Somnia is out now.

Somnia is published by Knives, Forks and Knives Press, 76 pages, £10. Editor: Alec Newman, cover image, collage: © Mark Mawer, 2019.

 

If Cain and Abel played the piano, Somnia would have been a piece written for them. Following the four movements of Schubert’s Fantasia in F MinorSomnia explores the hidden connections between a group of people who witness a crime as they come out of a cinema.  Reading their testimony, it becomes increasingly apparent that the murderer is bigger than all of them. Bigger than all of us put together. 

A chisel, a hammer, a lyre; reportage, intimate feelings, quips and criticisms. Maria Stadnicka’s poems are clusters of consciousness, graphic, material images of our world. Her language assaults, bends, cajoles, thrusts a saber into the darkness of the very language she employs to explore death, degradation, the non-recognition of the human individual, war, urban violence, in short, the all-too-present context of our daily lives. […] What concerns Maria Stadnicka? She is speaking about the discontinuity of personal space and the intrusion of economic and political forces in an individual’s life that leads to fragmentation and, ultimately, to the dissolution of one’s reality. The chance for the existence of a future or even the future is removed. Literature becomes the communication and solidarity that permit the step towards wholeness. In Stadnicka’s poems social, personal, and literary landscapes are fused and at times must be forcibly dislocated, both repositioned and torn apart, so that one can continue. The poems create a sense of urgency and mystery. The only escape from the imposed absolute of non-being is resolution to go forward irrationally free.’ (Andrea Morehead, about The Unmoving)

Somnia is available here: Knives, Forks and Spoons Press.

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‘Somnia’ is out now.

If Cain and Abel played the piano, Somnia would have been a piece written for them. Following the four movements of Schubert’s Fantasia in F Minor, Somnia explores the hidden connections between a group of people who witness a crime as they come out of a cinema. Reading their testimony, it becomes increasingly apparent that the murderer is bigger than all of them. Bigger than all of us put together.

 

 

Published by Knives, Forks and Spoons Press, Merseyside, UK.

Edited by Alec Newman.

Cover photo, collage created by Mark Mawer.

SOMNIA is available at Knives, Forks and Spoons Press and pre-order at Amazon.

There are so so many people I thank for this. I am grateful for all the support to: Alan Baker, Ionut Boghian, Lesley Burt, Rosie Byrd, David Caddy, Carlie Chabot, Tom Costello, Tom Dwight, Anna Gosson, Beatrice Hitchman, Adam Horovitz, Peter J. King, Jack Little, Morag Kiziewicz, Mark Mawer, Katie McCue, Hugh McMillan, Andrea Morehead, Adelaide Morris, Andrew Morrison, Alec Newman, Stuart Paterson, Hayley Porri, Jay Ramsay, Philip Rush, Hayley Saunders, Aidan Semmens, Steve Spence, John Stadnicki, Natalina Stadnicki, Rick Vick, Samuel de Weer, Jen Whiskerd, Jane Woodend and Neil Young.

Warmest gratitude for the invaluable editorial suggestions and belief in my work to Rupert Loydell, as well as Angela France and Nigel McLoughlin.

Maria Stadnicka, 2019.

Kafka

© John Stadnicki, 2019.

The other day, during an afternoon nap,
a tramp came to my door with a letter
for the man in apartment three, ground floor.

The knock made me jump, then I thought
I could give out some change in return,
but the beggar refused; he was holding
a bunch of keys and left saying ‘till tomorrow.’

When I opened the envelope, lying flat
in my bunk, a pair of handcuffs and
steel neck chains dropped on my chest.

© Maria Stadnicka, 2019

Poem published in Osiris, U.S., Vol. 88, July 2019.

On ‘poets with history and poets without history’

Study I, 2018

In the past decade, cultural theorists formulated the concept of the ‘cultural fragmentation model’ to incorporate the experiences of ‘contemporaneous social conditions’ as well as the constant transformations within a society defined by change and competition. In contemporary poetry, the fragmentation model accommodates numerous directions and trends, some situated in a position of tension or conflict with each other. This phenomenon generates a polarised spectrum which has yet to crystallise into a cohesive operant model. Consequently, poetry is at a stage of self-discovery and exploration, whilst witnessing significant transformations with the influence of social and mass media.

The current cultural environment accommodates a wide range of poetic discourses, with many writers preoccupied to articulate their art and to engage with the readership and new audiences. However, the idea of tension or conflict in poetry is not new.

In 1934, Russian poet Marina Tsvetaeva published the essay ‘Poets with History and Poets without History’ in which she identifies two opposing categories of poets (and poetry): ‘poets without history’ and ‘poets with history.’ The first category refers to poets preoccupied with self-expression, whilst the second category refers to poets engaged in artistic discovery and literary innovation.

Tsvetaeva’s concept establishes a classic categorisation and polarity which are not without relevance within the contemporary British poetry. The current cultural reality has led to a generation of poets which Anne Stevenson defined in 2000 as being ‘at the mercy of technology and in thrall to the media.’ Furthermore, the new generation of poets is getting better at identifying its own specialist clientele and is exploring intense themes like abuse, misogyny, racism and mental illness.

Editors and poetry promoters observe that the poetry market is booming, as audiences for poetry, as well as poets themselves, are diversifying. Nielsen BookScan reported in 2017 a 66% increase in poetry books sales. Despite this positive development, theorists look at the contemporary poetry with criticism, if not cynicism.

Susan Sontag expresses her scepticism in reference to the contemporary poetry which, in her view, appears to suffer from an ‘uninhibited display of egotism’, thus igniting the need to redefine the concept of poetry as an art form. At the beginning of last year, Rebecca Watts published ‘The Cult of the Noble Amateur’ (PN Review) in which she includes the British poet Hollie McNish in the category of poets viewed as ‘noble amateurs’, preoccupied with self-promotion whilst offering the consumer an ‘instant gratification’. Watts expressed concern about the literary establishment’s readiness to modify the readership’s engagement with poetry. This modification or change implies the acceptance of mass media’s influence on poetry markets and, consequently, on poetry as literary genre.

But going back to the idea of ‘poets with history’/ ‘poets without history’ and the relevance within the current context, Marina Tsvetaeva’s reflections are as fascinating as they are applicable. Tsvetaeva identifies the ‘poets without history’ or ‘poets without development’ those poets consumed by personal expression and lyricism. Furthermore, she believes that such poets have ‘narrow knowledge and they come into world not to learn, but to say and to make themselves known. A poet without history cannot have a striving towards a goal. He himself doesn’t know what the lyric flood will bring him. His poetry has no project.’ (Tsvetaeva, 2010, p.139-140). By contrast, in Tsvetaeva’s vision, ‘poets with history’ are ’like an arrow shot into infinity. They seem to reincarnate in themselves all the days of creation. No more than the tirelessness of the creative will. They don’t have time to turn around to look at themselves, only pressing forward. The loneliness of such walkers!’ (Tsvetaeva, 2010, p.136-139)

The process of ‘looking forward’ implies a continuous drive to innovate and explore new artistic territories. This gives a new dimension to the idea of craft. These poets are not particularly visible on social media and they tend to engage with their readership through their work and public readings. Moreover, they become preoccupied with linguistic nuances and concepts, using language to its full capacity, to surprise and delight the reader over and over again.

Tsvetaeva’s axiom opens the discussion about the type of poetry set to formulate new trajectories in contemporary British culture. This poetry is ‘not necessarily the one which wins competitions in the Irish Times or the New Stateman’, as Seamus Heaney wrote in 1974, but a poetry which defines value systems and reveals new interpretations of the world. Moreover, it is not a detailed ‘self-interview’ but becomes memorable when the writer assumes the responsibility to challenge complacency, and has the courage to experience the transformative power of change.

©Maria Stadnicka, 2019

References:

Sontag, S. (2009) Against Interpretation and Other Essays.London: Penguin Random House.

Stevenson, A. (2000) A Few Words for the New Century. In: Herbert, W.N. and Hollis, M. (eds.) (2015) Strong Words. Modern Poets on Modern Poetry.Hexham: Bloodaxe Books, Pages 181-183.

Tsvetaeva, M. (2010) Art in the Light of Conscience: Eight Essays on Poetry. Hexham: Bloodaxe Books.

Watts, R. (2018) The Cult of the Noble Amateur. PN Review 239. Vol. 44, No. 3. Available from https://www.pnreview.co.uk/cgi-bin/scribe?item_id=10090.

Sonata

 

Violet, by Vasily Kandinsky, 1923, Russian French Expressionist print, lithograph. Geometrical elements, circles, arcs, triangles, straight lines and curves, mix with irregular hand drawn forms in this abstract lithograph (BSLOC_2017_5_148)
1923 / Mary Evans Picture Library

 

 

It starts with a study in curves.

 

Lost in broad daylight, I think

in intimate terms about pencils,

sharpened by a schoolboy

oblivious to Barthes’ empire.

 

Time, the only thing I have not.

 

I shall pray for you she hissed, leaving.

Ashes to ashes I laugh,

turn the machine off, move

closer to anger.

 

Hands, metal, ankles, metal, eye. Metal! Nerves.

 

I practise benign indifference.

 

I learn about human squares and circles,

underline the connective distance

between something lost

and something irreplaceable.

 

© Maria Stadnicka, published at Mary Evans Picture Library.

Witness

At the supermarket’s meat counter,

they sell ropes. Yellow and blue.

Things we need when weather turns bad.

One could never be sure when the boat

needs tying off to a cleat.

At checkout, we talk of hurricane Ursula.

It was in the news, it is now by the docks.

My bottled green sea resting on shelves.

 

Across the aisle, a woman looks out.

Trains deliver milk and morning newspapers;

at the end of his shift, a night watchman

lights a cigarette watching umbrellas running

to shelter. He has nowhere else. His children

sent him a blank telegram. Monochrome winds,

he thinks. Time to repair, to build.

The house he was born in no longer exists.

 

©Maria Stadnicka, 2019

Published in Social Alternatives, Queensland, Vol. 37, No. 3.

Somnia

strange how bones hurt

at times of deep uncertainty

…a poetry master said…

… thinnest shields…

fragile body, when winter hits,

we firstly feel pain

with our teeth

 

 

©Maria Stadnicka, 2018