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Automatic TRANSCRIPT

We spoke with Jack Underwood in Colchester England. The hardest part of writing a poem is kind of getting out onto the ice into that so with more dynamic space is always a bit of a precarious thing you have to kind of step. How when Underwood came across Thomas Lexus poem beginning with a random phrase from from Coleridge? He thought why not begin home with someone else's lines he'd recently become apparent and had written a series of poems about fatherhood kind of run out of juice in in that line of inquiry diet as literally tide am also creatively tied. I think they have a different starting point into sort of suddenly. Find yourself in. The middle of a poem was good is gross. Isn't it when you could've milking your life for material underwood selected did not at random lines from the epic poem Aurora Leigh Written in Eighteen fifty six by Elizabeth Barrett Browning she said I wrote foles poems like the rest the other poets and thought them tree because myself was true in writing them ipad venture have rich trie one since less complacence say they may be the reason that the the quote that funded it sort of appeal to me was because I was aware perhaps the Irish beginning to write full poems thinking them tree and maybe this kind of starting from a fulsome position was more honest way into a poem. Here's Jack Underwood reading poem. Beginning with lines by Elizabeth Barrett Browning but I could not hide my quickening life from those at watch. They saw a light at a window now and then they had did not set there who had set it. They're not me. I'm just a slug on the wet interface. The discourse chips in the wind. I've I have no idea what. Drags the chair bruises. The fruit lead to child toward a dead rabbit. EMBIID's them not weep nola possessing my childhood neighbor recalled. How I rode my bike down the hill beside our house in practice my dying arranging? My Body in the Bush's lying still will all summer. I did it repeating the drama. which is how a Sony's made you make a phrase and turn it over and over by a dead rabbit finding on the other side? Oh look this rub it dead to this poem goes a long way from Light at a window in the opening of the lies from Elizabeth Barrett Browning to the two instances of dead dead rabbit in the closing lines. Here it really presents on the page is something that looks like a sonnet. What's interesting is that the the lines written by Jack Underwood clock in at thirteen lines which is a slightly shorter sonnet version? Thirteen lines on it like a curdle sonnet senator shortened sonnet but with the four lines from Elizabeth Barrett Browning. It's a seventeen line poem so but it has that really interesting a movement and turn and torquing that we associate with sonnets. You know beginning with these lines about having that sort of light of inspiration. I'm going on when the young Aurora. Leigh is reading and writing at night with that light in the window and yet writing those poems that she realizes are false poems as our poet also quoted in his interview was interesting in part. What about that? Is that those false poems. Were poems of imitation in a sense that the young Aurora was imitating among the poets that she admired and in a way as she says. I poured myself along the veins of others. So this notion of you know. What can you take from other poets? It seems as if in this poem by Jack Underwood. He's really thinking through. How do you take from others and yet still right upon this true and it seems as if for him in this poem what you do is you live on that dead rabbit in in that ending ending and come up with something really interesting to think about in terms of how a poem take shape and actually how inspiration takes shape as well? I was thinking to have George Meredith Modern love which sort of stretched out palms to I don't know like sort of distort the impulse wholesome writing poems about subjects. That are kind of typical of our emotional kind of fusion's inverse. Yes and I respect that a lot because obviously George Meredith is sort of a classic almost a Modern Classic Nineteen Jack Underwood is is doing something like that. Even and if he didn't have something like that in mind but what's really interesting to do still connect the two poets in this way is how in way unsentimental until the poem is in this case about childhood the observation about a child seeing a dead rabbit and this this concept of sort of not weeping or laughing but singing I mean it's a very interesting phenomenon that little kids will sort of seeing very unselfconsciously at all all kinds of moments in. Its is something that people don't do anymore once they grow up into the world and away from poets. Don't do it. I suppose they think they do. But but but right in the middle of this in a genre that could of poems about encountering dead animals in the yard which is almost the whole allergy. The you know Jack Jack Underwood sort of deftly walks away from that kind of possibility to that reality of childhood which is almost a philosophical state that we find ourselves in early in life and even his own recollection of practicing his dying arranging his body in the bushes wishes. I mean I think most kids do something like that. The very weird rehearsal for life all summer I did it repeating the drama which is how a song his made so that acute insight into both the condition and conditions of childhood but but singing itself for me is at the heart of the poem. And I suppose it's it's really only as an adult that you turn things over and turn things over and turn things over as happens at the end of the poem with the debt-ravaged turns out to be a dead rabbit. Anyway you flip it. Yeah I think it's really beautiful that there's this sort of focus on singing that is also sort of a commentary commentary on writing lyric poems as well. So there's the idea that maybe his Rehearsing drama as a child is in a way being played out in this poem. Obviously he's repeating the drama of his childhood. And that as you said Don you know the rabbit is dead. Anyway you flip it but that process of flipping is an important process zest that it's something that's worth doing in its own right. which kind of reminded me of you know? The famous Auden quote poetry makes nothing happen which just from itself a poem about death. Gates's death and you know the part that people often don't quote is what follows it which is poetry survives. An happy of uh-huh. Yeah Yeah and so the idea that it's a way of happening. That's a way of rehearsing or it's a way of doing these sort of processes over and over again. You know Yates. This is still dead no matter the fact that Auden wrote this poem but the poem survives. And it's it's a way of thinking about death that we still continually site no matter how how often you repeat the drama of dying thinking about dying or thinking about something else that is dead. We're still having another look. Well and the idea that odd auden had a poet becomes alive or stays alive through the readers. The poetry will have is something that I suppose reinvigorates the lines by Browning in this poem. Those pits very complicated. Because those lines are eerie has branding tends to be. I suppose most of us this is something you know the quickening inner life you know hiding your quickening in her life from those watch that kind kind of interior life that involves concealment and yet there's this question of the light at the window now and then they ahead not set at their. Who had said that there is a really for me? There's sort of a spark between that quotation and Jack Underwood zone own. Online's that almost weird chasm between that quotation which is in Italics and the rest of it. Because that question you know who had said that there it's sort of like as a parent. It's this question of how who set this quickening life in motion and I think parents obviously have the kind of ownership and you know real connection with with their offspring but in a way under something autonomous about the inner life that nobody has control over and I think you could say one of the earliest earlier. Revelations says apparent you get is that there is an autonomous creature there whose inner workings you have no real access to I think it starts startling. Yeah in this palm. Ucla through the singing the fact that this child does this unexpected thing they saying wing and that sort of shows quickening in her life. In a way that you know Elizabeth Barrett Browning or Aurora Leigh was describing how writing these poems was evidence of a quick of questioning in her life as well Yeah it's a it's a really interesting play between the inner life and the outer life in this poem arm. It seems to me as well. I keep coming back to the word arranging arranging my body in the bushes and then repeating the the drama and the idea of arrangement. Being you know akin to what you were just talking about Lindsay in the lyric poetry kind of musical arrangement that we might might talk about Also arranging things like a dead rabbit if you were doing something like a still life painting and the idea That that light inside Ken. Also Germany from the impulse towards arrangement and it seems to me. That's how this poem gets into itself in in a way. Is You know taking these these lines arranging them and taking off from them so that they become the light of this palm that then gets refigure arranged in.