John Kerrigan

Plunging in free-fall, a parachutist just out of an aeroplane sees the Earth spread out before him with the steadiness of a map. As his eyes resolve the detail, however, at about 600 metres, the ground seems to rush towards him, then split apart with dizzying speed: ‘The apparent diameter of objects increases faster and faster and you suddenly have the feeling you are not seeing them getting closer but seeing them move apart suddenly, as though the ground were splitting open.’

John Major’s vision of Britain is history by now: a unitary state north and south of the Tweed, secured by consent, subject to one monarch and funded by a non-tartan tax system. When Major first published his views, however, in the punningly titled Historia Maioris Britanniae (1521), his innovativeness upset fellow Scots. It was one thing for a North Berwick-born philosopher to refute the medieval legend which derived English claims to rule in Scotland from the overlordship of a Trojan called Brut; it was another for him to challenge the myth which traced Scottish independence back to an ancient Greek prince called Gathelus. Defeated at the Battle of Flodden, and fearful of Tudor encroachments, the Scottish élite resisted both Major’s historiography and his proposal that royal dynasties on the island should intermarry to unite ‘Greater Britain’. Not until 1603, when James VI succeeded to the English throne, would talk of union become orthodox.

Since the publication of Roy Fisher’s sequence City, in 1961, his work has been praised by fellow poets, but his refusal to strike marketable postures, during a period in which reaching an audience has increasingly depended on a poet’s willingness to do so, has kept him relatively unknown. This neglect is the more understandable given Fisher’s publication history. Many of his early pieces were circulated in fugitive pamphlets. Like the Collected Poems of 1968, the superbly crafted Matrix (1971) was published by Fulcrum Press – a by-word, in those Movement-dominated times, for what was taken to be wayward experimentalism. Only with The Thing about Joe Sullivan (1978), published by Carcanet, and two OUP editions of his collected poems (1980 and 1988), did Fisher turn to houses equipped to reach ‘mainstream’ readers. Now he has gone the way of all poets and taken his selected works to Bloodaxe. It is to be hoped that The Dow Low Drop will not be lost in the sheer bulk of that outfit’s throughput – though it would somehow be typical of Fisher if his gesture towards a popular readership proved yet another route to self-effacement.’

In Irish poetry, from Ó Rathaille to the rebel songs, a paradigmatic encounter recurs. Up on a hill, or down by the glenside, the poet meets a woman who celebrates Ireland’s pastand speaks of national redemption. This emblematic figure, often glimpsed in a vision or ‘aisling’, can be a glamorous maiden awaiting her Stuart prince, but she also appears as the ‘poor old woman’ of the patriotic ballads. Whether praising the sacrifices of ‘the bold Fenian men’ or complaining (after 1921) of the bondage which shackles one of her ‘four green fields’, this plangent yet bloodthirsty crone is as worn a cultural token as those related feminine stereotypes, Dark Rosaleen and Cathleen Ní Houlihan. In the rapidly modernising Ireland of satellite TV and legalised divorce, she might seem an exhausted figment. Remarkably, however, the Shan Van Vocht keeps cropping up in verse, as though poets hoped that renewed encounters could release the energies still locked in archaic nationalism, and clarify relations between patriotic sentiment and sexual politics.