Jane Clarke ‘The River’

First of all congratulations, Jane Clarke, on the publication, by Bloodaxe, of your debut collection The River. It is beautifully produced with a front cover image that somehow reflects the depth of the emotions and narratives within. I’m delighted to feature you on my blog and chat about The River.

janeclarketheriversmallerSG: I’d like to learn more about the process of ‘producing’ The River. How did you select the 50 poems that made it to the final collection and how easily or difficult did the title come to you? And finally, did you have any input to the design?

JC: I began writing poetry ten years ago and about four years later I started to think about drawing together a collection. It took another four years before I had it ready to send out to publishers. Over that period I did an MPhil in Writing in the University of South Wales where I was given invaluable help with my growing collection, including the crucial advice not to rush it and to take more time. It was relatively easy to select the poems because I was adamant that only the very best of what I had written could go in. There were a few I wasn’t sure about which got moved in and out a number of times. The collection was accepted for publication in late July 2014 but I was still editing newer poems for it right up to the day I sent the final manuscript in March 2015. The hardest part of  “making” the collection was the sequencing, which I changed many times. In ways it was like writing a poem; doing a draft, reading it, redrafting, putting it away for a while and then coming back to it and drafting again. In shaping the collection I was looking for a thread through the collection as a whole as well as variety and movement and also resonances between and among poems. My friends and colleagues, Shirley McClure, Geraldine Mitchell, Grace Wells and Yvonne O’Connor all helped me with this along the way. Meantime my workshop group was helping me with individual poems.

One of my first ideas for the title was Where the river deepens so the river was there from the start. Somewhere along the way I realized I wanted it to be The River, to reflect what I saw as the strongest poem in the collection and also to reflect the themes of change and loss and what nature offers us.

I had very little input into the design and I was more than happy to leave that to Neil Astley.  When he wrote to confirm that he would be publishing my collection, he suggested the image of the heron, inspired by a line in one of my poems, “River at Dawn”.

………………………………………… A Heron flies up

from the callows, leads river and rowers

into the day, lean in, catch, pull back, release.

 

I love the cover and the lay-out and I have no doubt that the beauty of the production has brought quite a few readers to the book.

SG: As a fiction writer, I am always fascinated by and in awe at how poets often seamlessly feature place so strongly in their work. In this collection we move through fields, farmyards, rivers, lighthouses – some place-specific – and cities. Parallel to place, notions of ownership and belonging seep through as themes. Was there a conscious sense of themes corresponding to places in your life as you pieced the collection together in the order that it is in, or was this something that appeared organically?

JC: When I began writing I had no idea that place would feature so strongly in my work. But the poems kept coming out of the landscape and physical surroundings of various times in my life; growing up on a farm in Roscommon, my fifteen years studying and working in Dublin, living in Wicklow since then and other places that have mattered to me along the way. I can see now that the physical details of place both carry and express the emotions in my poems. The containment of place gives me a way of exploring relationships, ambivalent emotions and themes of belonging and identity. But I did not set out intentionally to do that. I have learned from drawing together my collection that if you let it, poetry will inevitably reflect and engage with your questions and concerns at the time you are writing. Some of these are questions you will repeatedly return to and others are of a particular time. I have been amazed to find how much of the process of writing poetry is an unconscious process. That is not to say that it doesn’t involve conscious dedication and craft but there is a well of unconscious associations influencing the work that sometimes seems magical. For example I only realised that “Among the Cows” was inspired by my grandmother’s life when I put it next to another poem about her in my collection.

SG: That’s fascinating, Jane, how the themes grew organically. It’s true that place in The River also extends to the place of our hearts – and memories. I’m thinking of the first poem in the collection: ‘Honey’ or ‘Rhode Island Reds’, poems which begin in one emotional, almost sentimental place, and end, shockingly and yet movingly, in an entirely different place. Or, in contrast, the brilliantly titled, heart wrenching ‘Every life’ which grounds us in the bodily place of possibility and impossibility.

JC: Thanks Shauna, I appreciate how you express your response to my poems. For me, part of the power of poetry is how it can allow the poet to write out of and into loss, either their own or the imagined loss of others. I have these lines from Macbeth on a yellow post-it above my desk, Give sorrow words; the grief that does not speak whispers the o’er-fraught heart and bids it break. To do this without sentimentality or self-pity, you need to be available to a depth of emotion as well as being able to stand at a distance from it. The restrictions of the poetic form can contain grief that feels uncontainable. Poems can’t give resolution or consolation but I have found that they can say what seems unsayable, evoke what has been unknown and that they can accompany, comfort and sometimes sustain others. Robert Frost says it for me: “A poem begins with a lump in the throat; a homesickness or a love sickness. It is a reaching-out toward expression; an effort to find fulfillment. A complete poem is one where an emotion has found its thought and the thought has found words.”

SG: That last line by Frost could apply to any form of creative writing, actually. Now while many of the poems are solid, and grounded in the specific, there are a few that have an undercurrent of the unconscious world of dreams, where danger is at the edges waiting to be acknowledged. The magical first stanza of ‘On the boat’:

“On the boat we were mostly virgins,/We talked about who we were going to be – /waitresses, seamstresses, nurses,/we didn’t talk about why we had to leave.”

Could you tell us a little bit more about this poem, for example the use of ‘mostly’ and the sense of journey and hope.

JC: I am always a little wary of talking about what a poem means for me because I don’t want to influence the reader’ response. But I know myself how interesting it is to hear a poet write about the background to a poem. “On the Boat” was inspired by Julia Otsuka’s novel, The Buddha in the Attic, about Japanese women migrating to the US in search of husbands. It set me thinking about all the Irish women who had migrated to the States in search of a better life.  A visit to the Tenement Museum in New York’s Lower East Side also influenced the poem. The first line is the first line in Otsuka’s novel and what I liked about it was the question in “mostly” that let us imagine all the many reasons women left their home places apart from poverty or a sense of adventure, including rape, sexual abuse and pregnancy outside of marriage. I think it is what is not said as well as the strong rhythm, rhyme and repetition of the pantoum form that conveys a sense of mystery and at times menace as well as hope. There is also the intimation that regardless of getting the opportunity to start all over again, there are memories both wanted and unwanted that we carry with us.

SG: Of course, it’s a bit of a tricky question – almost like asking about inspiration! And now to my last question. Kent Haruf, one of my go-to writers who sadly passed away last year said in his last interview “The obvious thing is to read, read, read, read, read. Then write, write, write. There is no way around it.” As a poet, can you relate to this? When you are not writing, what are you reading? And what are you reading right now?

JC: I loved Kent Haruf’s Plainsong, Shauna. I hadn’t read his advice before but I totally agree with it. I find that reading both prose and poetry feeds my work. Reading sets off thoughts, memories and emotional responses. It can be a place, a time, a person that is evoked or sometimes just one word or a mood or tone sets something alight. When I haven’t been writing or when I want to get something started but can’t find a way in, it helps to take out a poetry anthology or a collection from a poet that interests me, read through it at random and just see what is sparked off.  I always have a novel on the go; at the moment is Americanah by Chimamanda Ngozi Adichie whose writing is just getting better and better. I’m reading Caitriona O’Reilly’s latest, Geis and also Philip Larkin these days as well as dipping into Richard Mabey’s Weeds. I’m also reading Colm Tóbín’s  very personal study of  Elizabeth Bishop, who is one of my favourite poets. I remember when I first read her advice  to a younger poet, “read a lot of poetry – all the time… anything at all almost that’s any good, from the past – until you find out what you really like, by yourself”. Only then should one proceed to “the great poets of our own century… and not just two or three poems of each… read ALL of somebody. Then read his or her life, and letters, and so on… Then see what happens.”

As regards the second part of Haruf’s advice, “write, write, write”, it is good to be reminded of it. The more I write, the more I need to write. There can be so much fear asscoiated with writing; fear of exposure, of failure, of coming across as ridiculous and yet we have to risk it, we have to put ourselves into words if we want to move closer to the writer we want to become. The advice I would add to that of Haruf and Bishop is to join a writing group and to set up a poetry reading group, on the lines of a book club.

SG: Thank you to Jane for such informative, and open answers. You can listen to a wonderful interview and reading with Jane on RTE Arena here and keep up with Jane’s readings and poetry on her website.

Jane Clarke
Jane Clarke

Some of Jane’s upcoming readings:

  • Red Line Book Festival Jane Clarke will give a reading from The River in Whitechurch Library, Rathfarnham on Tuesday 13 October as part of the Red Line Book Festival organised by South Dublin Libraries.
  • London Jane will be reading at the Coffee House Poetry Autumn Showcase Reading in the Troubadour on Monday 19 October, 8pm, 263-267 Old Brompton Road, London SW5.
  • Imagine Arts Festival Jane Clarke and Shirley McClure will give a poetry reading from their new collections on Sunday 25 October at 3pm in the Book Centre, Waterford.
  • Donegal Jane Clarke will give a reading from The River at the Allingham Literary Festival on Saturday 7 November, as well as giving a writing workshop and presenting the awards for the Allingham Poetry Competition 2015.
  • Wicklow Jane Clarke will give a reading from The River in Rathdangan on Saturday 21 November at 9pm, with music from Rory Adams.
  • Dublin Jane Clarke will give a reading alongside Shirley McClure, Rosie Shepperd from London and Paula Cunningham from Belfast in Books Upstairs, 17 D’Olier St. Dublin on Sunday 29 November at 3pm. 

     

 

 

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