New Directions and Big Decisions

This collection that I am working on is becoming increasingly problematic - not so much because of its themes or even the ordering of the poems - but because it is simply too big - and to make matters worse I can't stop writing. I have culled it by about half already and it is still at 90 plus A4 pages. I know I shouldn't moan - most people I have spoken to have pointed out that this is surely a good problem to have, and in some ways they are right. I am beginning to wonder whether I should pull one of the threads out (hoping, of course, that the whole thing doesn't unravel like an old jumper) and make it the back bone of another book.

To do that feels rather scary. For one thing most writers want to put their best stuff in their collections - why wouldn't you? For another thing there is no guarantee that I will even have a third collection published. I am lucky to have a second - and if the second is not well received I may not get another chance. The things I am writing now feel risky, and at the same time I am finding it incredibly exciting. Things that I am doing with my Arts Council funding (like the research trip to London) seem to be really bearing fruit and taking my ideas in new directions. The new stuff feels more rooted in the physical and less in the landscape of personal history - this in itself I find intriguing as I went to London to look more at my 'personal history' and while I did do that I found myself more moved by the physicality of the places I visited than any past connections. I would like to spend more time visiting there to see what more will come.

Anne Michaels and the ecriture feminine

I find myself coming back again to the ideas of ecriture feminine. Although I am not convinced that language functions merely as an instrument of patriarchal expression, I do see some strong elements of what Cixous describes as feminine writing in the writers that I am currently attracted to.

"Women must write through their bodies, they must invent the inpregnable language that will wreck partitions, classes, and rhetorics, regulations and codes, they must submerge, cut through, get beyond the ultimate reserve-discourse..." (Cixous, H. The Laugh of the Medusa)

Cixous and Irigarary do not accept the very Western idea of a separation between mind and body - the mind being traditionally male, the body female. They are not saying that only women can write in this new, freer more physical language but that this is a more feminine way of writing.

I am currently reading a book of poetry called The Weight of Oranges by Anne Michaels - Michaels is a Canadian writer who started out as a poet but now writes mostly fiction. Her poetry is very sensual and to me embodies exactly the way of writing that Cixous is describing.

"By morning the stones we'd found
were dull with air,

but I couldn't forget the smell

of the trees' intimate darkness,

the scattered sound of the rain's distracted hands,

husks of buds in green pools on the sidewalks."

(from "Turning Twenty-Three" in Michaels, Anne, The Weight of Oranges)