Logos: Where Word and Flesh Interact: Brian Docherty takes a close look at Dinah Livingstoneās 10th collection
Embodiment
Dinah Livingstone
Katabasis, (10 St. Martinsās Close, London NW1 0HR)
ISBN 978 - 0 - 904872 -49-1
Ā£10
Dinah Livingstoneās 10th full collection announces its intentions and allegiances before we even open the book. The cover features one of William Blakeās illustrations to Miltonās Paradise Lost, āSatan envies the endearments of Adam and Eveā. Livingstone, as a writer and tutor, situates herself in a line of English radicalism that includes both Blake and Milton. As a creative writing tutor, she has mentored a great many poets, including your reviewer. Her other achievements include being the leading translator of the poets of the Nicaraguan Revolution. A note at the front of the book reminds us of her West Country heritage, but also that she has been rooted in a community in Camden Town since 1966.
The first of the bookās two sections, VOICES, leads with āThe Poetic Planetā which starts in Devon but moves out, seeing our planet from an external perspective, then moves in with a nods to David Attenborough
Homing in we see blue oceans,
shapes of continents appear,
soon forests, large green patches,
and brilliant blobs are cities.
Then what can be heard is conversation.
In stanza 4, people are āexpressing how it feels to be an earthlingā. A persistent feature of Livingstoneās work for many years has been the deeply held belief that what makes us human is fellowship, community, and conversation; and accordingly this poem concludes
One species among many that belong,
evolutionās product, moral like the rest,
fallible, linguistic, making the planet
articulate her story, form the poem
wording Earthās deep hum.
The ecological, political, and spiritual beliefs expressed here stand as a rebuke to the destructive cynicism, vanity and bad faith of politicians.
āDrowned Voicesā touches on the ongoing crisis whereby refugees paying money to criminal gangs are either drowning at sea, or being held in detention camps( if they survive) before often being returned to a āhomeā they were obliged to leave. In many tongues these voices cry out
Help me.
I am a human being.
Fellow creatures, weep,
weep for me.
The poem concludes
Who Listens?
Something is very wrong.
What can we do?
āLoved Voicesā is more immediately personal, while āJanuaryā reminds us that Roman god Janus faces both ways and lends his name to a dark time of year when we āfeel that ancient fear; / What if the light never comes back?ā
āThe Yearning Strongā is a science fiction poem in the persona of someone whose great grandparents left out planet, while āThe Smell of Memoryā is set in Camden Town, but looks out, and looks back to Livingstoneās time in Paris in her ānaive teensā, before a meditation on the Farsi word paridaiza, equating āgardenā and āheavenā after which we move on to Hampstead Heath,
On Hampstead Heath a child
toddles past a lavender bush,
his mother picks a flowerhead and sniffs,
offers it to him saying āMm! delicious!ā
He sniffs āMm! delicious!ā copying her
and every time they pass that way
wants to repeat the ritual once again.
This, for Livingstone, is how real education works, not in school or online, but in real time, mother to child, shared values passed on.
Two short poems, āA Communication Failureā and āTelecommunicationā show the exact opposite ā presumably a younger generation missing out on real, person to person communication. āDumb Animalā is a reflection on living with a cat as companion, who can communicate very effectively, and is anything but dumb. The theme of communication, whether between people, or people and animals is explored further in three sonnets, āBoy and Foxā, āJapanese Great Titsā and āThe Greek Teacherā, and then we reach a memorial poem for a near neighbour, āFor Maureenā. Living in a community has its benefits, but there is also the inevitable loss, of saying goodbye to friends such as Maureen,
She know everyone and everyone
knows her. She is the spirit
of St. Martinās Gardens. Green-fingered
herself, the red camellia by her front door
is the best in the street.
In the last stanza, we learn that Maureen was
A friend and good neighbour for decades,
she was a Londoner. When they were little
our children played out in the street.
In the fifth of November the bonfire was huge.
And her four children and their children
are still going strong and are all right.
Yes, Maureen, thatās what you were and are.
All right.
This is followed by a tribute to Stevie Smith, an exemplar and favourite poet of Livingstoneās. In āStevieās Voiceā , she remembers Smithās way of reading, āslightly off keyā; āglass that can cut like a laserā. Anyone not familiar with Stevie Smithās poetry will, I hope, be pleasantly surprised by the quotes from Smith embedded in Livingstoneās poem.
Section Two of this book, āEmbodimentā includes the title poem as part of a sequence, but starts with āAlpha and Omegaā, noting that
In Blakeās illustration to Paradise Lost
Adam and Eve are Alpha and Omega.
Naked they lie in their blissful bower
between two curling fronds
and Satan envies them.
We are then reminded that the Old Testament God, Yahweh, is a jealous god, and that human history begins with Adam and Eveās expulsion from Eden. Livingstone goes on to show that her version of Christianity is a New Testament ministry of Love, where
He lives on in a new humanity
as firstborn, figurehead, Omega ideal
of freedom and abundant life for all;
the full embodiment of Christ will be
an actual embodiment of kindness long imagined,
which now ā with nothing supernatural -
ordinary people try (or not)
by love and work to give something towards.
Livingstone is involved with the Sea of Faith movement, SOFIA, and edits the magazine Sofia; check it out for yourselves, even those of other faiths or none may find that interesting and valuable things are being said there.
āBothā is a rebuke to anyone who believes that religion and politics can ever be separated, and reminds us that the personal is indeed the political.
The goddess Astarte Ishtar Ashtoreth
was the great mother. Yahweh,
their male god,
ordered the children of Israel
to crush her utterly, smash all her shrines:
she was wrong, abominable,
and it was wrong to honour her.
When I was young
my mother went off with another man,
then died of lung cancer.
I was told she was in the wrong
and that I should not miss her
but I did.
I wanted both a mother and a father.
The intersection and interaction between human action, belief, and faith is further explored in poems where cold weather in the now brings back memories of a cold stepmother in the past, including a series of three untitled sonnets, āKeeping Faithā . The first asks
So are you faithless if you be yourself,
believe in life on Earth and humankind?
Arenāt faith and hope and love a constant quest
to fumble through and struggle to fulfil,
embody an idea you have in mind?
while the second, āTwo Womenā is a dialogue about the nature of the self, and whether we even have a āselfā. In reply to whether knowing we have a self is ājust selfishnessā the reply is
No, itās your good luck, keeps you alive.
Self-seeking is the curse of selflessness
but you speak for yourself. At least, thatās more.
The third sonnet expresses at least part of Livingstoneās personal theology, a version of faith that has no use for supernatural beings, and asks
Canāt faith in the divine vision also thrive,
now grown into a more mature poetic tale,
becoming what was in it all the time?
There are also a range of more ādomesticā or ānatureā poems, including āNature and Graceā where we get a story about Livingstoneās first paid translation, and her then husbandās reaction on learning that she spent the money on a new washing machine
My husband was angry.
āYou should have consulted me.ā
he said, āitās our money.ā
I replied āItās our washing.ā
He looked bewildered,
the idea had not occurred.
The Prologue to the six poems of the sequence asks
How could a disembodied spirit speak
or dance or sing the paradox, the power,
the passing and the truth of human hearts?
Voices, voicing, what it means to be human, and have an embodied voice, are at the heart of this book, and births, human or other, feature prominently. Livingstoneās children also feature, as well as poems set in her neighbourhood, where she says of a builder, in the poem āWorkā
I donāt tell him I saw him heroic,
the personification of Work,
builder of cities, as is Love.
In āLoveā, she quotes St. Augustine and William Morris
My love is my weight, Augustine said,
my gravity. We fall in love,
and it is personal.
She goes on to quote Morrisās John Ballās words that āfellowship is life and lack of fellowship / is death.ā In stanza 4, she says
love is what we cannot do without,
love builds the city
through accumulation of encounters -
chats in the corner shop, friends,
kindred spirits and darlings of your heart -
creating a habitat, a home that is
a lit galaxy like the stars above
but with consciousness and feeling,
attraction that is wholly human.
This is the voice of lived experience, and a lifetimeās devotion to the craft of making poems, informed by a unity of political belief and theology. There are poems of acceptance of bodily ageing to follow, such as āAgeingā and āDeath and Afterā, and in āSleep Sealedā, the joy of receiving an unexpected Christmas present. The book closes with āThe Danceā, and its last words are
Let hope or heart not fail
and the dance go on.
Thank you Life.
Here is the voice of Sophia, female wisdom, speaking words of love, fellowship, and reminding us that as fellow creatures, we stand or fall together, but acting together in Love, we can indeed build that City.
One last thing; as regular readers will know, I am sometimes dismayed by poorly produced and badly typeset books from publishers who have apparently never troubled to read Hartās Rules. I am pleased to say that Embodiment, like all Katabasis books, is a properly printed and handsome book with an attractive and distinctive look. This book deserves to make a window display in Waterstones Camden High St. shop.
London Grip Poetry Review – Dinah Livingstone
August 14, 2019 by Michael Bartholomew-Biggs • books, poetry reviews, year 2019 • Tags: books, Brian Docherty, poetry • 0 Comments
Logos: Where Word and Flesh Interact: Brian Docherty takes a close look at Dinah Livingstoneās 10th collection
Dinah Livingstoneās 10th full collection announces its intentions and allegiances before we even open the book. The cover features one of William Blakeās illustrations to Miltonās Paradise Lost, āSatan envies the endearments of Adam and Eveā. Livingstone, as a writer and tutor, situates herself in a line of English radicalism that includes both Blake and Milton. As a creative writing tutor, she has mentored a great many poets, including your reviewer. Her other achievements include being the leading translator of the poets of the Nicaraguan Revolution. A note at the front of the book reminds us of her West Country heritage, but also that she has been rooted in a community in Camden Town since 1966.
The first of the bookās two sections, VOICES, leads with āThe Poetic Planetā which starts in Devon but moves out, seeing our planet from an external perspective, then moves in with a nods to David Attenborough
In stanza 4, people are āexpressing how it feels to be an earthlingā. A persistent feature of Livingstoneās work for many years has been the deeply held belief that what makes us human is fellowship, community, and conversation; and accordingly this poem concludes
The ecological, political, and spiritual beliefs expressed here stand as a rebuke to the destructive cynicism, vanity and bad faith of politicians.
āDrowned Voicesā touches on the ongoing crisis whereby refugees paying money to criminal gangs are either drowning at sea, or being held in detention camps( if they survive) before often being returned to a āhomeā they were obliged to leave. In many tongues these voices cry out
The poem concludes
āLoved Voicesā is more immediately personal, while āJanuaryā reminds us that Roman god Janus faces both ways and lends his name to a dark time of year when we āfeel that ancient fear; / What if the light never comes back?ā
āThe Yearning Strongā is a science fiction poem in the persona of someone whose great grandparents left out planet, while āThe Smell of Memoryā is set in Camden Town, but looks out, and looks back to Livingstoneās time in Paris in her ānaive teensā, before a meditation on the Farsi word paridaiza, equating āgardenā and āheavenā after which we move on to Hampstead Heath,
This, for Livingstone, is how real education works, not in school or online, but in real time, mother to child, shared values passed on.
Two short poems, āA Communication Failureā and āTelecommunicationā show the exact opposite ā presumably a younger generation missing out on real, person to person communication. āDumb Animalā is a reflection on living with a cat as companion, who can communicate very effectively, and is anything but dumb. The theme of communication, whether between people, or people and animals is explored further in three sonnets, āBoy and Foxā, āJapanese Great Titsā and āThe Greek Teacherā, and then we reach a memorial poem for a near neighbour, āFor Maureenā. Living in a community has its benefits, but there is also the inevitable loss, of saying goodbye to friends such as Maureen,
In the last stanza, we learn that Maureen was
This is followed by a tribute to Stevie Smith, an exemplar and favourite poet of Livingstoneās. In āStevieās Voiceā , she remembers Smithās way of reading, āslightly off keyā; āglass that can cut like a laserā. Anyone not familiar with Stevie Smithās poetry will, I hope, be pleasantly surprised by the quotes from Smith embedded in Livingstoneās poem.
Section Two of this book, āEmbodimentā includes the title poem as part of a sequence, but starts with āAlpha and Omegaā, noting that
We are then reminded that the Old Testament God, Yahweh, is a jealous god, and that human history begins with Adam and Eveās expulsion from Eden. Livingstone goes on to show that her version of Christianity is a New Testament ministry of Love, where
Livingstone is involved with the Sea of Faith movement, SOFIA, and edits the magazine Sofia; check it out for yourselves, even those of other faiths or none may find that interesting and valuable things are being said there.
āBothā is a rebuke to anyone who believes that religion and politics can ever be separated, and reminds us that the personal is indeed the political.
The intersection and interaction between human action, belief, and faith is further explored in poems where cold weather in the now brings back memories of a cold stepmother in the past, including a series of three untitled sonnets, āKeeping Faithā . The first asks
while the second, āTwo Womenā is a dialogue about the nature of the self, and whether we even have a āselfā. In reply to whether knowing we have a self is ājust selfishnessā the reply is
The third sonnet expresses at least part of Livingstoneās personal theology, a version of faith that has no use for supernatural beings, and asks
There are also a range of more ādomesticā or ānatureā poems, including āNature and Graceā where we get a story about Livingstoneās first paid translation, and her then husbandās reaction on learning that she spent the money on a new washing machine
The Prologue to the six poems of the sequence asks
Voices, voicing, what it means to be human, and have an embodied voice, are at the heart of this book, and births, human or other, feature prominently. Livingstoneās children also feature, as well as poems set in her neighbourhood, where she says of a builder, in the poem āWorkā
In āLoveā, she quotes St. Augustine and William Morris
She goes on to quote Morrisās John Ballās words that āfellowship is life and lack of fellowship / is death.ā In stanza 4, she says
This is the voice of lived experience, and a lifetimeās devotion to the craft of making poems, informed by a unity of political belief and theology. There are poems of acceptance of bodily ageing to follow, such as āAgeingā and āDeath and Afterā, and in āSleep Sealedā, the joy of receiving an unexpected Christmas present. The book closes with āThe Danceā, and its last words are
Here is the voice of Sophia, female wisdom, speaking words of love, fellowship, and reminding us that as fellow creatures, we stand or fall together, but acting together in Love, we can indeed build that City.
One last thing; as regular readers will know, I am sometimes dismayed by poorly produced and badly typeset books from publishers who have apparently never troubled to read Hartās Rules. I am pleased to say that Embodiment, like all Katabasis books, is a properly printed and handsome book with an attractive and distinctive look. This book deserves to make a window display in Waterstones Camden High St. shop.