August 19, 2011

THE ONLY OBSESSION WORTH HAVING:

A stand against the fake and self-serving (Gerald Dawe, November 27, 2010, The Irish Times)

For those who come to Hill without prior notice a perfect place to start is with the Penguin Selected Poems; for those who know the Hill Country the announcement that his Collected Poems 1952-2012 will appear from Oxford University Press in 2013, marking his 80th year and 60 years of making poetry, is timely good news indeed.

Under the generic title of The Daybooks , Hill has also published (or in due course will have) a cluster of five volumes of which Oraclau/Oracles is the latest to appear; this in a fine hardback edition, under the imprint of Clutag Press.

Hill has been a force of, and forceful presence for, poetry, reminding the contemporary world of poetry's capacity to function as poetry; an art form that stands up for itself against the fake and the culturally self-serving. In a perhaps ironic sense Hill's very authority, based on his poetry's assumption of the continuing pressure of certain "big" issues - religious meaning and faith in a secularised society, the question of morality and community, the structure of history and the play of memory - may no longer register today. With shifting generational and popular expectations of poetry moving ever closer to an instantaneous responsiveness and emotional availability, an interior decoration equal in value to other forms of expression and adornment, Hill's demonstration that poetry can invoke and evoke greater demands upon the reader might be simply a thing of the past. While there are those who challenge the criteria on which Hill's own poems stand - cerebral, austerely introverted, politically retrospective and lost in an irretrievable time of England's imagined past - one can only say how much is unheard or unseen in such a reading. For Hill's poems are teeming with his present, and the cinematic vision of his writing shoots images on the mind's eye with spectacular video effect (he wrote Improvisations for Jimi Hendrix, after all).

In Oraclau/Oracles Hill explores the newly uncovered Welsh inheritance of his family background as the autobiographical finds its way in and out of local and imagined landscapes drawn from his life and reading: "A gale from out of Ireland ploughs up rough / Cardigan Bay: a following splendid rain / Beats us indoors."

And though the elegiac note of lament for those dead, such as BS Johnson, is never too far away, Oracles - shaped, it looks like, upon the template of John Donne's A Nocturnal upon St Lucy's Day, t hough extended into 144 stanzas - has all the dramatic beat of one man talking - to himself, to his love, in this time and place, but tracking back to his imaginative beginnings: "I who have swum in love-words shore to shore!"

A great poet of vision, Hill is obsessed with the lasting possibility of seeing things in the light of what is best in our cultural past and our understanding of what such a problematical term should mean, or once meant to a man such as Hill.


MORE:
REVIEW: of Canaan by Geoffrey Hill (BrothersJudd.com, 1/03/02)




Posted by at August 19, 2011 5:53 AM
  

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