Peter Porter

Peter Porter’s collection Dragons in Their Pleasant Palaces came out in 1997.

Like a row of books by Faber

Peter Porter, 22 January 1987

It was the young Auden, writing at about the time he was composing his ‘Letter to Lord Byron’, who declared that you could tell if someone was going to be a poet by considering his love of words. If he found words fascinating – their sounds, their peculiar symmetries and associations, their chimes, rhymes, assonances and quiddities – then he was likely to prove the real thing. If, on the other hand, he regarded words as the medium for important ideas he wished to impart, then, however impassioned or crusading he might be, he wasn’t going to be primarily a poet, even if he cast his messages to the world in verse. This nostrum begs many questions, but it remains a good rule-of-thumb. By this test, Clive James is a true poet. Line after line of his has a characteristic personal tone, a kind of end-stopped singingness which is almost independent of what it says. The following are taken at random from Other Passports:’

Letter

Priority

4 September 1986

Peter Porter writes: I should have known better (and so should Mr Kendrick) than to attribute the invention of any verse form to an individual writer, especially as I had read (but forgotten) the Keith Douglas poems. My attribution to Clive James of this shining piece of invention was all my own doing: he didn’t make any such claim.

Poem: ‘Spiderwise’

Peter Porter, 4 September 1986

To Clive James

Trapdoor

The origin of metaphor is strange. As boys we used (but don’t let me forget I only watched, I wasn’t very brave) To put two spiders in a bottle, wave It over flame, which usually made them fight, Or flood them from their deep holes for a change.

These were the deadly trapdoors whose one bite Sent an inclusive poison racing through Your veins: I think we...

Poem: ‘Sticking to the text’

Peter Porter, 2 May 1985

In the Great Book of Beginning we read That the word was God and was with God And are betrayed by the tiniest seed Of all the world’s beginnings, to thrash Like sprats in a bucket, caught in deed As in essence by shapes of ourselves, Our sounds the only bargains we may plead.

So starts this solipsistic essay about words, Its first stanza chasing its own tail, Since no word will betray...

Three Poems

Peter Porter, 20 December 1984

Pisa Oscura

You know how images keep coming back, The lifted arm before the heart attack, Yet out of all the basket-work of shapes And plots, those vandalised electroscapes Of daytime dreaming, how remarkable The least significant of them is able To light the mind and flood the memory! Don’t introspect if you want honesty, And that’s what Freudians presumably Intend when fixing...

Bad Dreams: Peter Porter

Robert Crawford, 6 October 2011

One of the greatest elegies of the 20th century was written in a flat-roofed Australian beach house beside scribbly-gums and banksias in 1975. The poem and the circumstances out of which it grew...

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Davie’s Rap

Neil Corcoran, 25 January 1990

One of the finest things in Donald Davie’s Under Briggflatts is a sustained, learned and densely implicative comparison of two poems about horses: Edwin Muir’s well-known,...

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Callaloo

Robert Crawford, 20 April 1989

‘Where do you come from?’ asks one of the most important questions in contemporary poetry – where’s home? Answering the pulls and torsions of that question produces much...

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Every three years

Blake Morrison, 3 March 1988

Now that poetry has been brought into the marketplace, and publishers have discovered how to make a modest profit from it, and now that publication outlets can be found in any good-sized store,...

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Players, please

Jonathan Bate, 6 December 1984

The Great War was the war of the great war poets. Was ‘the war to end all wars’ also the war to end all war poetry? The best part of Jon Stallworthy’s introduction to his Oxford...

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Subjects

Craig Raine, 6 October 1983

My subject-matter is subject-matter. Is it true, as it sometimes seems, that certain subjects are inevitably more interesting than others, however much we may protest that they are merely...

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Moving Pictures

Claude Rawson, 16 July 1981

Peter Porter’s imagination tends towards the epigram, but not quite in the popular sense which suggests brief, pithy encapsulations of wit or wisdom: Believe me, Flaccus, the epigram is...

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