poethead

Words and Alpha-Bets.

Category: Nomadics

‘Fire of the Gaels’ by Aine Mac Aodha

Fire of the Gaels!

‘She is every woman
who struggles for survival
in a world of prisons
of one form or another.
Her stories, etched on the
landscapes of the universe.
She is the mouth
of the Blackwater,
the secrets of the Alder,
the writing on the caves
and the shedder of light.
She is the blueprints
of the past,
the wishes of the unborn,
the spirit of the crops
and the heat of the sun
bursting on buds.
Shes the midges on the lough,
the guardian of the wells,
the bones of the earth
and the ties that bind
by spirit and blood.
Shes the songs sung so often
renewed on the lips of the young.
Her tongue fiery can cut like an axe
or sooth like a lullaby.
She is goddess of the people,
the fire on the hills.
Shes the shadow on the stones
glinting on river beds.
The breath of a new morning,
and a beacon in the night.
She is every woman.
She is Aine,
fire of the gaels.’

Fire of the Gaels is © Aine Mac Aodha, all rights reserved. The poem was first published in Argotistonline

Aine Mac Aodha lives in Omagh. Her work has been published internationally as well as locally, and in the UK. She is a Founder member of The Busheaneys Writers Group and The Derry Playhouse Writers. Her work has appeared in Luciole Press, The Glasgow Review, Irish Haiku, Pirene’s Fountain and Argotist online to name a few. She begins much of her writing at her Residencies at The Tyrone Guthrie Centre in Monaghan and is greatful to her time spent there.
Her poetry is plainly written, she is inspired by the Irish landscape and by poets Seamus Heaney, John Montague, Rumi, Basho and many of the modern poets today.

Related links

http://aine-macaodha.blogspot.co.uk/

 http://ainemacaodha.webs.com/index.htm

http://zazzle.comcelticgirl4

‘The Willow’s Whisper, A Transatlantic Compilation of Poetry from Ireland and Native America.

The Willow’s Whisper:  A Transatlantic Compilation of Poetry  from Ireland and Native America . Cambridge Scholars Publications 2011. Thank you to Julianne Ní Chonchobhair, who has facilitated this short post with information and articles on the poets.

A note about the editors of  ’The Willow’s Whisper’

Jill M.O’Mahony is a Lecturer in The Waterford Institute of Technology, Ireland. She has previously studied English Literature and Sociology in  The National University of Ireland, Maynooth and The University of  Manchester. She is working on a doctoral research project which focuses  on performance, liminality and event in Native American Poetry. She  lectures in the Sociology of Consumption, Modern Ireland, Narrative  Identities and Communications. Her research interests include Political  Anthropology and Transcultural Literature.

Dr. Mícheál Ó hAodha currently works at the University of Limerick  where he lectures in the Department of History, School of Languages,  Literature, Culture and Communication, UL, Ireland. He has published  widely on many aspects of Irish migration, diaspora, social geography and  oral history – including American “Outsider”: Stories from the Irish  Traveller Diaspora. (2007) (with T.J. Vernon); The Stranger in Ourselves:  Ireland’s “Others” (eds. M.Ó hAodha, University of Limerick; D.  O’Donnell, University of Limerick and C. Power (Centre for Ethnicity and  Health, University of Central Lancashire, UK) (2007). Screening Difference:  Visual Culture and the Nomadic “Other” (with A. Huether and D. Waldron) (2009), Migrancy, Memory and Repossession: Women on the  Historical Margins (2010); His most recent book is “The Turn of the  Hand”: A Memoir from the Irish Margins (with Mary Ward) (2010). Between 2006 and 2008 he was an AHRC scholar in the School of Arts,  Histories and Cultures, University of Manchester. He has also written  fiction and poetry in collaboration with other Irish writers including Colum McCann and Gabriel Rosenstock. His next book is due out shortly  as part of the Re-imagining Ireland series – Peter Lang, Oxford.

I am adding here some release notes for the anthology will be released on the 16th of February 2012.

There is a Nomadics category in this blog, which looks at dispossession, migrancy, rootlessness, outsider poetry and diaspora. I asked Julianne Ní Chonchobhair if I could feature a poem or two from the compilation on this blog,  and she very kindly agreed. In keeping with the theme of the Saturday Woman Poet idea, I have decided to feature poet Allison Adelle Hedgecoke , with thanks to Julianne Ní Chonchobhair. Info about Allison Adelle Hedgecoke is available via the Poetry Foundation website.

The following is an excerpt from The Willow’s Whisper , a poem by Allison Adelle Hedgecoke.

Crossing Sky Vault Worlds

for Vaughan

” Corn, Sunflower raise their faces toward Sun as she slides into
place among blue heavens.
Squash send floral swirls orange-red up into ground fog mist.

-
An ant angles his way watching constantly for morsels along the
path.
Violet morning glories stream upward reaching with their petals
wide open for bursting light.

-
Rays split seams of blue casting hopeful yellow-white strokes
beaming brightly. Seasons later,
Red Sioux Quartzite speckled white by snow and fully ice-crusted,
holds firm hallowed Sioux Falls grounds nearby.

-
Glass flows, creating prisms in century-aged windows across this
room. Rainbows flourish here. Long ago,
Black Dog spoke to his master, foretold the coming world flood in
time for a raft to be built sparing Real People.

-
Children in Quebec, before encroachment, pleaded for maple
sweets each fall. Were pumpkin lanterns lighted?
In my Huron grandmother’s midwifing beaded bag, the entire
universe gleams at me through pointed stars in dreams.”

-

© Allison Adelle Hedgecoke

A full list of the poets featured in the forthcoming  The Willow’s Whisper are included here , N. Scott Momaday ,Allison Adelle HedgeCoke, Luke Warm Water , Sherwin Butsui , Esther Belin , Joy Harjo , Nila Northsun,  Joseph Bruchac, Donna Beyer (nee McCorrister),  Travis Hedge Coke , Adrian C. Louis , Venaya Yazzie, Richard Van Camp , Odi Gonzales , Lee Maracle ,Karenne Wood, Jules Arita Koostachin,Joan Kane,  Fred Bigjim.

John Felstiner, a translation of Todesfuge, by Paul Celan

“Black milk of daybreak we drink you at night
we drink you at morning and midday we drink you at evening
we drink and we drink
A man lives in the house he plays with his vipers he writes
he writes when it grows dark to Deutschland your golden hair Margareta
Your ashen hair Shulamith we shovel a grave in the air where you won’t lie too cramped”  (Todesfuge/ ST 2)

(from Paul Celan, Poet, Survivor, Jew .  John Felstiner ,Yale University Press, 2005 )

The above poem is excerpted from John Felstiner’s biography of Paul Celan, Paul Celan, Poet,  Survivor, Jew  , published 2005 by Yale University Press.  I lived with the poem  for a week in Mayo recently , where I transcribed it a number of times in order to get its music. 

During my transcriptions, I came across another rendering of the poem on YouTube, which I am adding here,  the Youtube reading is by Gerald Duffy. I am unhappy with the YouTube , possibly because I think it is read too fast, and maybe in this case some of the music feels lost. I am adding an online version of this masterful work here for Poethead  readers , as I feel that the poem should be read for the reader to hear Celan’s movement and music.

John Felstiner devotes a considerable amount of his text discussing the reasons for his choice of words in his translation of the poem,  and for that reason alone I would recommend the books and his notes on the difficulty the poem presents to the translator. I do not know if the book is online but the relevant chapter of the book is,  A Fugue After Auschwitz (1944-45 ) /your ashen hair Shulamith.

Felstiner discusses the state of the  poet  who had lost both parents to the camps, his MS work and Todesfuge as the Guernica of post-war European literature.

Todesfuge is immense, challenging and multi-layered as a work. The story of the Death Tango is known to many people, there are images available to us. Celan composed the work in 1944 ,when information was beginning to emerge about the Final Solution.  Well over a decade later Sylvia Plath would struggle with those images and convert them into her  tropes and archetypes, Sachs and Bachmann struggled with words and images to convey the horror. Celan wrote it in 1944 with immediacy and utter control. Felstiner admits that it took him years to render as faithfully as possible the movement and symbols within the poem. His discussion of the problems with the poem is worth the book alone. Here in this poem is encapsulated the fear and helplessness of the final solution. I have read and listened to the poem over and over but nothing quite brings it right home than its transcription (in Felstiner’s translation).

“He shouts play death more sweetly this Death is a master from Deutschland
he shouts scrape your strings darker you’ll rise up as smoke to the sky
you’ll then have a grave in the clouds where you won’t lie too cramped ” (Todesfuge /ST 5)

The entire poem is at the following link ,though I would recommend the Felstiner chapters for discussion on the translator’s art and Paul Celan’s poetry :  http://caterina.net/paw/archives/000053.html

http://www.barnesandnoble.com/w/paul-celan-john-felstiner/1022714270?cm_mmc=borders-_-sku-_-na-_-na&ean=9780300089226&redir=borders

 I wrote a short-story with an embedded poem based on my  transcriptions ,  though I am still reading  the  poem.

.

Bird poems from Poethead

Preamble to  The Valley by  Kerry Hardie

The first valley is the Valley of the Quest,
the second the Valley of Love
the third is the Valley of Understanding
the fourth is the Valley of Independence and Detachment
the fifth of Pure Unity
the sixth is the Valley of Astonishment
and the seventh is the Valley of Poverty and Nothingness
beyond which one can go no further.

from , The Conference of the Birds by Farid ud-Din Attar, written in the second half of the twelfth century AD. This rendering in english is by C.S Nott.

I published a short poem of condolence this week for the victims of atrocity in Norwayand got to thinking about the bird poems that are linked on the blog. There are quite a few bird  poems,  as there are images scattered on the blog. I thought to link them here today.

The avatar that I chose for Poethead is  a bird,  Max Ernst’s image  is one of a set  of  lithographs used in his illustration of René Crevel‘s  Babylon . My avatar image is just below this short post on the bottom right-hand column of  the Poethead home page (and all of the pages on this blog) .

Max Ernst image from René Crevel's 'Babylon'

The Bird Poems from Poethead.

from, An Duanaire: http://poethead.wordpress.com/2008/08/09/nach-aoibhinn-do-na-heinini/
from , An Duanaire : http://poethead.wordpress.com/2010/06/05/failte-don-ean-an-duanaire/
Kerry Hardie : http://poethead.wordpress.com/2011/01/08/a-saturday-woman-poet-kerry-hardie/
‘Aviary by Tom Mc Intyre’ :  http://poethead.wordpress.com/2010/10/07/aviary-by-tom-macintyre/
‘The Swallows Fly’ :  http://poethead.wordpress.com/2010/08/22/two-poems-by-mirjam-touminen/
‘The Philosopher and the Birds’ :  http://poethead.wordpress.com/2010/07/15/the-philosopher-and-the-birds-by-richard-murphy-via-poethead/
‘Hide’  by Catríona O’ Reilly :  http://poethead.wordpress.com/2009/12/01/hide-by-catriona-o-reilly/
‘Willy-Wag and Sparrow’ : http://poethead.wordpress.com/2011/07/28/willy-wag-and-sparrow-by-nancy-cato/

How far ‘outside’ is the poetry of diaspora ?

I often wonder at the definition of Outsider Poetry just a little bit, and have made allusions to the poetry of diaspora before now on this blog. Of course the poetry of  alienation/diaspora, be it in the wake of cataclysm , war or economic circumstance is more than just that. The exilic condition  forms a thread in world literature that we recognise historically here in the poems of the dispossessed, that are so beautifully edited and collected in  An Duanaire , for instance.

Blogs dedicated to the dissemination of the poetry of nomadics, meanderings and exile are (and have been) online for a while, even if the form  often comprises a  marginalia . The PENs , Arvon, and  UBUWEB  amongst others consistently and brilliantly bring forward the voice of the diasporist. For instance, there are manifestos dedicated to the art of poetics grounded in the experience of  the writer/artist available on multiple sites, and of course on the International PEN site, (TLRC)

My first experience of reading a diasporist manifesto was in 1995 , when I bought The First Diasporist Manifesto by RB Kitaj, I was intrigued by his approach to his art and by the manifesto which  served as the invisible architecture that underpinned his Tate retrospective . I thought to excerpt a short paragraph here to illustrate the condition , from the artist’s  point of view.

‘Nationalism seems awful; it’s track record stinks, but patriotism doesn’t seem half bad. ————On the other hand, if people want their homelands, why not? Partitioned homelands seem better to me than killing each other. My own homeland, America , and my little one , England, offer such strong appearances of peace and freedom that the really odd and peaceful practice of painting spins out my own Diasporic days and years until I can’t sense any other way to go.’  ( By RB Kitaj)

The subject is evidently too great for this blog, thus I have decided to divide the topic into two , (possibly) three sections. I am not going to look at alienation yet, as the issue is highly complex and comprises just one element of outsider art. The fact that alienation is oft met with physical violence further complicates any advance on the problem. The danger for the reader is always to associate diasporism with alienation, when it is but one cause of dispossession and it’s related consequences for the narrative arts, including the translator’s art.

The subtext of this post is how far do we think outsider art is from our experience of reading books of poetics, I believe that the area dedicated to the translation and rights of the poets is no longer a marginalia. I see this on blogs and in debate, unfortunately this is not reflected in what publishers are producing, save in speciality areas such as the poetry societies. The fact that authors have noted that translation merits little in prize-awards , as recently mentioned in relation to the Booker Prize , suggests that the marginalisation occurs at the budgeting level, rather than at the level of popularity displayed by submissions to contests and online anthologies.

We are familiar, as mentioned above, with the poetry of exile – the exilic condition , from sources like An Duanaire, or even Ulysses , that novel is an exile’s song, a recreation of Dublin city in its minutiae by James Joyce, its quite an example of  alienation poetry also !

I  am adding in here an excerpt from Notes Towards a Nomadics Poetics, Pierre Joris blog:

The days of anything static – form, content, state – are over. The past century has shown that anything not involved in continuous transformation hardens and dies. All revolutions have done just that: those that tried to deal with the state as much as those that tried to deal with the state of poetry.

Related Article  links

http://www.goodreads.com/book/show/1744790.First_Diasporist_Manifesto

http://www.albany.edu/~joris/nomad.htmll

http://poethead.wordpress.com/2011/05/07/a-link-to-the-poetry-of-assia-djebar-from-the-pierre-joris-blog/

http://www.indymedia.ie/article/86102 /

 http://poethead.wordpress.com/2009/02/25/rb-kitaj-excerpt-from-the-first-diasporist-manifest/

http://www.internationalpen.org.uk/go/committees/translation-and-linguistic-rights    http://www.librarything.com/work/159337.

http://pierrejoris.com/nomad.html

 http://www.guernicamag.com/features/2692/jarrar_intro_6_1_11/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+guernica/content+(Guernica+/+Content)

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