many other contemporary – and dullish - associations are now conjured up by the term. That is why I have presumed, for my own private delectation, to doctor the poem so my attention does not waver at the beginning of the second stanza.

A massive presumption, yes! (To loosely change: Our freedom as free lances/Advances towards its end;/The earth compels ...) N.B. The iron 'Siren' neither reflects the Spanish Civil War nor the London Blitz of WW2 since this prophetic poem was completed in the mid 1930s. The dictators who wreaked havoc in both those conflicts I now dub, specifically, the 'unanswerable rogues' who never answered for their actions.

The Sunlight on the Garden

The sunlight on the garden
Hardens and grows cold,
We cannot cage the minute
Within its nets of gold;
When all is told
We cannot beg for pardon.

We know the rogue who answers
Unanswerably at the end;
The earth compels, upon it
Sonnets and birds descend;
And soon, my friend,
We shall have no time for dances.

The sky was good for flying
Defying the church bells
And every evil iron
Siren and what it tells:
The earth compels,
We are dying, Egypt, dying

And not expecting pardon,
Hardened in heart anew,
But glad to have sat under
Thunder and rain with you,
And grateful, too,
For sunlight on the garden.

Tuesday 11 October 2011

Mr and Mrs Anon.

To return to the theme of the 'mute inglorious' Mr and Mrs Miltons so despised by Kingsley Amis (see my September posting, Commoners' Rights to the Heroic Quatrain).
http://catherineeisnerfrance.blogspot.com/2011/09/commoners-rights-to-heroic-quatrain.html
The defence of Anon must be for me a recurrent fixation because I'm reminded I touched upon it in my Elegy from a Locked Drawer in Sister Morphine (2008), where my youthful protagonist's flirtation with Toby Freemartin takes this turn ...

It was clear we were hitting it off.
    'What is your favourite colour?' he asked.
    'Iridescence,' I answered quickly (paying homage to Marianne Moore).
    'And your favourite poet?'
    'Anon.'
    His smile was wary. I suspected he was more than a little stuck on me but puzzled by the immature elusiveness I often contrived to make myself more fetching.

-

So, evidently, my views haven't changed since my teens.  And certainly my notebooks record any number of memorable sayings, saws and proverbs whose authors are Anon, yet whose utterances, like folk tunes, cling fast to the mind with a grip fiercer than that of any named poet.

Look. Here. I've just this minute taken eight random folk sayings and arranged them in two 'found stanzas' ...

Thought lies in Bed and is beshatten.
Mope-eyed for living so long as a Maiden,
She cannot leap an Inch from a Slut
Yet can correct the Magnificat.

They say Old Maids lead Apes in Hell.
The Body is the Socket of the Soul
Put together with a hot Needle and burnt Thread. 
Then ask: Would you know her Secrets? Who’s to know who’s a Good Maid?

Remember, Sir Kingsley, the ballad, the proverb, the inventive oath, the cautionary tale, owe their origin to Mr and Mrs Anon.

A solitary truck ... euphonious assonance.

Talking of poetasters. I should note frankly that memories of my youthful experiences when working on an academic publisher’s poetry list were refashioned as Elegy from a Locked Drawer in my Sister Morphine (Salt 2008). This is how I recall the first day at the publisher's office and meeting the intimidating editorial team ...



    I took to him instantly. His name was Toby Freemartin, the editor's copy assistant and general progress chaser. Opposite him, seated across the aisle, was our office section leader, Desmond, a small, fussy, mild-featured copywriter who could, nonetheless, unsheathe kittenish claws to rake his victims with a lacerating wit.
    Toby made a long arm and boldly withdrew from my grasp the cloth-covered writing-case I had brought with me which bore my name. He untied the tapes and riffled through the thin sheaf of poems I had not dared to show the editor.
    'Audenian,' he sniffed, passing each sheet ponderously to Desmond.
    'Macspaunday without the audacity,' Desmond purringly demurred.
    They were both absolutely right, of course.
    Soon a spirited argument developed which centred on my indictment of a number of curious imprecisions which, in my own view, annoyingly marred Auden's phrasing; I was soon citing '... a solitary truck, the last of shunting in the Autumn ...' as a particularly glaring example of such infelicities. Their protests were silenced when I mentioned my great-uncle had been a locomotive engineman hauling French Sleeping Cars on the Continental Express for more than twenty years. He had shown me his railway company's pre-war Signals Manual, I said, which proved conclusively that shunting in sidings was not exclusively seasonal work.
    ' "During darkness, fog or falling snow," ' I quoted, ' "the trackloading in either direction must not exceed ten goods-wagons and a tail lamp must be placed on the last truck by a handsignalman." '
    My great-uncle and his Marxist footplateman agreed that Auden's phrase was ultimately meaningless, I assured them airily, and simply a case of seductive euphonious assonance.
    Toby and Desmond exchanged thoughtful glances.
    I think I must have succeeded in impressing them.

Wednesday 28 September 2011

The Graze.

Well, why not? Miriam R. in my Sister Morphine confesses (page 116) she's something of a poetaster, but should that admission prevent sight of her scribblings?
 
The graze.
 
Children weep for their future lives.
                In the cinder grit beneath the skin,
                                    in the nettle's spite and wasp's sting,
           apprehend a lover’s griefs,
                       and husband spurned.
       And the infant, sobbing,
                       fallen from her swing,
                          chants 
                        a lament for wives
                                abandoned. 
 

Tuesday 27 September 2011

Sister Morphine: ‘darkly comic and unputdownably brilliant’.



Sister Morphine

Women’s Narratives from the Case Notes of a Community Psychiatric Nurse

The principal theme of my 'Sister Morphine', published in 2008, is the sheer unpredictability of women's behaviour when conditioned by prescription drugs. For this suite of interconnected women's narratives I have refashioned case histories as fictions to delineate the effects of drug administrations on clients observed in psychiatric nursing and psychotherapy ... particularly,  the more bizarre asocial psychoses  – and sometimes criminal behaviour – made manifest by the multifaceted side effects of prescription drugs such as antidepressants, tranquilizers and mood stabilizers.

In ‘Sister Morphine', fifteen women - Felícia, Charlotte, Zoë, Elenore, Eveline, Miriam, Grete, Esther, Marianne, Irina, Mary, Elspeth, Theresa, Isolde and Roberta - will unveil their psychoses to you ... but not until the last page do they unlock the unsuspected secret that unites their destinies.

PUBLISHER'S DESCRIPTION: Masterful, darkly comic and unputdownably brilliant, this first novel by Catherine Eisner is an instant 21st-century classic. Sister Morphine tackles themes of suicidality, sibling murder, child abuse, morbid self-harm, guilt, jealousy, incest, drug addiction, infidelity, illegitimacy, obsessive compulsion, bereavement and a case of grand larceny in the second degree. All wrapped up in the confidential case notes of a Community Psychiatric Nurse exploring the multifaceted side effects of psychoactive drugs.



'Eisner has mastered the twist in the tale and her stories cascade vividly into derangement.'
Cameron Woodhead
THE AGE


'… a genuinely unsettling voice, at once comic, intelligent and slightly, scarily deranged … a true technical triumph.'
Kate Clanchy
MsLEXIA


'Erotic … enthralling … very pictorial … very original.'
Neville Marten
INK


http://www.amazon.co.uk/Sister-Morphine-Narratives-Community-Psychiatric/dp/1844712990


Extract : Dispossession (Patient ID CPN0312110842: Mary H.)


I can remember in every bright-etched detail the precise moment I first decided to murder my brother.
    I had returned to our family home, the day after my mother’s funeral, to discover he had changed the locks.
    I knocked on the bay window for several minutes before he emerged, obviously hungover, yawning lazily like a sated cat.
    He stretched his arms and barred the hallway.
    ‘Don't come anywhere near this property again!’ he shouted. ‘I don’t want even your damned shadow falling on this house! Understand?’
    He then slammed the door with his boot ...
    ... He had won that last bout, I conceded, but, I vowed, feather by feather this goose would be plucked.


Extract : Soft Skin (Patient ID EP0841060170: ‘Leisha’ Felícia F.)


Now, as she sat at her desk, an hour after the holdup, she marveled at the nerve with which she had outfaced her co-workers who had scrutinized her every move.
She busied herself by filing an interoffice memo entitled, Armed Robbery Prevention Strategies. She glanced at a sub-section which stated:
Unarmed ‘soft-skin’ operators, proportionate to armed security guards under special category instructions, should listen attentively to robbers, be calm, courteous, and patient, and treat the robber as you would a customer. Do not resist, but cooperate unhesitatingly with the robber, as this is the most reliable way to avoid injury.  Don’t try to be a hero.  Take no action that would jeopardize your safety or the safety of others. Activate alarms only if you can safely do so without detection.
Well. As a vulnerable ‘soft-skin target’ she had acted accordingly. She hadn’t resisted. On the contrary!
When Sonny had entered the bank lobby precisely at 4:00 pm, closing time, he was carrying a gray, nylon, carry-on flight bag from which he pulled a silver semi-automatic handgun. He was wearing black motorcycle-type gloves with red stripes running down the fingers. (They reminded Leisha of the burned out veins along Sonny’s pitted forearm.)
He was also wearing a beige hooded sweatshirt, a black baseball cap, camouflaged battle-dress-uniform pants, aviator sunglasses, and a black and yellow bandanna over his lower face.  
The senior police officer had demanded a description of the robber but all Leisha could say she remembered of the incident were ‘three eyes’.
She had rehearsed her statement and knew exactly what she intended to say.  Three eyes. I swear. That’s all I saw. Two eyes leveled at me and the eye of the gun!
She swallowed hard at the thought of those two eyes and that unwinking eye of the gun.
The descriptions of the unknown masked man given by the clerks at the neighboring desks had not been any more conclusive: ‘a hideous little guy with creepy eyes’ and ‘a spaced out drug-nut waving a pistol looking like a mad scientist.’
Leisha recalled Sonny’s sallow face, slick with sweat, and rapid tongue darting to wet his cracked lips. His repetitive demoniacal screaming of ‘Gimme all your money! Right now!’ had achieved its desired effect. Leisha had promptly obeyed.
Sickened, Leisha sat at her position and folded her hands tightly on the desktop to control their shaking.
Across the polished marble floor of the lobby, behind the brass teller cages, she saw the bank’s auditor was glaring at her. He weighed two hundred and eighty pounds and he now presented the appearance of a man who had been recently boiled in a bag.
    After all, the bank’s hard currency reserves had just been depleted by more than a quarter-million dollars.


Extract : A Stranger in Blood (Patient ID CPN0338200976: Elspeth P.)


‘A woman without a past has no future.’ I laughed without thought. ‘The question you should have asked is not where I’m going but where I’m from.’
I rapped my forehead with my knuckles.
‘A locked room mystery for you, look.’ I twisted my hands together.  ‘Locked inside my head the real me is! No way in or out! I know what I know, but no more, see. It’s hopeleth.’
In moments of extreme emotional disturbance I revert to the cadences and syntactical quirks that betray the speech of my Welsh childhood, and the pronounced lisp of my infancy again afflicts my tongue.
My therapist nodded encouragingly, then fingered her chignon to assure herself it had not strayed. She wore a false hairpiece. I did not trust her.
‘I own to being a bastard,’ I said. My lip did not tremble. ‘Satisfied?’
An ‘identity crisis’ had been glibly mooted when I’d earlier confessed to the confusion that bedevils the psyche of an adoptee, and to my reluctance to delve deeper into the mystery of my true parentage: a father unknown, and the identity of my birth-mother withheld by my adoptive parents, Mam and Da.
‘Self-knowledge requires more,’ she put in portentously.
She began to probe further into my past, alluding to childhood phobias.
At which point I clammed up. I’m perfectly aware that ‘basket’ is an English euphemism for ‘bastard’, of course, but I certainly will not openly admit to my compulsive avoidance in supermarkets of the ‘Baskets Only’ checkout line.
The Hospital Almoner handed me Da’s personal effects in a yellow plastic bag intended for the disposal of clinical waste. It contained three items: his dentures, his snuff box and a scrap of charred paper melded to a remnant of his candlewick dressing-gown, evidently cut from his grasp.
A blackened birth certificate . . . Truly, this page might just as well have been a Dead Sea scroll for all the evidence of anyone’s identity it proved because, by a perversity of fate, the essential details of my birthplace and the names of my biological parents, and all other handwritten entries penned by the registrar, had been scorched into oblivion.
It was as though some cosmic dramatist had sketched out an improbable plot with no shred of evidence to even hint as to how to resolve the dénouement of that inscrutable design.
My half-suppressed moan became the senseless giggle of one who laughs to prevent too deep an apprehension of spiritual distress.
I thought: How characteristic of my over-principled Da! Of all the cherished possessions he could have chosen to save from the burning building, he chose, at the eleventh minute of the eleventh hour, the birth certificate he’d never wished me to see!
For, in all the years of my childhood, I never once sought to learn the identity of my natural mother. The very thought of my demanding her name I knew would profoundly upset my adoptive parents, such a fear I had of bringing down on my head the confusion of further rejection.
Besides, my greater fear – more than filling in the blanks, and laying that ghost to rest – was my dread of disappointment, the complete devastation of my persona, should I learn who my biological parents truly were and fail to come to terms with unwelcome knowledge.
So the deed box remained unopened; and I promised myself I would never seriously trace my natural mother while Mam and Da were alive.
My mouth was dry, and I gulped water with an unsatisfied thirst.
The picture of my loss was now clear: my uprighteous God-fearing Da trapped in a burning outbuilding, the protagonist of a tragic morality play of his own contrivance, holding the key to my destiny in his unnaturally white hand.
For now I understood, with a terrible finality, my search for my lost past was, by far too many years, long overdue, and the last traces that could disclose the secrets of my doubtful parentage were crumbling to ashes in my belated grasp.
As I have repeated many times: ‘A woman without a past has no future.’ And an ‘identity crisis’ is too facile a prognosis to describe the dilemma of one whose lodestone is jettisoned before her quest for selfhood can begin. For how else can I regard a life built on falsehood? It may seem difficult for a non-adoptee to understand but it was like looking back on the day when I had first laid the foundation stone of an edifice whose ultimate design I’d never visualised. Now it was erected it was astonishing to see it had no recognisable shape. Yet with such scant clues, tell me, how was I then to rightly learn the answer to the question: Whose child am I?




EAN13:  9781844712991
ISBN:  9781844712991
Author:  Catherine Eisner
Title:  Sister Morphine
Series:  Salt Modern Fiction
Product class:  BB
Language:  eng
Audience:  General/trade
BIC subject category:  FB
Publisher:  Salt Publishing
Pub date:  04-Jul-08
Extent:  496pp
Height:  234 mm
Width:  153 mm
Thickness:  39 mm
Weight:  744 gms
Supplier:   Gardners Books
Supplier:   Ingram Book Group
Supplier:   Inbooks (James Bennett)
Availability:  NP
Price:  GBP 18.99
Price:  USD 36.95
Rights:  World



Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. 
and Listen Close to Me (2011)

Colour Blind

Actually, to pursue my current theme of found poems, the following poem of mine was published in MsLexia in their Summer/Autumn issue of 2002 ... 


Colour blind

The pyrotechnicienne from Alsace
                          hired for my fireworks party
described afterwards her
                                       favourite explosive device.

Construction:
4 kilo shell
3 kilo shell
2 kilo shell
(compacted into a single projectile).

  Effect:
Red
 fan-
palm
green
parasol
vermilion
nightflowering
chrysanthemum

As she said,
                                                  not without remorse,
“This is a spectacle I shall never see
                            for my own pleasure
because when I light the fuse I am stranded directly beneath,
              yet someone once thanked me and
                                             asked if I would be kind enough
to hang
another chandelier
   in the void.”

Monday 26 September 2011

Poésie trouvée ... the unsought text

Talking of poems composed from found objects, the following is practically poésie trouvée insofar as the text fell nigh fully formed into my lap unsought ...

The Poetess Attempts to Eulogise
a Wonder of Nature
in a Lightning Storm


A peculiar feature as to a lightning-stroke
is its photographic properties.

In this connection a poetess
of twenty-two years,
while climbing a tree to eulogise a bird in its nest,
was struck by lightning
and afterwards showed upon her breast
a picture of the tree,
with the nest upon one of its branches. 

This theory of lightning-photographs
of neighbouring objects on the skin
has probably arisen
from the resemblance of the burns to natural subjects
due to the ramifications of the blood-vessels
as conductors,
or to peculiar electric movements
which can be demonstrated by
positive charges on powdered moss spores.

After her accident, the poetess
wrote no other verses
since, as she remarked, there
could be no more vital poetry
than that written on her breast.


Catherine Eisner, 'Ambit' magazine, Issue 198, Autumn 2009. 
(The gestation of a poem as a critical plot twist is a subject explored more than once in my fiction.)

For a critical plot twist, see also remarks on Nabokov’s The Gift, here  . ..
http://catherineeisnerfrance.blogspot.co.uk/2017/03/did-someone-call-for-recitation.html