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Poetry is a very dangerous place. | 0:00:10 | 0:00:13 | |
Poetry is never a safe place. | 0:00:13 | 0:00:15 | |
And it it's safe, then it's probably not what I'd be interested in. | 0:00:15 | 0:00:20 | |
Poetry is on the edge of things. | 0:00:20 | 0:00:22 | |
Poetry is pure subversion. It is a way of having a voice about things | 0:00:22 | 0:00:27 | |
that you wouldn't dare to speak about otherwise. | 0:00:27 | 0:00:31 | |
Outside the door, lurking in the shadows, is a terrorist. | 0:00:33 | 0:00:38 | |
Is that the wrong description? | 0:00:38 | 0:00:40 | |
Outside that door, taking shelter in the shadows, is a freedom fighter. | 0:00:40 | 0:00:45 | |
The poem wasn't about terrorists. It was about the use of those words. | 0:00:47 | 0:00:52 | |
I wanted to think about what words we put onto an image and how we define that image. | 0:00:52 | 0:00:58 | |
Because just depending on the words you use, the right word or the wrong word, | 0:00:58 | 0:01:04 | |
you can create suspicion or fear or enmity or all kinds of other feelings. | 0:01:04 | 0:01:11 | |
I haven't got this right. | 0:01:15 | 0:01:17 | |
Outside, waiting in the shadows, is a hostile militant. | 0:01:17 | 0:01:22 | |
A lot of poems start in anger, but they have to become something colder and harder to really work. | 0:01:25 | 0:01:31 | |
It may start in the heat of anger, but the anger has to become targeted | 0:01:31 | 0:01:35 | |
or the poem can just be a political diatribe or a bit of propaganda | 0:01:35 | 0:01:40 | |
or, you know, a rant on the page. | 0:01:40 | 0:01:43 | |
There has to be that whole process of making it into something | 0:01:43 | 0:01:48 | |
beyond the purely personal or the pure gush of emotion. | 0:01:48 | 0:01:52 | |
Are words no more than waving, wavering flags? | 0:01:54 | 0:01:59 | |
Outside your door, watchful in the shadows, is a guerrilla warrior. | 0:01:59 | 0:02:04 | |
With all the bombardment of media and language around us, | 0:02:08 | 0:02:12 | |
and language very often used crudely, in broad brush strokes, | 0:02:12 | 0:02:17 | |
very often poetry has the nuance and the subtlety to bring back the kindness into language, | 0:02:17 | 0:02:24 | |
the healing qualities, the nuances. | 0:02:24 | 0:02:26 | |
Not just beauty for itself, | 0:02:26 | 0:02:29 | |
but the tiny differences that bring a gentleness back into language and into daily life. | 0:02:29 | 0:02:35 | |
God help me. | 0:02:39 | 0:02:41 | |
Outside, defying every shadow, stands a martyr. | 0:02:41 | 0:02:45 | |
I saw his face. | 0:02:45 | 0:02:47 | |
No words can help me now. | 0:02:47 | 0:02:50 | |
Just outside that door, lost in shadows, is a child who looks like mine. | 0:02:50 | 0:02:58 | |
All of life, you put on personas and masks | 0:03:01 | 0:03:06 | |
and different parts of what you are. | 0:03:06 | 0:03:09 | |
So there's a definition I gave of myself, which is Scottish Pakistani Calvinist Muslim, | 0:03:09 | 0:03:15 | |
adopted by India and by Wales as well. | 0:03:15 | 0:03:19 | |
Really what I'm saying is none of us are just one thing. What makes a person? | 0:03:19 | 0:03:24 | |
It may be the songs your grandmother sang you, it may be the food you ate, | 0:03:24 | 0:03:29 | |
but every day is also your heritage and culture and you're making it fresh. | 0:03:29 | 0:03:34 | |
So that's really what I want to suggest by saying, "I'm all these things, but you are, too." | 0:03:34 | 0:03:40 | |
One word for you. | 0:03:44 | 0:03:46 | |
Outside my door, his hand too steady, his eyes too hard, | 0:03:46 | 0:03:52 | |
is a boy who looks like your son, too. | 0:03:52 | 0:03:56 | |
I started that poem, knowing I was going to take the image and, fairly schematic, | 0:04:04 | 0:04:10 | |
I thought, "I'll go through seven different versions of that image." | 0:04:10 | 0:04:14 | |
At the end of the poem, when I come to the part where I open the door | 0:04:14 | 0:04:20 | |
and say, "Come in and eat with us," the voice becomes completely different. It's not factual, | 0:04:20 | 0:04:27 | |
it's not matter of fact. It's a host. | 0:04:27 | 0:04:30 | |
And that happens quite often in a poem. The words and the rhythm and the idea itself | 0:04:30 | 0:04:37 | |
takes on a life of its own. That's some of the best poems. | 0:04:37 | 0:04:41 | |
I open the door. | 0:04:44 | 0:04:46 | |
Come in, I say. Come in and eat with us. | 0:04:46 | 0:04:51 | |
The child steps in | 0:04:52 | 0:04:54 | |
and carefully, at my door, takes off his shoes. | 0:04:54 | 0:05:00 | |
The first line in our history book, | 0:05:18 | 0:05:22 | |
I seem to remember, | 0:05:22 | 0:05:24 | |
was, "West Indian history begins | 0:05:24 | 0:05:28 | |
"in 1492 | 0:05:28 | 0:05:31 | |
"with the arrival of Columbus." | 0:05:31 | 0:05:34 | |
It's that very Eurocentric view. | 0:05:36 | 0:05:38 | |
Nothing exists | 0:05:38 | 0:05:41 | |
until the European has entered the arena. | 0:05:41 | 0:05:45 | |
The retelling of history depends a lot on who is telling the story. | 0:05:45 | 0:05:51 | |
Dem tell me Dem tell me What dem want to tell me | 0:05:52 | 0:05:58 | |
Bandage up me eye with me own history | 0:05:58 | 0:06:02 | |
Blind me to me own identity | 0:06:02 | 0:06:05 | |
Dem tell me bout 1066 and all dat | 0:06:05 | 0:06:10 | |
Dem tell me bout Dick Whittington and he cat | 0:06:10 | 0:06:13 | |
But Toussaint L'Ouverture No, dem never tell me bout dat. | 0:06:13 | 0:06:19 | |
I would like to think that the poem has a celebratory side. | 0:06:22 | 0:06:26 | |
It's celebrating | 0:06:26 | 0:06:28 | |
characters such as Toussaint L'Ouverture, | 0:06:28 | 0:06:32 | |
Mary Seacole, the Amerindian past, | 0:06:32 | 0:06:36 | |
but in a poem you're not writing a history book. | 0:06:36 | 0:06:40 | |
You're not writing a piece of journalism, so no matter how well-intentioned you might be, | 0:06:40 | 0:06:47 | |
or how crucial the facts might be, | 0:06:48 | 0:06:50 | |
that wouldn't make a poem. | 0:06:50 | 0:06:53 | |
So it came out in that way, like a counterpoint of two voices. | 0:06:53 | 0:06:58 | |
So one voice is the nursery rhymes | 0:06:59 | 0:07:04 | |
counterpointed by a celebration of historical characters. | 0:07:04 | 0:07:10 | |
Dem tell me bout de man who discover de balloon | 0:07:11 | 0:07:15 | |
and de cow jump over de moon. | 0:07:15 | 0:07:18 | |
Dem tell me de dish ran away with de spoon | 0:07:18 | 0:07:21 | |
but dem never tell me bout Nanny de maroon. | 0:07:21 | 0:07:26 | |
When I think of Nanny, I'm thinking that you're casting a spell. | 0:07:27 | 0:07:32 | |
So I think from those words you get the feeling, | 0:07:32 | 0:07:36 | |
"How can I deliver this?" | 0:07:36 | 0:07:38 | |
This is a woman who used the traditions of her African ancestry | 0:07:38 | 0:07:43 | |
so that becomes a kind of a spell | 0:07:43 | 0:07:45 | |
against an oppressive regime at the time. | 0:07:45 | 0:07:49 | |
Nanny see-far woman | 0:07:51 | 0:07:55 | |
of mountain dream | 0:07:55 | 0:07:57 | |
fire-woman struggle | 0:07:57 | 0:08:00 | |
hopeful stream | 0:08:00 | 0:08:03 | |
to freedom river. | 0:08:03 | 0:08:05 | |
You can write a poem in Creole, but it might be a very reactionary poem. | 0:08:08 | 0:08:13 | |
It might be very sexist. | 0:08:13 | 0:08:15 | |
So it doesn't mean that writing a poem in Creole automatically means you're right on. | 0:08:15 | 0:08:22 | |
But you're using all of your registers of speech, your linguistic heritage, | 0:08:22 | 0:08:28 | |
and it gives a pride simultaneously in language, | 0:08:28 | 0:08:32 | |
but also in history. | 0:08:32 | 0:08:35 | |
Dem tell me bout Lord Nelson and Waterloo | 0:08:36 | 0:08:40 | |
but dem never tell me bout Shaka the great Zulu | 0:08:40 | 0:08:44 | |
Dem tell me bout Columbus and 1492 | 0:08:44 | 0:08:48 | |
but what happen to de Caribs and de Arawaks too... | 0:08:48 | 0:08:53 | |
Let's say I'm playing with words, | 0:08:53 | 0:08:58 | |
the way you might play with musical notes. | 0:08:58 | 0:09:02 | |
So a text becomes like a musical score. | 0:09:02 | 0:09:06 | |
And sometimes the voice of delivery doesn't show itself | 0:09:06 | 0:09:11 | |
until after the poem is written. | 0:09:11 | 0:09:14 | |
Dem tell me bout Florence Nightingale and she lamp | 0:09:15 | 0:09:19 | |
and how Robin Hood used to camp | 0:09:19 | 0:09:22 | |
Dem tell me bout ole King Cole was a merry ole soul | 0:09:22 | 0:09:25 | |
but dem never tell me bout Mary Seacole. | 0:09:25 | 0:09:29 | |
The poet, hopefully, keeps us in touch | 0:09:32 | 0:09:36 | |
with the vulnerable core of language that makes you what you are. | 0:09:37 | 0:09:42 | |
It keeps you in touch | 0:09:42 | 0:09:44 | |
with the heartfelt and vulnerable, | 0:09:44 | 0:09:48 | |
fragile, complex, contradictory nature of the human beast. | 0:09:48 | 0:09:54 | |
Dem tell me Dem tell me wha dem want to tell me | 0:09:54 | 0:09:58 | |
But now I checking out me own history | 0:09:58 | 0:10:03 | |
I carving out me identity. | 0:10:03 | 0:10:07 | |
I grew up in a small country village along the Atlantic coast in Guyana. | 0:10:16 | 0:10:21 | |
To me it still remains a very magical place in my consciousness | 0:10:21 | 0:10:26 | |
and I think, in a way, my creativity is linked somehow to where I grew up, | 0:10:26 | 0:10:31 | |
that small country village of my childhood. | 0:10:31 | 0:10:35 | |
You were water to me | 0:10:40 | 0:10:43 | |
Deep and bold and fathoming | 0:10:44 | 0:10:48 | |
You were moon's eye to me | 0:10:49 | 0:10:52 | |
Pull and grained and mantling... | 0:10:52 | 0:10:57 | |
I wrote it some time after my mum had died. I was just reflecting on her one day | 0:11:03 | 0:11:09 | |
and what she meant to me because I loved her very much. | 0:11:09 | 0:11:13 | |
I wanted to capture, you know, something about her qualities. | 0:11:13 | 0:11:18 | |
You were sunrise to me | 0:11:21 | 0:11:23 | |
Rise and warm and streaming... | 0:11:23 | 0:11:27 | |
This was the only photograph I have of my mother and father. | 0:11:32 | 0:11:37 | |
It's at my elder sister's wedding. | 0:11:37 | 0:11:40 | |
My mum is at the very back here. | 0:11:40 | 0:11:43 | |
I come from a big family. There were seven of us. She had seven children, six girls and one brother. | 0:11:43 | 0:11:50 | |
We all are extremely close as a family, doing things together. | 0:11:50 | 0:11:55 | |
Because my mother had so many of us, | 0:11:57 | 0:11:59 | |
we were allowed a lot of freedom. We were allowed to go fishing and we'd be off on our own for ages. | 0:11:59 | 0:12:06 | |
And she told us stories at night and fairy tales. | 0:12:06 | 0:12:12 | |
I'm sure that, you know, is very much part of my consciousness. | 0:12:12 | 0:12:17 | |
My mum was really a lovely person. She was very kind of... | 0:12:20 | 0:12:25 | |
..very warm and open. | 0:12:25 | 0:12:28 | |
Our house was always full of people visiting. She loved cooking. | 0:12:28 | 0:12:33 | |
That's why some of the images in the poem related to cooking. | 0:12:33 | 0:12:37 | |
I've also spoken of the flame tree. It's a beautiful tree, lining the avenues of Guyana, | 0:12:37 | 0:12:43 | |
and it has red flowers. It's very beautiful to look at. | 0:12:43 | 0:12:49 | |
You were the fish's red gill to me | 0:12:53 | 0:12:56 | |
The flame tree's spread to me | 0:12:56 | 0:12:59 | |
The crab's leg The fried plantain smell | 0:12:59 | 0:13:04 | |
Replenishing, replenishing | 0:13:04 | 0:13:07 | |
Go to your wide futures, you said. | 0:13:08 | 0:13:12 | |
In my late teens I wanted to become a novelist, | 0:13:17 | 0:13:21 | |
but after coming to England, I don't know if it was the emotional separation, | 0:13:21 | 0:13:26 | |
being away from your culture and all that you know, to England, which is so different, | 0:13:26 | 0:13:32 | |
maybe that separation drove me more into poetry. | 0:13:32 | 0:13:36 | |
The Creole language that we use, the everyday language of the people, | 0:13:36 | 0:13:41 | |
which has been influenced by Africa, | 0:13:41 | 0:13:44 | |
and all the other races in the Caribbean have influenced the Creole way of speaking. | 0:13:44 | 0:13:51 | |
And then we have so-called standard English, | 0:13:51 | 0:13:56 | |
which isn't standard really because English is a complex and beautiful language. | 0:13:56 | 0:14:02 | |
So having both to draw on is very exciting for me as a poet. | 0:14:02 | 0:14:06 | |
You trust in your instincts all the way through the poems. | 0:14:10 | 0:14:15 | |
It's like a little adventure for you because you don't quite know where it will take you, | 0:14:15 | 0:14:20 | |
how it will turn out or end up. | 0:14:20 | 0:14:22 | |
You look back at some of the poems you have written and see them as your children, in a way. | 0:14:22 | 0:14:28 | |
They form their own lives and futures and, whatever happens, | 0:14:28 | 0:14:32 | |
you just let them go and let people interpret them. After a time, you know, you can't hold on to them. | 0:14:32 | 0:14:38 | |
They're meant to be shared. | 0:14:38 | 0:14:41 | |
In Britain, there seems to be a stereotype that all Indians are shopkeepers or doctors or lawyers. | 0:14:59 | 0:15:06 | |
For me, my parents were shopkeepers and I wanted to write Singh Song | 0:15:06 | 0:15:10 | |
to celebrate that rather than be embarrassed. You can either pretend that's not really happening | 0:15:10 | 0:15:16 | |
and write about Indians being astronauts or whatever, or actually go via the stereotype. | 0:15:16 | 0:15:23 | |
I just want to capture a very ordinary situation. | 0:15:24 | 0:15:28 | |
I run just one ov my daddy's shops | 0:15:28 | 0:15:30 | |
from 9 o'clock to 9 o'clock | 0:15:30 | 0:15:32 | |
and he vunt me not to hav a break | 0:15:32 | 0:15:35 | |
but ven nobody in, I do di lock - | 0:15:35 | 0:15:38 | |
cos up di stairs is my newly bride | 0:15:38 | 0:15:41 | |
vee share in chapatti vee share in di chutney | 0:15:41 | 0:15:44 | |
after vee hav made luv like vee rowing through Putney... | 0:15:44 | 0:15:48 | |
When I think of first-generation Indians that came to Britain, | 0:15:50 | 0:15:54 | |
people like my family, my parents got vouchers to come over for free to work here | 0:15:54 | 0:16:00 | |
in the 24-hour factories and Underground. It's not a job you imagine doing to 65 | 0:16:00 | 0:16:06 | |
and retiring. You probably wouldn't survive. | 0:16:06 | 0:16:10 | |
So the aspiration, the ambition for a lot of my parents' generation was to become independent | 0:16:10 | 0:16:16 | |
and the best way was to buy your own shop. | 0:16:16 | 0:16:20 | |
di shoppers always point and cry: Hey Singh, ver yoo bin? | 0:16:21 | 0:16:25 | |
Yor lemons are limes yor bananas are plantain, | 0:16:25 | 0:16:28 | |
dis dirty little floor need a little bit of mop | 0:16:28 | 0:16:31 | |
in di worst Indian shop on di whole Indian road. | 0:16:31 | 0:16:35 | |
My writing about an Indian who's a shopkeeper in an Indian accent | 0:16:37 | 0:16:41 | |
could imply that I'm making fun of my character, but hopefully people can see through that | 0:16:41 | 0:16:48 | |
and see through their own prejudices. | 0:16:48 | 0:16:50 | |
Above my head high heel tap di ground | 0:16:50 | 0:16:54 | |
as my vife on di web is playing wid di mouse... | 0:16:54 | 0:16:57 | |
The issue for me was it's always racialised, the Indian accent, it's always made fun of on telly. | 0:16:57 | 0:17:04 | |
To me there's nothing wrong with the Indian voice. | 0:17:04 | 0:17:07 | |
I'm quite excited by the idea of making the reader have to read the poem in the Indian accent | 0:17:07 | 0:17:13 | |
and have to deal with it. And, hopefully, the reader feels there's nothing wrong with the accent. | 0:17:13 | 0:17:20 | |
It's another type of English. Hopefully they enjoy putting their mouth through those words | 0:17:20 | 0:17:26 | |
and feel they're experiencing a slightly different type of music to when they normally read a poem. | 0:17:26 | 0:17:33 | |
my bride she effing at my mum | 0:17:33 | 0:17:36 | |
in all di colours of Punjabi | 0:17:36 | 0:17:38 | |
den stumble like a drunk making fun at my daddy | 0:17:38 | 0:17:42 | |
my bride tiny eyes ov a gun and di tummy ov a teddy | 0:17:42 | 0:17:47 | |
my bride she hav a red crew cut and she wear a Tartan sari... | 0:17:47 | 0:17:53 | |
I think when I was writing this poem I was trying to offer an affectionate portrayal of the characters, | 0:18:00 | 0:18:06 | |
in that I liked Mr Singh, I liked what he was about. | 0:18:06 | 0:18:11 | |
I liked that he didn't care about his shop and put love before business. | 0:18:11 | 0:18:16 | |
Shall we run back to Daddy? | 0:18:16 | 0:18:18 | |
Also I was very aware that you don't get happy love poems in English poetry. | 0:18:18 | 0:18:23 | |
They're quite moody or grim because someone's died. | 0:18:23 | 0:18:28 | |
And you suddenly realise, like Thomas Hardy, that you're in love with that person. | 0:18:28 | 0:18:34 | |
So I decided to write a love poem in the end, but in a shop context. | 0:18:34 | 0:18:39 | |
vee cum down whispering stairs and sit on my silver stool, | 0:18:39 | 0:18:43 | |
from behind di chocolate bars | 0:18:43 | 0:18:46 | |
vee stare past di half-price window signs | 0:18:46 | 0:18:49 | |
at di beaches of di UK in di brightey moon - | 0:18:49 | 0:18:53 | |
from di stool each night she say, | 0:18:53 | 0:18:56 | |
How much do yoo charge for dat moon baby? | 0:18:56 | 0:19:01 | |
from di stool each night I say, | 0:19:01 | 0:19:03 | |
Is half di cost ov yoo baby, | 0:19:03 | 0:19:07 | |
from di stool each night she say, | 0:19:07 | 0:19:09 | |
How much does dat come to baby? | 0:19:09 | 0:19:13 | |
from di stool each night I say, | 0:19:13 | 0:19:15 | |
Is priceless baby - | 0:19:15 | 0:19:18 | |
A ghazal was a form I became interested in partly because it's Persian | 0:19:28 | 0:19:34 | |
and I'm from Iran, and it's a way of sort of trying to understand a bit more | 0:19:34 | 0:19:40 | |
about the literature, the poetry of Iran particularly. | 0:19:40 | 0:19:45 | |
If I am the grass and you the breeze, blow through me | 0:19:45 | 0:19:50 | |
If I am the rose and you the bird, then woo me... | 0:19:50 | 0:19:55 | |
A ghazal is from sort of 12th century onwards. | 0:19:57 | 0:20:02 | |
It's really like a little song lyric. | 0:20:02 | 0:20:05 | |
It's very much associated with Sufi poets, | 0:20:06 | 0:20:10 | |
so it's a form of mystical love poetry. | 0:20:10 | 0:20:14 | |
If I am the rhyme and you the refrain don't hang on my lips | 0:20:16 | 0:20:20 | |
Come and I'll come too when you cue me... | 0:20:20 | 0:20:24 | |
I think inasmuch as the sonnet was also...it's a little song, a sonetto, | 0:20:25 | 0:20:31 | |
and it's the same in the east. It's the ghazal. | 0:20:31 | 0:20:35 | |
If mine is the venomous tongue, the serpent's tail | 0:20:37 | 0:20:41 | |
charmer, use your charm, weave a spell and subdue me... | 0:20:41 | 0:20:47 | |
In the ghazal, you can use tones, I suppose, | 0:20:48 | 0:20:52 | |
that in contemporary, well, British poetry anyway, one would be shy of. | 0:20:53 | 0:21:00 | |
I think it gives you permission to sort of break all those kind of | 0:21:01 | 0:21:06 | |
no-nos, where you mustn't be sentimental or over the top. | 0:21:06 | 0:21:11 | |
If I am the laurel leaf in your crown you are the arms around my bark, | 0:21:13 | 0:21:18 | |
arms that never knew me. | 0:21:18 | 0:21:21 | |
The thing about form is it's... | 0:21:31 | 0:21:34 | |
For me the main thing is it gives you something to write about. | 0:21:35 | 0:21:39 | |
People sometimes think it's the opposite, that you have something to say | 0:21:39 | 0:21:44 | |
and then you find the form to put it in, but quite often you start off with nothing to say, | 0:21:44 | 0:21:51 | |
you can't think what to write about or anything, and if you have a form | 0:21:51 | 0:21:56 | |
it will lead you to the content. | 0:21:57 | 0:22:00 | |
So, in general, that's what excites me about it. | 0:22:01 | 0:22:05 | |
If each couplet was like a spoke in a wheel, | 0:22:09 | 0:22:13 | |
going like that rather than linear, as it appears on the page - | 0:22:13 | 0:22:18 | |
I think in my mind it's really a radial, circular form - | 0:22:18 | 0:22:22 | |
then in the middle of the hub of that wheel will be the refrain word. | 0:22:22 | 0:22:27 | |
It's like the hook in song lyrics. It's the bit that everybody knows, that everyone joins in at that point. | 0:22:27 | 0:22:34 | |
So here we've got "blow through me" and then "woo me", | 0:22:34 | 0:22:38 | |
so everyone knows that the couplets are going to end like "oo me". | 0:22:38 | 0:22:43 | |
So you continue with that "oo me" thing, but with the last couplet, | 0:22:43 | 0:22:47 | |
this is the place for the personal voice to come in. In this one I have "twice the me I am", | 0:22:47 | 0:22:54 | |
ie meaning, you know... So it can be a play on your name, | 0:22:54 | 0:22:58 | |
if you're a bit coy! | 0:22:58 | 0:23:01 | |
In a way, the ghazal is a way of my honouring my heritage. | 0:23:03 | 0:23:08 | |
Maybe it is a way of connecting not only with Iran | 0:23:08 | 0:23:14 | |
or an idea of Iran, the culture of Iran, but with the very positive aspects because, in Iran, | 0:23:14 | 0:23:21 | |
poetry is the highest of all the arts | 0:23:21 | 0:23:25 | |
and hugely known and loved by everyone, even by illiterate people | 0:23:25 | 0:23:29 | |
who can quote great chunks of it by heart. | 0:23:29 | 0:23:33 | |
If I rise in the east as you die in the west, | 0:23:34 | 0:23:38 | |
die for my sake, my love, every night renew me. | 0:23:38 | 0:23:43 | |
If, when it ends, we are just good friends, | 0:23:44 | 0:23:48 | |
be my Friend, muse, brother and guide, Shamsuddin to my Rumi. | 0:23:48 | 0:23:55 | |
Be heaven and earth to me and I'll be twice the me I am, | 0:23:55 | 0:24:00 | |
if only half the world you are to me. | 0:24:00 | 0:24:03 | |
What's that fluttering in a breeze? | 0:24:16 | 0:24:20 | |
It's just a piece of cloth | 0:24:21 | 0:24:24 | |
that brings a nation to its knees. | 0:24:24 | 0:24:28 | |
When you think about Flag, that very simple, | 0:24:33 | 0:24:38 | |
but yet iconic thing that every country has, | 0:24:38 | 0:24:42 | |
it's associated with nationhood. | 0:24:42 | 0:24:45 | |
It's associated with jubilation, | 0:24:46 | 0:24:49 | |
you might think of the Olympics, | 0:24:49 | 0:24:52 | |
but there is another dimension | 0:24:52 | 0:24:55 | |
when imperialistic attitudes | 0:24:56 | 0:24:59 | |
and blinded, | 0:25:00 | 0:25:02 | |
shall we say, power becomes attached to that flag. | 0:25:02 | 0:25:07 | |
So there are various resonances pertaining to a flag | 0:25:07 | 0:25:12 | |
and I think the poem is just a little journey | 0:25:12 | 0:25:18 | |
of questions. | 0:25:18 | 0:25:21 | |
It gets you to rethink | 0:25:22 | 0:25:24 | |
what you take for granted. | 0:25:24 | 0:25:27 | |
What's that unfurling from a pole? | 0:25:29 | 0:25:34 | |
It's just a piece of cloth | 0:25:35 | 0:25:38 | |
that makes the guts of men grow bold. | 0:25:38 | 0:25:42 | |
Is humanity waving the flag | 0:25:58 | 0:26:03 | |
or is the flag waving humanity? | 0:26:03 | 0:26:07 | |
In other words, are we at a point where you become controlled | 0:26:07 | 0:26:13 | |
by your own ideology? | 0:26:13 | 0:26:15 | |
These are questions that the poem is asking without necessarily stating exactly how to think. | 0:26:17 | 0:26:25 | |
I wanted to explore that old, traditional | 0:26:26 | 0:26:30 | |
sense of riddling. | 0:26:30 | 0:26:32 | |
And through riddling | 0:26:32 | 0:26:35 | |
you're rethinking the obvious. | 0:26:35 | 0:26:38 | |
What's that rising over a tent? | 0:26:41 | 0:26:45 | |
It's just a piece of cloth | 0:26:45 | 0:26:49 | |
that dares the coward to relent. | 0:26:49 | 0:26:52 | |
You have so many endless ideas that might come floating into your head at any given time | 0:27:05 | 0:27:10 | |
so keeping that chaos of ideas | 0:27:10 | 0:27:14 | |
within a structured vessel, | 0:27:14 | 0:27:17 | |
sort of a measured sort of beat, | 0:27:17 | 0:27:21 | |
there's no room for endless waffling in a poem. | 0:27:21 | 0:27:26 | |
And it's an offering | 0:27:26 | 0:27:30 | |
of your most intense personhood. | 0:27:30 | 0:27:33 | |
The dreaming part of you, the subconscious part of you. | 0:27:33 | 0:27:39 | |
So, in a way, the poem is a revelation to you as well. | 0:27:39 | 0:27:43 | |
What's that flying across a field? | 0:27:51 | 0:27:56 | |
It's just a piece of cloth | 0:27:56 | 0:27:58 | |
that will outlive the blood you bleed. | 0:27:58 | 0:28:04 | |
How can I possess such a cloth? | 0:28:04 | 0:28:07 | |
Just ask for a flag, my friend. | 0:28:08 | 0:28:13 | |
Then blind your conscience to the end. | 0:28:13 | 0:28:17 | |
Different things can inspire you. | 0:28:23 | 0:28:26 | |
It can be something as straightforward as a photograph. | 0:28:26 | 0:28:31 | |
You might be on a train and you glimpse a funny headline. | 0:28:32 | 0:28:37 | |
It can be anything that begins to nibble at you. | 0:28:38 | 0:28:43 | |
I think poets have not only got their ears open, | 0:28:43 | 0:28:47 | |
they've got their eyes open to words around them. | 0:28:47 | 0:28:51 | |
And if you get the right words in the right order, something magical could happen. | 0:28:51 | 0:28:57 | |
And I think those who go on to be poets have got that lasting love affair with language. | 0:28:57 | 0:29:04 | |
Subtitles by Subtext for Red Bee Media Ltd - 2011 | 0:29:12 | 0:29:16 | |
Email [email protected] | 0:29:17 | 0:29:19 |