A C. H. Sisson Reader
This book is the most comprehensive collection of essays, criticisms, and analyses of the author C. H. Sisson, dubbed as "one of the great translators of our time" by the Times Literary Supplement. This work provides an insightful look into C. H. Sisson's work and that of his peers, and provides readers with a better understanding of the state of literature in Britain and Europe in the 20th century.
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A C. H. Sisson Reader
This book is the most comprehensive collection of essays, criticisms, and analyses of the author C. H. Sisson, dubbed as "one of the great translators of our time" by the Times Literary Supplement. This work provides an insightful look into C. H. Sisson's work and that of his peers, and provides readers with a better understanding of the state of literature in Britain and Europe in the 20th century.
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A C. H. Sisson Reader

A C. H. Sisson Reader

A C. H. Sisson Reader

A C. H. Sisson Reader

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Overview

This book is the most comprehensive collection of essays, criticisms, and analyses of the author C. H. Sisson, dubbed as "one of the great translators of our time" by the Times Literary Supplement. This work provides an insightful look into C. H. Sisson's work and that of his peers, and provides readers with a better understanding of the state of literature in Britain and Europe in the 20th century.

Product Details

ISBN-13: 9781847772855
Publisher: Carcanet Press, Limited
Publication date: 12/01/2014
Sold by: Barnes & Noble
Format: eBook
Pages: 352
File size: 865 KB

About the Author

C. H. Sisson was a poet, an author, an essayist and a translator. Charlie Louth is a translator and teaches German at the University of Oxford. Patrick McGuinness is an award-winning poet and author and teaches French and comparative literature at the University of Oxford.

Read an Excerpt

A C. H. Sisson Reader


By Charlie Louth, Patrick McGuinness

Carcanet Press Ltd

Copyright © 2014 Charlie Louth and Patrick McGuinness
All rights reserved.
ISBN: 978-1-84777-480-4


CHAPTER 1

From The London Zoo (1961) and other early poems

    On a Troopship

    They are already made
    Why should they go
    Into boring society
    Among the soldiery?
    But I, whose imperfection
    Is evident and admitted
    Needing further assurance
    Must year-long be pitted
    Against fool and trooper
    Practising my integrity
    In awkward places,
    Walking till I walk easily
    Among uncomprehended faces
    Extracting the root
    Of the matter from the diverse engines
    That in an oath, a gesture or a song
    Inadequately approximate to the human norm.


    In Time of Famile: Bengal

    I do not say this child
    This child with grey mud
    Plastering her rounded body
    I do not say this child
    For she walks poised and happy
    But I say this
    Who looks in at the carriage window
    Her eyes are big
    Too big
    Her hair is touzled and her mouth is doubtful
    And I say this
    Who lies with open eyes upon the pavement
    Can you hurt her?
    Tread on those frightened eyes
    Why should it frighten her to die?
    This is a fault
    This is a fault in which I have a part.


    The Body in Asia

    Despite the mountains at my doorstep
    This is a hollow, hollow life.
    The mist blows clear and shows the snow
    Among the dark green firs, but here
    Upon the cold, scorched, dusty grass
    The camels looped together raise
    Their supercilious noses.
    Upon the road the donkeys trot
    And mule-teams with their muleteers pace.
    The country lies before me like
    A map I carry in my mind –
    A wall built by the Hindu Kush
    A plain that falls away to sea
    I on the foothills here between
    Sniffing the cold and dusty air.
    Too long of longing makes me cold
    The heart a tight and burning fistful
    Hangs like a cold sun in my chest
    A hollow kind of firmament.

    I can imagine my exterior
    The body, and the limbs that run off from it
    But there is nothing in it I am sure
    Except the ball of heart that weighs one side
    Like the lead ballast in a celluloid duck.
    And in my head a quarter-incher's brain
    Looks out as best it can from my two eyes:
    It can imagine how the country lies
    To left and right, extensions of the limbs
    But has no thoughts that I can understand.
    Not only in this land I have felt it so
    But on the Brahmaputra where
    Bits of the jungle floated down
    Black heaps upon the coloured river
    When night fell and the sun
    A red and geometric disk
    Above its square reflection stood
    For half a moment and then dipped:
    I heard it sizzle in the water.
    The flat and muddy banks, remote
    Beyond the miles of plashing water
    Diminished me
    Till, smaller than the skin I stood in
    I leaned against the rails and watched
    The searchlights on the licking water.
    The secret of diminishment
    Is in this sad peninsula
    Where the inflated body struts
    Shouting its wants, but lacks conviction.
    Conviction joins the muscles up
    But here the body flaps and flutters
    A flapping sail in a fitful wind.


    In a Dark Wood

    Now I am forty I must lick my bruises
    What has been suffered cannot be repaired
    I have chosen what whoever grows up chooses
    A sickening garbage that could not be shared.

    My errors have been written in my senses
    The body is a record of the mind
    My touch is crusted with my past defences
    Because my wit was dull my eye grows blind.

    There is no credit in a long defection
    And defect and defection are the same
    I have no person fit for resurrection
    Destroy then rather my half-eaten frame.

    But that you will not do, for that were pardon
    The bodies that you pardon you replace
    And that you keep for those whom you will harden
    To suffer in the hard rule of your Grace.

    Christians on earth may have their bodies mended
    By premonition of a heavenly state
    But I, by grosser flesh from Grace defended,
    Can never see, never communicate.


    In London

    I float between the banks of Maida Vale
    Where half is dark and half is yellow light
    In creeks and catches flecks of flesh look pale
    And over all our grief depends the night.

    I turn beside the shining black canal
    And tree-tops close like lids upon my eyes
    A milk-maid laughs beside a coffee-stall
    I pray to heaven, favour my enterprise.

    But whether there is answer to my prayer
    When with my host at last I redescend
    After delicious talk the squalid stair
    I do not know the answer in the end.


    Sparrows seen from an Office Window

    You should not bicker while the sparrows fall
    In chasing pairs from underneath the eaves
    And yet you should not let this enraged fool
    Win what he will because you fear his grief.

    About your table three or four who beg
    Bully or trade because those are the passions
    Strong enough in them to hide all other lack
    Sent to corrupt your heart or try your patience.

    If you are gentle, it is because you are weak
    If bold, it is the courage of a clown
    And your smart enemies and you both seek
    Ratiocination without love or reason.

    O fell like lust, birds of morality
    O sparrows, sparrows, sparrows whom none regards
    Where men inhabit, look in here and see
    The fury and cupidity of the heart.


    In Kent

    Although there may be treacherous men
    Who in the churchyard swing their mattocks
    Within they sing the Nunc Dimittis

    And villagers who find that building
    A place to go to of a Sunday
    May accidentally be absolved

    For on a hill, upon a gibbet ...
    And this is Saint Augustine's county.


    Maurras Young and Old

    1

    Est allé à Londres
    Monsieur Maurras jeune

    From a land of olives, grapes and almonds
    His mind full of Greek.
    Under the shadow of the British Museum
    He reflected on the many and foolish
    Discourses of the Athenians
    And on the Elgin marbles.

    The fog settled
    Chokingly around the Latin head
    Of the eloquent scholar.
    Quick like a ferret
    He tore his way through
    Scurrying past the red brick of Bloomsbury
    To the mock antique portals.

    The Latin light
    Showed on the Mediterranean hills
    A frugal culture of wine and oil.
    Unobserved in their fog the British
    toto divisos orbe
    Propounded a mystery of steam
    In France they corrected the menus
    Writing for biftec: beefsteak.
    Monsieur Maurras noted the linguistic symptoms
    He noted, beyond the Drachenfels
    The armies gathering.

    2

    The light fell
    Across the sand-dunes and the wide étang.
    In their autochthonous boats
    The fishermen put out
    And came back to the linear village
    Among the vineyards and the olive groves
    Place de la République
    Rue Zola

    In which names the enemy celebrated his triumphs.

    Twenty-five years:
    Beyond the Drachenfels
    The armies gathered again
    irruptio barbarorum
    The boats are moored on the étang
    For Monsieur Maurras
    The last harvest is gathered.

    A Latin scorn
    For all that is not indelibly Latin
    A fortiori for the Teutonic captain
    Passing him on the terrace of the Chemin de Paradis
    Enemy and barbarian.
    Inutile, Monsieur, de me saluer
    His eyes looked out towards the middle sea
    He heard not even that murmur
    But an interior music.


    On the Way Home

    Like questing hounds
    The lechers run through London
    From all the alley-ways
    Into all the thoroughfares

    Until, shoulder to shoulder, they vanish
    Into the main line stations
    Or the Underground traps them.

    A moment of promiscuity at nightfall
    Their feet go homewards but their attentions
    Are on the nape of a neck or the cut of a thigh
    Almost any woman

    As Schopenhauer noted
    Being more interesting to them than those
    Who made their beds that morning.


    Silence

    Let not my words have meaning
    And let not my bitter heart
    Be expressed, like a rotten
    Pomegranate. Guts full of pus
    And a brain uncertain as a thunderstorm
    Do not, I think, amuse the muses.


    Ightham Woods

    The few syllables of a horse's scuffle at the edge of the road
    Reach me in the green light of the beeches
    Les seuls vrais plaisirs
    Selon moy

    Are those of one patch between the feet and the throat.
    Maybe, but the beeches
    And that half clop on the gravel
    Indicate a world into which I can dissolve.


    Family Fortunes

       I

    I was born in Bristol, and it is possible
    To live harshly in that city

    Quiet voices possess it, but the boy
    Torn from the womb, cowers

    Under a ceiling of cloud. Tramcars
    Crash by or enter the mind

    A barred room bore him, the backyard
    Smooth as a snake-skin, yielded nothing

    In the fringes of the town parsley and honey-suckle
    Drenched the hedges.

       II

    My mother was born in West Kington
    Where ford and bridge cross the river together

    John Worlock farmed there, my grandfather
    Within sight of the square church-tower

    The rounded cart-horses shone like metal
    My mother remembered their fine ribbons

    She lies in the north now where the hills
    Are pale green, and I

    Whose hand never steadied a plough
    Wish I had finished my long journey.

       III

    South of the march parts my father
    Lies also, and the fell town

    That cradles him now sheltered also
    His first unconsciousness

    He walked from farm to farm with a kit of tools
    From clock to clock, and at the end

    Only they spoke to him, he
    Having tuned his youth to their hammers.

       IV

    I had two sisters, one I cannot speak of
    For she died a child, and the sky was blue that day

    The other lived to meet blindness
    Groping upon the stairs, not admitting she could not see

    Felled at last under a surgeon's hammer
    Then left to rot, surgically

    And I have a brother who, being alive
    Does not need to be put in a poem.


    In Honour of J.H. Fabre

    My first trick was to clutch
    At my mother and suck
    Soon there was nothing to catch
    But darkness and a lack.

    My next trick was to know
    Dividing the visible
    Into shapes which now
    Are no longer definable.

    My third trick was to love
    With the pretence of identity
    Accepting without proof
    The objects 'her' and 'me'.

    My last trick was to believe
    When I have the air
    Of praying I at least
    Join the mantis at its prayers.


    Nude Studies

    They are separate as to arms and legs
    Though occasionally joined in one place
    As to what identity that gives
    You may question the opacity of the face.

    Either man is made in the image of God
    Or there is no such creature, only a cluster of cells
    Which of these improbabilities is the less
    You cannot, by the study of nudity, tell.


    Tintagel

    The clear water ripples between crags
    And the Atlantic reaches our island
    A clout on the outer headland.

    A small band gathered God into this fastness
    Singing and praying men; while others
    Climbed up the perilous stairway shod in iron.

    In every clearing a mad hermit
    Draws his stinking rags about him and smoke rises
    From thatches lately hurt by rape or pillage.

    Cynadoc, Gennys, names as clear as water
    Each hill unfolds, and the sheep
    Pass numerous through the narrow gate.


(Continues...)

Excerpted from A C. H. Sisson Reader by Charlie Louth, Patrick McGuinness. Copyright © 2014 Charlie Louth and Patrick McGuinness. Excerpted by permission of Carcanet Press Ltd.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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