‘Erato’: An Interview with Deryn Rees-Jones


Deryn Rees-Jones is the author of four previous collections of poetry, shortlisted variously for the Forward (first collection), TS Eliot and Roland Mathias prizes. Last month, she returned with her new collection Erato, which is a Poetry Book Society Summer Recommendation, but where does she look to for inspiration and how do these themes come through in her work? In this interview,  we talk to her about the new book and find out more about the themes, artists and imagery that inspire her.

 

Song comes through in many of the poems in Erato. In ‘Líadain and Cuirithir’, a poem about tragic love between two 7th century Irish poets, even the woods are singing: “When we sang, the woods sang back”. Do you consciously seek inspiration from the outdoor world?

Throughout Erato, I am thinking through longstanding questions I have about the role of the lyric poem, so often criticised because of its potential for individualism, introspection, and solipsism. ‘Líadain and Cuirithir’ is a lyric which attempts to enjoy its own musical beauty. But – and this is the important thing — I also erase it, score it through — because I’m signalling early on in the book my uncertainty about writing about the complexities of a relationship in an elegiac, romanticised way.  Those erasures and errors continue to be explored as the book expands on its thinking through a series of repetitions. So yes, song is a central part of the book. And I’m trying out what that sense of correspondence between the self and the natural world might be.

As the book opens out I think about all sorts of songs—and test out my feelings and thoughts about and through them. There’s bird song, the little song of the sonnet, the seductive song of the siren, which is also in the modern world, a different sound of danger and distress than the song of the sirens when Odysseus binds himself to the mast of his ship so that he can hear them but not be lured to his death. There is for me, now, in the current political climate, a sense that I need to question, more than ever, what I am doing, with language, in my engagement with the world. The phrase ‘Look Up’ appears on several occasions. With poetry – and I think poetry is an inherently social act — comes responsibility. A long answer to your question! But yes, I do take deep pleasure in the natural world, but always with an awareness that the world exists in a complex web of interdependences.

The poems often juxtapose beautiful images with sombre ones of loss. Can dark moments contain their own moments of inner beauty?

How do we make the privacy of the lyric engage with, be ethical, and encompass the world? Terrible things are happening, and every day on the news or on my twitter feed, I, all of us, become sometimes, for a moment, aware of them. Uprootedness, war, climate emergency… There is always a chance for empathy, for action. But often, we do nothing. One small way I have attempted to deal with all this knowledge of pain and difficulty has been to experiment with the formal ‘beauty’ of poetic structures.  So there are a lot of prose-like pieces which I have tried to structure like a sonnet. They carry something of the sonnet’s ‘little song’ but also need to find a new way of carrying them. So form and ‘beauty’ become thrown into question as they are pulled to a point of impossibility and transform into something else.

“The water and reflection ask / no question of themselves” in ‘Great Crested Grebes’. Do you think that too much introspection can be a barrier to creativity?

We all need to think and feel as much as we can, don’t we? So much in our lives demands that we think and live within often damaging and coercive and reductive systems. Or learn not to feel at all. I feel lucky that the society I live in still feels safe, and relatively free. But what has happened over the course of the last four or five years is a reminder of how quickly things we have taken for granted, can change. Creativity should not be a luxury.

The poems in the Courtship section of Erato are a riot of colour, sound and actions seen through the lives of birds. How do you make your selections of which birds and which attributes to use?

Because of my name, which means bird,  birds are deeply written into a sense of my own identity. Some of the birds in the book hold particular personal resonances; some I went looking for in books and online. I also have in mind birds as creatures which move between worlds of the living and the dead. The wren of Burying the Wren was both here and not here. Sirens in Greek mythology are also half-woman, half bird….

We were compelled to take a deep breath when reading this in the poem ‘Walk’: “I remembered my son’s look. It’s a kind of scary beauty, mum, he’d said one day but I could no longer recall why. / I was scared now / and took a deep breath. It felt like a wounding. I said, But even in the darkness, you know you are alive.” What techniques do you use to let a poem breathe in order to sound alive?

Each poem happens differently. Increasingly poems seem to get harder to write. But Erato is a book that is less concerned with poems as individual objects and more concerned with the sweep and trajectory of a book as a vehicle for thinking something through. I experimented with that in my earlier book Quiver which also explored ideas through the creation of a narrative structure. I would say that I am increasingly interested in using the book form to create an imaginative landscape for thinking. Once I finished Erato I realised that really it is part of a bigger sequence. There’s a piece in Erato, ’Fires‘, which tries to explore the link between trauma and creativity. Later this year I am publishing a little lyric essay/ poetic fragment called ‘Fires’ with Shoestring Press that explores the idea of creativity further. For better or worse, I already have the next book after this mapped out in my head!  So I am thinking of Erato as the first part of a trilogy that explores, even in terrible times, a vital, hopeful universe.

What are you most particularly hoping to find when you look beneath the foliage, the plumes and the clothing, for material to create a poem from?

Just as each poem happens in a different way so, too, each poem has its own task. The important moment for me is in bringing a book together, and asking all those elements which are fizzing away, making their own plans, repeating and transforming themselves, to have a conversation so that they become part of a more meaningful whole.

Your connection to the visual arts, and artists such a Paula Rego and Francesca Woodman, are themes that run through many of your poems and collections. What is it about the visual arts that inspires you and which are your biggest influences?

Critical and creative work often for me go hand in hand. Sometimes I am making conscious connections, sometimes not, and what goes on unconsciously excites me, of course. In Burying the Wren I wrote a sequence to Rego’s incredible and moving dog women pictures as a way of trying to understand them, and also as a way of trying to understand, or at least put words to, my own feelings after the death of my husband. Rego’s pictures address agency, pain, grief but importantly, too, they are pictures of metamorphosis, scratched out with huge energy, in pastel on canvas. I have spent the last two years working intensively on a critical book Paula Rego: The Art of Story, which will be published later this year, and getting to know the trajectory of Rego’s work over the last sixty years so intimately has been a huge pleasure. She has taught me something, I hope, about how to develop imaginative structures, and has prompted me to think about the relationship between the personal and political, the moment, and the historical.  Rego creates a prism of meaning through image, and story, the personal and the fabular. I think this gave me a way of thinking about giving form to complexities of experience in time. Like Rego, like many women artists, Woodman is also interested in representing the frequently objectified female body in a complex way. The body is central to Erato too  – the memory of a beloved’s body, the bodies of saints, the bodies of the dead, observed bodies, dolls’ bodies, the political body…

When reading the poems in Erato we often found tears in our eyes. If they fell on the not yet gestated wildflower seeds in ‘Gardens’, what flowers would you hope they would grow into?

It’s important to me that people are moved by the book. And I am aware that on one level I am telling a very personal story.  I wanted that to be simple and accessible, and around that things are woven in.  ‘Gardens’ is a poem about wishes, about transformations. I would really like to think that the whole book, now it has been published,  is something generative, that is not mine, but which, in making a connection between writer and reader, takes the reader somewhere else.

 

Want to hear more? Deryn is appearing alongside Tess Gallagher and Nessa O’Mahoney at Books Upstairs in Dublin later this month. If you’re local to the area why not pop along? More details can be found here

 

Erato is available on the Seren website: £9.99

Enjoy 20% off every book you buy from us when you create your free Seren account.

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One thought on “‘Erato’: An Interview with Deryn Rees-Jones

  1. Great interview Giles, you really brought out a sense of the person and her poems. Really enjoyed it. Will now have to have a look at her poems, especially the tragic love between the 7th-century Irish poets. What a varied and exciting life you’re leading now. All kinds of good things happen when we return to College at a later age.

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