All 1 entries tagged Jane Draycott
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March 30, 2010
Jane Draycott’s previous collection The Night Tree (2004) was exceptional. At the time I celebrated her patient intelligence of practice, and concision of address, not only in every poem in that book but in the very philosophy of perception informing her poetics. I believe she has ground in common with Samuel Menashe. Like him, she has the wisdom to leave things out; she has a gift for the music and tone of a poem; and she won’t be rushed into betraying her vocation through lack of care or pursuit of fashion.
Jane Draycott's Over is an acutely musical book: Sean O’Brien was right to praise it recently for its ‘quietness’. It is quietly mesmerizing. Its sequence of twenty-six poems based on the International Phonetic Alphabet sounds at first like an Oulipean exercise. The music of Draycott’s language allows the poems to exceed and escape their framing, becoming something quite other than the sum and sound of its sections:
A match struck
in the house of ice.
Deep-sea flame fish
calling, the heart
in the dark is flashing.
Gold in the blood,
everything you know.
The fire on the little sandy beach.
The bear at the window.
No one escapes.
For me, the clinching moment of this admirable collection is the extract from Draycott’s translation of the medieval dream-vision Pearl. The language is marvellously modulated yet stirringly wild. Draycott has carried over into our tamer, tired world a strong, strange sense of how original, gorgeous and natural this old poem can be. I look forward to the complete translation if the extract is anything by which to judge it:
And I saw that the little hill where she fell
was a shaded place showered with spices:
pink gillyflower, ginger and purple gromwell
powdered with peonies scattered like stars.
But more than their loveliness to the eye,
the sweetest fragrance seemed to float
in the air there also. I know beyond doubt
that’s where she lay. My spotless pearl.
Over, Jane Draycott, Carcanet Press, pb., 66 pp., £9.95, ISBN 978-1-903039-92-2
My thanks to Fiona Sampson of Poetry Review where this piece first appeared.