written by the Judge.
Poetry in French, when it is not from France,
tends to receive little attention. The preponderance of the ‘real’ French
intellectual culture may have a natural way of eclipsing those around them, in
particular their numerous historical colonies in Africa, Asia and Canada. The
latter represents an interesting case-study – we are so used to thinking that
literature in English is mostly produced outside of England (just like
literature in Spanish is mostly produced outside of Spain), that Anglophone
Canadian writers have often replicated their success internationally. Names
such as those of Margaret Atwood, Michael Ondaatje or Alice Munro are familiar
to high-school students all over Europe. On the other hand, how many
Francophone Canadian writers can you name? They are so under-represented, in
fact, that I think it’s worth bending the rules a little bit for this entry in our series.
Though ‘emerging’ is not necessarily a synonym for ‘young’, I expect it may
crease a few brows to learn that today's poet was born in 1949.
After picking up Louise Dupré’s most recent poetry book Plus Haut Que Les Flammes (Higher
than the Flames), winner of the Grand Prix Quebecor du Festival
International de Poésie 2011, I have been given a taste of what her
rather obscure literary world can produce. It certainly made for an interesting
introduction. The book is not a collection but a single long poem, just topping
one hundred pages, divided in four parts. At the heart of it are a woman’s
meditations as she puts her baby to sleep, torn between the anguish and
violence of past history on one side, and the sense of hope simultaneously
afforded and demanded by the child on the other. It is a surprisingly readable
text, partly because the choice of form is such a natural free-fall: each
section is composed of a single long sentence drawing on and on, with every
brief stanza (usually two or three lines) connected by endless conjunctions. An
example will give a better idea of what it reads like, so I’ve included a small
extract from Part III, of my own translation, at the bottom of this article.
Dupré’s book
makes for a fresh reading experience from the start. There is a certain
apprehension that she may just mess it all up when she first references
Auschwitz, but the theme and question of concentration camps comes up
periodically in her poem, and eventually becomes one of the book’s central
motifs. It is handled remarkably well. The first of the book’s four parts makes
it a point of counterpoising the (hi)story of Auschwitz to the fairy tales that
she tells her child – two issues that are in turn reflected in the child’s
double nature as something extremely lovely and extremely fragile. The central
conflict in both cases seems to be that between an unacceptable history and an
indispensable future.
As the
mother puts the child to sleep in part two, and then wakes to console the child
from a nightmare, we follow the poet into a more careful construction of what
we may call an ideology of the future (or should I say a deconstruction?
It is hard to tell whether we are dealing with an architect or with a subtle
arsonist here). For brevity, we may refer to such an ideology of the future
simply as ‘the Dream,’ though this is not a term used by Dupré herself,
especially not in relation to the ever-too-wakeful mother. Her argument is led
to a solid and interesting conclusion: that the Dream, and the sentiment of
hope for the child, are necessary for the mother, and not for the child
him/herself. Without this concern for the Other, she herself cannot withstand
the burden of history. At the very least, she cannot make sense of it, as her
memory remains 'a white frame over a white background / a terrifyingly abstract
painting.'
Part III
comprises a series of meditations on the concept of pain, with emphasis on the
salvational ‘caress’ of the child. There are some gorgeous metaphors in this
section, though one is left wondering how Dupré will
close such an ambitious and momentous discussion on the relationship between
motherhood and history. Unfortunately, the ending is the only bit that is
somewhat disappointing. Dupré speaks of the ‘dance’ as the way of
salvation, the method by which we redeem our present from past and future
history. Obviously the dance is a metaphor, standing in for a type of
performative gesture, an active rather than passive way of engaging with our
history. That poetry should be an example of what the ‘dance’ represents is
suggested with a certain sleight of hand. The first three sections all open by
discussing some mysterious ‘poem’ coming to the mother from within, and the
fourth begins with the lines, ‘And you want to learn / how to dance / on the
calcinated rope / of words.’ In conclusion, then, Dupré responds
to the problem of history by means of a salvational aestheticism.
In my
opinion this paradigm is hollow. Aesthetical answers do not satisfy ethical
questions, as the first historical precedent of the Book of Job exampled as far
back as three-thousand years ago. Moreover, it misses the point that Auschwitz,
culturally speaking, represents precisely an attack on the precondition of the
aesthetic – something so brutal and intolerable that you cannot write poetry
(or ‘dance’) anymore. In the words of Primo Levi (who in turn was paraphrasing
Adorno), ‘[a]fter Auschwitz there can be no more poetry, unless on Auschwitz.’
That Dupré should demonstrate little or no awareness of this historical impasse
is an important shortcoming for someone who wishes to bring the problem of the
holocaust into her meditations.
I don’t
want to overstress this type of weakness in PHQF because it’s a very common one
in contemporary poetry – like many of her peers, Dupré can point
to the problem with great lucidity, but she is less able when it comes to
showing us a solution.
All that
said, and aside from the final let-down, the execution on the whole is very
strong. The idea of projecting the timeless historical problem through the
mother-son relationship gives it a visceral and original representation, and
the choice (and use) of form is brilliant. I cannot speak for the rest of
Quebecois poetry, but this little volume is certainly one worth hunting down.
Plus Haut
Que Les Flammes, extract from Part III.
no story,
no face
your memory
is a frame
white on
white background
a
terrifyingly abstract
painting
a regret
that you
scratch with the end of the nail
down to the
blood
of words
because
words also leave
fragments
under
the skin
when the
finger touches
the
deadwood
of language
and the
ghosts that sleep there [...]
Find out who our Emerging Foreign Poet #3 is next Wednesday.
