10.1.17

Who will win the 2017 T S Eliot Prize?


My choice for the best book of poetry of 2016 would be Ian Duhig's The Blind Roadmaker. I said pretty much everything I wanted to about it in my Guardian review of it earlier this year, printed below. But without very much encouragement, I could just as easily heap superlatives on it, so here we go -- it's funny, smart, generous, crafty and crafted, beautiful, wise, and the work of a poet who's not only mastered his trade, but possesses two rare qualities in complete abundance: humility and boundless curiosity. Duhig is the real deal, and deserves the accolade of the T S Eliot Prize more than any in my opinion; even in a year with a fair few worthy contenders. I'll be keeping my fingers firmly crossed.


As a dictionary plunderer who knows a lot about a lot of things, Ian Duhig’s eclectic enthusiasms and often laugh-out-loud wit make him poetry’s answer to Stephen Fry. Popular but complex, comic yet serious, no one could accuse his verse of being dull or predictable. “My experience of poetic ideas is that they don’t stand there waiting calmly until you’re ready to receive them,” Duhig once said, “you have to rush out and welcome them immediately.”

The presiding spirit of The Blind Road-Maker, his seventh book of poems, arrives in “The Ballad of Blind Jack Metcalf”, a hymn to the 18th-century Yorkshire civil engineer, blind from childhood, who learned to read by “feeling headstone faces”. Metcalf ends up figuring as a kind of alternative self to Duhig, having built the Leeds road on which the poet now lives. He is a man born in darkness who operates with remarkable determination and conviction, while the poet, in Duhig’s own words, “stumbles about in the light”, trying to make sense of an often chaotic world in apparently plain sight. Stood, as one poem has it, “In His Shadow”, Duhig demonstrates a refreshing and self-effacing respect for this almost folkloric figure: “Testing stones to bed his roads’ black tongues, / I heard how Jack rolled them around his mouth / ‘like new words’. But I wouldn’t know about that.”

This being Duhig, though, The Blind Road-Maker isn’t solely a series of character portraits of “Blind Jack”, nor even the example of his eventful life. The original working title for the collection was Ashtrayland, a term lifted from Bernard Hare’s study Urban Grimshaw and the Shed Crew, a tale of all-too-real anarchy and sink-estate poverty among the dispossessed youth of northern England. “Ashtrayland” is the eponymous Leeds gang’s name for England, a place whose history and culture they feel distanced and excluded from. As the “The Blue Queen of Ashtrayland” has it, “What the fuck’s the Holy Grail?”


Resolving to commemorate and mythologise Britain’s underclass on their own terms, Duhig enables the excluded to claim a home in the language. They may not have a round table, settling instead to “hand round / White Lightning in two-litre flasks”, but through the poet’s words the “Queen” and “her knights” become the modern stuff of Arthurian legend: “Her hair glows, burnished as the gold / that trims her Nike cardigan; / Ionian white her Fila trainers”. Merging poetic balladry with unflinching realism, these lines tread expertly between bleak comedy and angry social commentary. Given that he spent 15 years working in homeless shelters and drug-addiction centres before becoming a full-time writer, it is no surprise that Duhig’s unpatronising sympathy and humanity shines through his verse. At the end of the disturbing “Ashtrayville”, the poem has the reader receive a “silent watch … for your long service” to an unnamed, derelict city, at which “you weep with pride. Then you just weep.” The compassionate political and social conscience that Duhig displays here is vital, an attitude our current leaders would do well to embrace.

If the poet’s interest in Metcalf and the characters of “Ashtrayland” is partly about singing songs of the forgotten and voiceless, much else in The Blind Road-Maker focuses on poetry as a fundamentally collaborative process, operating within the shared and ideally egalitarian medium of language. “The Plagiarist’s Song” unpacks the complicated layers of meaning in that term: “Plagiarus also means ‘seducer’”, we are told, before the poem points to “lip service as unpaid // as Hell or Dante’s debt to Ibn ‘Arabī”, only one example of the appropriation, incorporation, retelling and outright theft that not only defines, but to a large extent makes, our great global literary tradition. Where do we draw the line? As the poet writes of the folk singer Bert Lloyd, who deceptively invented the sources for his “traditional” songs, “Which line was written by Bert Lloyd / the song won’t care, of course, / … Ghost-writing for his unborn ghosts / perfected Bert’s own style”.

In our self-centred age of attributed authorship and intellectual copyright, Duhig upsets the applecart by harking back to our folkloric oral traditions, and many a cherished modern example of literary cribbing and borrowing. His own such behaviour is a masterclass in modern parody and satire. The longest poem here, “Canto”, is a rollicking homage to Byron’s Don Juan that is as bawdy and provocative as the Romantic poet could hope, its highlight an unlikely fistfight between the poets Geoffrey Hill and JH Prynne. “The outcome of their contest’s undecided still, / being fought in an impenetrable fog”, scoffs our narrator, “is Prynne why now your average college nerdsworth / shuns Byron to study bloody Wordsworth?”

Elsewhere in the collection, Duhig himself lays himself open to being accused of such abstruse meanderings through dense cultural, historical and geographical references. But it is his sense of humour, self-awareness and democratising attitude that steer his poetry clear of pretension. As he writes of a poetry workshop he once ran with old soldiers at Age Concern, “They’d lost that battle with the word, / believing too much better left unsaid”. Encouraging them to let it out “into words they feared betrayed it”, Duhig ends on a stark and humble note: “And I learned why they were right”. The Blind Road-Maker is a generous, smart and big-hearted book of poems, from a writer who truly values the whole of life as it is variously lived.

review by Ben Wilkinson

first published in The Guardian


27.9.16

      The Catch




For you, the catch wasn't something caught:
not word or contender, attention or fire.
Not the almost-missed train, or the sort
of wave surfers might wait an entire
lifetime for. Not the promise that leaves
the old man adrift for days, his boat
creaking, miles offshore. Nor what cleaves
the heart in two, that left your throat
parched and mute for taking pill
after yellow-green pill, the black-blue
taste the price you paid to kill
the two-parts sadness to one-part anger.
No. The catch was what you could never
let go. It's what you carried, and still do.












poem by Ben Wilkinson


from For Real (Smith|Doorstop Books, 2014)

1.9.16

Way More Than Luck
(Seren Books, 2018; forthcoming)


From the thumping heartbeat of the distance runner to the roar of football terraces across the decades, Ben Wilkinson’s debut confronts the struggles and passions that come to shape a life. Beginning with an interrogation of experiences of clinical depression and the redemptive power of art and running, the collection centres on a series of vivid character portraits, giving life to some of football's legends. By turns frank, comic, sinister and meditative – ‘the trouble with you, son, is that all your brains are in your head’ – these poems uncover the beautiful game’s magic and absurdity, hopes and disappointments, as striking metaphors for our everyday dramas. Elsewhere there are tender love poems, political satire and strange dream worlds, in an urgently lyrical book of poems that take many forms and modes of address: pantoum, sonnet, sestina; epistle, confession, dramatic monologue. All are united by a desire to speak with searching clarity about matters of the heart. Way More Than Luck is a book that shows how pain often comes to define our happiness; how we keep on in a world of chance, uncertainty and change.


Due from Seren Books in early 2018.



28.8.16

The Three Ages of Muldoon:
Paul Muldoon's One Thousand Things Worth Knowing - review




Back when The Poetry Review used to include caricatures, Paul Muldoon emerged from its pages as a rattlesnake. Sporting his trademark Dylan-esque barnet and NHS specs, his trickster’s tie wriggled from a hieroglyph-inscribed basket. The image sticks because it fits. For the past forty years Muldoon has danced to his own tune, snake charmer to slippery, sly, fun but also menacing poems, borne of precocious technical mastery and increasingly reckless imaginative abandon. Boyish wonder meets a cynical intelligence. Playfulness and seriousness blur to one and the same. In his best poems – and by now, the longevity of his 70s and 80s lyric masterpieces ‘Wind and Tree’, ‘Mules’, ‘Why Brownlee Left’, ‘Cuba’, ‘The Sightseers’ and ‘Quoof’ seem beyond sensible question – the rhyming panache and lexical grace lure you in. But so too do the brevity, the deceptive clarity, the eye-widening exactitude. Form and flawless execution jostle with a beady-eyed mischievousness and darkness, unpicking favoured discomfiting themes: death, disappearance, sex, divisions both personal and public, and the sense that our pursuit of meaning is, finally, a flawed and laughable quest, though not without reward.

One Thousand Things Worth Knowing is Muldoon’s twelfth collection. It arrives midway through the poet’s sixty-fourth year, a year following one that began with the passing of Seamus Heaney, champion to the wunderkind Muldoon, and from whom the once protégé now inherits the title of Ireland’s greatest living poet. In truth, though, followers of Muldoon the pied piper have been pushing for his promotion for a while. When Stephen Knight called him “the most significant English-language poet born since the Second World War”, echoing Tim Kendall’s similar pronouncements, he sounded a degree of cautious deference to the old master, but the claim was clear. Even the most astute, punctilious critics have reached for superlatives in praising this rara avis: “among discriminating readers of new poetry, no one’s stock is any higher” announced Michael Hofmann. The acclaim rings true. Muldoon really is as good as he seems.

Or rather, he was. Like one of his own hypnotic narrative poems, there are a couple of twists in the strange tale of Muldoon’s fecund career. Since the early Noughties and the publication of his hefty Poems 1968–1998, Muldoon’s work has usually been divided into two – what David Wheatley, with pious irreverence, labelled the ‘Muldoon Old Testament’ of New Weather (1973) to Quoof (1983), and the New Testament of Meeting the British (1987) to Hay (1998). Quoof was arguably the high point of the early style, a book of pellucid yet complex lyric poems that conveyed both the tragic farce and violent horror of sectarian conflict during the Northern Irish Troubles, in a style as comically parodic as it was coolly matter-of-fact. It marked out the postmodernist Muldoon from his more genteelly Modern predecessors, and gifted him passage to the US, specifically the ivory towers of Princeton. From there, the magic mushrooms first gathered in Quoof met the acid trip of ‘Something Else Again’, a mid-life mantra that exalted a poetics of wild connection-making, paving the way for the cultural stockpiling and myth-kitty raiding that finds its apogee in Madoc: A Mystery (1990) and Hay’s ‘The Bangle (Slight Return)’. The former, a reimagining of Coleridge and Southey’s thwarted ideal of an egalitarian utopia, is relayed from the perspective of a prisoner’s failing vision (geddit?) in the futuristic city of Unitel, with sections often randomly captioned after philosophers. Are we to take such bustling extempore as an opportunity for rewarding exegesis, or is Muldoon just taking the mick, leaving us high and dry, as he has confessed before, “in some corner at a terrible party, where I’ve nipped out through the bathroom window”? Whatever your verdict, there’s no denying such poems have earned an almost entirely academic audience. Schooled readers might think they’re in on the joke, that the red herrings of allusions and etymological conjecture are worth the price of entry, but to me, Madoc still looks like an overlong, winking yet all-too-literal illustration of the misguided search for “a moral for our times”, one that a younger Muldoon roundly mocked in ‘The Frog’. “What if I put him to my head / and squeezed it out of him?”

Which brings us to what I’d like to suggest as the third age of Muldoon: the apocrypha to the two Testaments, which seems to bear the stylistic signature but far too little of the earlier understated brilliance, enough to make it suspect. In this often manic hall of mirrors where language and trivia run about, cartoon-like, to a soundtrack of canned laughter and the odd sentimental tune, things seem mainly to go from bad to worse, albeit by the perilously high standards of the Muldoon glory days. Starting with Horse Latitudes (2006) – though sparing at least the magnificent, witty, heartfelt ‘Sillyhow Stride’, a paean to Muldoon’s mother and sister, and his musician friend Warren Zevon, all of who battled with cancer – we arrive via 2010’s Maggot at this new collection.

I’ve taken this review as opportunity for a detailed appraisal of the Muldoon back catalogue for three reasons. First, because I’d wager that anyone not wholly conversant with his poetry’s trajectory would struggle to make head or tail of One Thousand Things Worth Knowing; second, because I honestly can’t find anything like those earlier poems to amaze or admire in this new stuff; and third, because Paul Muldoon so rarely gets to any kind of point in this book I thought I’d briefly grant myself similar license. The collection opens with ‘Cuthbert and the Otters’, a 10-page piece in memory of Seamus Heaney, originally commissioned by Durham Book Festival. Adopting the legend of the eponymous Northumbrian saint, whose famous piety and diligence afforded him a Doctor Doolittle-like rapport with God’s creatures, Muldoon invokes some loose metaphorical comparisons with the late great poet. So far, so good. Until, that is, Muldoon’s hyperactive mind, limitless love of arcana, and growing distaste for anything so memorable as argument or cohesion drown the whole thing out with, it seems, whatever popped into his head while writing:


The way to preserve a hide is not by working into it Irish moss or casein

but the very brains
of the very beast that was erstwhile so comfortable in its skin.
Irish monasticism may well derive from Egypt.
We don’t discount the doings of the Desert Fox
any more than Lil Langtry’s shenanigans with Prince
Louise of Battenberg. The 1920s vogue for sequins
began with Tutenkhamen. Five wise virgins

– and so on (and on and on). If there is substance here – and surely there must be in an elegy for a departed mentor – the poem bombards you with so much disparate intellectual litter, you can’t hope to sift through it all to find it. Some will say this lack of any point is the point, that confusion is king, but when it sets the scene for an entire book, and when Muldoon has been up to this sort of zaniness for at least a decade, it all becomes rather mundane and forgettable. “When I glance / from my hotel window”, our poet observes, “even I discern / a possibility / I might too readily have spurned”. Surely not. Still, there’s always the trivia. Did you know that Roman women “let // their hair grow right down to their waists / for twisting into skeins” for catapults? What connects ‘Barrage Balloons, Buck Alec, Bird Flu, and You’? “Arthritis is to psoriasis as Portugal is to …”? “Wait. Isn’t arthritis to psoriasis as Brazil is to Portugal?”

As Muldoon merrily loses his way in One Thousand Things Worth Knowing, in overblown tour de force after tour de force, letting his brilliant mind and unrivalled ability with rhyme, form and syntax too often overwhelm the hope of poetry occurring, there is the sense that the genuine alchemist of our times has become content to produce fool’s gold. But then you can hardly blame him. Only one or two poets in any generation will ever know what it’s like to be so gifted that technique, capacity and sheer panache come to implode on themselves. The epigraph to ‘The Firing Squad’ is an excerpt from a letter by Robert Frost, dated 1916, in which he confesses that “the poet in me died nearly ten years ago”. Telling, you might think. There are many timeless Muldoon poems worth knowing, inside out and off by heart. But, for me, none of the like are in this volume.



review by Ben Wilkinson

first published in The Poetry Review