7 Questions on Poetry, answered by Patrick Kehoe, poet and arts journalist. His most recent collections of poems are Places to Sleep (Salmon Poetry, 2018) and The Cask of Moonlight (Dedalus Press, 2014).
Do you remember How, or When, or even Why you started writing poems (as opposed to songs, say, or fiction)?
I recall writing poems that were like company or friends to me, at St Peter’s College around 1972 in a blue notebook. I recall pleasure in particular from a poem I wrote about the evening sky changing in the month of October outside the study room windows into night. A great passage through dusk, twilight.
The poem was, I could see, close in its imagery to what I wanted, which engendered a peculiar satisfaction. Such versifying was predicated on the fact that I was conscious of being in boarding school for a five-year sentence and that my freedom was compromised. The view from the study room window was akin to Oscar Wilde’s ‘tent of blue’ as seen from the confines of Reading Gaol.
Five years is a huge block of time in the middle of your early adolescence. It was not relevant that you got home for holidays, you could not be philosophical about time passing quickly, as one ruefully is when one is much older.
So poetry was an imaginative liberation. It is strange that when you endure – or enjoy, as I sometimes did – those days, that one day they will seem so long ago, so much an afterthought.
Rather than doing my study, I loved watching the light fade and the way bits of cloud turned red and then lost the red, or yellow faded somewhere else. I put these visual elements into a poem called ‘Seasons at Saint Peters’ in my book The Cask of Moonlight.
Do you have a favourite poet, or even a favourite poem? A poem you think everyone should read, even know by heart?
I recall in 1973/1974 my friend Eamonn Wall had a few of those Modern European Poets selections from Penguin which I wish they would reissue in exactly the same livery now 40 years on. Jiménez shared a volume with Machado, there was a selection of Mallarmé.
I have only two or three of such volumes but I am very fond of the first half of my Selected Eugenio Montale, the earlier poems, from Ossi di Seppia (Bones of the Cuttlefish) and other early to mid-period work. It’s a peuce-covered slim volume purchased in Copenhagen in 1977.
In general, would you say that you write to expand on an image or idea or to compress and focus it?
How much do you edit? How much do you know where you’re going and how much do you blindly feel your way?
It’s like a sprint to the finish and I know it will be a short sprint, i.e. a short poem, so there is no real pressure. Once done and let rest for a day or so, I realise I must go back to the start again and forget the sprinting. Rather, crawl on my hands and feet around the words as though they were obstacles, but also turnstiles letting me in when I select the right one.
What’s your relationship with ‘received forms’ (the sonnet, ballad, villanelle etc)? Are there other non-traditional form restrictions you place on your work?
Have you ever been a part of a writing workshop and, if so, what do you think you gained from it. If not, is there any reason why not?
A great deal of your poetry is concerned with / based in, Barcelona in the 1970s. Is there something about that place and period that has a special ‘hold’ on you? Is the distance from it (in time and space) a help or a hindrance?