A Saturday Woman Poet, Kate Dempsey

It’s What You Put Into It

For Grace
 
On the last day of term
you brought home a present,
placed it under the tree,
a light, chest-shaped mystery
wrapped in potato stamped paper
intricate with angels and stars.

 
Christmas morning
you watched as we opened it,
cautious not to tear the covering.
Inside, a margarine tub, empty.
Do you like it? eyes huge.
It’s beautiful.
What is it, sweetheart?
A box full of love, you said.  
You should know, O my darling girl,
it’s on the dresser still
and from time to time, we open it.”

Kate Dempsey’s poetry is widely published in Ireland and the UK including Poetry Ireland Review,The Shop, Orbis and Magma. She won The Plough Prize and has been shortlisted for the Hennessy Award for both poetry and fiction. She was selected to read for Poetry Ireland Introductions and Windows Publications Introductions, as well as at various arts and music festivals with the Poetry Divas. She is grateful for bursaries received from the Arts Council, Dublin South County Council and Kildare County Council. Kate blogs at Writing.ie and Emerging Writer. You can catch her on Twitter at PoetryDivas. 

Reviewed here , The Moth Collection, Little Editions

Verbatim

” i.m Barbara Ennis Price
 
It’s all the fault of the British, she said.
The cursing came in with the troopers,
the other ranks and their wives as bad.
Before that, we Irish never swore.
No curse would pass our tender lips,
no drop of whiskey,
no beatings, no casual cruelty.
Sure, weren’t we a gentle race
until the squaddies boated in?
We were milk and honey,
the soft heads of babes, the pigs at Christmas,
root vegetables and stone walls.
What did we have to swear about
until the British came?”
 
© Kate Dempsey

Two Poems by Colette Ní Ghallchóir.

The Spark of Joy / Dealan an Aoibhnis

” When I lit the sparkler
long ago on the hearth,
I ran the house with it screaming with delight.
They scolded me,
but grandfather said,
‘Let her be,
let her be,
there is no use talking.
She will always light
any flame she wishes.’

by Colette Ní Ghallchóir, trans,  Nuala Ní Dhomhnaill

Trans, Dealán an Aoibhnis

” Nuair a lás mé an dealán
Fadó ar an teallach,
Rith mé leis ar fud an tí
Go háthasach.
Bagraíodh orm,
Ach dúirt no sheanathair leo -
‘Lig di lig di,
Níl  gar a bheith léi,
Lasfaidh sisi i gconaí
Na dealáin is mian léi .’

le Colette Ní Ghallchóir.

Divorce 19th-century Style.

‘That is not the way
things are done
in this townland,’
she said.

‘Well , if it isn’t,’ said he,
‘then go and do it yourselves.’
And he had crossed Gleann Tornáin
before nightfall.

‘How come you never told me,’ said I
to my father, ‘that they had been separated for a while?’
‘You don’t broadcast
all news,’ he said …
‘Anyway the end of the matter
is that he died here at home.’

le Colette Ní Ghallchóir, trans, Nuala Ní Dhomhnaill.

Colscaradh na Naoú hAoise Déag.

‘Chan sin an dóigh
A bhfuil rudaí déanta
Ar an bhaile seo,’
A duirt sí.

‘Munab é,’ arsa seisean
‘Déanaigí féin é.’
Agus thrasnaigh sé
Gleann Tornáin
Roimh thitim na hóiche.

‘Char inis tú dom,’ arsa mise
Le m’athair, ‘go raibh siad scarta tamall.’
‘Ní churieann tú an nuacht
Uilig sna páipéir,’ ar seisean…
‘Cibe scéal de,
Fuair sé bás sa bhaile.’

Le Colette Ní Ghallchóir  ,

from The New Irish Poets, ed, Selina Guinness. 2004, Bloodaxe Books.

Bio of Colette Ní Ghallchóir , Colette was born in the Ghleann Mór Gaelteacht in central Donegal. Her poems are published in The Field Day Anthology of Irish Writing, Volume 5, her book Idir Dha Ghleann was published by Coiscéim 2005.

A Saturday Woman Poet, Maria Laina.

SIMPLY

 
“A mauve bird
with yellow teeth
red feathers
green feet
and a rose belly
is not
a mauve bird.”
 

by Maria Laina.

Published in Pacific Quarterly Moana (Hamilton, New Zealand). Vol. 5, No. 3, 1980, and in Ten Women Poets of Greece. Wire Press – San Francisco, 1982
 

NOT ALL THE TIME

” I ignore poetry
– not all the time -
when the blood throbs on walls
when pottery falls to pieces
and life uncoils
like thread in a bobbin
I spit at my sorrow and completely
ignore poetry
when colours plague my soul
yellow blue and orange
I withhold my hate and calmly
ignore poetry
when your eyes tie my stomach
into knots
 

What’s more
– not all the time -
I ignore poetry
when it becomes a quaint ambition
 

a rare find
on a love-bench in a future hall.”
 

by Maria Laina
 
Published in Contemporary Literature in Translation (Canada) No. 27, Summer 1977, and in KUDOS (UK),  Issue Six, 1980 , http://www.poiein.gr/archives/2192/index.html

Notes on the Poems

Rather than imagining that the problem is with how a woman poet uses her voice, I expect that the issue is more with how literature (serious poetic literature) is often still considered to be a male preserve. As I have said before now , male poets mature with age and women poets disappear ! Luckily England does not seem to share the disappearing poetic-lady syndrome!

Here’s Laina’s Wikipedia page and list of poetry  books  ,

Ενηλικίωση (Coming of Age), 1968
Επέκεινα (Hereafter), 1970
Αλλαγή τοπίου (A Change of Landscape), 1972
Σημεία στίξεως (Punctuation Marks), 1979
Δικό της (Of her own), 1985
Ρόδινος φόβος (Rose fear), 1992
Εδώ (Here), 2003

On transcriptions, from Women Writers, Women Books.

“This short post is related to what I do on the Poethead blog and I suppose to the area of women’s writing that has been a concern for a few years now.

Many of the poems that are a part of Poethead have found their way into my possession as gifts, or from the libraries and collections of people who bought (or ordered) the books when they were originally published. Quite a few of the books  that I have been privileged to read are not obtainable from our local friendly bookshops, though they can often be had through Amazon or other such internet outlets.

picture of a poetry notebook

The poems on the site were in the main transcribed from books by me, though not all of  them are.

I started transcribing poetry as an exercise a few years ago because of something I had read in A.S. Byatt’s Possession. Roland Mitchell’s thoughts on the teaching methodologies of his superior regarding transcriptions stuck with me. I wanted to test how  I would do if I were to know a poem through  the copying  of it. I soon learned that  no  matter how carefully one attempts a transcription, it is incredibly easy to mess up the  simplest things and change the  sense of the work completely. “

The whole article is available at the  Women Writers, Women Books Blog  , it is related to two pieces on Poethead, which I  am linking here, Hannah Weiner‘s  Book of Revelations and Nagy’s Hemisphere. I thought to add in Nuala Ní Chonchúir‘s piece about the Saturday Woman Poet also,  here  at Nuala’s Blog.