On the Book programme last week Mariella Frostrup talked to a thriller writer, Jeffrey Deaver, who’s books I have seen bit not read. The topic should have been the book he would not lend because of concern he would not get it back. The discussion made it clear that it was the physical identity of that copy of that book that was an element. It could not be lent not because the words could not be returned, but because the appearance, texture, smell of that particular copy was part of the strength of the memory.
I say ‘should have been’ because he immediately knew it was two books, and was unable to choose, and with (I daresay) a ‘boyish twinkle’ got away with it.
The second was ‘The Joy of Cooking’ the book that told him there was food that did not come out of ‘cans’. Conversation with a friend when I mentioned this did not immediately connect to Alex Comfort, but went “By Delia Smith?” “No, it was published in 1937 and even she was not around then” “wasn’t she?” “No this was even before the blessed Elizabeth was running round misbehaving in Egypt let alone bringing joy to cooking”. But that is not my concern here.
The first was an edition of the Collected Poems of Robert Frost from the 1940’s, so before the end of his writing career, and earlier than the copies I have read. I came across Frost first on the A-Level syllabus I studied. And brought up on English Romantics, in complete thrall to W B Yeats, and a few moderns – Eliot, Henri, Zbigniew Herbert I despised the apparent homespun.
And yet I quoted it, I felt the lives and landscapes through the simplicity of the lines. “Something there is that does not love a wall, that sends the frozen ground swell under it, and spills the upper boulders in the sun”. I may have misquoted, it is long since I read it, but it is the exactness of a geomorphological process translated into a direct poetic language and clear image of the New England landscape. And behind the poem deeper thoughts of boundaries and the ‘truisms’ that can make the complexities of life easy.
And over the years I converted to Frost (not away from the others, but adding him in).
Deaver recalled what Frost had said about his poems – that someone in another room, hearing a poem being read, but not able to hear the words, should know what the poem is about from the sound alone. It was a quality, he said, that he sought to emulate in his own writing.
I will now re-read (does that make it a classic?). But just reading ‘The Silken Tent’ From ‘The Witness Tree’, the only Frost first edition that I have, I understand what he means. It was the poem I actually had in my A-Level exam. The reflective tone in the words matches the reflection, the slight questioning at the end is picked up in the harder tones of ‘taut’ and ‘bondage’.
My son has a phone ‘app’lication called ‘Quizzer’, and competes on a range of topics, under a range of names, and from a range of places. He is waiting for the ‘Satanism’ strand to start so that he can compete from The Vatican City. I pointed out that there would be too much competition there. One topic is ‘Poetry’, and he and I have competed while driving around. The questions cover a very limited range, the same names come up over and over again – a few early (Chaucer, Shakespeare, Marvell, Donne), the Romantics and pre-Raphaelites, some earlier Americans (Whittier, Longfellow, Whitman), only Owen of the War Poets and a few moderns (Yeats, Eliot, Frost, Pound, Plath). Very little beyond. My son says that I can contribute – Which term in the card game piquet does Baudelaire quote ? (O Satan prends pities de ma grande misere) – I wish I could do accents on this machine, and get all my French grammar right). Which poet wrote the autobiography ‘The Man it was that died”. Where are Heaney, and Cavafy, Herbert and Herbert (or even A P) – the list could be endless. Derek Walcott made an appearance for Omeros, and so he should, but what of other poetry laureates – Neruda, Quasimodo, Heaney, Szymborska for a start. Where are Yevtusheno, Tsvetayaeva, Mandelstam; the list goes on.
I was reflecting on this and a chance phrase about the literature of the First World War while walking the dogs on the Chevin this morning and wondering if the lament by Pound at the end of “Ode pour l’election de son sepulcre’ on the futility of the war would be included: “There died a myriad,/and of the best, among them,/for an old bitch gone in the teeth,/for a botched civilisation/ /Charm, smiling at the good mouth,/ Quick eyes gone under earth’s lid,/ / For two gross of broken statues,/ for a few thousand battered books”. This certainly passes the Frost test – anger and despair. The problem is that the passage is not simple and presumably reflects a condemnation of a western civilisation ripe to be cured by the Fascism that Pound later espoused. The link of the thought to ‘Quizzer’ is that the questions on Pound focus on the politics and not the poetry (I know MacDiarmaid condemns both in Campbell), and I want to dissociate the two: the question is, is that right?