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In a Station of the Metro - Wikipedia
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One hundred and forty-four poems were selected by the editor from the two hundred or so displayed on DART carriages between and short enough for passengers to read without missing their stops, resonant enough to inspire reflection, disquietude or delight. Three were written especially for Dublin's train travellers, and about half of them are by Irish poets. Featu One hundred and forty-four poems were selected by the editor from the two hundred or so displayed on DART carriages between and short enough for passengers to read without missing their stops, resonant enough to inspire reflection, disquietude or delight.
Get A Copy. Unknown Binding , pages. More Details On paper, at least, she fulfils the requirements, having won all the prizes you might reasonably expect a British poet at the height of her powers to win: the Eric Gregory award for new writers; the Forward Prize for Best First Collection, awarded to The Thing in the Gap Stone Stile; the TS Eliot Prize for Dart, her majestic book-length poem about the river of the same name; in , another Forward Prize, this time for best single poem; in , the inaugural Ted Hughes Award for innovation in poetry, on the strength of Weeds and Wild Flowers, with etchings by the artist Jessica Greenman.
B ut all prizes or none, her work is commanding. Oswald is a classicist to her bones , just as much as she is a contemporary writer working in the tradition of nature poetry. Born in , she read Classics at Oxford before working as a gardener. She brings the characters and textures of antiquity to her work, embedded in the earth and water of the British countryside.
Living in Devon, she keeps free of the infighting and schmoozing to be found in the London poetry scene. But this also means she feels less a part of that literary establishment than better-known names, who spend time winning over hearts and minds on Radio 4. When I interviewed Oswald in , she was compelling in everything she said, but it was only when I came to transcribe our conversation later that I realised she had spoken not only in full, delicately constructed sentences, but in entire off-the-cuff paragraphs of pristine prose.
In speech, her mind is finely geared to the way her words will come out on paper, but you can tell that she writes first by speaking, listening and thinking. They expand far beyond paper. O swald performed Memorial from memory, in its entirety, on several occasions.
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It was a visibly exhausting tour-de-force. In Greek myth, the dawn Eos fell in love with Tithonus, a man, and asked the gods to make him immortal. She forgot to specify eternal youth. Tithonus did indeed live forever, but became enfeebled and senseless, and had to be locked away. It was written to be heard in initial darkness, the lights coming on very slowly. T hroughout Falling Awake, the hours and the seasons, as well as the insistent course of river currents, are felt as the internal rhythms of the poetry. I t asks: what happens to a river when there is no water?
What do you find in the depths of its bed?
Related Between the Lines: Poems on the Dart
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