April 4, 2008
On poetry, and Six Mats and One Year by Alison Smith
Kate Sutherland has put out the challenge— why don’t we talk about poetry this month? And since I’m celebrating with my own Poetic April, I thought I’d take part. First by answering, why don’t we talk about poetry? I know I don’t because I don’t have the confidence. I could talk about it casually as I do fiction, but I’d feel altogether vulnerable. Even accessible poetry– I lack the formal approach to it. But I will forget about that, if you promise to be patient and tolerate my pedestrian meanderings. If you promise to also tolerate my own little poems too, which I’m only writing for my very own self.
All of these provisos, basically because I suspect I’m quite poor at all of this, and it’s my nature to deprecate myself before you do. Though I have another reason for avoiding talk of poetry– a formal approach I say I lack, but I am not sure there is even one. I understand “novel” and I understand “story”, but “poem” seems as broad as days are long, as are ways to read one. I understand that this is true of stories and novels too, but it seems truest of poems most of all. When everything is so contained, absolutely nothing extraneous– including the reading experience– it seems impossible to find a poem the same way twice, rendering generalizations impossible. This becoming all the more evident as I begin to reread collections of poetry I own.
I reread Canadian poet Alison Smith’s book Six Mats and One Year today. Published in 2003 by Gaspereau Press, I must get away from the poetry for a moment to comment on this book’s design. The cover laid out like a Japanese tatami room, six mats of course, grooves in between them. The book is gorgeous. When I read it the first time, the poems were so tied to my own experience as I was living in Japan at the time. It was remarkable then to see the most quotidian details of my own life expressed with poetry– the ticking clock in an English conversation school, purikura shots, “counter girls heralding the public in a caffeinated chorus”, Hello Kitty, the yearning for home (“I left as we do our childhoods: rushing to escape, without souvenirs”) which I knew would soon be my own experience.
To find this book again four years later was quite different. No longer did it resonate so personally, and perhaps it was the schooling I’ve had since then or what a better reader I’ve become, but I read the poems more for themselves than for what of me I found it them– Smith was attempting more than just a scrapbook of my memories after all. I found an odd nostalgia, of course, but now I was able to achieve distance. Also to understand some structures and images that had seemed abstruse before.
Here is the problem– I can’t articulate much about the language. Perhaps with some practice I’ll get better and will revisit this book later in the month? Now I can just say that Smith uses accessible language, though some of it wrapping up strange and curious images. Other bits laid out in ultimate simplicity: “Me too, I realise, I do/ want to be happy.”
The poems are structured cyclically, the “one year” of its title with four sections. The first concerns teaching in an English conversation school, the second written about time spent living at a Buddhist monastery. Home creeps into the third section, as the novelty and exotic wears away. The final section is home again: “where you can finally read/the signs on the wall”.
In each poem and the collection as a whole, Smith blends the material and spiritual in an airy fashion. Accepting Japan’s incongruities, its seamless gaps (the priest’s second son in his Ghostbusters t-shirt), all contained within a perfect package. The literary embodiment of a gaijin‘s Japan.
March 6, 2008
Tired of snow
Did you know I’ve never read Harriet the Spy? I don’t even know why, especially since I had this peculiar obsession with its sequel The Long Secret. Anyway, recent events have inspired me to give Harriet a try at some point soon. And Kate’s post has inspired me to add The Stone Angel to my list of summer rereads. I’m now reading Brighton Rock, and I get excited every time it mentions the hotel where I spent my honeymoon. Yesterday was Allan Sillitoe’s birthday and on why he’s still an angry young man at 80. (Indeed, his Saturday Night and Sunday Morning was one of the most powerful books I read last year.) And I am terribly tired, as well as tired of snow.
UPDATE: Holy Louise Fitzhugh! Lizzie Skurnick on The Long Secret. And then read more on our YA favourites. (This via Kid*Literary).
September 5, 2007
New Season
My second summer of rereading proved as fulfilling as the first, though it was not as concentrated. But it was a joy to revisit classics: The Portrait of a Lady and To the Lighthouse, which I’d previously just read as a student, but it was something different to approach them on my own terms. My regular rereads: Slouching Toward Bethlehem and Unless were better than they’d ever been. Books I’d read but forgotten, and certainly not because they were forgettable: The Summer Book, and The Blind Assassin. I have a theory that you’ve never really been anywhere until you’ve been there at least twice, and I think this might very well be the case with books.
But now it is September, and new books are blooming. I’ve been binge reading lately– what else are holiday Mondays for if not a book in a day? Looking forward to the long train journey this weekend to get some more books under my belt. Oh, there are some wonderful books coming out this Fall, so stay tuned here and I’ll recommend the best ones. Watch for my review of Richard B. Wright’s October very soon. I am now reading Turtle Valley by Gail Anderson-Dargatz, who I’ve never read before.
After reading under restrictions for the last two months, being able to read so freely feels deliciously licentious.
August 16, 2007
The Raw Shark Lady
An interview with Steven Hall up at Baby Got Books. And yes indeed it is funny to be reading Drabble’s The Sea Lady post The Raw Shark Texts. Two books with very little in common except fish and unconventional narrative structure, but how they inform each other just based on their proximity. I am rereading The Sea Lady because I read it too quickly the first time, so excited was I by a Drabble yet unread. I’m paying much more attention this time around, and loving it just as much.
August 8, 2007
Golden tomatoes and blue potatoes
Now rereading Carol Shields’s Unless, her masterpiece. I reread this book every summer, an amazing experience that allows one to, for example, pause and ponder the first paragraph for about ten minutes straight. It’s also sad and heartening to be reading this book after having read her book of letters with Blanche Howard in June. I also still maintain that this book is a treatise on novel-writing, which is very exciting seeing as I am returning to my own novel in just a few weeks after this summer of short stories. Anyway, I am enjoying this much the same way I always do, but also differently, of course.
I liked Michael Holroyd’s exasperation with author acknowledgements, as much as acknowledgements are the first part of any book I read. I also enjoyed Holroyd’s sister in law AS Byatt’s treatment of Middlemarch, which you might recall I read for the first time and fell in love with earlier this year. Byatt’s Possession is being “twinned” with Middlemarch for the Vintage Classic Twins Editions, which were brilliantly introduced to me here at dovergreyreader scribbles.
And it’s been nearly a week since I mentioned the garden last– you all must be on the edge of your seats! For your information my husband is now reading Animal Vegetable Miracle and is more obsessed than I was. We revisited the brilliant Trinity Bellwoods Farmers Market and brought home tons of wonderful stuff, including blue potatoes and blackberries. We did a harvest of our garden tonight, and brought in two enormous bowls of tomatoes of all kinds– the window sill is crowded. Tomorrow night I am going to attempt a golden tomato sauce.
August 3, 2007
Summer books
Will quite shortly be now-rereading The Summer Book by Tove Janssen, which I bought in 2003 when I lived in England, solely because the edition Sort Of Books brought out then was absolutely gorgeous. The bright blue of the photograph on the cover, the photos on the endpages, even the typeface was perfect. I do remember reading this novel in the manky bathtub of my ramshackle terrace house on Silverdale Road, but I regret that I’ve forgotten everything within it. Surely there is more to this book than its cover, and I am excited to rediscover just that. I also think it will make a fine companion to my recently-completed To the Lighthouse. And once that’s done, just to flip the solstice 180 degrees, I am going to read Vendela Vida’s Let the Northern Lights Erase Your Name.
I think it’s best to plan ahead.
July 31, 2007
The Key
Now rereading To The Lighthouse which is more marvelous than it has ever been, but what kind of idiot had this book before me? What sort of moron drew a moustache and eyeglasses on the woman on the cover, and wrote stupid notes in the margins, and an exam schedule on the endpapers? Oh, of course– the idiot who was me, and she clearly hasn’t always revered the bookish object just as much as she does now. Though I suppose my reverence for this particular volume was undermined by my perpetual study of it in undergrad– I read it in Twentieth Century Lit, Major British Writers, and a Modern Novels course. Though my appreciation did increase with every learning (really– I always read Woolf better with guidance), the book itself became less a novel than a device, to be pried open and emptied of symbolism which then got turned into essays. “Waves” get underlined, and every reference to houses. Mrs. Ramsay likes doors closed and windows opened, which puzzled me at the time(s)– what does that mean? I get it now, but I’ve also been exposed to a whole world of Woolf’s fiction, nonfiction and other writing since the last time I read this. This, which was the first of Woolf I ever encountered. How strange then, like rediscovering a cryptic code once you’ve finally found its key, and you find out it was music all along. I’m not far in yet, but when I read of Lily Briscoe and the space between what she saw and what she could paint, and that struggle, and I see all that is wrapped up in that scene now, and what it must have meant to its writer.
July 23, 2007
Things fall apart
Joan Didion is not best read, I find, when one’s recent grasp of good sense has been tenuous. Or perhaps she is best read in such a state, but then the reader is not so great to be around after. As I should know, having spent the last day with me. Neuroticism is contagious, but then Didion’s writing is so absolutely fine-picked and lovely, it seems a shame to let it go to waste. And so I’ve been rereading Slouching Toward Bethlehem, and have been immersed in that world of thirty years ago where “Things fall apart; the center cannot hold.” It seems it’s same as it ever was, and I don’t know if such a constant should be reassuring or otherwise. And I am thinking differently about “On Keeping a Notebook” than I did, and “remembering the me that used to be” seems less important that it used to. And all the California bits, which seem more pressing having read Where I was From.
(“You see I still have the scenes, but I could no longer perceive myself among those present, no longer could even improvise the dialogue.”)
Next up I will reread A Big Storm Knocked It Over, which, hopefully, will put me back in my mind.
July 9, 2007
Completely a fool
Reading a classic every month takes up so much reading time and reading effort, but oh the payoff. I adored The Portrait of a Lady, which I hardly remembered from my first reading seven years ago. Oh, the mastery. And that Henrietta Stackpole was redeemed in the end; it pleased me that my younger self was not completely a fool. It was interesting, by the way, to see how self-reflexively I used to read my books– the lines underlined. It was as though I used to read seeking myself (“Yes yes yes! That’s meeee!” my notes appear to shriek. “That’s just how it is!!”). Any line that summed up my experience, my struggles, my pain. I once read a book where a character had the same name as a boy I loved, and I underlined every single instance of that name. How ridiculous. And so we’ve come full circle, I suppose. It seems that my younger self was indeed completely a fool.
Now reading a new novel–Salt Rain (from Australia!) by Sarah Armstrong. And so the alternating rereading begins, and next I will get to We Need to Talk About Kevin.
July 3, 2007
ReReading BeGins
And so The ReReading Project Re-begins with The Portrait of a Lady, last read in August 2000 according to what I wrote on the title page. It was for an undergraduate English course. I was a burgeoning feminist then, and remember being entranced by Henrietta Stackpole who wouldn’t consider marriage: “Not til I’ve seen Europe”. Which became my mantra (not that anyone was dying to marry me anyway), and I did get to Europe (where I found a husband, so there you go). I’ve just glanced at the first page so far, but the first paragraph is far more meaningful now than it must have been back in 2000. Begins the book, “Under certain circumstances there are few hours in life more agreeable than the hour dedicated to the ceremony known as afternoon tea.” Yes yes yes!! I didn’t even like tea in 2000, I don’t think, but now I see that no other sentence has ever been so true.
