More poetry……. and remembering as a political action ………..

More poetry……. and remembering as a political action ………..

A) The Old Walls by Zoe Skoulding

The wall is who we are and they are not and
farther in the boundaries collapse in a rush of
security as cells multiply and break through stone
translucent grit cracks the skin open to the elements
we go down through layers and this is history
a low door at the foot of the walls opens into starry
arches articulate as loin bones the slender joints
lithe as a voice disappearing from behind the
words behind the walls where water moves
against deep tones of trees that cloud the air
behind the smell of wet earth the voice leaves
the shape of itself and the footprints of walkers
trace the shell of the city its dead words
we crawled out of our words tender like snails
and the new city grows from the loins of the old
as lichen spreads in acid maps invading and
retreating the city runs along fingers runs along
roads and wires and into fields and the sightlines
run back to the city in wires and the walls
keep nothing out and the nothing beyond as a cloud
of eyes moves through the streets and falls like rain

B) ‘Left Holding the Baby: Remembering and Forgetting the Magdalene Laundry’ (2009)

http://www.magdalenelaundrylimerick.com/left_holding_the_baby.pdf

An interesting thesis by Evelyn Elynn on remembering and forgetting of collective trauma  

‘Remembering, as a political action, is the subject of my first chapter. I begin by looking at some general issues in relation to remembering and forgetting of collective trauma. Using the Holocaust as my main point of reference, I examine the reasons why it is important to remember and the purpose and function of collective forgetting. This is followed by an exploration of psychological theories in relation to trauma and abuse. This section focuses on feminist writings since they bring the issue into the realm of action. I conclude this chapter with an examination of ethics and responsibilities in relation to remembrance of trauma, and discuss what an effective response to witnessing of trauma might be’ (Evelyn Elynn)

 C) Extracts from Judith Lewis Herman’s book                              

Trauma and Recovery: The Aftermath of Violence–From Domestic Abuse to Political Terror

‘Denial, repression and dissociation operate on a Social, as well as an individual level’

‘The ordinary response to atrocities is to banish them from consciousness. Certain violations of the social compact are too terrible to utter aloud: this is the meaning of the word unspeakable. Atrocities, however, refuse to be buried’

‘Those who attempt to describe the atrocities that they have witnessed also risk their own credibility’

‘To speak publicly about one’s knowledge of atrocities is to invite the stigma that attaches to victims’

‘It is very tempting to take the side of the perpetrator. All the perpetrator asks is that the bystander do nothing. He appeals to the universal desire to see, hear, and speak no evil. The victim, on the contrary, asks the bystander to share the burden of pain. The victim demands action, engagement, and remembering’

Poem as trace, poem as evidence

Poetry

Poem as trace, poem as evidence

Political and social circumstances pervade our experience, our work and art, and determine the extent of agency we can exercise. It is difficult if not impossible to separate the personal or private from the social and political. Similarly, it is difficult to create or understand art out of this context.

Carolyn Forché writes and introduces readers to poetry, which emerges from themes and issues that can not be defined as public or private; as political or personal. Her work emerges from a tradition of poetry in which political circumstances pervade. She uses the term poetry of witness that describes the space between the public and the personal.

Α) Carolyn Forché from The Country Between Us

“There is a cyclone fence between ourselves and the slaughter and behind it
we hover in a calm protected world like netted fish, exactly like netted fish.
It is either the beginning or the end
of the world, and the choice is ourselves
or nothing.”

Β) From Carolyn Forché, “Twentieth Century Poetry of Witness,” American Poetry Review 22:2 (March-April 1993), 17

‘Poetry of witness presents the reader with an interesting interpretive problem. We are accustomed to rather easy categories: we distinguish between “personal” and “political” poems – the former calling to mind lyrics of love and emotional loss, the latter indicating a public partisanship that is considered divisive, even when necessary. The distinction between the personal and the political gives the political realm too much and too little scope; at the same time, it renders the personal too important and not important enough. If we give up the dimension of the personal, we risk relinquishing one of the most powerful sites of resistance. The celebration of the personal, however, can indicate a myopia, an inability to see how larger structures of the economy and the state circumscribe, if not determine, the fragile realm of the individual.

We need a third term, one that can describe the space between the state and the supposedly safe havens of the personal. Let us call this space “the social.” ………………………. ……………… But perhaps we should not consider our social lives as merely the products of our choice: the social is a place of resistance and struggle, where books are published, poems read, and protest disseminated. It is the sphere in which claims against the political order are made in the name of justice.

By situating poetry in this social space, we can avoid some of our residual prejudices. A poem that calls us from the other side of a situation of extremity cannot be judged by simplistic notions of “accuracy” or “truth to life.” It will have to be judged, as Ludwig Wittgenstein said of confession, by its consequences, not by our ability to verify its truth. In fact, the poem might be our only evidence that an event has occurred: it exists for us as the sole trace of an occurrence. As such, there is nothing for us to base the poem on, no independent account that will tell us whether or not we can see a given text as being “objectively” true. Poem as trace, poem as evidence’

Scan82The sisters by Rainer Maria Rilke

Look how the same possibilities

Unfold in their opposite demeanours,

As though one saw different ages

Passing through two identical rooms,

Each thinks that she props up the other,

While resting wearily on her support;

And they can’t make use of one another,

For they cause blood to rest on blood,

When as in the former times they softly touch

And try, along the tree-lined walks,

To feel themselves conducted and to lead;

Ah, the ways they go are not the same.