You can read this poem here.
Last year, while doing the prep. for a session I was running, I had most of the books off the poetry shelves, looking for texts about friendship that weren’t of the saccharine, emetic, vacuous or Inspirational Verse breeds. I wanted a poem that said something about what friendship is about, how it “works”, rather than merely saying what a Good Thing it is. The celebration of friendship in verse seems to be far rarer, though, than the celebration of romantic love. But I did eventually find a few poems I really liked, which I added to this quiet treasure by Jennings. It was a thought-provoking exercise to go through.
Friendship is, most of the time, both undramatic and glorious. It’s essential without (very often!) causing the pulse to race. I think this poem has the same quality of quiet wondrousness which it celebrates in its subject. It’s written in simple rhyming couplets which are neat without being clangingly predictable. Its rhythm is measured and regular without being stodgy, and is lifted by its judicious use of enjambement. Its vocabulary is unfussy but careful, naming clearly the simple but precious qualities it celebrates—’gentleness… understanding… trust… respect… awe’.
I find the use of the word ‘awe’ really interesting. It makes me think of how friendship—like any of the loves—can remind us, every so often, of the utter other-ness of the other party. This is a real person, distinct from us and with their own set of likes and dislikes, habits and experiences and quirks… and yet they choose to share time with us, to give us the precious gift of themselves. That is indeed awesome—in the Bill-and-Ted sense of great, but also in the proper sense of amazing, wonderful, breathtaking.
You can read the text of this poem here, and you can listen to John Ireland’s glorious setting of it here.
One of the poetry groups I facilitate recently had as its topic “mountains”, and (among other things) I took the text of this wonderful song. I was, for some reason, quietly pleased to discover that the person who included it on their blog (which is where you’ve just read it) had, like me, discovered it at choir practice. Perhaps what pleases me is that sense of community and connection, across time and miles.
Anyway, this poem doesn’t mention the joys of the high- or mid- altitude cheese sandwich, but I really prize its celebration of what we find in hills: a place of stillness, a sense of that which never changes. No matter what our intellectual understanding may be that these, too, shall pass, it’s hard to feel that when you are out in the hills. Kirkup’s poem has a very simple vocabulary and unfussy style. It’s not saying anything particularly complicated—but I reckon it will resonate with most if not all of us who go out into them there hills. ‘They are both god and temple’: places to be revered and treasured; places which offer nourishment and refreshment; and places where we can reconnect with our own ‘profounder rivers’.
It’s new-book-joy time again, so kettle on, phone off, biscuits out…
A couple of new poetry books have gone into the WTAK collection. The Art of Losing, edited by Kevin Young, and In Memoriam: Poems of Bereavement, introduced by Carol Ann Duffy, are both now nestled on the anthologies shelf. The second was a Christmas present (thanks, Naomi!); the first has been my companion for a while.
You can read more about them on the bookshelf pages (hover over the titles). Here, I’ll content myself with saying that, while the first is a long, comprehensive book and the second a mere slip of a slim volume, both are very approachable. And both are wonderful things to offer someone who might be going through loss—or to have on hand if you yourself are in need of comfort and companionship during a grief. Even if neither of those applies, though, these are simply great collections of poems, doing what all good poetry does: reminding us of what it is to be human, reminding us that, almost certainly, whatever we are experiencing, we are not alone in it.
In her introduction, Duffy reveals the intention behind this collection: ‘we hope that these poems… will hold your hand’. The image, taken from one of the poems included in the book, is simple, clear, effective: it’s about comfort and companionship, recognition and acknowledgement. And I’d say the book does what Duffy puts on the tin.
There’s a mixture of poems you’re likely to have encountered already and poems which are probably new; similarly, there are a lot of familiar voices—Tennyson, Rosetti, Thomas, St. Vincent Millay, Thomas, and Duffy herself—as well as new ones, and anonymous/traditional texts too. Some are suitable for reading at a funeral or memorial; some feel more intimate. I particularly like the fact that such a range of moods is represented in this volume: shocked, angry, bewildered, wry, consoled, consoling, defiant, felled by loss… even in such a small book, something to find you in most moods.
And if you’re new to the poetry of loss, this would be a great place to start.
I can still see it now: the hand-made razor-cleaning-brush holder, approx. three inches by half an inch, knitted in uptightly-tense garter stitch in DK wool in variegated tones of blue by my 7-year-old self.
The HMRCBH lived in Dad’s razor box for a long time and I remember my delight in how delighted he was to receive it (or at least, how delighted I felt he was, which was what mattered). But though the giving and receiving of hand-made items remains a very special thing—which I still enjoy, and which Kirstie et al increasingly encourage us to do these days—that’s not actually (read more…)