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<h2 class='date-header'><span>Wednesday, October 04, 2006</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='color:black'><img height="318" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/Xalbso3-4g7yBNxeDlc2ppLD1E4m0Zu_zBac_CRjZboOh02iWoKvRAH9QJVI4RT3yWxZABwGJ8_slFrWWfNqYJJOVMwxr-UpyGBqOsM43MTryNaki8E6i8Y%3Ds0-d" width="212"><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.shearsman.com/pages/books/catalog/2006/turnbull.html"><span style='color:black'>There are Words</span></a></span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>, the collected poems of <a href="http://www.soton.ac.uk/~bepc/poets/turnbull.htm"><span style='color:black'>Gael</span></a> <a href="http://www.spl.org.uk/poets_a-z/turnbull.html"><span  style='color:black'>Turnbull</span></a>, is an indispensable volume. At nearly 500 pages, it contains virtually all of Turnbull&#8217;s poetry that he wanted saved &#8211; perhaps the greatest omission are some site-specific &#8220;kinetic&#8221; poems that hint at Turnbull&#8217;s relation to one of Scotland&#8217;s other great poets, Ian Hamilton Finlay. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>From the perspective of these shores, keeping in mind that Scotland itself has a population no greater than the state of Minnesota &amp; that, in any event, Turnbull, tho he was born &amp; raised in Edinburgh &amp; returned there to live again upon his retirement from medicine in the early 1990s, spent most of his adult life in Canada, the U.S. &amp; England, was unparalleled in his role as a connector of all these different literary worlds. Perhaps it was because, in the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>U.S.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> to study medicine, Turnbull came under the spell of another doctor-poet, William Carlos Williams. Or because The Migrant Press, which he founded upon his return to the isles in 1957, was one of the first there to focus precisely on contemporary poetry. But from the New American Poetry in the 1950s &#8211; you can find photos of young Turnbull in the Olson archives in </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Connecticut</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> from that period &#8211; right up to <a href="http://www.guardian.co.uk/obituaries/story/0,3604,1258888,00.html"><span style='color:black'>his death</span></a> at the age of 76 in <span class=GramE>2004,</span> Turnbull was a vital part of the whole post-avant scene. And he appears to have been a primary ambassador between the new modes of poetry then emerging in the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>U.K.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> &amp; the New Americans stateside. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>But most importantly, Gael Turnbull was a fine, sometimes great poet, right from the beginning, as with this poem, from the 1954 volume <i style='mso-bidi-font-style:normal'>Trio:<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Try Again<br>
</span></b><span style='font-size:10.0pt;font-family:Arial;color:black'><br>
&#8221;Poetry New York&#8221; it said<br>
On the mail box and ahead<br>
Up three half-lit flights I groped<br>
To the farthest door and hoped<br>
That in New York at last I&#8217;d found<br>
Poetry; but at the sound<br>
Of each knock I gave, there came<br>
Echoes only back, the same<br>
Appropriately hollow rhyme<br>
Answering me every time.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This delicious little piece operates on a number of different levels, particularly if you know <i style='mso-bidi-font-style:normal'>Poetry New York </i>&#8211; famous today mostly for having printed Charles Olson&#8217;s breakthrough manifesto, &#8220;Projective Verse,&#8221; but primarily a modest </span><st1:place><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial;color:black'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Quietude</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> mainstay of the period. I can&#8217;t quite imagine &#8211; tho I could be wrong in this &#8211; that Turnbull already knew Creeley&#8217;s own work this early on, which also uses rhyme to undercut &#8211; Turnbull&#8217;s adjective <i style='mso-bidi-font-style:normal'>hollow </i>is marvelously apt &#8211; traditional verse conventions. But whether he did or not, Turnbull&#8217;s own attitude is no less sharp &amp; his own wit no less cutting. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Everywhere you turn in this volume, there are these marvelous, exceptionally crafted, always clever, tightly contained poems. <span class=GramE>Such as &#8220;Spiritual Researches&#8221; from the 1961 volume, <i style='mso-bidi-font-style:normal'>With Hey, Ho&#8230;</i></span><i style='mso-bidi-font-style:normal'><o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Let us <span class=GramE>titrate</span><br>
the soul of a potato &#8211;<br>
<br>
O taxable courage!<br>
O bonded verity! <span class=GramE>&#8211;<br>
<br>
the assessment of proof<br>
by inspiration.</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>One could teach an entire class on the uses of sound in the poem from that, with its fabulous contrast of vowels with the hard consonants <i style='mso-bidi-font-style:normal'>p </i>and especially <i style='mso-bidi-font-style:normal'>t </i>in the first couplet to the use of those consonants again in the last couplet, this time muted (the governing consonant of this couplet are the two pair of double <i style='mso-bidi-font-style:normal'>s </i>sounds). <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><span style='mso-spacerun:yes'> </span>Or this, from the very end of that same decade, a section of &#8220;Walls&#8221; dedicated to Robert Duncan:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Made up (contrived,<br>
as if a poem,<br>
of words) to whom<br>
often I turn<br>
and may return and be<br>
always at home &#8211;<br>
<br>
wrapped in by walls<br>
where the echoes speak,<br>
are clear (resounding,<br>
many men, as tides<br>
caught in the ear,<br>
as if a shell<br>
held near) and dear<br>
with remembered names<br>
that chime<br>
of rhyme and Rime;<br>
and of that rime<br>
(condensed by chill<br>
from the void, a precipitate)<br>
where <span class=SpellE>Ymir</span> woke,<br>
hoar and gigantic once ( a tale<br>
told and retold)<br>
the source<br>
of all that&#8217;s shaped.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Or this, from the same sequence, dedicated &#8220;For Basil Bunting&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>not words<br>
but a man<br>
<br>
no wall<br>
<br>
and a voice<br>
to shape<br>
<br>
delight<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Or this piece, from the early 1980s, entitled &#8220;The Ruin&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Two lovers<br>
driven by a summer storm<br>
take refuge in the ruin of a tower<br>
and with a kiss<br>
would soon forget<br>
those other lives undone<br>
to shape their happiness.<br>
Unseen above<br>
in the fragment of an arch<br>
a wild flower blooms<br>
as it erodes the stone<br>
to which it clings for root.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Or this set piece from the mid-1990s, entitled &#8220;The Poetry Reading Poem&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>The next poem is called.<br>
<span class=GramE>Was written at.</span><br>
<span class=GramE>Is dedicated to.</span><br>
<span class=GramE>Was published in.</span><br>
<span class=GramE>Is concerned with.</span><br>
<span class=GramE>Was inspired by.</span><br>
<br>
This poem contains.<br>
<span class=GramE>Describes.</span> <span class=GramE>Expresses.</span><br>
<span class=GramE>Means.</span><br>
<br>
This poem is.<br>
This poem was.<br>
<br>
This poem might.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Or this untitled prose &#8220;transmutation&#8221; from <i style='mso-bidi-font-style:normal'>Might a Shape of Words, </i>published in the year 2000:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>TAKEN SEVERLY </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>ILL</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>, he is conscious only at brief intervals, enough to know that the diagnosis is as uncertain as the outcome and well beyond any treatment<br>
<br> 
until, one afternoon, he recovers enough to know that he is recovering, would live and not die, which seems a matter of great indifference except for the novelty. He finds himself weeping, in amazement at the gift of it, as if no more related to him than the pattern of clouds he can glimpse through a corner of the window.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>There are gems like <span class=GramE>these</span> everywhere throughout this book. Small, brilliantly conceived, perfectly executed poems, with an unmistakable ear. This last feature is especially worth thinking about, given just how different accents are in the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>U.K.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> compared with the  </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>United  States</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>. The number of, to use Charles Bernstein&#8217;s apt phrase, island poets with an ear that makes sense to a Yank auditory canal is exceptionally small: perhaps, in the past century, just four &#8211; Bunting, Turnbull, Raworth, Thomas A. Clark. This is not to fault others &#8211; from J. H. Prynne to David Jones to Douglas Oliver or Allen Fisher &#8211; whose ears may well make perfect sense on their own terms, but who don&#8217;t, how shall I say this, travel well on at least that one level. But I do think it&#8217;s an enormous advantage in the pure accessibility of the work. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In many respects, it makes perfect sense to think of Gael Turnbull as a Scots adjunct to the </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Black</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Mountain</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> school &#8211; if there is a single unifying influence behind all of these varied impulses, it is not so much Williams as it is Zukofsky. Many of these poems would fit comfortably into Zukofsky&#8217;s collected shorter pieces:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.35in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>There is no Why</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> <br>
turn, the thought may<br>
burn, the mind&#8217;s con-<br>
<span class=SpellE>cern</span>, it will not<br>
learn<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(it will not learn<br>
<br>
know, that love may<br>
go, the heart is<br>
slow, but it is<br>
so<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(for it so<br>
<br>
sing, what thought may<br>
bring, the mind may<br>
cling, past every-<br>
thing<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(past everything<br>
<br>
cry, that love may<br>
die, the heart may<br>
lie, there is no<br>
why<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(there is no why<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.55in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>it will not learn<br>
but drift and turn<br>
for it is so<br>
as time must show<br>
past everything<br>
that time may bring<br>
or song may try<br>
there is no why<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>You could put this work alongside that of Creeley &amp; Blackburn, Duncan &amp; Dorn and it stands up very well. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Which is to say that it is amazing, in 2006, that Gael Turnbull is not a household name, at least in many households where such as Dorn &amp; Snyder are common currency. I don&#8217;t know whether or not one could call him a neglectorino in his own land &#8211; my sense is not, but that  may be wishful thinking on my part, given just how more ill-divided institutional resources are over there &amp; what percent of it is in the hands of the pre- (and anti-)moderns. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Whatever, the poetry of Gael Turnbull is a revelation, beginning to <span class=GramE>end.</span> And <i style='mso-bidi-font-style:normal'>There are Words </i>captures this wonderfully. The book can <span class=GramE>purchased</span> directly from the publisher or from <a href="http://www.spdbooks.org/Details.asp?BookID=9780907562894"><span style='color:black'>SPD</span></a> in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. But please note that SPD is down to its last ten copies.<span style='mso-spacerun:yes'>  </span><o:p></o:p></span></p>

<p class=MsoNormal align=right style='text-align:right'><img border="0" height="275" id="_x0000_i1026" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/BiB7X2GysbFuzCcmXxmaj_9K1I0Z9nUEkNBxUg_htI8-URxUVpbbG2Ygq1D6n9HvmoEmCEROLzRR5to--9TYc9CEscc0gw%3Ds0-d" width="401"><br>
<span style='font-size:8.0pt;font-family:Arial'>Gael Turnbull, site specific work<br>
</span><st1:place><st1:PlaceName><span style='font-size:8.0pt;font-family:Arial'>Kibble</span></st1:PlaceName><span  style='font-size:8.0pt;font-family:Arial'> </span><st1:PlaceType><span   style='font-size:8.0pt;font-family:Arial'>Palace</span></st1:PlaceType></st1:place><span style='font-size:8.0pt;font-family:Arial'>, Botanic Gardens<br>
</span><st1:City><st1:place><span style='font-size:8.0pt;font-family:Arial'>Glasgow</span></st1:place></st1:City><span style='font-size:8.0pt;font-family:Arial'> </span><st1:country-region><st1:place><span   style='font-size:8.0pt;font-family:Arial'>Scotland</span></st1:place></st1:country-region><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial'><o:p></o:p></span></i></p>
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