Vanessa Bell in Winter

The Tub 1917 by Vanessa Bell 1879-1961

The Tub 1917 by Vanessa Bell 1879-1961

Today’s word is raw, said the weather forecaster,
and you flinched, soft skin flayed by wind and sleet,
soft heart by unremitting news of inhumanity.
So embrace this respite, stuff your stiff winter coat
into a locker, stretch and let your sore soul touch
the curves and colours of the pictures, slow-dance
with the fading shapes and figures frescoed on every wall.
You know the artist too was flayed, continued painting
through the worst of times, death and betrayal, two long wars…
Her work outlasted all of it, is here to wrap your fear,
your sorrow in warm flesh, bathe you in earth-green light.

 

Vanessa Bell at Dulwich Picture Gallery
The Tub, 1917 (Tate Modern)

Louise Labé – Sonnets VIII & IX

Painting by André Minaux 2
This entry is part 2 of 7 in the series Louise Labé

 

VIII

Painting by André Minaux 1

I’m living, dying, drowning, burning up –
extremes of heat and then I’m cold again.
Life is too soft on me and then too hard –
my trials are great, but intertwined with joys.

I burst out laughing and then into tears,
smile through the torment of my many wounds.
My happiness dissolves and yet endures:
I wither and I flourish, both at once.

So Love’s inconstant but remains my guide
and when the pain seems at its very worst
I rise above it unexpectedly.

Then just when I think joy has really come,
that peak experience is mine at last,
I find myself back where I started from.


Je vis, je meurs: je me brule & me noye.
J’ay chaut estreme en endurant froidure:
La vie m’est & trop molle et trop dure.
J’ay grans ennuis entremeslez de joye:

Tout à un coup je ris & je larmoye,
Et en plaisir maint grief tourment j’endure:
Mon bien s’en va, & à jamais il dure:
Tout en un coup je seiche & je verdoye.

Ainsi Amour inconstamment me meine:
Et quand je pense avoir plus de douleur,
Sans y penser je me treuve hors de peine.

Puis quand je croy ma joye estre certaine,
Et estre en haut de mon desire heur,
Il remet en mon premier malheur.

IX

Painting by André Minaux 2

As soon as I allow myself to rest,
safely tucked up in my own comfy bed,
my stupid, sorrowing mind can’t help itself –
it leaves my body, flies straight back to you.

It strikes me then: within this tender breast
I harbour still the very thing I’ve craved,
the object of my deepest sighs, of sobs
I’ve often felt would break my heart in two.

Oh sweetest sleep, oh night of happiness!
May joyful, calming rest bring me this fond
illusion every time I close my eyes.

If my poor lovesick soul is destined now
to never really know such love again,
at least let me have dreams and fantasies.


Tout aussi tot que je commence à prendre
Dens le mol lit le repos desiré,
Mon triste esprit hors de moy retiré
S’en va vers toy incontinent se rendre.

Lors m’est avis que dedens mon sein tendre
Je tiens le bien, où j’ay tant aspiré,
Et pour lequel j’ay si haut souspiré,
Que de sanglots ay souvent cuidé fendre.

O dous sommeil, o nuit à moy heureuse!
Plaisant repos, plein de tranquilité,
Continuez toutes les nuiz mon songe:

Et si ma pauvre ame amoureuse
Ne doit avoir de bien en verité,
Faites au moins qu’elle en ait en mensonge.

 

Louise Labé in Wikipedia.

Paintings by André Minaux (1923-86) – I came across his work by chance for the first time this week and the sharp, stylized imagery, often of women alone in interiors, somehow resonated with the sonnets; also an exquisite concert on the radio of short pieces by J S Bach and Jörg Widmann made me think about how mutually enhancing old and new(er) works can be.

Escher: Metamorphosis

Escher's "Metamorphosis II"

I am a loner drawn to multiplicity.
I like it when things change but stay the same,
as a village in Italy creeps around and around a hill.
In reflections I see another world – or is it this one?
Over and over, bees and birds in flight and swimming fish –
patterns repeat, both infinite and contained,
shapes tumble into creatures, houses, streets and shapes again.
When each thing separates and all things coalesce I am complete.
Shapes tumble into creatures, houses, streets and shapes again,
patterns repeat, both infinite and contained –
over and over, bees and birds in flight and swimming fish.
In reflections I see another world – or is it this one?
As a village in Italy creeps around and around a hill,
I like it when things change but stay the same.
I am a loner drawn to multiplicity.

 

Escher's "Metamorphosis II"
Maurits Escher: Metamorphosis II


Inspired by Via Negativa: In the beginning and Fractal (this time the shape).

My white swan

The Swan, a painting by Hilma af Klint

The Swan, a painting by Hilma af Klint

my love is a tight
white glove
fitted to your whole body
cast it not off

wear this for me
so I can caress
you all over and leave
no telling trace

on your actual
sweet skin
so rosy and glowing
it dazzles me

this barrier between us
soothes me
its close fit ensures no
loss of sensation

you are a white swan
pirouetting on points
far above
my grubby love

encased in your white glove
you can touch
but not be touched as
best befits you

you can handle
the dusty old leaves
of an illuminated book
look but not be sullied

you can perform magic
pull from your tall hat
all the white rabbits
we require

you can attend a polite
old fashioned party
converse and drink milky tea
with an adoring me

oh dear one
don’t disdain my love
can’t you see it fits you
like a glove
?


Image: Hilma af Klint,
The Swan (1914).

The Grave Dug by Beasts: a new videopoem by Swoon

This entry is part 12 of 12 in the series The Temptations of Solitude

 

Watch on Vimeo.

The other videopoem that my friend Marc Neys AKA Swoon surprised me with at my birthday party (see yesterday’s post) was this interpretation of a poem I’d written in response to a painting by Clive Hicks-Jenkins, one of a series of ekphrastic poems I wrote in response to his series of paintings The Temptations of Solitude. (These poems were later collected along with the work of five other poets in a beautiful little anthology called The Book of Ystwyth: Six Poets on the Art of Clive Hicks-Jenkins, and you can watch the videos of our group reading at the 2011 book launch.)

I made my own videopoem with this text back in 2012, and while I wouldn’t call it a failure, I do think it rather pales in comparison to Marc’s. Nevertheless, it’s fascinating how the creative spark originally struck by Clive continues to give rise to new works of art. As Clive himself commented when I shared the video on Facebook last month: “I love the way art begets art begets art begets art. This is hauntingly beautiful.”

Sadly, this is among the last videopoems that Marc plans to make for a while. He told me he’s taking a year off from filmmaking to concentrate on other things—especially his music. Here’s hoping that when he does go back to making poetry films, it will be with new energy and fresh perspectives on the genre. His influence over the international videopoem and poetry film scene so far has been enormous.

For what it’s worth, I’ve added this and the videos I shared yesterday to the Plummer’s Hollow Poet channel on Vimeo, which is probably the best place to browse videos made with my own poems (since I don’t share those at my site Moving Poems).

Not genius, but scenius

Erasure poet Austin Kleon‘s keynote at SXSW 2014 should be required watching for every poet — especially the vampires and human spam, as he calls them, who are all about self-promotion, wedded to the false, romantic notion of the artist as lone genius. Kleon talks about how to “steal like an artist,” the importance of acknowledging one’s sources and sharing one’s work on the internet, and why we should emulate the great knuckle-ball pitchers. I’m being kept from my own work these past couple of days by a bad case of conjunctivitis, but this makes me impatient to get back at it.

Sea dream

We two are travellers
in a single dream.
Face up we float
together on a painted sea.
If we close our eyes,
we can drink the scent
of lilies, sense the touch
of angels’ wings.

We are bathing
in impastoed depths.
We are summoned
by siren songs of blue.
If we swim to shore,
escape the frame,
we shall not meet again.


Travellers in a Single Dream, a painting by Victoria Crowe

Cézanne’s Doubt

Cézanne's painting Mont Sainte Victoire

He comes here daily,
endlessly repeats the same motif,
his whole existence focused
on the mountain, on the struggle
to relate the scene before him
to the one appearing on his canvas,
stays until the light fades,
packs his things and,
unappeased, tramps home,
begins again tomorrow.

Cézanne’s agony, the doubt
he feels about the value of his work,
stems just from this: he starts
not with a given image, ready-made,
but seeks instead to make anew
each time the sense we have
of looking at and living in the world –
and thus creating it.


After Gabriel Josipovici,
Whatever Happened to Modernism? Chapter 8: “A Universe for the First Time Bereft of All Signposts.”

Writer and book blogger Victoria Best recently conducted a long and wonderful interview with the novelist and critic Gabriel Josipovici that makes you want to rush off and read/re-read his books – I did, and found the cadences of his critical writing so lovely they were almost a poem.

Gallery opening

(Lord’s day). A great snow, and so to church this morning with my wife, which is the first time she hath been at church since her going to Brampton, and Gosnell attending her, which was very gracefull. So home, and we dined above in our dining room, the first time since it was new done, and in the afternoon I thought to go to the French church; but finding the Dutch congregation there, and then finding the French congregation’s sermon begun in the Dutch, I returned home, and up to our gallery, where I found my wife and Gosnell, and after a drowsy sermon, we all three to my aunt Wight’s, where great store of her usuall company, and here we staid a pretty while talking, I differing from my aunt, as I commonly do, in our opinion of the handsomeness of the Queen, which I oppose mightily, saying that if my nose be handsome, then is her’s, and such like. After much discourse, seeing the room full, and being unwilling to stay all three, I took leave, and so with my wife only to see Sir W. Pen, who is now got out of his bed, and sits by the fireside. And after some talk, home and to supper, and after prayers to bed. This night came in my wife’s brother and talked to my wife and Gosnell about his wife, which they told me afterwards of, and I do smell that he I doubt is overreached in thinking that he has got a rich wife, and I fear she will prove otherwise. So to bed.

a congregation
at the gallery

we eat and differ in our opinion
hands like seeing fires

some talk in which I smell
doubt and fear


Erasure poem derived from The Diary of Samuel Pepys, Sunday 7 December 1662.