Not for that City

Let me introduce newcomers to one of this project’s “finds,” the little-known early 20th century English poet Charlotte Mew. Of course, I didn’t really find her, some of her English contemporaries did, and they waged an unsuccessful campaign to bring her work to greater attention. Among those who thought she deserved more attention: Thomas Hardy, Virginia Woolf, Siegfried Sassoon, Walter de la Mare, John Masefield, and even Ezra Pound.

Her poetry touches on some different styles, but what unites it is a skeptical and iconoclastic attitude. She herself seems to have been something of a sui generis outsider, and her poetry reflects that, frequently focusing attention on outsider characters, and her poetry often makes unusual arguments or turns—and I suspect that’s the reason her poetry didn’t catch on. Even her era’s rebels like T. S. Eliot had a ready hook to grab attention: the trauma of WWI and the rise of a modern heterogeneous urban society and industrial economy were enough of a shock to the system that even the most high-brow and arcane poetic examinations had some access to the reading public’s attention. Particularly in America, there were a number of women poets who examined love and relationships* in sophisticated ways that were widely seen then as access to that mysterious creature of the era: “The New Woman.”

Mew didn’t really do the former much, and her take on love didn’t seem to always align with expectations, for she was noticeably androgynous as a person and as a poet.

So, what does today’s piece, Mew’s “Not for that City”  deal with instead? Glorious Heaven, and in language and imagery that would make for an ornate hymn about the rewards of same. Except it’s not saying that’s what some “we” really want.

The poem instead says that what “we” want is rest, not a surfeit of glory and splendor.

J M Studwich Angels
Yes it’s nice and all, but I could use some alone time.

 

 

Who’s the “we?” I’m not completely sure. Mew lived a somewhat weary life with long-running caretaker roles. Is she speaking of the poor and working classes, though she never names them as the “we” as such? Is this simply the testament of a religious skeptic? I can’t say for sure, but it works even if this isn’t determined.

I struggled long on the musical setting of this, completing two different sets of music, and then after choosing the music finally used, trying mightily to realize a full voiced, almost operatic singing line. That failed miserably, I just don’t have the voice or access to anyone else who does. The version you’ll hear with the player below is left with a track of my shabby talk-singing which is simply the best I can do to present this. I still think it’s worth hearing, and you can with the player gadget below. Full text for those who’d like to read along is here.

 

 

 

 

*We’ve presented some of them here: Edna St. Vincent Millay, Sara Teasdale, Margaret Widdemer, Mina Loy and Elinor Wylie. Being seen as “love poets” probably helped them with general audiences that still existed in the early 20th century for poetry, but then caused them to fall off the literary map later in the century which increasingly admired and required either political and philosophical advocacy, or a devotion to “serious and universal topics”—which for some reason did not include women’s observations of sexual and romantic politics.

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The Parlando Winter 2018-19 Top Ten part 1

It’s time to look at the most liked and listened to pieces here during our just ended winter. Overall, listenership was down in December and January, and I was a little discouraged by the drop off from the growth I was seeing throughout the rest of 2018. But then February was one of our most listened to months and March has started off strong too while readership of the blog posts here continues on a general upward trend.

As I’ve done for the past couple of years I’m going to count up our Top Ten audio pieces from 10 to 1 the rest of this week. I always enjoy tabulating these totals, as just like the Parlando Project in general it’s usually a mix of the “big names” as well as the lesser-known writers who I come upon looking for material we can use.

10. There Came a Lion into the Capitol. And we don’t have to wait long for a lesser-known. Walter J. Turner was a friend of Yeats who I hadn’t heard of until I read a book from 1920 seeking to summarize the British poetry scene, and saw Turner’s name. This one seems full of occult symbolism, something that links Turner to some of Yeats work as well. Since the lyrics mention the lion coming to the “blare of a great horn” I tried my best to play a trumpet line using a synthesizer “virtual instrument.”

 

Mew and Sinclair Virago Collectors Cards 16

A Lioness Comes to the Capitol, or ‘Shipping the Poets. At least by the accounts I’ve read, Mew and Sinclair’s relationship was more troubling than these trading cards have room to recount. The “sudden end” involves May unexpectedly chasing Sinclair around a bed

 

9. The Trees are Down. The same 1920 book that mentioned Turner had considerable praise for Charlotte Mew, who’s become a personal “talent deserving of greater recognition” cause  for me this year. You can see some similarities to Emily Dickinson, Thomas Hardy or Christina Rossetti in Mew, but she’s got her own sensibility that immediately stood out as I started to read her work. She seems to have been an eccentric person in her life, but one of the joys of art is that different often attracts. This one’s a surprisingly modern meditation on a group of urban trees and spring. I liked what I was able to do with the bass and guitar parts following each other as Dave’s piano playing filled up the middle of this LYL Band performance.

 

8. Archaic Torso of Apollo. Even though he wrote in German, Rainer Maria Rilke is, on the other hand, well-known even to English speakers. There’s a spiritual/philosophical element to his writing that seems to attract many seekers, whatever language they read him in. Several translators have tackled transmogrifying this poem from German to English, but I try to do my own translations here.

In the process of doing this project I find I have to dig into the words I use and try to figure out what they’re asking for in terms of music and presentation, but doubly so when I attempt translations to English. I’m not sure how good I am at the translation task, but it’s a very intimate experience, trying to see, sense and think like another poet. I highly recommend doing your own translations to poets seeking to stretch their literary muscles.

Musically I spent even more time than usual on getting the drum part right, as the opening of my performance is all spoken word over percussion.

 

I’ll be back next with numbers 7-5 in our Top Ten Winter Countdown.

The Trees are Down

I indicated when I first presented a poem by Charlotte Mew this month that I’d talk more about her life, but what I know is so limited and sad that I’ll try to condense things.

She was born into a family that had more than its share of illness and mortality. Three siblings died in childhood, two were institutionalized for insanity. Her father died “without making adequate provision for his family” according to the Wikipedia article, leaving her mother and surviving sister to try to scrape by in late 19th Century London. She appears to have been socially awkward and eccentric. Eventually her mother died, and then her sister, with Mew ending up being the final caretaker for both. After the death of that final sister, Mew herself was unable to care for herself. She was institutionalized and committed suicide by the decidedly unromantic method of drinking Lysol.

There is so much unanswered detail in her story. For example, the two surviving sisters are said to have vowed not to marry for fear that the insanity might be hereditary. My now largely forgotten medical knowledge/experience wonders what the exact elements were of these early deaths and the cluster of undifferentiated mental illness. Quick, idle thoughts fall to something like Huntington’s Disease.

Anyway, during her life Mew was something of a writer’s writer. Thomas Hardy and Virginia Woolf both championed her and apparently got her a government stipend for support. She was not prolific, and she didn’t write grand poetic epics or found a new school of poetry or critical theory. Still from the first time I read her poems this year I was easily struck by how different they often were. In her era there were a lot of Modernist poets who were shockingly different then—and who often still retain easily seen uniqueness today. Gertrude Stein, E. E. Cummings, Mina Loy, Tristan Tzara, Marianne Moore, Wallace Stevens, H. D., and William Carlos Williams made individual showy breaks away from fusty tradition in the time Mew was writing her poetry.

But Mew wasn’t really a Modernist as they were, not in any card-carrying sense. Her breaks from poetic orthodoxy were sometimes subtle and sometimes seem artless in both the good and bad senses of that term.*

Today’s piece “The Trees are Down”  is a good example. Although I didn’t include it in the reading, it starts with a biblical epigraph from Revelation:  “—and he cried with a loud voice: Hurt not the earth, neither the sea, nor the trees—” What follows starts off as if it’s miscategorized prose, as casual as a diary entry, a letter, or blog post. But it soon adopts a subtle rhythm, something like F. S. Flint’s “unrhymed cadences,” with a little symphony of sound verbs and some mixed in background sound from the workmen felling trees.

A Plane Tree in London

A London plane tree. Poetic enough…

 

But Mew will turn from this abruptly, rather than developing that sound and theme, almost literalizing the cliché “red herring.” She recalls finding a dead rat—not at the site of the tree work, not recently—just a rat’s carcass once encountered some “long past spring.” And she remembers thinking that even this “god-forsaken thing” should be alive in spring.

rat carcass

…not quite as romantic as a majestic tree.

 

Then she leaves this odd aside and begins a passage of irregular rhyme and near rhyme, once more looping in a sample of the workmen’s cries (“Down now!”). Nearly every phrase has end-rhyme, but we are made to wait seven phrases for a rhyme between “fine grey rain” and her return to that seemingly unconnected dead rat with a remark that except for this strange connection with the rat carcass and the death of the trees “I might never have thought of him again.”**

And then she changes once more, back to the unrhymed cadences mode as she begins to introduce her final theme. Her cadence strengthens in her last stanza, and she closes with the introduction again of a series of end-rhymes. She makes her closing case so clearly that I feel no need to make any paraphrase. That case borders on the sentimental I suppose, and I’d guess that any of the few reading “The Trees are Down”  in Mew’s own time would see it as that in their context.

Today, when we encounter those same words Mew wrote, we might contextualize them differently. First, we may not be expecting Mew to sound like a fine regular poet with even meters and regular rhymes. Nor are some of us requiring she make it new in some bold way that makes a revolutionary show of novel ways of speaking and writing. We’re are more likely than readers in Mew’s time to be comfortable with poets speaking in unique and personal but merely human terms about events up unto death. The strange anecdote of the dead rat controls the sentimentality of the death of the great and stalwart trees. We may even see a subtext here, one we’ve come to increasingly realize: that of men callously controlling and seeking to reign over and reign in nature.

In the same way that we now read what had once been seen as inconsequential “relationship issues” in the poetry of Millay or Teasdale and see important social dynamics, we might read “The Trees are Down”  now a hundred years later and see an ecological perspective.

To hear the LYL Band perform Charlotte Mew’s “The Trees are Down”  use the player below.

 

 

 

*Harold Monro, who published Mew’s first book of poetry in 1916, tried to describe this difficulty in Mew’s je ne sais quoi “No argument, or quotation, can prove that the poetry of Charlotte Mew is above the average of our day. She writes with the naturalness of one whom real passion has excited; her diction is free from artificial conceits, is inspired by the force of its subject, and creates its own direct intellectual contact with the reader. Her phraseology is hard and concentrated.” For a modern appreciation of Mew’s style see Molly Peacock here.

**I wonder if Mew, an upright human towering over the dead rat is being compared with the those-who-are-about-to-die trees towering over the humans beneath them.

China Mouth, a Changeling

I’m reading another critic/minor poet’s book about the early 20th century British literary scene, Edward Shanks’ First Essays on Literature.  He’s in general more backward looking than Herbert Monro’s 1920 Some Contemporary Poets  where I discovered Charlotte Mew (Shanks’ book has essays on Keats and Shelley) but I was interested what he had to say in his chapter “The Later Poetry of Mr. W. B. Yeats.”  Shanks seems ambivalent about Yeats, and this is one of the pleasures of reading contemporary assessments of still active artists. He notes with approval that Yeats’ language has with the 20th century become less formal and fusty, though Shanks feels that gain comes at a loss of a singing quality.*  Another conclusion he reaches is that Yeats’ is best when he’s describing the fantastical: “It is not Mr. Yeats’s business to describe the actual world, but to make beautiful pictures out of his dreams.” Though giving Yeats his due, Shanks doesn’t seem to think this is a good thing.

Interesting comment that, though I was already aware of Yeats’ appreciation of Irish myths and his dabbling in his era’s contemporary occultism. It caused me to stop and connect Yeats, and the two lesser known poets I’ve presented this month: Charlotte Mew and Yeats’ associate Walter Turner. Both have aspects of fantasy in their poetry too. And even our staid prelate of High Modernism, T. S. Eliot, while seeking his correlates within the whole timeline of culture, picks out elements of unreal gothic horror to weave into “The Waste Land.”  Elements so broad as to make me compare a section of “The Waste Land”  to Metal bands.

Did the horrors of WWI and the shifting ground of artistic Modernism impel some poets of the time to retreat (or advance) into fantasy? With the war poets, many of which had been “reporting” from the front-lines, no longer lining-out contemporary events while those events’ questions of outcome and action were pressing on all, was there now after the war a countervailing mode to step away from the pressing real?

If so, it’s no simple thing, and not just a matter of “give me some beautiful art to not let me think about hard questions.” Fantasy is just metaphor presented on another layer of art. Eliot, who unlike many of his contemporaries did not serve in WWI, would have trouble writing about the war as the veterans did after all. And the Surrealists—well their whole point was those “pictures out of…dreams” might reflect something essential.

Sir Joseph Noel Paton - The Reconciliation of Oberon and Titania

Fantasy. Escapism? Surrealism? Metaphor presented in another layer of art?

 

Mew’s “Changeling”  from my last post? Yes, it’s a fairy story, as is Yeats’ great “The Song of the Wandering Aengus,”  but either connects first on an emotional level deeper than any amazement at the fantastic. Talking fish or fairies knocking at windows are mundane compared to the loneliness of old age or the alienation of being an unlike youth.

Well, let’s end for now with an audio piece, an old one of my own. I wrote “China Mouth, A Changeling”  over 40 years ago, after listening to a conversation where someone else was bemoaning their alienation. During the conversation the main talker paused to reapply some very red lipstick, its deep red the China in the mouth of the title. Unlike Mew’s changeling—who will run off, who cannot be stopped—there seemed to me to be an element of stasis in that overheard conversation. They seemed resigned that they would have their art and their alienation in a frozen balance. That brought to mind a story in Robert W. Chambers’ “The Mask”  from his 1895 collection The King in Yellow  in which a liquid turns living things into statuary. That idea informed the last verse. Depending on one’s taste for mystery, it either saves or ruins the song. Use the player below to hear it and decide for yourself.

 

 

*I don’t think I agree, Yeats never stops being musical to me. Shanks himself has an interesting connection between poetry and music, as another chapter in his book “Folk-Song as Poetry”  deals with Cecil Sharp and other contemporary attempts to conserve British Isles folk music. Shanks’ first book was a collection of poetry called Songs, one of which lifts the floating verse that found its way into many folk songs, the one that starts “The cuckoo is a pretty bird, she sings as she flies.”

The Changeling

Have you heard the name Charlotte Mew? I hadn’t until I came upon it in Herbert Monro’s 1920 Some Contemporary Poets  this month. Last post I presented Walter J. Turner, another now-forgotten early 20th century poet found in Monro’s book-length survey of his era’s British poetry. While I doubt we will ever see a full-fledged W. J. Turner revival, with Mew I think there’s room for growth in interest. She’s that unusual and that good.

I’ll probably spend more time on what I’ve found out about Mew when I present another piece, but to hit some highlights: she cut a notable figure even among the unconventional artists of Bloomsbury, wearing tailored men’s suits and displaying a wide-ranging intellect. Mew was both parodied for her eccentricities and praised. Among her literary admirers: Thomas Hardy, Virginia Woolf, Sara Teasdale, Ezra Pound, Siegfried Sassoon, Walter de la Mare, and Harold Monro himself, who published her first collection of poetry.

Charlotte Mew

Maybe she looks like Gene Wilder as Willy Wonka, but read/listen anyway…

 

Why haven’t I (and likely you) heard of her? Fame forensics is a fraught subject. She’s one of those authors that straddles the centuries, though she didn’t start publishing poetry until the 20th. Some of her subject matter looks backwards, and individual lines will sound like they could be from a Victorian-era poet. Even so, her poetic style is her own. She uses uneven line lengths and unstable rhyme schemes, yet they don’t fall into doggerel. Mew died in 1928 and was not active in publishing in the last years of her life, so as Modernism was taking over she may have been just a bit “yesterday’s papers.” She may be one of those cases where her career didn’t rise high enough and maintain sufficient altitude to carry her glide-path into the second half of the 20th century. But like her admirer and champion Hardy, Mew is another one of those poets who at first, in some superficial respects, can seem old-fashioned, yet her core outlook is modern and unconventional. If one comes upon her work today and doesn’t expect her to sound like T. S. Eliot or Wallace Stevens, her uniqueness can still deserve your attention.

“The Changeling”  is a fairy story of the chilling variety, more “Belle Dame sans Merci”  than Disney. It’s Peter Pan meets Tam Lin! Like some other Mew poems I’ve already read as I start to look at her work, it’s extraordinarily easy to see modern psychological and sociological analysis in it’s situation. The narrator’s outsider sensibility is right there from the start, and the lure of the old wild natural world makes the order of the urban home and nursery regimen seem like a riot against that.

It’s Peter Pan meets Tam Lin!

Despite there being no regular line lengths or stanzas, I found it reasonably easy to set Charlotte Mew’s “The Changeling”  as if it was a folk song of the “Tam Lin”  variety. Alas, as is the case with many of my favorite old ballads, the result is lengthy by song standards. To compensate and decorate the time while you hear Mew’s tale unfold, I’ve added things that a handful of adventuresome British Isles folk-revivalists might have added 50 years ago: there’s tambura, sitar, and my first effort at playing tabla drums.*

So brew up some tea or elfin grot and listen to “The Changeling”  with the player gadget below.

 

 

 

 

*I tried an inexpensive electric sitar a few years ago, but never got the hang of it. I now play sitar and tambura using a MIDI guitar, retuning when desirable. For my attempt at tabla today, I didn’t use a drum controller or pads, but instead triggered the drum hits and pitches with my MIDI guitar as well. As I should always do, I offer my apologies to the real masters of those instruments who have given me much listening pleasure over the years.  On the other hand, my 9 minutes or so today is a short piece compared to many traditional South Asian numbers.