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BRITISH-IRISH-POETS  1997

BRITISH-IRISH-POETS 1997

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Subject:

Forwarded bucolics

From:

Lawrence Upton <[log in to unmask]>

Reply-To:

Lawrence Upton <[log in to unmask]>

Date:

Wed, 30 Jul 1997 16:23:31 -0400

Content-Type:

text/plain

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Parts/Attachments

text/plain (83 lines)

ric caddel wrote <<You read history from it (which is important) but you
don't have to actually be part of it (in the sense of
randolph/cris's important body dance thread which I hope to come back to at
some point). Click. the camera does it. (with big sloppy paintbrushes you
can participate more - but usually that's mostly with your medium, not your
actual landscape). Remember all those poems where the great - uh - Phil
Larkin gets no further to engagement w/ his (one assumes) fellow
humans than looking, through a window, or a frame. 

It's that sense of "right down among 'em" that I get in Niedecker & Clare
that I'm interested in. That's the pastoral I want to move forward in.>>

A number of things here that have and do greatly interest me. One is the
difference between click of the camera and the paint brush *unless you take
account of how different they are*

all that film being purchased delivering pictures which disappoint - _it
doesnt show it really_... you can learn, but many give up or go on
repeating mistakes and disappointment.... because the camera does not
record what you see - separating what you see from the image your brain
receives before filtering

i sat through some home videos the other night, trying hard to be
interested in someone else's personal narrative and felt like a man in a
mask - not being able to see peripherally

i was watching a young girl with some birds - offscreen was someone else i
hadnt seen in 20 years and i was interested in seeing what she looks like
now... but the process was focussed on the child whom i have seen only once
and to whom therefore i have no great attachment... the cameraman her
father was capturing her on film, whereas the woman with him he was content
to  leave unrecorded at least on that day - a selective in among em

the more you photograph the less what you photograph seems accessible to
memory
i have hundreds of photographs of specific places i went to mid eighties...
a few spark memories... largely not and i find it hard to recall those
places without the photographs compared to places since AND before....
before i was less into photographing... since i have learned to control the
addiction and my recall is much better

i find walking through and sitting in a landscape - motion recollected in
tranquillity - and letting the memory build is more effective in getting in
among it all than trying to record it

you get round the problems of framing by composing with awareness of the
frames of course
_click of the camera_ is deceptive
watching a photographer prepare and prepare, the slowness of it can be that
of a painter and THEN the click is completion of a process not THE process
itself

that frame will be there
always is
we walk around framed
[no police jokes intended]
it is just that much more obvious with a camera because it makes the edge
of the frame so clear

getting right down among them
not i hope farm holidays

we walk or drive through the landscape and that's a specialised kind of
movement
since i got an allotment i have had a sense of what it might be like to be
a cauli cutter and i dont fancy it
but it's slow and you would become aware of many textures on the skin...
there's an exercise
and scything
and all the other movements, regular and repetitive and backbreaking

i am quite happy not to be among them
what about a landscape of labour-saving machines frollicking and shepherds
with keyboards - so long as they play into headphones - and so long as
those machines have fulfilled lives and are dismantled quickly after them



Lawrence


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