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Scotch Broth and Gumbo
Be My Reader, Alec Finlay (82pp,
£8.95, Shearsman)
Sheer Indefinite, Skip Fox
(200pp, $22.95, University of New Orleans)
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Alec Finlay's Be My Reader is at first glance a mass of incongruities, Wittgenstein and Creeley
rub shoulders awkwardly with Alan Shearer and Robbie Savage, landscapes give
way to small detail, the sublime jostles with the prosaic; John Cage is
namechecked, so are the Ramones. There is the constructed and the found, the
painstaking and the happily accidental. It's a rich mix, leavened by Finlay's
spare, light style.
The opening 'The Wittgenstein House (Skjolden') is a teasing, gradually
unfolding exploration of the physical and mental landscape surrounding the
Norwegian hut where Wittgenstein worked on the Tractatus. Shifting between forms as the poem unfurls Finlay
writes with an enviable clarity and precision, barely a word is wasted:
where what I
find
is shown in
how I think
and live
This is poem as travelogue, and as meditation, and the reader steps behind
Finlay as he walks through it assuredly.
Elsewhere brevity reigns. Some texts are shorter than their titles; there is
a danger with pieces like these that they can sound too much like punchlines,
drawing a weak smile from the reader and no desire to revisit. It is to
Finlay's credit that this doesn't occur very often, his deadpan responses
more often provoke thought than fall flat, such as the one line response to
the title 'If You Ask An Orkney Fireman What He Does When There Is a Fie on
Hoy This Is What He Will Say'
Wait for the ferry
There's a dedication here, one of many throughout the book. Their frequency
gives rise to the irresistible idea of Finlay as wanderer, wandering through
lives, wandering through forms, meeting people, picking things up as he goes,
he touches them and they touch him. He is at all stages involved and
interested in what he is doing. If sometimes the poems feel like a private
joke we're not quite in on it doesn't last long, and next thing you know you're
stood on a beach as he tells you his 'known cures for melancholy' ('Cove
(Kilcreggan'))
a faint path
winding
through each
sea meadow
Edwin Morgan and Robert Creeley both receive their due.
'E-D-W-I-N-M-O-R-G-A-N' with its
title a visual echo of the language poets, and its quasi-oulipian constraint
of repeating the letters of the poets name manages to neatly combine a
tremendous breadth of reading into a touching memorial, though I could have
lived without the capitalisation of the letters, which felt rather like
labouring the point. The text itself though is lovely.
redEfining
scotlanD's Weeness wIth soNnets
Mercurial
visitOrs, hoRsiemen, starlinGs And chaffiNches
Creeley's 'I know a man' is neatly re-worked as 'I know a poem' stretching
the poem and stretching the point into something which seems even more like
the original than itself.
As I said
as I sd to my
As I sd, to m
y friend
As I said to
my friend John
If a poet's job is to engage with the world then Finlay does a better job
than most. Football, politics, philosophy, punk, poetry, each accorded the
same level of care and attention. And as he wanders, it's a treat to wander
with him.
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It's difficult, however, to level accusations of brevity
or simplicity at Skip Fox, every text in Sheer Indefinite reels with verbosity; lines stretching to overlap,
titles running into first lines. As with Finlay it's a lot to take in at
first reading, but for different reasons, this is the poem as sensory
assault:
Around the next
bend, the
sheer lake, colors tighten in the wind, voices
from the
earth blow off, and the air that
blurred arms and
chest moves
at last like unmelodious whistling of indefinite
duration
(From 'Reading a
letter from')
For a collected stretching over a twenty-year period (1991-2011) , Sheer
Indefinite displays a consistency of
voice, but not a rigidity of style, Fox is flexible, supple, even as he wanders
cheerfully between sacred and profane in the space of a couple of lines. The
opening poem, 'Angels' says that they live in the gloves of boxers and
in
the boxer shorts of
great lovers (no
names, please)
yet they also 'prepare the synapse between lightning bolts'. There's a lot to
take in, these are widely read poems, I wasn't sure whether to feel annoyed
at or grateful for the notes at the end, the poems wear their learning
lightly, and I prefer not to become embroiled in a game of spot the quote.
That said the reader doesn't need to be told about the preponderance of
Charles Olson. These poems are exemplars of Olson's energy transferred.
Creeley and Ginsberg are mined, too; but before he be accused of parochialism
I should point out that these are three voices amongst many.
Many of the poems are textually and visually is as dense as all this
information flooding into them would suggest, as though the poem has to fill
every inch of space. Even when the poem isn't a solid block lines stretch
across the page, poems with lower word counts explode outwards
Four hours
later
a crop duster
unseen in
The distance
weaves thru
mowers
near
And far
cars on the
curve
Cicadae and crickets
Calling
(From (one
of many called) 'sic transit')
The more lineated pieces off space to think, this isn't a book to be rattled
through quickly, at least not from where I'm sitting, it'd be too difficult
to keep up. This is not to say 'difficult', the texts are open and
accessible, with Fox's ear for a musical turn of phrase and ability to pin an
image precisely leaven the barrage of allusion, season the gumbo of the text.
It seems unsurprising that this book's emerged from New Orleans, that most
raucous of towns. Like a good jambalaya, there's a lot in it.
© Matt Fallaize
2013
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