Eliot Weinberger

I heard the vice-president say: ‘By any standard of even the most dazzling charges in military history, the Germans in the Ardennes in the spring of 1940 or Patton’s romp in July of 1944, the present race to Baghdad is unprecedented in its speed and daring and in the lightness of casualties.’ I heard Colonel David Hackworth say: ‘Hey diddle diddle, it’s straight up the middle!’ I heard the director of a hospital in Baghdad say: ‘The whole hospital is an emergency room. The nature of the injuries is so severe – one body without a head, someone else with their abdomen ripped open.’ I heard an American soldier say: ‘There’s a picture of the World Trade Center hanging up by my bed and I keep one in my Kevlar. Every time I feel sorry for these people I look at that. I think: “They hit us at home and now it’s our turn.”’

In 1969, the Cultural Revolution sent Gu Cheng’s family into the salt desert of Shandong Province to herd pigs. The locals spoke a dialect he could not understand, and in his isolation he became absorbed in the natural world: ‘Nature’s voice became language in my heart. That was happiness.’ His favourite book was Jean-Henri Fabre’s 19th-century entomological notes and drawings; he collected insects and watched birds; he wrote poems in the sand with a twig, poems with titles like ‘The Nameless Little Flower’ or ‘The Dream of the White Cloud’. Like John Clare, he found his poems in the fields and wrote them down. ‘I heard a mysterious sound in nature,’ he later said. ‘That sound became poetry in my life.’ He wrote that his ‘earliest experience of the nature of poetry’ was a raindrop. His childhood was a vision of paradise from which he never recuperated.

I had vowed never to go to China until my friend, the exiled poet Bei Dao, was able to travel freely there, but when I received a sudden invitation to the Century City First International Poetry Festival in Chengdu, he urged me on: ‘If you wait for me, you’ll be too old to enjoy it.’

The international dimension of the festival was to be limited to two Americans. Luckily,...

In 2005 I heard that Coalition forces were camped in the ruins of Babylon. I heard that bulldozers had dug trenches through the site and cleared areas for helicopter landing pads and parking lots, that thousands of sandbags had been filled with dirt and archaeological fragments, that a 2600-year-old brick pavement had been crushed by tanks, and that the moulded bricks of dragons had been gouged out from the Ishtar Gate by soldiers collecting souvenirs. I heard that the ruins of the Sumerian cities of Umma, Umm al-Akareb, Larsa and Tello were completely destroyed and were now landscapes of craters.

The 1611 King James Authorised Version of the Book of Psalms – and of course of the entire Bible – is so deep in the English language that we no longer know when we are repeating its phrases. Inextricable from the beliefs and practices of its faithful for four hundred years, it has been transformed from the translation of a holy book into a holy book itself. Poets, however, know from experience that there are no definitive texts, and over the centuries an assembly of angels has been singing the Psalms in its own way: Wyatt, Sidney, the Countess of Pembroke, Campion, Milton, Crashaw, Vaughan, Smart, Clare, Hopkins and Kipling among them. Some were setting lyrics to new tunes; some were performing metrical exercises with familiar material; some were expressing private prayer; some were simply writing a poem. St Augustine said that all things written in the Psalms are mirrors of ourselves and it was inevitable that, when English poets were still largely Christian believers, they would look into the mirror of this foundational anthology of poetry, as Chinese poets looked into the Confucian Book of Songs.