Wednesday, 11 March 2015

StAnza 2015

StAnza coasters... miniature poetry books ... poetry scrolls ... mug shots of all the contributing artists on a wall ... comfy seating ,.. giant beach ... weeny harbour ... I enjoyed all of the inbetween delights of the festival. And to cap it all, we were blessed with gorgeous weather.

Of course the reason for going is the poetry. And I fell on my feet with what I heard (only being there for one and a half days). My highlight was the double bill of Ilya Kaminsky and Ian Duhig. They both gave extraordinary readings, for every different reasons, and so the dynamic between their readings that reverberated in me filled not just my mind but nerves and limbs too. This was in part because of Kaminsky's extraordinary style. He read one long poem: 'Musica Humana': part singing, part chant, part vocal rollercoaster, part straight reading which pulled me inside the poem, experiencing it as if I was one of its inhabitants pressing against the images and line lengths, partly in claustrophobia, partly in horror,
laughter at the surreality. As one of the sections says

I escape and am caught, escape again
and am caught, escape
                      and am caught: in this song,


The poem took me through despair, tenderness, love, innocence, while Ilya's rendition had me captivated. His voice rolled with emotion, with lyric, with a deeply held conviction of the importance of lineage. I shrank smaller and smaller as I listened, as the poem swept through the room and everyone was listening and reading (he'd given handouts of the poem so we would not struggle with his Russian accent) rapt with experience.

How to follow that? Good job it fell to Ian Duhig, who, while not known for a flamboyant reading style, is a poet whose linguistic dexterity holds me in awe at our language and what is possible to do with it. Listening to Ian read is like being driven along narrow lanes with 90° corners that open out onto huge citiscapes and then twist away on another 90° and to another view that twists back in tandem to the first lane. It's a thrilling ride. His knowledge is legion. A legion of softly spoken, leather-soled acrobats who only want to share their world with you. 

When I was digging into Digressions, the book he read from, to find lines I'd particularly loved to quote here, I found the following epigraph from Wittgenstein: 'Our language can be seen as an old city: a maze of little streets and squares ... In the actual use of expressions we make detours.' As I had no idea of this thought before writing my analogy of the above, I can only give credit to Ian for wholly embodying this premise in his work and conveying it so convincingly to me. Told you he's a star.

If you stretch out this writing
into one long, thin, single line,
draw it to an invisible thread,

you can make its information
your own material...
                              (from 'The White Page', from Digressions)

I was there, not just to enjoy myself hearing amazing poets, with Steve Lewis to perform Sealegs on the Sunday. For which we received some very enthusiastic responses as well as plenty of disbelief that the story parts were true. Oh, yes, sadly, they are... Here's a snippet

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