Mark Ford

Accordingly, I lay with my wife for three Successive nights. During this exact period of time The Mets beat the Cubs and it rained continuously.

October 8th. Fearful itching all over. After much prodding and goading from H. I agree to see a skin-specialist.

The park by starlight. The margins Fill with doodles. This space, these Pages, shelve ever more steeply into darkness ...

In The Orators W.H. Auden classified bird buffs as ‘excessive lovers of self’: they illustrate the psychological type who is ‘unable to taste pleasure unless through the rare coincidence of naturally diverse events, or the performance of a long and intricate ritual’. Redmond O’Hanlon sees his own career as a bird-watcher originating along similar lines to this but rather more romantically. It all began when he was four and three-quarters. A mistle-thrush dropped half of an empty eggshell at his feet on the lawn of the Wiltshire Vicarage where he grew up: ‘Being unaware, at the time, of the empty cosmos, of the unfeelingness of causal connections, I concluded that this message of brown and purple blotches on a background of browny-white had been intended just for me.’

Pot-plants unwatered on the sun-deck Like moaning minnies lie down and die.

Her lips have twisted into a random smile, but In her mind she curses in her mother-tongue.

The room is now an inverted fish-tank; Things float helplessly up towards the glass –

Her brushes, her combs, her trash, Objects it were useless even to list.

Each noise fades away like forgotten Sex, its stripes etched...

These are the first of Georges Perec’s wonderful and extraordinary writings to be translated into English. Perec has been a household name in France since the runaway success of his first and most popular novel, Les Choses (1965), which still sells twenty thousand copies a year. Les Choses describes, with a sociological exactitude justified in the novel’s concluding quotation from Marx, the motivations and disappointments of an utterly ordinary middle-class couple in a consumerist culture. Sylvie and Jérôme are both public opinion analysts, as indeed was Perec at the time: they emerge as a kind of generically rootless Parisian couple of the Sixties, whose experiences and emotions are such that no one of that generation could help but identify with them. The book ties in neatly with, indeed was partly inspired by, Barthes’s theories on the language of publicity, which were appearing around the same time; its precision and syntactical ingenuity aspire to Flaubert, a major figure in Perec’s pantheon of favourite authors.

This is Ciaran Carson’s second collection of poems. His first, The New Estate (1976), revealed an intricate, lyrical poet intensely aware of traditional Irish cultures, and concerned to connect them meaningfully with the sprawl of modern living; these early poems are taut, rather literary, and often very beautiful. His themes are pretty much the same in his equally impressive new book, but his approach to them has changed radically. All the poems in The Irish for No are written in long easygoing lines – more or less fourteeners – and exhibit a wonderful fidelity to the casual flow of ordinary speech and storytelling. What could be more enticing and relaxing than this for the opening of a yarn?’