Jacket 18 — August 2002 | # 18 Contents | Homepage | Catalog | |
Elegies for a Lost LifeMarjorie Perloff reviewsJohn Tranter, Heart Print (Cambridge: Salt, 2001) |
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— ‘I started writing poetry when I was about eighteen, and it’s always been connected in my mind with leaving the country town I grew up in and all of the values that town had, and moving to another world altogether, which I did at about that time. I think that’s probably the most important thing I’ve ever been through in my life, that fact that I left the town I grew up in and I never went back. It’s as though that whole universe disappeared and was replaced by a totally different universe, where I lead a different kind of life than I would ever have lived had I remained in that town, on that farm, in the bush....
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A sestina has six stanzas of six lines each, followed by a three-line envoi; its end words abcdef permutate according to the pattern faebdc. How then can a ‘prose’ text divided into paragraphs, ranging from one to twenty-nine lines constitute a sestina? Tranter treats the paragraphs as lines and modulates the six end words ‘air,’ ‘drink,’ ‘fun,’ ‘death,’ ‘beach,’ and ‘Sydney.’ This ‘superhypermetrical’ form serves the poet nicely, seeing that ‘The Beach’ ironically deconstructs the picture postcard image of Sydney Harbour and the fabled beaches beyond it. Tranter’s ‘beach’ is a dank stretch of baking gritty sand where the sewers pipe water ‘out to the Pacific, a spreading stain’ that ‘takes your friends and your enemies alike.’ Indeed, ‘the pollution [at the beach] is heavier than in the centre of town — the sea breeze nudges the smog westwards through the day and into the evening as the lights come on, the evenings of trysts and hamburger smoke and hot cars, the nitrous oxides cooking in the heat and filtering through the lungs of the working classes in the new suburbs on the baking Cumberland Plain stretching toward the outback.’ So quick, drop your book, get a drink, breathe in the air and laugh at death. Under the bright blue canopy it’s time for fun: it’s a summer day in Sydney. And everyone’s going to the beach. (my italics)
‘Laugh at death’: throughout Heart Print, the poet tries to remind himself that ‘it’s time for fun,’ time to ‘get a drink,’ and enjoy the summer day in Sydney or elsewhere. But death looms large in this, Tranter’s fourteenth collection of poems, in which camped-up verse forms like the sestina, sonnet, and ballad, or generative devices like the subsequent letters of the alphabet that control the twenty-six (well, twenty-seven) poems in ‘The Alphabet Murders,’ cannot quite contain the disorder of living. Not that the poems are gloomy, for the poet enjoys a good laugh at himself as well as at everyone else and he enjoys contemplating ‘that delicate space between what he’d done / and what he’d meant to do,’ without too many regrets. Still, few poets have as few illusions as does John Tranter. ‘I think my tone of voice works in a laconic mode that is peculiarly Australian,’ he tells the interviewer for Cortland Review, ‘If American boys have a bit of John Wayne in them, then Australian boys have a bit of Crocodile Dundee, and perhaps a bit of Dame Edna Everage (a Barry Humphries stage persona), however much they might deny it.’ The teachers would hammer us into artists,
In its deft use of the vernacular and breathless run-on lines, arranged in open-ended stanzas so as to define an ars poetica (‘ploughing was a type of inscription’), ‘Gallery’ recalls such Frank O’Hara poems as ‘There I Could Never Be a Boy.’ But Tranter’s elegy has less buoyancy, a harder edge than O’Hara’s. The remembered ‘world of bush farms’ holds out little promise: Parents were templates,
High on killing ethylene, I realised
Indeed, even in memory, the poet revels in his oppositional stance. Here is the final stanza: The old men forbade the barbecue, and now
Not ‘father’ but ‘the old men,’ with the phrase’s implication that the taboo on teen-age fun and barbecues was ubiquitous — a taboo that made the boys’ furtive sex, economically rendered by the line ‘laughter, girls’ dresses bunched under the shelter,’ all the more desirable. In this context, the last line is not, as it first appears to be, an expression of Romantic nostalgia but, on the contrary, a curiously candid admission. Even the most deprived or bleakest youth, the poet posits, becomes, as we grow older, the occasion for ‘fond’ memories for the simple reason that it was one’s own childhood, one’s own remembered past. Just under the water sheet, you can see
This, like so many of Tranter’s anti-pastorals, begins with what would seem to be a striking nature image: dim photographs of grass seen beneath a scrim of shallow water in semi-darkness. But the poet’s subject is culture rather than nature: the sonnet’s focus is on images of bad omen: an ultrasound picture of a fetus? An X-ray indicating a genetic illness? In any case, an ‘invisible childhood’ is ‘damaged by the future,’ a one-time ‘promise’ is dissipated by ‘‘a tiny growth [that] drains all your effort’.’ Here, as so frequently in this collection, the indelible ‘heart print’ is figured as a dimly perceived death threat. |
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Like Heart Print, Paul Hoover’s new collection of poems is something of a departure for a poet known for his humour, his high spirits, and sense of the absurd — an heir, so common wisdom would have it, of the New York school from O’Hara to Ron Padgett. A few poems in Rehearsal in Black do fit this bill: the comic travelogue ‘California,’ for instance, which takes the reader from Hollywood to Mt. Tamalpais and beyond, lingering over such images as that of |
A postmodern bar just opened down the street.
Hoover is very skillful at writing accessible, fun poems like this one, or like ‘Belief in Poetry,’ a parody version of the great James Cain film The Postman Always Rings Twice. Rehearsal in Black also features a dazzling Cento called ‘American Gestures,’ where Hoover cleverly links Edmund Waller to Sylvia Plath: Tell her that wastes her time and me
Or Emily Dickinson to Matthew Arnold: When it comes, the landscape listens
Not many poets could keep this up for a hundred lines with Hoover’s wit and aplomb. But the dominant mode in Rehearsal in Black recalls Robert Creeley in its minimalism and marks a distinct turn from Hoover’s earlier work. The preferred stanza is a tiny three-line unit, each line containing three words. Since the lines are invariably enjambed, a nice tension is created between fixity and flux, the tight three-word pattern, and the push from line to line, stanza to stanza. Here, for example, is the first half or so of ‘Re(semblance)’: Placing ancient birds
Not until line 27 does the reader realize that what has preceded is a meditation on the images of the great Hungarian Modernist photographer Andre Kertesz, whose modest and gritty black-and-white images of everyday life are a point of reference from the opening tercet, with its image of blank sky, crossed by the occasional bird, to the monotonous Kertesz rainscapes, in which ‘objects / take shape as / mind and scum,’ to the loving exactitude of the ekphrasis of the ‘layer of dust’ that ‘has fallen on / the pears’ in a painting within one of the photographs. The refusal of sentences to end at line ends creates the peculiar linear grammar of ‘shelf, where a’ or ‘of Voltaire. A,’ the point being that there is no neat ‘Re(semblance)’ to be perceived by the poem’s ‘I.’ On the contrary, Hoover’s emphasis, here and throughout these tercet poems, is on difference. One ‘struggles toward the / door, only to / discover the recent / day is closed.’ The sign, as the last line of the poem would have it, is ‘useless,’ but one is always trying to arrest it. Sometimes one does so by means of rhyme, as in ‘skies’ and ‘rise’ in lines 2 and 4 above. But mostly the water just keeps ‘pouring on /your head,’ and there are no human voices to wake us as we drown. Against what sound
Hoover’s ‘fields of the / future’ can be regarded as the ironic fulfillment of Tranter’s ‘elegies of a lost life’: The
Space |
You can buy these books on-line at http://www.amazon.com/ |
Jacket 18 — August 2002
Contents page This material is copyright © Marjorie Perloff
and Jacket magazine 2002 |