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Powerful words: the personal is political
Feb. 22nd, 2014 09:32 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kaberettIt will probably come as no surprise to you that, being me, the thing I want to talk about is literally the body politic, and the body as political: the ways in which we have meanings ascribed to our existence.
( Half-Caste, by John Agard. )
Words have cadence, assonance, resonance. Devices used in rhetoric are used in poetry, and vice versa; we construct our realities out of words; and labels, even when they're incorrect, are stars to steer by. Cicero wasn't a poet, but he talked like one; oral histories take, often, the form of epic poems or of songs; musical and linguistic memory interact in strange ways. Poetry has power.
Half-Caste is a poem I was introduced to during GCSE English Literature. Like a lot of them, it's stuck with me
Last week, I finished reading Derek Walcott's Omeros - and oh, but in addition to its lyricism and beauty, its portrait of life, it is bitingly political: from the slave trade, via nineteenth-century wars over the island and a retired British Major in the twentieth, to the ways in which tourism can act as colonialism; through its exploration of Walcott's complicated relationship and personal resonance with Homer; set against the resonances of history, and the claims that the Odyssey is a universal story.
There is Bao Phi's Yellow-Brown Babies For The Revolution. There are slogans to chant: nothing about us without us; we're here, we're queer, get over it. There is every punk song ever (and there's a reason we call them rock anthems).
Poetry has power.
This is in part because we let it. I am increasingly convinced that in poetry - and not quite, in any other medium, at least not to the same extent - it is permitted to be angry, to express hard emotions explicitly. Poems get described as evocative and, yes, powerful - rather than histrionic or overwrought.
So many of us are used to having meanings ascribed to us in ways that align neatly with censorship/dismissal: too loud, too angry, too emotional, too irrational; we take up too much space, we're inconvenient; or we're erased wholesale, because others' perceptions of us is given primacy over our own realities, and over listening to us.
Poetry isn't a simple way to take power back - because after all it's art, and that is oh-so-readily reframed as frivolous; because in so many ways it's very much part of the Academy - but nonetheless it's a way we can tell our own stories.
Listen & read
( Half-Caste, by John Agard. )
Words have cadence, assonance, resonance. Devices used in rhetoric are used in poetry, and vice versa; we construct our realities out of words; and labels, even when they're incorrect, are stars to steer by. Cicero wasn't a poet, but he talked like one; oral histories take, often, the form of epic poems or of songs; musical and linguistic memory interact in strange ways. Poetry has power.
Half-Caste is a poem I was introduced to during GCSE English Literature. Like a lot of them, it's stuck with me
Last week, I finished reading Derek Walcott's Omeros - and oh, but in addition to its lyricism and beauty, its portrait of life, it is bitingly political: from the slave trade, via nineteenth-century wars over the island and a retired British Major in the twentieth, to the ways in which tourism can act as colonialism; through its exploration of Walcott's complicated relationship and personal resonance with Homer; set against the resonances of history, and the claims that the Odyssey is a universal story.
There is Bao Phi's Yellow-Brown Babies For The Revolution. There are slogans to chant: nothing about us without us; we're here, we're queer, get over it. There is every punk song ever (and there's a reason we call them rock anthems).
Poetry has power.
This is in part because we let it. I am increasingly convinced that in poetry - and not quite, in any other medium, at least not to the same extent - it is permitted to be angry, to express hard emotions explicitly. Poems get described as evocative and, yes, powerful - rather than histrionic or overwrought.
So many of us are used to having meanings ascribed to us in ways that align neatly with censorship/dismissal: too loud, too angry, too emotional, too irrational; we take up too much space, we're inconvenient; or we're erased wholesale, because others' perceptions of us is given primacy over our own realities, and over listening to us.
Poetry isn't a simple way to take power back - because after all it's art, and that is oh-so-readily reframed as frivolous; because in so many ways it's very much part of the Academy - but nonetheless it's a way we can tell our own stories.
this is the last song on earth,
this is the last song on earth
there is nothing else,
there is nothing else
so fill your lungs
and sing
-- Bao Phi
Listen & read
- One of my favourite things is the extent to which the epic poems that form part of the oral history of Hawai'i can be matched up with the geological record.
- John Agard performing Half-Caste at the Southbank Centre
- An extract from Omeros at the Poetry Foundation
- The Indelicates, Class (... a school of gothic arches/and a college of them too/and a Parliament that looks and feels the same/a comfort for the blessed/a horror for the rest/and each and every one of us to blame...)
- Freshlyground, Doo Be Doo (did you hear the news on the radio today?/People have agreed to give their love away/I can't wait to be there in line!/Politicians have agreed to honour and obey/they'll come down and listen to what the people say/I can't wait to be there in line, no no!)
- Ani DiFranco, Birmingham (I was once escorted through the doors of a clinic/by a man in a bullet-proof vest, and no bombs went off that day/so I am still here to say: Birmingham, I'm wishing you all of my best on this election day...)
- Tangentially related: Memorising Music, a blog that explores what it says on the tin.
