From the Poetry Garden 2

This is the second  “From the Poetry Garden” reading: we have tried to improve the sound, which was poor last time. The poem about the house s an old one, put on mostly for an introdution to the environment of the garden. The second poem ” Deep Time Rising” is more important for me. “Deep Time” is a concept introduced by John McPhee in a paper in 1981. Do leave comments “likes” are a Facebook cop out for the lazy or polite but disinterested!

 

5 thoughts on “From the Poetry Garden 2

  1. I love how the sense of time and history enfold the poems, and yet one feels that sensation—partially through the momentary obliteration of memory—is allowed to run freely through the natural images so beautifully evoked herein. One so easily feels your kinship with Whitman and marvels at it.

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    • Marcia, dear Marcia, that is the most supportive comment, thank you so much. Yeah I love Whitman and know he has said so much of what I feel ….. the “momentary obliteration of memory” is so perceptive of you… memory is always held up as the neuroscience explanation of consciousness … it’s all a collection of memories… like we are computers! But there is an awareness which I call sensation which is not memory. Bless you both and stay safe …let’s talk some more, I so value your criticisms. I have a book of Mary Borden’s I keep meaning to send you…did we talk about that ever?

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      • Very dear Tony,
        I am delighted that you have accepted my comment so very graciously. I cannot respond in a larger context than the poetry which over the years I have loved so much. I am always so delighted to find that your knowledge is far more eclectic than mine. What a narrow education I have had—so concentrated on literature itself that the context, unless it be cultural or historical, quite often escapes me! I am amazed at the scope of knowledge you bring to each poem.

        In answer to your question, I remember you mentioning the Borden book. If it is the one published by the Imperial War Museum, I have it. Alas, it leaves out several of her best stories from The Forbidden Zone.’ I cannot imagine why. They are all equally powerful. Our best to both of you, always.

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  2. Tony, the second poem in particular is magnificent. The sensory elements of both poems, set against the factor of memory, clarify for me my deep attachment to the Irish terrain which I miss so keenly. I have no Irish genealogical roots yet from the moment I first visited in 2001, I felt absorbed into the hillocked fields, the multi-benned ranges, salt-smelling rocks, and magical turloughs. The absence of binding memory I believe allowed me a clarity of sensation I’m not sure I’ve ever before experienced. Thank you for bringing this all back for me, and for bringing me there in these four minutes. Sending love, as ever.

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    • Dearest Beth: Yeah Max wanted to do that first one because of the atmosphere of the garden and the house: the second poem is only days old and more significant. Thank you so much for your lovely praise..I was saying to Marcia about how much we need praise these days. I like your image of “binding memory”: it does bind us doesn’t it often as in bondage. Marcia mentions “the momentary obliteration of memory” too. We are so much more than memory yet it is hard to fathom what consciousness is without it. The neuroscience guys think consciousness is memory and therefore illusory. The other opposite extreme view (which I think I favour) is that consciousness is external to the brain (my extra skullular in the poem) at least some of it is particularly when we are experiencing the non ordinary. So the raptor (wish we had eagles but I’m grateful for a buzzard) is the symbol of the spirit in transcendence (the crown chakra image of the thousand petalled lotus). I almost said “thousand feathered falcon” but though better of it. Lots of love T.

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