Showing posts with label Stevie Smith. Show all posts
Showing posts with label Stevie Smith. Show all posts

Thursday, March 17, 2022

The Forlorn Sea

 


The Forlorn Sea

Our Princess married
A fairy King,
It was a sensational
Wedding.

Now they live in a palace
Of porphyry,
Far, far away
By the fòrlorn sea.

Sometimes people visit them,
Last week they invited me;
That is how I can tell you
They live by a fòrlorn sea.

(They said: Here's a magic carpet,
Come on this,
And when you arrive
We will give you a big kiss.)

I play in the palace garden,
I climb the sycamore tree,
Sometimes I swim
In the fòrlorn sea.

The King and the Princess are shadowy,
Yet beautiful
They are waited on by white cats,
Who are dutiful.

It is like a dream
When they kiss and cuddle me,
But I like it, I like it,
I do not wish to break free.

So I eat all they give me
Because I have read
If you eat fairy food
You will never wake up in your own bed,

But will go on living,
As has happened to me,
Far, far away
By a fòrlorn sea.

-Stevie Smith

Stevie Smith (1902-1971) is a favorite of mine, especially the poetry. Her sketches (as above) are fun, too.

Why is there a grave accent over the o in 'the fòrlorn sea?' Who knows? But it works somehow...

Monday, April 12, 2021

Stevie Smith's Novel on Yellow Paper (#1936Club)

 "...and how is it do-day, how is it to-day in this year of 1936, how is it to-day?"

Well, that's the question we're here to ask this week, isn't it?

Pompey Casmilus is the private secretary to Sir Phoebus in the publishing business. She's the narrator of the novel. She's well-educated--the book drops into German, French, Italian, Latin, Greek along the way--and she has literary aspirations of her own: she writes poetry. We're given samples. "That bit...is a poem I wrote, the way I wrote that other one I was saying and never got published. That's two off my hands."

We see things in her life; her boyfriends, two main ones, Karl the German that was, and Freddy the London suburbanite that is; her other friends; her relationship with her father, who abandoned the family; her mother, who died while was Pompey was still young; the aunt (the lion Aunt of Hull) who raised her. The WWI veteran who convalesces in her town, with whom she becomes friends; she's twelve at the start of that war. She goes to Germany before Hitler, but just, and is shocked out of her own, much milder, anti-Semitism. 

Pompey is interested in the intellectual currents of those years. Not only is there the situation in Germany, but the advent of sex education, Freudianism. I was particularly amused by her critique of classical scholarship--she dislikes Gilbert Murray's translation of Medea, because she finds it too emotional, insufficiently pure in its tragedy, not 'classical' enough. She prefers Racine's Phedre to Euripides' Hippolytus. At the time there was a growing awareness that the ancient Greeks weren't the icy Spock-ians they were long thought to be; Pompey is in favor of the old order. E. R. Dodds' Greeks and the Irrational (1951) would have just sent her round the bend. 

Correspondingly it's not a plot-driven novel. It's interested in the state of the 'modern' woman, and the back cover asks, '...but must she marry?' And it's true that's a question, but it's not the question; there is no conflict with an epiphany to wrap it all up.

Instead, I say it's a novel of voice. So, let's have some quotes!

"I'm typing this book on yellow paper. It is very yellow paper, and is this very yellow paper because often sometimes I am typing it in my room at my office, and the paper I use for Sir Phoebus's letters is blue paper with his name across the corner 'Sir Phoebus Ullwater, Bt.' and those letters of Sir Phoebus's go out all over the world. And that is why I type yellow, typing for my own pleasure, and not sending it by clerical error to the stockbrokers for a couple of thou. in Tekka Taiping, and not sending it to the Chief of Police with a formal complaint, and not sending it to Great Aunt Agatha asking her to, and asking her to..."

Yes, it really does say often sometimes, and it ends on the ellipsis in the original. 

"But first, Reader, I will give you a word of warning. This is a foot-off-the-ground novel that came by the left hand. And the thoughts come and go and sometimes they do not quite come and I do not pursue them to embarrass them with formality to pursue them into a harsh captivity. And if you are a foot-off-the-ground person I make no bones to say that is how you will write and only how you will write. And if you are a foot-on-the-ground person, this book will be for you a desert of weariness and exasperation. So put it down. Leave it alone."

That comes on page 38 in my New Directions reprint. So the warning is pretty early--but not at the very beginning...

"Astarte, Gave a Party, In Cromarty, Everyone was Rather Hearty."

A poem Pompey makes up spontaneously for Sir Phoebus.

"Harriet is also having troubles with her young man that sweet boy that is so very serious, and very teaching. Harriet is much more intelligent I think because she is not always being so serious. But this boy friend who is called Stephen, he is very serious indeed, and has never grown up out of being an undergraduate."

Anyway, you get the idea. Funny, thoughtful, but perhaps just a bit exasperating? If you've read it, what did you think?

There are several of Stevie Smith's own illustrations in this; the cover art is drawn by her. They're always fun.

I do think I like her poetry better.

It's the 1936 Club hosted by Simon and Kaggsy this week. Thanks to them for hosting!



Pompey Casmilus typing her novel (on yellow paper)

Link to my organizing post.

Monday, October 19, 2020

Stevie Smith

 


I'm suffering the usual difficulty with saying much about poetry...well, umm, among many, I liked this one:

Sunt Leones

The lions who ate the Christians on the sands of the arena
By indulging native appetites played what has now been seen a
Not entirely negligible part
In consolidating at the very start
The position of the Early Christian Church.
Initiatory rites are always bloody
And the lions, it appears
From contemporary art, made a study
Of dyeing Coliseum sands a ruddy
Liturgically sacrificial hue
And if the Christians felt a little blue --
Well people being eaten often do.
Theirs was the death, and theirs the crown undying
A state of things which must be satisfying.
My point which up to this has been obscured
Is that it was the lions who procured
By chewing up blood gristle flesh and bone
The martyrdoms on which the church had grown.
I only write this poem because I thought it rather looked
As if the part the lions played was being overlooked.
By lions' jaws great benefits and blessings were begotten
And so our debt to Lionhood must never be forgotten.

That opening rhyme would have made Ogden Nash happy, and I read where Nash wrote an introduction for one of Stevie Smith's later books. That probably implies at the time Ogden Nash was more famous and Stevie Smith less; now I suspect that's reversed. Anyway, there's some similarities, but Stevie Smith is way darker.

The introduction to my edition, by James MacGibbon, suggests that Stevie Smith was a believer, though not a very orthodox one. You might guess that from this poem...

I'd read a few Stevie Smith poems before this, but not many, and this was a nice and generous selection. (280 pages). She died in 1971. I haven't read the biography, nor seen the play made from it. This edition includes some of Stevie Smith's drawings. 




The one on the cover is by her as well.