A wonderful moment occurs toward the close of How I Became a Painter, Miles Champion’s recently published book of conversations with the painter Trevor Winkfield, in which Winkfield switches roles on his erstwhile interviewer to ask candidly, “Why do you like my paintings?” For anyone reviewing Champion’s third poetry collection, How to Laugh, this excerpt from his response is hard to resist implementing as preface:
Sean Bonney is another poet who turns to a poetics of iteration as a poetics of revolution. Especially in Baudelaire in Englishand Happiness: Poems after Rimbaud, Bonney adapts iteration to revolutionary poetic and political ends. In these two books, Bonney attends to the way revolutionary writing, if too direct or smooth, can become implicated in the power structures it seeks to overcome. Bonney’s Baudelaire in English concludes: “the poem is in danger of becoming an overly smooth surface fit only for the lobbies of office buildings and as illustrations / expensive gallery catalogues, that kind of bullshit.” In Baudelaire in English, Bonney stresses the relation between echoes and cracks in the smoothness in his version of “Correspondances,” which contains the phrase “their echoes split us.” Bonney’s texts are idiosyncratic translations of Baudelaire’s poems so breaking the smooth surface of standard translations. Bonney’s translations overlay lines of typewritten text to the point of illegibility, even as they superimpose twenty-first-century London onto nineteenth-century Paris. Through grainy photographs of neglected and forgotten places in London, Bonney (like Baudelaire) emphasizes the ruins and decay of the modern city, the fissure lines and suffering that are the neglected side of the progress of modernity.
In Happiness: Poems after Rimbaud, Bonney again makes the city of London his subject, this time through a focus on the protests against the existing economic and political order that took place in 2010 and 2011 in the wake of the financial crisis. Much of Happiness first appeared on Bonney’s Abandoned Buildingsblog so that the book functions as a retrospective archiving and framing of poems written as news, as part of and in response to a movement for revolutionary change.
Tess Somervell reviews The Salt Book of Younger Poets here. A well-researched and rather dry look at the crop of bright new things in Britain: There is not a poem among the three or four by each of the fifty poets in this anthology which is not in some way intelligent; dominant, however, is a specific type of intelligence, an intellectual self-indulgence of an almost metaphysical character. The grand abstract concept is less the order of the day than the local image stretched to its figurative limit, a brief moment teased out to fill a poem. Only the British could reinvent metaphysical self-indulgence for the twenty-first century.
Jacket 14 carries an article by Brian Kim Stefans on the British poet Veronica Forrest-Thomson. (You can read it here.)
I had been excited by her first critical book, and had been waiting for decades to find someone as smart as Brian to introduce her to a wider public. His piece begins:
One of the misfortunes of the lack of attention being paid to English poetry of this century is the obscurity of Veronica Forrest-Thomson, a poet who died in 1975 at the age of 27. Forrest-Thomson is the author of Poetic Artifice, a book that outlined a theory of poetry from a critical perspective — i.e. a tool to determine the success or failure of a poem rather then merely a vocabulary for describing the phenomenon of a “poem” — but one which, rather than confirming or resisting a “tradition,” concentrated on those elements of the poem that resist quick interpretation or, in her terms, “naturalization” by the reader or critic.