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CONTENTS
Midden
Agape
Funeral of Queen Mary
Life Models in Oxford
Laments
Mustafa
Oron
Iona
Munich: Lessons in Fragility
Little Highland Love Poem
Spring for the Missus
The Night Kitchen
Caledonian Forest
Two Friends
Cathedral Maker in the Manna Gum Forest
Letters to a Thai Friend
At the Dürer Exhibition
Millenium
Erasmus in the High Country
Marriage Country
Photograph of the Old Marc Chagall
Hyacinths
Hsay Plo
Puu Edwin
Cassie
An Awful Wedding
Program about the Chilean Writer
A Lost Tolstoy Story:
The
Woman’s Amber Broach
Koonwak: Garden
In Memoriam – Fred Williams
Beach:
Princetown
Museum of Mankind
Australian in Iona
Pottery
Sultan Suleyman amongst the Cows
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Reviews
Midden Places
Janet Upcher
Island,
No. 107, Summer 2006
Whereas Edgar’s collection [
Other Summers]
ends with a cemetery, Sangster’s begins in one:
‘the head
stones grow wild here / ...this is a midden place...’ In her
debut collection, she confronts us with some unusual locations, unusual
experiences, emotional, physical and spiritual. We see,
inter alia,
through the eyes of an artist’s model in Oxford, an
Australian in
Iona, a traveller in Thailand and Burma. Sangster takes us into places
where we sense not simply the gulfs between cultures, but also between
individuals. Her poems are bold and original, although sometimes not
fully realised: ‘We walk through the sanctuary of the mango
grove, / you mourn friends lost in the May massacre and I / do not know
how to comfort you’ (‘Letters To a Thai
Friend’). An
overliteral recording of experience can limit the poetry, which
becomes, instead, prosaic and at times there is weak lineation.
Mostly, though, there’s a refreshing openness, an empathy and
compassion for humanity, as in ‘Hsay Plo’:
‘The most
peaceful can be the most / full of rage.’ Two especially
strong
poems are ‘Caledonian Forest’ and
‘Marriage
Country’, behind both of which is the notion that things
which
bring us together can also intensify our separateness. The imagery in
‘Marriage Country’ is unified, understated and
vividly
evoked: the setting, old gold-mining territory, is a perfect metaphor
for a rejected marriage proposal, ‘The ground beneath us /
riddled with empty and ungilded chambers / Gold, all gone.’
The
final poem, ‘Sultan Suleyman Amongst The Cows’ is a
quirky
and imaginary blending of two cultures in a timeless cosmic vision:
‘Cow gods / pulling the sky along / a newly etched pigment /
amongst the milky breathings / the steam of dung.’
Sangster’s is a very individual voice speaking from
‘midden
places’, places where displacement can bring transformation.
When
things and people are abandoned, displaced (like
‘Mustafa’), perhaps they gain greater integrity,
more
authenticity.
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Midden Places
Geoff Page
Radio
National’s The
Book Show
2006
Erasmus. Philosopher.
Goes walking in the high country
Below the line of snow gums.
It is summer and the world is huge
and hot amongst the granite boulders.
He stops by a tarn to watch a fish.
The pool is stained by the oil
of the blackwood wattle and its deep
still green holds a certain
monastic viridescence.
The fish is alone but not tragic
about this, instead he is playing the fool
and catching insects in his mouth
and twisting his tail to see how the light
will break, refract, spin at the slightest move.
The water is his whirligig.
The fish delights; turning around and
trying to swim on his back will amuse for hours
and Erasmus can see immediately
the similarities; man standing in direct
relation to god and mucking around
under his gaze.
Like that daring, darling fish
the age spots on his skin. So irreverent.
Laughing and crude in the face of spirit.
Stirring the scum of skeletons and pods
up with his belly
just for fun, just to shock.
The fish knows he has an audience.
‘Erasmus
in the High Country’
I am weary of this wise man
That
poem, ‘Erasmus in the High Country’,
is one of several very memorable poems in Kirsty
Sangster’s first collection, Midden Places.
There are several
others that might have been equally well chosen but ‘Erasmus
in the High
Country’ makes more explicit the religious element which
seems to underly most
of her work. In some ways it is a poem of pure, even arbitrary,
imagination.
How does the Dutch religious humanist philosopher get to be
‘walking in the
high country / below the line of snow gums’?
It’s not a question that disturbs us for long
however since we’re almost
immediately caught up in Sangster’s description of the single
fish in a tarn ‘stained
by the oil / of the blackwood wattle’. The wise philosopher,
rather like God,
looks down. The fish is ‘laughing and crude in the face of
spirit’. The fish is
‘Stirring the scum of skeletons and pods... just for fun,
just to shock’. Like
us naughty humans, Sangster implies, ‘The fish knows he has
an audience.’ It’s
a neat little parable - disturbing and charming, even for the most
secular of
readers. It’s significant, though, that we cannot tell to
which religion, let
alone denomination, Sangster belongs. Her poetry goes much deeper than
that.
The biographical notes speaks of her work for human rights and refugees
and it
is clear that her knowledge of such plights informs her work. In
several poems
of remarkable empathy she seems to know exactly what is going on in the
minds
of people in such situations. At the end of her poem,
‘Mustafa’, for example,
she talks of how a Kurdish refugee in Scotland ‘looks / for
all the world like
some weird / partisan... pretty stunned, totally cool and yet /
grieving a
grief so huge / it is tactile /held like that mug.’ In
‘Two Friends’ she has a
Burmese refugee talk ‘about the ten months crouched / with
knees against chest
getting weaker / and weaker in the crowded prison cells’.
Although Sangster
clearly has a talent for the imaginative use of detail, she also has a
remarkable rhythmic skill. Unlike quite a lot of what passes for free
verse
these days, Sangster’s has a real energy and cumulative
impact, reminiscent of
the psalms of the 1611 Bible where free verse in English started. Take
the
opening of ‘Agape’, for instance:
I see you
kneeling on a street in Athens
veiled
in black you spit from a face
that is all mouth, all hole and rag...
or
the
opening of ‘Laments’:
Our deep
love started near the
mountain
where the Three Sisters stare at the sea...
Sangster
also has a feel
for the dramatic and exactly how long a poem needs to be to have its
effect.
Most of the pieces in Midden
Places run for about a page and a half - long
enough to establish and examine a situation but short enough not to
become
bogged-down or repetitive. She has quite a way with language, too, -
not just
with the descriptions that seem to combine the physical and
metaphysical but
also in her risky but effective occasional use of archaic or
‘out-of-register’
words and inversions of word order.
In ‘Koonwak:
Garden’, for instance, she says:
Under the
giving sway-back of the hills
a
wattle-bird brings in singing the dark.
Chooks settle in their locked up shed.
There
have been several highly auspicious first books by female Australian
poets in the last few years - Bronwyn Lea’s Flight Animals and Adrienne Eberhard’s
Agammemnon’s Poppies,
to name
just two. Kirsty Sangster’s
Midden
Places also deserves a place in that distinguished company.
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Sangster
biography