Lest We Forget…

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Earlier today people up and down the country as well as various locations around the world bowed their heads in respect.  We remember….

The 11th hour of the 11th day of the 11th month: 1918 the Great War was over.  Now the date and time is used to reflect on fallen comrades, those soldiers serving today, and the sacrifice which many have had to make and are still making today.

It is important to remember the past.  Many voices from the Great War still speak to us today through the written word.  Poetry enabled soldiers to express themselves.  People far from the trenches gained a small insight into the lives of service personnel.

The detail, the emotion is at times harrowing.  Poetry, more than any other form of literature, can stir up so many different feelings.

Sometimes poetry can be factual:

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
(Wilfred Owen, Dulce et Decorum est)

Other times it gives us an insight into the mental attitudes of serving soldiers:

This is no case of petty right or wrong
That politicians or philosophers
Can judge.  I hate not Germans, nor grow hot
With love of Englishmen, to please newspapers.
(Edward Thomas, This Is No Case of Petty Right or Wrong)

When reading First World War poetry, you can find a common idea – we do not hate those we fight but we do love our country.  That in itself is the reason we go to war:

But with the best and meanest Englishmen
I am one in crying, God save England, lest
We lose what never slaves and cattle blessed.
The ages made her that made us from dust:
She is all we know and live by, and we trust
She is good and must endure, loving her so:
And as we love ourselves we hate her foe.
(Edward Thomas, This Is No Case of Petty Right or Wrong)

Here dead we lie
Because we did not choose
To live and shame the land
From which we sprung.
(A E Housman, Here Dead We Lie)

And yet others convey the simplicity of reality – we live, we fight, we die, we return back to the earth:

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.
(John McCrae, In Flanders Field)

We have not explored the horrors of war or gone into any great detail of the poetry: this is a very personal era of poetry and one which should be left to the individual to explore.

What we should acknowledge is the impact that poetry can have.

Never forget the sacrifices; never forget the individuals; never forget.

World Leaders and Nature

Renewed leaders and changing leaders in the super powers creates endless headlines for the media.  I implore all those with these great responsibilites to remember their election promises and also to remember that Nature will keep the grass growing, the trees reaching for the light and the sun and stars shining to lighten our world. Whatever we do I have great faith that Nature will restore. Perhaps those in the media who try to direct our thoughts should think on that as well.

I wish you good fortune. Denny Bradbury

Sonnet.

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SonnetA sonnet is a form of poem that originated in Europe, mainly Italy, with the poet Giacomo da Lentini being credited with its invention. The most recognisable form of sonnet is that which contains 14 lines and in Italian is known as a “sonetto”, meaning “little sound”.

By the thirteenth century, it was known for being a poem of 14 lines that follows a strict rhyming scheme and a very specific structure.  William Shakespeare is one of the most well-known sonnet writers, writing 154 in total, not including those that appear in his plays, with one of his most famous starting “Shall I compare thee to a summer’s day?..” referencing one of the four seasons in a comparison to the beauty of his love just as Denny Bradbury talks of the “Crisp clear air of deepest winter” making her heart “leaden blue” in her poem “Winter Soul from her new collection “De-versify”.

There are many types of sonnets – the Italian (Petrarchan Sonnet – divided into two stanzas, the octave and the answering sestet), Dante’s variation, Spenserian Sonnet, the Urdu sonnet, the Occitan Sonnet, the Modern Sonnet and the English (Shakespearian) Sonnet – three quatrains and a couplet – all of which consist of the 14 lines, with each line made up of ten syllables and written in iambic pentameter, in which a pattern of an unstressed syllable is followed by a stressed syllable and is repeated five times.

The purpose behind a sonnet is to show two related, yet differing things, developing a specific idea in each quatrain or octave with each idea being closely linked to the ideas portrayed in the other quatrains/sestet.

The three main types of Sonnets are the Italian, Spenserian and English sonnets, with the English sonnet being the easiest in terms of its rhyming scheme, calling for pairs of rhyming words rather than groups of four.

A Sonnet is constructed in such a way that its fourteen line dialectical form allows the poet to examine the nature and possible ramifications of two contrasts – be that ideas, emotions, beliefs, actions, states of mind or images – in such a way that the two are juxtaposed, with the tensions sometimes being resolved and in other cases just created but with no resolution. This contrast can be shown at any point in the fourteen line stanza.

One example where the essential element of the sonnet, known as the “volta” meaning the “turn” in subject matter and the introduction of something new occurs can be seen in Sonnet LXXI by Sir Philip Sidney where he delays the reveal of the volta until the final, fourteenth line for dramatic effect.  He devotes thirteen lines to extolling how Reason shows that Virtue is the path to follow but concludes with:.

“But,ah,” Desire still cries, “give me some food” – a final line which counteracts Reason’s arguments by stating that Desire is not beholden to Reason.

Sonnets in varying interpretations continue to inspire modern poets today, often only recognisable in the 14 line form it is renowned for.

Charles Simic

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‘Poetry shockingly stark in its concepts, imagery and language’ – the words of retired English professor Victor Contoski in the Chicago Review.

His words describe the work of Serbian-American poet Dusan ‘Charles’ Simic: a man born Belgrade at the start of the Second World War who immigrated to America as a teenager.

Simic’s experience of growing up in an environment where frequent bombings from the command of both Hitler and Stalin forced his family to evacuate has been the foundation of his poetry.

Watching them out of the corner of the eye,
The earth trembling, death going by . . .
(‘Two Dogs’ by Charles Simic)

Simic only started learning English during his mid-teens yet his passion for the language and the ability to express his ideas in a moving and imaginative way has lead him to become a renowned poet.

Winner of the Pulitzer Prize for Poetry in 1990 from his book of prose poetry ‘The World Doesn’t End’ (1989), Simic has also been the recipient of the MacArthur Fellowship, the Wallace Stevens Award, and the PEN Translation Prize for his interpretation of the works of Serbian poet Vasko Popa in ‘Homage to the Lame Wolf’ (1979).

Simic was a past editor of The Paris Review has been named as the fifteenth Poet Laureate Consultant in Poetry for the Library of Congress.

On receiving this honour the man born in Serbia responded ‘I am especially touched and honored to be selected because I am an immigrant boy who didn’t speak English until I was 15’.

Having arrived in the US Simic attended school in Chicago and earned a degree from New York University after completing his draft in the US Army.  He went on to become a Professor at the University of New Hampshire.

‘What the Grass Says’ was his first published collection of poems in 1967.  One poem from that publication is Simic’s ‘Stone’:

Go inside a stone

That would be my way.

Let somebody else become a dove

Or gnash with a tiger’s tooth.

I am happy to be a stone.

Elizabeth Alexander

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Barak Obama

”Some live by love thy neighbor as thyself, others by first do no harm or take no more than you need. What if the mightiest word is love?”… (Praise Song For the Day)

American poet, playwright, University Professor and essayist, Elizabeth Alexander has achieved much in her 50 years, not least being asked to recite a poem she had written -especially for the occasion -, entitled “Praise Song For the Day” at the inauguration of Barack Obama on January 20th 2009.  Only the fourth poet to read at an American Presidential inauguration, the Poetry Foundation applauded the choice of Elizabeth to carry out such an honour, declaring that “her selection affirms poetry’s central place in the soul of our country.”

Born in Harlem in 1962, she grew up in Washington DC and with a father who was the Equal Employment Opportunity Commission Chairman, attending the March on Washington at the age of two was not out of the ordinary. As Elizabeth herself said “Politics was in the drinking water at my house”.  Having joined Boston University to initially study fiction writing, it was the poet Derek Walcott who saw her poetry potential through her diary and encouraged her to change her course option and study under him instead.

Since 1990 when her first book of poems, The Venus of Hottentot, was published she has had four more volumes published – Body of Life (1996), Antebellum Dream Book (2001), American Sublime (2005) – a finalist for the Pulitzer Prize -and her first young adult collection, co-written by Marilyn Nelson, Miss Crandall’s School for Young Ladies and Little Misses of Color (2008) in which the poems give the reader a glimpse of what may have been going on in the minds of the students, the small details of their lives and what their hopes and fears may have been.  Like the poet and author Denny Bradbury in her poem “Wisdom Of Trees” from her new collection in which she writes of the inevitability and beauty within the death and subsequent rebirth of one of nature’s elements that sees all:

…”Yet trees will reach their searching branches
Up into the wind and rain
They live and die as nature dances
Next year they grow and live again.”

Elizabeth Alexander combines the young girls’ mix of fear and hope with regards to the colour of their skin and the reaction by their neighbourhood in her poem entitled “We”:

..”Our mothers have taught us remarkably
to blot out these fears, black them out, and flood
our minds with light and God’s great face.
We think about that which we cannot see:
something opening wide and bright, a key.”

As the 2007 winner of the first Jackson Prize for Poetry, awarded by Poets and Writers Inc., Elizabeth is quoted as saying the following with regards to one element of her profession:

“Poetry is what you find
in the dirt in the corner,
overhear on the bus, God
in the details, the only way
to get from here to there.”