Sunday, 16 October 2016
Before my week in Senegal (which you can read about here) I spent a week in Portugal, a country which was also new to me. I had friends to visit in a couple of different cities, so a few days in Lisbon were followed by a few days farther north in Coimbra.
Lisbon has an extremely dramatic setting on the Tagus estuary, amazing beaches and many different and fascinating areas, but it felt a little elusive. It was, as well, a city with the feeling of a chessboard or a game board. Of course I cannot explain this, but it may be some feeling left by the patterns of the huge mosaic world map in Belem, or the landmarks such as the castle above the city and the Belem tower, which seemed like iconic game pieces. It could also be some historic impression. One of my main discoveries was that the Portuguese, who I did know had explored widely, went absolutely everywhere in the age of exploration - and I do mean everywhere. When I arrived in Senegal I found that, of course, they had been among the first there from Europe, and the nearby Cape Verde was colonised by the Portuguese. You end up mentally consulting a world map a lot while in Portugal. It is pre-eminently a maritime nation, a small country which had an enormous impact on world history, and one with a very long coastline.
Poetry is an important part of Portuguese culture. When I was flying to Lisbon on TAP Portugal, I noticed that the in-flight magazine had more mentions of poetry and poets than I have probably ever seen before in an in-flight magazine (I watch out for these things). Everywhere in Lisbon I found traces of poetry, which so far have left me with more questions than answers.
Then there was Fernando Pessoa, who for many embodies Lisbon. This great writer of the late nineteenth and early twentieth century wrote under heteronyms, which were personas rather than pseudonyms: this adds to the impression of Lisbon as a many-faced or many-masked city. Pessoa has a couple of statues dedicated to him, quite close to each other, which in itself I found unusual. Yes, that is me in the photo with the first statue (doing my best poet-face), outside some of the cafes he frequented. The second and stranger statue is outside his birthplace.
Coimbra was my next stop in Portugal. This ultra-historic city has a famous university with an extraordinary library (populated by bats), a beautiful old town centre and nearby Roman ruins. I didn't have a lot of time to explore its poetry, but Luís de Camões, the sixteenth century poet who is considered Portugal's Shakespeare or Dante, may have been born in Coimbra and definitely attended the university.
And then there were the cork poetry bookmarks. Portugal is famous for its cork production and you can buy all sorts of things in this versatile material. Shopping for souvenirs in Coimbra, I found a cork box of chocolates which also detached into three literary bookmarks. Obviously this was a must-buy.
I had to look up Queiroz. As well as realist novels and short stories, this great 19th-century writer wrote prose poems and translated Rider Haggard's King Solomon's Mines into Portuguese.
Of course, there is another world of contemporary Portuguese poetry. I can always do some reading, and maybe I'll discover more of it on a future visit.
Thursday, 6 October 2016
Today is National Poetry Day. I seldom manage to do much for this occasion, but, well, I'm thinking poetry. There are many events taking place around the UK, which you can discover by visiting the website, or just with a bit of online browsing.
This year's theme is 'Messages'. This is once again a theme which could encompass every poem, but these two seemed appropriate. Enjoy!
THE LETTER ALWAYS ARRIVES AT ITS DESTINATION (Niall Campbell)
THE LIGHTKEEPER (Carolyn Forché)
Tuesday, 27 September 2016
Joal-Fadiouth, Senegal - September 2016. All photos by Clarissa Aykroyd
I recently returned from two trips in one - Portugal and Senegal. This combination raised a few eyebrows, but it made perfect sense: Portugal was to visit friends and sightsee, and Senegal was for a friend's wedding. The flight from Lisbon to Dakar is only about three and a half hours, so when I found out my friend was getting married, it was hard not to start planning an epic trip.
I spent just over a week in each country, and I will write about both halves of the trip (over the course of at least two blog posts). Senegal has been a little more on my mind since I returned. It was my first time in both countries, but for someone who has travelled all over Western and Northern Europe, and to parts of Central and Eastern Europe, Portugal was always going to feel much more familiar. Technically I had been to Africa before, but Morocco and Egypt are part of the Arab world. This was my first time in sub-Saharan Africa.
Dakar was heat, humidity, white light and dust; the vast Atlantic; chaos of taxis; pockets of pleasant but oddly faceless Western comfort; horses and carts; beautiful colonial buildings with difficult histories; an outdoor bar in the middle of the night with very loud music, incredible rain and a raging electrical storm; friendly but relatively reserved people. It was a total immersion: everything about such a destination engages all the senses, and it's difficult to think about anything else while you're there, except the fact of being there. The wedding was French-Senegalese (or more accurately, French-Swedish-Australian-Senegalese), over three days, and trips involving weddings always have their own heightened intensity, although everything went beautifully. My friends' friends looked after us (me, the bride's family and other friends) extremely well and ferried the sweaty foreigners around with great kindness and patience. And while I didn't have a lot of time on the trip itself to explore the literature in-depth, I was left in no doubt that Senegal had a lot of poetry.
My poetic Senegalese journey started the moment I landed at Léopold Sédar Senghor airport - not that the airport was poetic (it really wasn't), but Senghor was a renowned poet as well as the first president of Senegal. Senghor was not only a member of the Académie française, who preside over matters relating to the French language and award prestigious literary prizes; he was also one of the founders of négritude, the cultural movement which promoted a unified concept of black identity around the world, as well as anti-colonialism. As well as Senghor, prominent proponents of négritude included the poet Aimé Césaire of Martinique, and the French Guyanese poet Léon Damas. You can read some of Senghor's poetry in translation here. The poems reflect both his international vision and his love of Senegal (the latter is especially powerful in 'Night in Sine'.)
During a couple of days outside of Dakar, we went to Joal-Fadiouth, a beautiful and unusual community where Joal on the mainland is linked to the village of Fadiouth on an island of clam shells. I was stunned by the shallow, radiant water around the island, where the inhabitants seemed at times to be walking on water. The walks on the bridges connecting the islands (there was also a "cemetery island"), with a huge sky and a breeze lifting off the water, were among my most wonderful moments in Senegal. Senghor was born at Joal, and I found this quotation over the entrance to a restaurant where we had lunch:
A day or two before that, visiting the historic Ile de Gorée, we explored its history as a transportation point in the slave trade, and I came across this:
[He who said to you "Gorée is an island"
This one was a liar
This island is not an island
It is the continent of the spirit]
I was a bit surprised, to put it mildly, to find a poem on a historic Senegalese island written by a Canadian poet (and a memorial stone put in place by our former prime minister Jean Chrétien). It also made me curious about the Maison Africaine de la Poésie.
In the 'House of the Slaves' at Gorée I also found this poem:
(I would have quite liked to translate this, but this post would have taken a lot longer to appear.) I always appreciate it when poetry appears as a form of memorial.
As it turns out, the new issue of Modern Poetry in Translation has just appeared. Entitled One Thousand Suns, it has a focus on African poets. At least one Senegalese poet, Mama Seck Mbacké, will feature. I can't wait to receive my copy...
Sunday, 31 July 2016
Photo by Clarissa Aykroyd, 2016
Here's the latest in my very slow-to-appear series of translations of Rainer Maria Rilke's Rose poems, from French. The original is below the translation.
THE ROSES (Rainer Maria Rilke, translated by Clarissa Aykroyd)
You share all things that move us.
But we are unaware of your changes.
We could only read your pages
in the form of a hundred butterflies.
Some of you are like dictionaries;
those who pluck them
just want to re-read them.
As for me, I love rose-letters.
Tout ce qui nous émeut, tu le partages.
Mais ce qui t’arrive, nous l’ignorons.
Il faudrait être cent papillons
pour lire toutes tes pages.
Il y en a d’entre vous qui sont comme des dictionnaires;
ceux qui les cueillent
ont envie de faire relier toutes ces feuilles.
Moi, j’aime les roses épistolaires.
Translation © Clarissa Aykroyd, 2016
Thursday, 28 July 2016
Leaf by daBinsi. Used under Creative Commons license
A couple of weeks ago I went to the launch of Alice Oswald's new collection, Falling Awake, at Southbank. A collection of mostly nature poems, it is also a book of high-level anxiety, with a tick tick tick of paranoia throughout. "It's as if the whole book is a kind of parking meter," said Oswald, noting that all of the poems are in some way about time. The reading, as always with her appearances, was not actually a reading, but a hypnotised/hypnotic recital.
Nature poetry can be really dull - well, this applies to any subject for poetry, but perhaps it has been my misfortune to read a lot of really dull nature poetry. Alice Oswald is never dull, not just because of the paranoia (which I have also noticed in her earlier work), but because her work partakes of a kind of super-perception. In April I went to an event celebrating Christopher Logue's War Music, a version of Homer's Iliad. Along with classicist Bettany Hughes, Alice Oswald was one of the speakers, on the basis of her own Memorial, which is another groundbreaking version of the Iliad. In the course of the discussion, Oswald mentioned that when she read the Iliad in the original ancient Greek, there was a sense that she was not just reading a powerful description of a river, or a battle, or a leaf - but that she was actually seeing these things directly, through a kind of periscope into another time and another mode of perception. I would describe her own work in a similar way; this super-perception makes me think of the title of Wallace Stevens' poem 'Not Ideas About the Thing but the Thing Itself.' It is also like the moment when out of the corner of your eye, you see a face in the crowd of someone you thought you had lost - in a way which is more than imagination, a physical shock strikes you, and then you realise it wasn't them, after all.
Reaching this level of intensity through the power of the written word is unusual even in poetry - amongst the poets I love who succeed, I would name Oswald, Paul Celan and Vasko Popa, and the latter two I can read only in translation. There are others, but even with the greatest of writers, I think this is rare. I think it helps enormously to be a writer who can recall the extraordinary intensity of childhood experience (not all writers can), and through a combination of effort and unconscious reach, perceive adult experience in this way, as well.
Here are a few poems from Falling Awake:
Sunday, 17 July 2016
Waves by maxine raynal. Used under Creative Commons license
I haven't been writing a lot about Louis MacNeice lately, but he very often comes to mind at times of drama and tragedy on the world stage - Autumn Journal is one that I have re-read a lot. I posted his poem 'Prayer Before Birth' here, in January 2015, in the context of the Charlie Hebdo massacre in Paris.
MacNeice, who I think of as a journalist of poetry, has that quality of reassurance when you read him - for me, it's like watching a terrible event unfold on the news, but your favourite newscaster is covering it in a calm, measured fashion. It doesn't take away the horror, but it does make it a little easier to process.
This week I thought of MacNeice's short poem 'Wolves', which you can read here: http://www.thesundaytimes.co.uk/sto/news/Review/News_Review_of_the_Week/article414956.ece
'Wolves' was written in the mid-1930s, like many of MacNeice's great poems. Thursday's atrocity in Nice may have given it an extra charge, based on the seaside imagery. Essentially, though, I find it quite a difficult poem to grasp firmly. On one hand, the speaker wants to be a person who lives in the moment, with the joys and difficulties that this brings; on the other hand, he knows that this means burying his head in the sand. Presumably this was a very difficult balancing act in the 1930s. It is now, too.
Wednesday, 6 July 2016
B738 by Bernal Saborio. Used under Creative Commons license
Dedalus Press, the well-known Dublin publishers specialising in Irish and international poetry, recently published the first issue of a new journal, The Level Crossing. I was honoured to have my poem 'The air outside American airports' published in the journal's Poetry of Place feature. It was one of 14 poems published in this feature, out of more than 900 submissions.
In another life, which is also this life, I lived in Dublin for a few years and worked in the United Airlines call centre. I felt as though I were living a double life, where I worked an unglamorous job and then flew off regularly on holiday, mostly in business class, to destinations including New York, Chicago, Sydney and Tokyo. I also commuted through the US a lot, especially travelling back to see my family on the West Coast of Canada.
'The air outside American airports' arose out of that part of my life. I wrote it when I was still living in Dublin and working at that job - probably about eleven years ago. The way in which it was chosen out of the poems I submitted, to come home to Dublin, is mysterious and beautiful to me.
Sunday, 3 July 2016
I recently translated the French-Canadian poet Emile Nelligan's 'Le Vaisseau d'or' ('The Ship of Gold'), and here it is. The original French poem is below the translation.
You can read my translation of Nelligan's 'Soir d'hiver' ('Winter Night') here, and some more details about his life. I find him quite difficult to translate. His poems tend to have a sort of high-strung edge which is hard to convey without going over the top. I did try, but the rhyme scheme also eluded me - or it would have involved contortions I was unwilling to enter into.
The final line of this poem has haunted me for a long time.
THE SHIP OF GOLD (Emile Nelligan, translated from the French by Clarissa Aykroyd)
It was a great Ship, of solid gold,
Its masts reached up from sea to sky.
Love's Venus, wild-haired and bare-skinned,
Sprawled on the prow, in the heady sun.
But then came a night when it struck a reef
In the trickster Sea, where sirens sing.
And fiercely wrecked, its tilted hull
Drowned in the Gulf's unrelenting grave.
It was a Ship of Gold, whose melting sides
Showed treasures that the cruel sailors,
Disgust, Hate and Madness, ripped apart.
What is left after the brief storm?
What of my heart, the deserted ship?
Alas! It foundered in the Dream's abyss!
LE VAISSEAU D'OR
Ce fut un grand Vaisseau taillé dans l’or massif :
Ses mats touchaient l’azur, sur des mers inconnues ;
La Cyprine d’amour, cheveux épars, chairs nues,
S’étalait à sa proue, au soleil excessif.
Mais il vint une nuit frapper le grand écueil
Dans l’Océan trompeur où chantait la Sirène,
Et le naufrage horrible inclina sa carène
Aux profondeurs du Gouffre, immuable cercueil.
Ce fut un Vaisseau d’Or, dont les flancs diaphanes
Révélaient des trésors que les marins profanes,
Dégoût, Haine et Névrose, entre eux ont disputés.
Que reste-t-il de lui dans la tempête brève ?
Qu’est devenu mon coeur, navire déserté ?
Hélas ! Il a sombré dans l’abîme du Rêve !
Translation © Clarissa Aykroyd, 2016