Paddy Bushe talks to Pat Boran about his latest collection of poems, On a Turning Wing
How important is place to your writing life, both in terms of subject matter and your actual modus operandi, the locations where poems come to you and/or get written down?
Place is of primary significance in my poems, probably the element which is most essential to them. I think this may be because I grew up in a Dublin suburb to which I felt no familial or imaginative ties, and that I have a consequent yearning to be integrated into place, to be a part of place. Of course the result is a willed, creative process rather than an organic, natural one, and this feeds into my poetry. I can place the genesis of most of my poems, a genesis or place that may disappear in the poem itself, but which is very much part of how it develops and survives – if it does. Love poems, political poems, poems about the nature of art – all of these can begin as a kind of invocation of place. For many years most of my work was ‘placed’ in Iveragh in South Kerry, my adoptive home. In more recent times my focus has widened, but usually with Iveragh not too far in the back of my mind.
Your poems are often ‘set’ far from home, reflecting your interest in travel and, in particular, hill-climbing and mountain-trekking. Are you actively writing, note-taking for instance, when you’re on the move? Can you make final versions in situations like that, or is it a case of poetry being something ‘recollected in tranquillity’, as Wordsworth had it?
I’m always full of good intentions about using notebooks, voice recorders, cameras and so forth. But I’m afraid I’m highly disorganised and unsystematic. Notebooks tend to be lost or neglected fairly quickly, and voice recorders gloriously blank when I return. I do find a camera useful as an aide-memoire, and even a stimulus for some new insight after a trip. Sometimes I get a reasonably complete draft of a poem. But my poems usually “stew” for quite a while after the spark first comes, generally in the form of a line or three which move around in my mind for weeks on end. So yes, I’m actively writing, but perhaps in a way that others wouldn’t notice. That’s my usual method – if that’s not too much of an overstatement – whether my work is placed at home or away.
Of course it’s not just in seemingly adventurous things activities like trekking or visiting formerly remote places (is anywhere really remote today?) that inspiration is to be found – galleries in Madrid or Paris, or conversations with musicians and poets in the extraordinary landscape of An tEilean Sgitheanach (The Isle of Skye) can stimulate poems. The genesis and working-out of most poems is humdrum enough, as it is, I imagine, for most poems by most poets. All of which is really to partially concur with Wordsworth’s ‘recollected in tranquillity’ formulation.
It’s the business of the poet, I think, to create rather than recreate. It’s what’s on the page that’s important, not the stimulus that gave rise to it.
Can you talk a bit about being a poet in two languages, Irish and English? Translation aside, how closely related is your poetry in the two languages? Are their subjects that seem more at home or more suited to one or other language?
I suppose the first thing to say is that English was and remains my first language. That’s a matter of fact, not necessarily a matter of choice. I speak, read and write more instinctively and more fluently in English than in Irish. When I began to write, in my late teens, I tended to write mainly in Irish, for ideological reasons. When I started to write again, in my thirties, aspects of that ideological commitment had faded, and I wrote solely in English. Both choices were limiting, and both exclusivist. I began to write again in Irish, especially when the “starter lines” I spoke about earlier suggested themselves in Irish, or in echoes of Irish. These echoes are especially strong where I live, which is residually a strong Gaeltacht area, and whose landscape, culture and history speak to me in Irish more than in English. So the subject and originating circumstances usually now determine the language in which I write, as well as any social or linguistic situation which may have given rise to the poem.
On a slightly different note, I find it puzzling, and indeed a matter of regret, that poets who are capable of writing in both languages so seldom do so. Of course I understand that poetry needs sources with cultural and linguistic depth that goes beyond competence, but I cannot help thinking that the choice is still often influenced – in both linguistic directions – by a hangover from the nationalistic and political takeover of the Gaelic Revival , which I believe has done great damage to the language. I greatly regret, for example, that Michael Hartnett bade A Farewell to English rather than simply making Irish welcome. Further back, I think it’s a great pity that Douglas Hyde – who opposed the nationalistic hijacking of Irish – did not write “The Necessity for Gaelicising Ireland” rather than “The Necessity for De-Anglicising Ireland”.
Let it be said, of course, that those who would dismiss our Gaelic inheritance, for either ideological or meretriciously pragmatic reasons, do no service to our cultural life. Irish life and Irish poetry should celebrate the possibility of being genuinely bilingual, and not decide to close one eye in order to favour the other.
Many Irish language poets (who speak fluent English) prefer to have others translate their work, perhaps as a way to keep the energy within the language. How do you approach that task with regard to your own poems, a number of which appear in your new book as they did in earlier volumes?
To be honest, translating myself was a matter of necessity as much as of choice – there was no queue of translators lining up to take on the work! But really I approach the task as I do when I’m translating the poems of, say, Cathal Ó Searcaigh or Gabriel Rosenstock. That is to respect the work, to be as close as possible to the original in meaning, line structure, sound patterns and so forth, while at the same time producing a poem which works in its own right. Obviously, as far as rhyme or other sound patterns is concerned, this can mean finding equivalence rather than exact reflection. The same applies to idioms, metaphors and so on. As a rule of thumb, if I feel I can’t do that, I try to avoid translating the poem.
Some years back you edited the anthology Voices at the World’s Edge, a volume of poetry and prose (with photographs) inspired by the visits under your guidance of a number of poets to Skellig Michael, a place that’s part of the physical and mental landscape you inhabit. If one could put aside the crassness of turning the Skelligs into a kind of monastic Disneyland, as some Government ministers seem determined to do, how would you describe their real value in contemporary Ireland? Do you think we’ve lost the ability to admire and cherish places we are unable to master?
The island isn’t actually visible from my house, as it lies just behind Bolus Head, the northern headland of the two which enclose Ballinskelligs Bay, or Bá na Scealg, on the edge of which I live. But I suppose you could say that for a long time I have had an imaginative line of sight to Skellig, and that it has been central to my imaginative and poetic world for most of my writing life.
The value of Skellig Michael, even in a country which is increasingly post-religious, is primarily spiritual. In other words, it provides an entrance into otherness, otherness of time and place, otherness which I have seen have a profound effect on believers and atheists alike.
And of course there is the extraordinary wildlife and physical beauty of the place, which are part of that spiritual dimension, along with its role in mythology, history, folklore and the various combinations of all three which animate our perceptions of it. The commoditisation xxx of this extraordinary and place is indeed crass. One of the most shameful things I have seen in respect to Sceilg Mhichíl is a tourism promotion film, for which Fáilte Ireland actually paid €25,000 to Disney Lucas, and in which the Minister for Arts, Heritage and the Gaeltacht spoke. Neither she nor anybody else in the film even mentioned that there was an intact Early Christian monastic site on the island. It’s only quality, the viewers are implicitly told, is how well it fits into the Star Wars narrative. It would be shocking were Donald Trump to say it. To have a government with this mentality – and this went to the highest level of government – is profoundly disturbing. Significantly J.J. Abrams expressed amazement in the film that he had been permitted to film on Skellig. He must have been amazed at the gombeen mentality that secretly gave him that permission.
Your new book takes its title from a line by Hopkins. And Hopkins is something of a guiding presence in a good deal of your writing. What is it you admire in him? Is his influence more marked in your English language writing?
I had always liked Hopkins, from schooldays on. I admire his open and absorbent sensibility, and I recognise, even though I no longer share, his fear-ridden and guilt-ridden Catholicism. He makes great poetry out of feelings and thoughts that I grew up with. I am also fascinated by his intelligence and craft. It seems to me that he combines the sensibility of a romantic poet with the intelligence and craft of a metaphysical poet. When I did an MA with the Open University after retiring from teaching in 1990, I wrote a dissertation on the influence of his feelings of exile and alienation on his Dublin poems. So I read his work fairly intensively at that time. And around the same time, on Skellig Michael, I looked into an abyss (I can be terrified of height) and Hopkins’s lines leaped into my mind:
O the mind, mind has mountains; cliffs of fall
Frightful, sheer, no-man-fathomed. Hold them cheap
May who ne’er hung there. Nor does long our small
Durance deal with that steep or deep. Here! creep,
Wretch, under a comfort serves in a whirlwind: all
Life death does end and each day dies with sleep.
That led to my long sequence “Hopkins on Skellig Michael” where my obsession with Skellig coalesced with my enforced obsession with Hopkins. I should make it clear that Hopkins never went there, but I used an imaginary overnight retreat by Hopkins to explore Hopkins’s mind and work, while physically exploring the island.
As you say, Hopkins is an overt presence in this new collection, especially in “Of Paint and Clay and Words”, a line of which gives the collection its name. As regards his general influence on my writing, I’m sure there is, in both languages. But I think that’s for others to trace. It would feel presumptuous for me to do so.
The Scottish Gaelic poet Somhairle MacGill-Eain / Sorley Maclean has been another significant influence, and you walked in his footsteps, literally and metaphorically, when you translated his collected poems into Irish (Ó Choill go Barr Ghéarain, Coiscéim, 2013) a couple of years back. There’s great love of and understanding of place in his work, and great sadness at what is lost. Is it too much, do you think, to suggest that great poetry always walks a line between celebration and elegy?
Somhairle, whom I had the privilege of meeting a few times, is certainly an influence, in both languages. I think he was by far the greatest Gaelic poet, Irish or Scottish, of his era. That’s why I took the decision, against all good sense and reason, to translate his collected poems into Irish. I was very aware that the potential readership of poetry in a threatened minority language translated into a sister threatened minority language would be of interest to a minority of a minority of a minority. But I got enormous satisfaction from it, despite it being such challenging work over a period of three years.
I have also dedicated two poems to him, one in English and another in Irish. And, although the connections is disguised rather than overt, the poem ‘The Music Master and the Poet’ in my new collection is based on a story the poet and musicologist John Purser, who lives on Skye, told me about himself and Somhairle.
I also got great satisfaction out of working with my son, Éanna de Buis, on his film Ar Lorg Shomhairle: In Sorley’s Footsteps in which we traced Somhairle’s poetry in the landscape of Skye and Raasay which stimulated so much of his poetry, even though he rarely took landscape description as a subject for his poems. But he embodied love poems, political poems and historical poems in his landscape, in works of enormous power, beauty and above all, integrity.
I think there is a great deal of truth in what you say about elegy and celebration in great poetry. I’ll pass on whether or not it applies to all great poetry, but it certainly applies to many great works of art, be they literary, dramatic, musical, visual or whatever. And I would certainly think that all elegy necessarily implies celebration.
That sense of both celebration and elegy is certainly evident in the poem sequence here about Tech Amergin, the arts centre in which you and your wife Fíona were very much involved for many years. Arguments like this often, and rightly, take place in the public arena of a local newspaper. What are you hopes and intentions in giving it a new life in verse?
That sequence, which I found extraordinarily difficult to write, and still find difficult to read aloud, started out as an outburst of rage and of contempt for the bureaucracy which, in an act of corporate revenge and vindictiveness, got rid of the voluntary group which for a number of years, on a completely voluntary basis, had run a high-quality, wide-ranging arts programme at a tiny cost, and at no cost to the educational committee which held legal ownership of the centre, again entirely due to local voluntary effort. At the moment, four years later, there is a minimal programme which is a shadow of what there used to be.
The detail of that deliberate destruction of an arts programme is for another day. But as I was writing the poem, I realised that merely to vent my anger and contempt might give me temporary satisfaction, but would tell a very limited story. So I decided also to celebrate what there had been, and to try to show a little of how precious it had been in the community, and how the bureaucratic bullying which lay behind the destruction of that preciousness hurt the community which the bureaucracy nominally served. I hope the poem speaks for the belief that all communities are enriched by access to the arts, and becomes a plea for that access to be universal.
Link: On A Turning Wing by Paddy Bushe