Reflections of a working writer and reader
I don't give readings, no, although I have recorded three of my collections, just to show how I should read them. Hearing a poem, as opposed to reading it on the page, means you miss so much- the shape, the punctuation, the italics, even knowing how far you are from the end. Reading it on the page means you can go your own pace, taking it in properly; hearing it means you're dragged along at the speaker's own rate, missing things, not taking it in, confusing there and their and things like that. And the speaker may interpose his own personality between you and the poem, for better or worse. For that matter, so may the audience. I don't like hearing things in public, even music. In fact, I think poetry readings grew up on a false analogy with music: the text is the 'score' that doesn't 'come to life' until it's 'performed.' It's false because people can read words, whereas they can't read music. When you write a poem, you put everything into it that's needed: the reader should 'hear' it just as clearly as if you were in the room saying it to him. And of course this fashion for poetry readings has led to a kind of poetry that you can understand first go: easy rhythms, easy emotions, easy syntax. I don't think it stands up on the page. Philip Larkin
The first time I saw her if you’d said to me within six weeks she would’ve given up her forty-year-old virginity to me across her creaky kitchen table one rainy Saturday afternoon – accompanied by a recording of the BBC Philharmonic performing the final movement of Mahler’s Fifth Symphony at the Proms on Radio 3 […]
Powered by eShop v.6