Oliver Sacks on iPods

'Brainworms, Sticky Music, and Catchy Tunes' in Musicophilia: Tales of Music and the Brain by Oliver Sacks (2007):

Half of us are plugged into iPods, immersed in daylong concerns of our own choosing, virtually oblivious to the environment--and for those who are not plugged in, there is nonstop music, unavoidable and often of deafening intensity, in restaurants, bars, shops, and gyms. This barrage of music puts a certain strain on our exquisitely sensitive auditory systems, which cannot be overloaded without dire consequences. One such consequence is the ever-increasing prevalence of serious hearing loss, even among young people, and particularly among musicians. Another is the omnipresence of annoyingly catchy tunes, the brainworms that arrive unbidden and leave only in their own time--catchy tunes that may, in fact, be nothing more than advertisements for toothpaste but are, neurologically, completely irresistible.

James Fenton on Douglas Dunn

'Goodbye to All That?' from The Strength of Poetry (2001) by James Fenton:

There was a time when, given the belief that empire was an absurdity and 'all that was in the past', a poet like Douglas Dunn could write his 'Poem in Praise of the British' confident that his ironies were shared....One could say of it that it takes nothing seriously, is unshockable and untroubled. The past is this wonderful absurdity. the politicians of the Right are not to be feared. We are living in this wonderful afterglow, and all is well. One of the things one would not have guessed about Terry Street when it came out was that its author was Scottish. In fact, given that most of the poems in the book are about a working-class district in Hull, one might perhaps have supposed him English. 'A Poem in Praise of the British' was untypical of its volume, but not untypical of the way Dunn later wrote at times, when he wrote as if he were expressing himself in French, in an easygoing, dandyish way of which sometimes tempted him. But what is absolutely untypical of the later Dunn is the insouciance with which he treats the subject of empire. Within ten years, in the volume called Barbarians, which shows the influence of the hard revolutionary Left, you find a poem called 'Empires' which might alos have been written to remedy the defects in seriousness of the earlier one....Soldiers are no longer funny. Empire is no longer an amusing mystery. By now Dunn has begun to think of himself as a barbarian to idenitfy with the victims of empire. And this phase gives way to a further phase in which, to a great extent, his Scottishness becomes his subject matter. He returns to his roots.

'A Poem in Praise of the British' (quoted in the above essay) from Terry Street (1969) by Douglas Dunn:

The regiments of dumb gunners go to bed early.
The soldiers, sleepy after running up and down
The private British Army meadows,
Clean the daisies off their mammoth boots.
The general goes pink in his bath reading
Lives of the Great Croquet Players.
At Aldershot, beside foot-stamping squares,
Young officers drink tea and touch their toes.

Heavy rain everywhere washes up the bones of British
Where did all that power come from, the wish
To be inert, but rich and strong, to have too much?
Where does glory come from, and when it's gone
Why are old soldiers sour and the banks empty?
But how sweet is the weakness after Empire
In the garden of a flat, safe country shire,
Watching the beauty of the random, spare, superfluous,

Drifting as if in sleep to the ranks of memorialists
That wait like cabs to take us off down easy street,
To the redcoat armies, and the flags and treaties
In the marvellous archives, preserved like leaves in books.
The archivist wears a sword and clipped moustache.
He files our memories, more precious than light,
To be of easy access to politicians of the Right,
Who are now sleeping, like undertakers on black cushions.

Reuven Tsur on the Heart Conceit

[old] What is Cognitive Poetics? (1982) by Reuven Tsur:

According to migratory theory, someone at the dawn of the history of literature happily 'hit' upon this heart-conceit; from this point on, the conceit migrated until it reached the Arab poets in Spain, who transmitted it to the Hebrew poets of the eleventh century in Spain, as well as to the Provençal poets, who are known to have influenced the poets of the dolce stil nuovo in Italy, who are known to have influenced English Metaphysical poetry. The geographical proximity of Provençe to Paris may account for the appearance of the conceit in Villon's poetry. This explanation is not without geographical or chronological plausibility; but it appears to be too concrete, too uneconomical, and to leave too much to chance. Above all, it does not explain how poets and readers of poetry handle novel conceits. it fails to explain why an earlier poet should be more likely to 'hit' upon a certain conceit than a later one. In addition, the above explanation is counter-intuitive from the point of view of what we seem to know about the inventiveness and ingenuity of the Metaphysical poets.

Luce Irigaray on Sharing the World

Sharing the World: From Intimate to Global Relations: We are accustomed to considering the other as an individual without paying sufficient attention to the particular world or specific culture to which the other belongs. A phenomenological approach to this question offers some help, notably through Heidegger's analyses of 'Dasein', 'being-in-the-world' and 'being with'. Nevertheless, according to Heidegger, it remains almost impossible to identify an other outside of our own world. 'Otherness' is subjected to the same values by which we are ourselves defined and thus we remain in 'sameness'. In this age of multiculturalism and in the light of Nietzsche's criticism of our values and Heidegger's deconstruction of our interpretation of truth, Irigaray questions the validity of the 'sameness' that sits at the root of Western culture.

How to Share the World: Luce Irigaray's public lecture at Queen Mary, University of London on 19 June:

We cannot share the world as it already is, with the exception of the natural world. The world that we can share is always and still to be elaborated by us and between us starting from what and who we are as humans here and now. Humans who endeavour to use their own energy as well as that arising from their difference to create a world in which we can live in peace and happiness.

The End Doesn't Justify the Memes

Mind Hacks lists two TED talks on memes:

• Daniel C Dennett on 'the awesome power of memes'.


• Susan Blackmore on 'memes and temes'.

Months ago, reading up on this area of study, memetics seemed worth considering (especially Blackmore's passionate explanations). But after reading Darwinizing Culture: The Status of Memetics as a Science (2000), a collection of essays by experts from different fields on this new discipline, edited by Richard Aunger. I was quite disappointed that in Dennett's foreword he says 'I am not entirely persuaded by any of the chapters in this book'. (vii)

Of the nine contributors to the collection five object to the idea forwarded by memeticists:

• Rosaria Conte makes a most polite assessment of meme literature using the social cognitive perspective. She praises advantages of the field and describes some disadvantages but focuses on one unsatisfactory aspect: the conceptualization of the requirements of memetic processes.



• Robert Boyd and Peter J Richerson conclude that memes are not 'a universal acid' (one of Dennett's metaphors in Darwin's
  Dangerous Idea) and assert that 'population thinking is a better mousetrap'. (161)



• Dan Sperber's objection has to do with memeticists not having empirical evidence to support their claims that '...in the micro-processes of cultural transmission, elements of culture inherit all or nearly all their relevant properties for other elements of culture that they replicate.' (173) He ends by saying 'imitation, even if not ubiquitous, is of course well worth investigating. The grand project of memetics, on the other hand, is misguided'. (173) But there's hope in studying imitation.



• Maurice Bloch puts forward the previous arguments against the diffusionists by American and British critics:
  
  
  1. Memes like traits don't spread like a virus but are 'continually and completely made and unmade during communication' (I still have to read more on this) and;
  
  
  2. Culture is not a single isolable type which means that transmission of it is of many types. (201)
  
  
  He simply thinks that memes don't exist and Blackmore (whose 'The meme's eye view' essay argues strongly for memes) hasn't presented convincingly her case.



• To this Adam Kuper agrees by concluding that '[memetecists have] yet to deliver a single original and plausible analysis of any cultural or social process'. (187)

Coriana Six provides a more thorough assessment of the collection (December 2007).

In Blackmore's The Meme Machine and most of her articles found online, it is easy to take Bloch's side. Blackmore is quite passionate about her study but most of her research is speculative. She has an article in Aesthetica Magazine (July 2006) called Memes, creativity and consciousness:

We are the meme machines that culture is using for its own propagation. No wonder the planet is in such dire straights; we have unwittingly taken on this parasitic new replication system and it is spreading all over the globe, using up all the natural resources. This is how I became interested in the role of art and creativity. We may think that human consciousness is what makes us creative, but on this new view, all creativity is an evolutionary process. Just as elephants and the AIDS virus were novel creations of genetic evolution, so all of music, literature, and art are novel creations of memetic evolution. We human meme machines copy old memes, mix them up in our heads, and spew out new combinations--the most creative of us being the best copiers and recombiners of memes.

Reading this should convince any artist that memeticists like Blackmore 'overstand' the creative processes. In his recent Enlightenment lecture at the University of Edinburgh, Steven Pinker was asked his opinion of memes. His reply: after 32 years, the study of memes has yielded no great progress. In How the Mind Works (1997) he says: '...a complex meme does not arise from the retention of copying errors...[but] because some person knuckles down, racks his brain, musters his ingenuity, and composes or writes or paints of invents something'. (209)

---

Mind Hacks also reports that in 2006 Dennett had a falling out with fellow Darwinian Michael Ruse.

Some of the exchange can be found in When evolutionists attack, where Ruse says:

'I am a hardline Darwinian and always have been very publicly when it cost me status and respect--in fact, I am more hardline than you [Dennett] are, because I don't buy into this meme bullshit but put everything--especially including ethics--in the language of genes.'

Darwin a Plagiarist?

Mail-boat record 'proves Darwin stole his original ideas from a Welsh scientist’: 'Professor Gaastra’s great contribution was that he was able to show that two crucial letters written by [Alfred Russel] Wallace between October 1856 and March 1858 arrived in Britain long before Darwin admitted they had. Wallace’s ideas appeared in Darwin’s work soon afterwards.'

Darwin 'ripped off' theory of evolution: According to author Roy Davies, former head of factual programming for BBC Wales, new evidence demonstrates that Charles Darwin stole his theory of evolution from a Welsh scientist working in Indonesia.

The Darwin Conspiracy: Origins of a Scientific Crime:

[The book] examines how Darwin struggled for years in scientific dead-ends until he was presented with the solution to the greatest scientific puzzle of his day by a naïve naturalist collecting beetles in a tropical jungle. So began the conspiracy by which eminent scientists promoted the ideas of Darwin ahead of those of Wallace in order to achieve ever-lasting fame for their greatest friend. Using extensive research about contemporary shipping time tables and Darwin's own correspondence, the author challenges the commonly-held belief that Darwin scored a scientific breakthrough when in reality he used another man's insights for his own benefit, and committed one of the greatest scientific crimes in history. [This book] is a true story about deceit and deception and stands as an outstanding metaphor for the idea of survival of the fittest.

The Alfred Russel Wallace Memorial Fund: 2008 marks the 150th anniversary of the Darwin and Wallace’s discovery of natural selection, yet although this is probably the most important anniversary in the field of biology (and beyond), we are aware of very few events planned to mark this momentous occasion!

Pride and Prejudice...and Autism

So Odd a Mixture: Along the Autistic Spectrum in Pride and Prejudice (2007):

[This book] looks at eight seemingly diverse characters in Austen's classic novel, Pride and Prejudice, who display autistic traits. These characters--five in the Bennet family and three in the extended family of the Fitzwilliams--have fundamental difficulties with communication, empathy and theory of mind. Perhaps it is high-functioning autism or Asperger's Syndrome that provides an explanation for some characters' awkward behaviour at crowded balls, their frequent silences or their tendency to lapse into monologues rather than truly converse with others.

Book review by Michael Giffen: There's a danger when we apply clinical disorders to persons or characters we don't understand or don't like. Look at what critics who never knew Patrick White did to him and his novels.

High among the frontier problems between psychoanalysis and criticism, C.S. Lewis notices some critics use psychoanalysis to infer the pathology of an author from his or her work, which results not in literary criticism but in pathological biography.

Pinker in Edinburgh

Steven Pinker at the University of Edinburgh's Enlightenment lecture series: In his lecture, Prof Steven Pinker will explore an example of each: everyday metaphor as a window into human cognition; swearing and taboo words as a window into human emotion; and indirect speech-veiled threats and bribes, polite requests, and sexual come-ons as a window into human relationships. 6 June at McEwan Hall.

[video] Pinker's TED Talks lecture on The Stuff of Thought (July 2005): In an exclusive preview of his book The Stuff of Thought, Steven Pinker looks at language and how it expresses what goes on in our minds--and how the words we choose communicate much more than we realize.

(Thanks to aliiis for the announcement.)

Steven Pinker on Combinatorial Grammar

'The Infinite Library' in Words and Rules: The Ingredients of Language (1999): Pinker argues that language is composed of a mental dictionary and a mental grammar of creative rules:

Combinatorial grammar allows us to talk about a combinatorial world, a world in which violets could be red or a man could bite a dog. Yet familiar objects and actions around us often form a noncombinatorial list of distinctive kinds. When we merely have to single out one of them, a combinatorial system is overkill. We never will have to refer to fish with an enmity to sheep or to military actions with scales and reddish flesh, and that's what a combinatorial system for words like Wilkins's allows us to do. To refer to everyday things it's easier to say dog or fish than to work through a complicated taxonomy that is just a fancy way of singling out dogs or fish anyway.

Exchange between John R Searle and Pinker on the book (June 2002).

Pinker: How can we explain these cavalier misreadings? For ten years Searle has insisted that he has a philosophical argument which proves that cognitive psychology, cognitive neuroscience, and linguistics are based on 'stunning mistakes'. The main mistake lies in analyzing mental phenomena as forms of information-processing.

Searle's three basic objections to Pinker's account are 1) 'an obsession with combinatorial grammar is not a defining feature of rationalism in its debate with empiricism'; 2) 'when [Pinker] does try to describe the essential difference between rationalism and empiricism he gets it wrong'; and 3) 'the debate about the past tense is not a case in which "two great systems of Western thought (rationalism and empiricism) may be tested and compared on a single rich set of data"'.

Stephen Dobyns on Yannis Ritsos

Ritsos and the Metaphysical Moment in Best Words, Best Order (1996) by Stephen Dobyns:

For Ritsos, what is important is that a connection is made between human beings and that our lives have been increased. This is his business as a poet: to help us live by awakening us to something beyond the mundane, by trying to connect us to a mystery that his poems celebrate.

The Meaning of Simplicity from Ritsos in Parentheses (1979) translated by Edmund Keeley:

I hide behind simple things that you may find me;
if you don't find me, you'll find the things,
you'll touch what my hand has touched,
the imprints of our hands will merge.

The August moon glitters in the kitchen
like a pewter pot (it becomes like this because of what I tell you)
it lights up the empty house and the kneeling silence of the house--
always the silence remains kneeling.

Every word is a way out
for an encounter often canceled,
and it's then a word is true, when it insists on a meeting.

Three more from The Negatives of Silence (1987).

Foreign Policy's Public Intellectuals

The Top 100 Public Intellectuals: From the list created of a hundred names compiled by Foreign Policy, the public is asked to vote for five intellectuals. They are some of the world's most introspective philosophers and rabble-rousing clerics. A few write searing works of fiction and uncover the mysteries of the human mind. Others are at the forefront of modern finance, politics, and human rights.

Here is a personal shortlist:

• Noam Chomsky: Professor at the Massachusetts Institute of Technology since 1955...a groundbreaking linguist and a prominent critic of US foreign policy.


• Richard Dawkins: Seminal 1976 work, The Selfish Gene, explores the role played by genes in the evolutionary process. He may be better known today for the criticisms of religion and 'intelligent design' theories.


• Daniel C Dennett: Austin B Fletcher professor of philosophy at Tufts University, where his life's work is building a 'philosophy of mind' to explain how human consciousness works.


• Umberto Eco: His dense novels...are a dizzying blend of philosophy, biblical analysis, and arcane literary references. An expert in the burgeoning field of semiotics, he is president of the Advanced School of Humanist Studies at the University of Bologna.


• Douglas Hofstadter [not in list]: College of Arts and Sciences Distinguished Professor of Cognitive Science at Indiana University Bloomington, where he directs the Center for Research on Concepts and Cognition. His rsearch focuses on consciousness, creativity, at the nature of thinking.


• James Lovelock: His great contribution to science is the famous Gaia hypothesis, the idea that Earth can be thought of as a giant organism.


• Steven Pinker: Johnstone family professor at Harvard University and author of seven books. A frequent essayist, he focuses on language and cognition in his research.


• V.S. Ramachandran: Directs the Center for Brain and Cognition and at the University of California, San Diego. Dawkins calls him the 'Marco Polo of neuroscience' for his work on behavioral neurology.


• E.O. Wilson: Two-time Pulitzer Prize-winner and naturalist, [he] argues that human behaviour can largely be explained by biology. He is Pellegrino university professor emeritus of entomology at Harvard University.

Heterophenomenology and Qualia

Heterophenomenology is Daniel C Dennett's third-person approach to the science of consciousness. It's similar to a method that readers of literature use to believe, detail, and interpret the actions, thoughts, and characters of what they read to form their definitive version of the work of art.

Sweet Dreams: Philosophical Obstacles to a Science of Consciousness (2005) is Dennett's later book on heterophenomenology.

An End to Qualia? Dennett's Defense of Heterophenomenology (Spring 2007): A short review: Dennett goes on the offensive against the 'new mysterians', those who argue that the problem of consciousness is fundamentally unsolvable or requires an explanatory framework outside that used by observational science.

James Longenbach on Jorie Graham

The Wasted Land: Longenbach's review of Sea Change (2007) by Jorie Graham:

In Sea Change, Graham traffics in large statements ('the / end of the world can be imagined', 'fish are starving to death in the Great Barrier Reef'), but at times her thought can seem muddled, her diction puzzlingly imprecise, as when she writes that love is 'like a thing floating out on a frail but / perfect twig-end.' How do we respond to a poet who is certain about the Great Barrier Reef but evasive about what stands before her eyes? .... Counting the swans, observing them closely, is for Yeats a way of reinhabiting ordinary life, as it is for Graham. Except that Graham is suspicious of the work of precision: to her, it feels like 'ownership', as if to name the world certainly were to lock it down, close off possibility, get it wrong. This suspicion is commendable philosophically and politically--especially if one's subject is the end of the world; nobody wants to be Chicken Little. But it's poetically problematic, since poems thrive on precision, and with a skilled poet like Graham, the avoidance of precision should not be anything but precise--a conscious choice to appear confused and incomplete. Why would a poet feign the inability to find the exact word for the thing at the end of a branch? Are a poet's errors of perception comparable to the mistakes that raised the temperature of the Gulf Stream, forcing a plum tree in Normandy to blossom out of season?

[poem] Summer Solstice (2007) from Seachange

The Stuff of Pinker

[video] Steven Pinker on I Want That! (2006): Mr Cube loves Smart Furniture.

Of thought and metaphor (January 2007): On Pinker's new book The Stuff of Thought: Language as a Window into Human Nature.

'Look at almost any passage and you'll find that a paragraph has five or six metaphors in it. It's not that the speaker is trying to be poetic, it's just that that's the way language works. 'Rather than occasionally reaching for a metaphor to communicate, to a very large extent communication is the use of metaphor.'

[old video] The Stuff of Thought (September 2007): Why don't we make grammatical sense when we swear?

[old science news] Holy @&%*! Author Steven Pinker Thinks We're Hardwired to Curse:

[He] takes a fresh look at the 'poo-poo theory', which proposes that swearing was actually the first form of language. He points to the fact that brain-damaged patients who lose the power of articulate speech often retain the ability to curse like a sailor. 'Since swearing involves clearly more ancient parts of the brain...it could be a missing link between animal vocalization and human language.'

What the F***? (October 2007) by Pinker:

The strange emotional power of swearing--as well as the presence of linguistic taboos in all cultures--suggests that taboo words tap into deep and ancient parts of the brain. In general, words have not just a denotation but a connotation: an emotional coloring distinct from what the word literally refers to, as in principled versus stubborn and slender versus scrawny. The difference between a taboo word and its genteel synonyms, such as shit and feces, cunt and vagina, or fucking and making love, is an extreme example of the distinction. Curses provoke a different response than their synonyms in part because connotations and denotations are stored in different parts of the brain.

The Real Siegfried Sassoon

Regeneration (1991) by Pat Barker is the first in the trilogy of novels on the First World War. The excerpt below narrates the first meeting of poets Siegfried Sassoon and Wilfred Owen. The stuttering Owen asks the older, established poet to sign five copies of Sassoon's book:

Owen, feeding the names, would have given anything to say one sentence without stammering. No hope of that--he was far too nervous. Everything about Sassoon intimidated him. His status as a published poet, his height, his good looks, the clipped aristocratic voice, sometimes quick, sometimes halting, but always cold, the bored expression, the way he had of not looking at you when you spoke--shyness, perhaps but it seemed like arrogance. Above all, his reputation for courage. owen had his owen reasons for being sensitive about that. Sassoon reached the last book. Owen felt the meeting begin to slip away from him. Rather desperately, he said, 'I l-liked "The D-Death B-Bed" b-best.' And suddenly he relaxed. It doesn't matter what this Sassoon thought about him, since the real Sassoon was in the poems.

The Death-Bed from The Old Huntsman and Other Poems (1918):

He drowsed and was aware of silence heaped
Round him, unshaken as the steadfast walls;
Aqueous like floating rays of amber light,
Soaring and quivering in the wings of sleep.
Silence and safety; and his mortal shore
Lipped by the inward, moonless waves of death.

Someone was holding water to his mouth.
He swallowed, unresisting; moaned and dropped
Through crimson gloom to darkness; and forgot
The opiate throb and ache that was his wound.
Water--calm, sliding green above the weir.
Water--a sky-lit alley for his boat,
Bird-voiced, and bordered with reflected flowers
And shaken hues of summer; drifting down,
He dipped contented oars, and sighed, and slept.

Night, with a gust of wind, was in the ward,
Blowing the curtain to a glimmering curve.
Night. He was blind; he could not see the stars
Glinting among the wraiths of wandering cloud;
Queer blots of colour, purple, scarlet, green,
Flickered and faded in his drowning eyes.

Rain--he could hear it rustling through the dark;
Fragrance and passionless music woven as one;
Warm rain on drooping roses; pattering showers
That soak the woods; not the harsh rain that sweeps
Behind the thunder, but a trickling peace,
Gently and slowly washing life away.

He stirred, shifting his body; then the pain
Leapt like a prowling beast, and gripped and tore
His groping dreams with grinding claws and fangs.
But someone was beside him; soon he lay
Shuddering because that evil thing had passed.
And death, who'd stepped toward him, paused and stared.

Light many lamps and gather round his bed.
Lend him your eyes, warm blood, and will to live.
Speak to him; rouse him; you may save him yet.
He's young; he hated War; how should he die
When cruel old campaigners win safe through?

But death replied: 'I choose him.' So he went,
And there was silence in the summer night;
Silence and safety; and the veils of sleep.
Then, far away, the thudding of the guns.

More from the Siegfried Sassoon collection at Bartleby.

Wilfred Owen in Edinburgh

[old] Wilfred Owen: A New Biography (2002) by Dominic Hibberd.

[Wilfred Owen] was almost ready to begin his annus mirabilis. Identifying himself with other people was not only an ergotherapeutic discipline but also what poets had to do. Keats had said that a poet should be 'continually informing and filling some other body', and Shelley had argued that it was through exercise of the poetic imagination that people could learn morality and love, putting themselves 'in the place of another and of many others', making the pains and pleasures of humanity their own. Wilfred wrote a little poem, 'Six O'Clock in Princes Street', imagining how he could join the happy crowds in town.... But his old ambition to be a meteor-poet, flying above the ordinary, meant he had to follow his own course, not keeping step with the crowd but following 'gleams unsafe, untrue', 'tiring after beauty through star-crowds'.

Six O'Clock in Princes Street from The Collected Poems (1963):

In twos and threes, they have not far to roam,
       Crowds that thread eastward, gay of eyes;
Those seek no further than their quiet home,
       Wives, walking westward, slow and wise.

Neither should I go fooling over clouds,
       Following gleams unsafe, untrue,
And tiring after beauty through star-crowds,
       Dared I go side by side with you;

Or be you in the gutter where you stand,
       Pale rain-flawed phantom of the place,
With news of all the nations in your hand,
       And all their sorrows in your face.

More from The Wilfred Owen Multimedia Digital Archive.

Manila Envelope

Manila Envelope (1989) by James Fenton is a limited edition collection printed in the Philippines. It has thirteen poems, ending with the Tagalog "Maski Papaano" above. Fenton explains: When I lived in Manila, I knew several aspiring poets who felt some frustration at the lack of any outlets for their work. I suggested self-publishing as the answer. This is what I had done over the years with John Fuller and with my brother. Poetry publishing is anyway a small-scale operation. In Manila, where the situation was ideal for the small press, such ventures were not well known.

[audio] 'The Milkfish Gatherers' cleverly translates two naughty Tagalog names of fish ('tampal-puki' and 'tarugo') into English [detail pointed out by J Neil C Garcia]:

Rummagers of inlets, scourers of the deep,
Dynamite men, their bottles crammed with wicks,
They named the sea's inhabitants with style--
The Slapped Vagina Fish, the Horse's Dick.

Polillo 'mets' means it is far away--
The smoking island plumed from slash and burn.
And from its shore, busy with hermit crabs,
Look to Luzon. Infanta melts in turn.

The collection begins with Blood and Lead:

Listen to what they did.
Don't listen to what they said.
What was written in blood
Has been set up in lead.

Lead tears the heart.
Lead tears the brain.
What was written in blood
Has been set up again.

The heart is a drum.
The drum has a snare.
The snare is in the blood.
The blood is in the air.

Listen to what they did.
Listen to what's to come.
Listen to the blood.
Listen to the drum.

James Fenton on Wilfred Owen

'Wilfred Owen's Juvenilia' by James Fenton (The Strength of Poetry, 2001):

...a complicated set of forces combined to release [Owen] from the spirit of his juvenilia. When reasoning about our creativity, we cannot assume that causality is going to behave in thew ay causality normally behaves. There must be such a thing as causality, we assume; but we cannot expect to understand its workings. In the writing of poetry we may say that the thing we predict will not happen. If we can predict it, it is not poetry. We have to surprise ourselves. We have to outpace our colder calculations.

To-- from The Collected Poems (1963):

Three rompers run together hand in hand.
The middle boy stops short, the others hurtle:
What bumps, what shrieks, what laughter turning turtle.
Love, racing between us two, has planned
A sudden mischief: shortly he will stand
And we shall shock. We cannot help but fall;
What matter? Why, it will not hurt at all,
Our youth is supple, and the world is sand.

Better our lips should bruise our eyes, than He,
Rude Love, outrun our breath; you pant, and I,
I cannot run much farther; mind that we
Both laugh with love; and having tumbled, try
To go forever children, hand in hand.
The sea is rising... and the world is sand.

More from The Wilfred Owen Multimedia Digital Archive.

Douglas Dunn on Creative Writing Programmes

[pdf] Douglas Dunn interview (The Dark Horse, 1999) by Gerry Cambridge:

DD: A lot of reviewing in the literary magazines as opposed to the newspapers, strikes me as being done by post-graduates who are actually printing a chunk of a thesis. By and large I think Universities are a good thing, because I work in one; but their influence on literature is not always good. GC: Why? DD: It academises it. Full stop. Nothing more to say, really. So a writer who works in a university has to protect him or herself. Kathleen Jamie and John Burnside have just been appointed to the School of English in St Andrews, to teach creative writing. I’ll have to look after them. Make sure they don’t get into bad habits. GC: Was St Andrews the first University in Scotland to institute a degree in creative writing? DD: Yes. It’s a one year post-graduate course; it started in 1993. GC: In America creative writing courses are ubiquitous. Some critical opinion over there feels that’s a negative thing. If there were many more creative writing courses in Scottish Universities would it be healthy? DD: Perhaps not. But I don’t think every University needs to have one; there isn’t the market. We get by because we attract quite a lot of Americans who are disenchanted with what’s on offer in the USA. And they want to come and study at St Andrews, in a different culture. And it’s not sitting around talking about your feelings. If they do the poetry course with me then they have to learn versification, as well as study poetry of the past; one of the essays they have to write is on the history of Blank Verse, in Blank Verse. Or they could do a history of the rhyming couplet in rhyming couplets. GC: And how long does this history have to be? DD: At least 150 lines. GC: You mentioned earlier that some of these students can’t study Robert Frost at an American University. That seems an extraordinary situation. DD: Absolutely. If it continues, American culture, never mind American poetry, will go down the drain.

A Removal from Terry Street from Terry Street (1969):

On a squeaking cart, they push the usual stuff,
A mattress, bed ends, cups, carpets, chairs,
Four paperback westerns. Two whistling youths
In surplus U.S. Army battle-jackets
Remove their sister’s goods. Her husband
Follows, carrying on his shoulders the son
Whose mischief we are glad to see removed,
And pushing, of all things, a lawnmower.
There is no grass in Terry Street. The worms
Come up cracks in concrete yards in moonlight.
That man, I wish him well. I wish him grass.

More on Arlindo Correia with Portugese translations (2004).