P O E TRy A N D TH E I R I S H l A N DSC A PE
A CO N v E R S AT I O N W I T H T H E O D O RG A N
T h E O D O R G A N has published three effluent, you will be troubled, because the examines the actual in the here and now, and
volumes of poetry, and his poems have been unsullied stream is held in the poem. The poem this new image is in dialogue with the image
widely translated; he also has written books, as an act in memory is therefore a rebuke and as eternal in the poem. you have an index
among them a prose account of sailing the a challenge.” of change.
Atlantic;. A broadcaster, scriptwriter and edi- “If I write in a poem about Cork, about the “If a poet is true and honest, she will write
tor, he is past director of Poetry Ireland and a view from the top of the hills and the clear air what the poem needs to be,” Dorgan said,
member of the Arts Council. His is a leading in the morning, and if somebody happens to stepping back from the specific discussion
voice among Ireland’s artists, and he has shown read the poem,” Dorgan continued, “they can about climate change. “And what the poem
no fear when it comes to engaging with chal- see that clear childhood memory of the city— always needs to be is clear, lucid, melodic. A
lenging political and social topics. the city of seven hills, clear in the morning sun- good poem has a backward glance and a for-
Jumping instantly into a conversation about light, sun glinting off the gold fish on Shandon, ward glance. you don’t so much read a poem
global warming and the changes it may bring and the light fog rolling through the lee valley. as inhabit a poem, in my view. you become in
to Ireland, he identified a specific role for Irish But if they’re standing there, and they can’t the poem. A true poet writing about her envi-
ronment will write things that then become
self-evident. So if moya Cannon writes about
One of the key functions of poetry, in a culture that the remembered Donegal of her childhood, she
doesn’t have to put in the electricity pylons that
values its poetry, is that it does in fact memorialize. began to emerge over the ridges as she was a
And the memorial itself becomes a challenge by virtue young girl—because you go there in the poem.
And because scale manages and shapes fact,
of existing as one pole of the possible, often juxtaposed anybody in Ireland reading a poem set in Done-
with an actual. gal, with a vision of landscape in it that doesn’t
have the electricity pylons, well, the reader will
supply them. If they’re sensitive, clued-in.”
Off on one of countless tangents, Dorgan
poetry. He prefaced it by noting a “context for hear the person next to them speak because began describing the “other world” often
reading Irish poetry in Ireland, where it’s taken of the roar of morning rush hour traffic, if they referenced in Irish literature and felt on the
as a given that poetry’s part of the plenum, and can’t see Shandon because of the exhaust fumes Irish landscape. He talked of sacred places and
not an objectified element removed from the clouding up St. John’s Street going down into standing stones.
discourse.” Blackpool, they’re presented with an antinomy. “I think standing stones are placed in the
Dorgan started by referencing Seamus Here on the one hand is this remembered, Irish landscape not as symbols of a religious
Heaney’s Anahorish. “When he actually fol- imagined world, and here is the brute real- practice, but as markers of place where you
lows in his poems the syllables of place names ity. So there is a dialectic between those two somehow feel the nodal energies that might be
remembered from his childhood, and replicates things, and it raises questions. present, or where you can have that maslovian
them, there is an objective correlative to the “I’m not saying that poetry has to memori- peak experience. And the point of the standing
name in the sound water makes going over the alize. But one of the key functions of poetry, in stone is—the standing stone. In this way the
stones in the streambed; he’s also preserving a culture that values its poetry, is that it does ancient Irish culture of the enchanted is very
that stream as pristine because it’s held in the in fact memorialize. And the memorial itself close to the Japanese tradition in poetry, where
glass of memory. And because he holds it as becomes a challenge by virtue of existing as one you’re taken in the poem to Cold mountain so
pristine, and you can read the poem as pristine, pole of the possible, often juxtaposed with an you can be on Cold mountain, so you can feel
if you walk out and see it clogged with silage actual. In terms of climate change, the scientist and be what you would feel and be on Cold
20 CHANGING SHADES OF GREEN
mountain. The symbolic register is secondary.
The question of self-transportation is key. The
point is, when you read montague on Gar-
vaghy—on the rough field—you’re in Garvaghy.
It’s the Garvaghy of the poem, yes, but there
is a connection between the Garvaghy in the
poem and Garvaghy in itself.”
Dorgan said it is entirely appropriate to use
both scientific and poetic voices to attempt to
describe the impacts of climate change.
“To me, the inspired scientist and the
inspired poet are both doing valuable work,”
Dorgan said. “The modalities of operation are
different, but the operations and consciousness
are very analogous. It’s to do with claritas, like
the old Roman virtues of claritas and luciditas.
look at the things we value: We value clarity,
ThEO DORGAN
lucidity. Both of these are about illumination.”
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