Touching the Gleam | Mark GoodwinPosted: May 10, 2019
a poet as rock – an attempt to gloss
Andrei Tarkovsky identified the specific material with which art-cinema works – time. He said that it’s obvious a musical composer works with sound, and that a writer’s material is words, a painter’s is colour, and a potter’s clay … Tarkovsky realised that the artist film-maker sculpts in time. A material of memory!
‘Where will they put [time]?’
‘They won’t put it anywhere. Time isn’t a thing,
it’s an idea. It’ll die out in the mind.’
I feel enlightened by and confident in Tarkovsky’s explaining that cinema is made out of time (or rather, perhaps that should be ‘from’ time?). And I’m comfortable that obviously a sculptor’s material could be marble, and that a musician’s is sound. But I’m not so sure about a writer’s material … or rather I’m not so sure about Tarkovsky being right about the material a poet works with. And in turn this starts to make me doubt whether a poet is actually a writer … because writers do … of course, of a matter of course … work with words …
But to say a poet works with words, that is, perhaps, like saying a rock-climber works with stone. Of cause [sic], a writer works with words, in the same way that a map-maker works with symbols that represent geometry that represent ground … that …
… But what is it that a rock-climber works with? What is a rock-climber’s material? Am I being foolish, to assume that a rock-climber makes something, that a climber is a maker? Yes, perhaps being a fool is the point, or a point … in time … or out … of time …
A person has one body,
Singleton, all on its own,
The soul has had more than enough
Of being cooped up inside
A casing with ears and eyes
The size of a five-penny piece
And skin – just scar after scar –
Covering a structure of bone.
A map-maker works on paper (or at least they used to!). A climber moves on … (or is that with?) … rock. If we are to believe, remembering that just like the word ‘fool’, ‘belief’ is a vital word for human-ness … if we are to believe, or rather if I am to believe … that a climber is a maker, that a climber in the act of climbing creates some ‘thing’ … then what is it that they make? The produce of the map-maker is their (or our?) map, made out of symbols of measurements. The produce of the/a writer is an/the … essay … prose … a novel … a story … a narrative … fiction … journalism … The Tweet! Where does a poem happen? When? What is it made of? Where from? Does it happen on the rock’s surface, or start deep down amongst strata, way back in deep time … or is it only now held in (the) memory, that sensation of fingers pressing against gritstone, or toes jammed into a sharp slate crack? The particular layout of holds … and textures on the rock’s surface … did the first climber to find that pattern, or put that pattern together … make the holds? And what of the climbers who follow after that first ascent? What do they make of it? What did they make of it? What will … ?
The road is mirrored in your tearful eyes
Like bushes in a flooded field at dusk,
I love … and I think that is the right word … I love to see light change the expressions of stone. How Stanage Edge is made of light and not rock, or at least it is made of light if I just watch … but … it is with … out any doubt in … my body … when I touch … it … made … of gritstone (and perhaps ‘from’ that substance too) … and when I remember my moving on the rock (or with the rock?), and I recall the resonance of other climbers having moved there also, and remember that others will also move in tune with the stone(’s) pattern(s) … at the ‘same’ point in space … but … long after I’m gone … then this memory feels …
… like a gleam, a glossy trembling, a smoothness just … vibrating over the rock’s rough surface …
In answer to each step you take
The earth rings in your ears.
First quote: from The Possessed, Fyodor Dostoevsky,
quoted by Andrei Tarkovsky in ‘Imprinted Time’
(chapter 3 of Sculpting in Time).
Second quote: the first stanza of Eurydice,
by Arseniy Tarkovsky (Andrei’s father),
(translated by Kitty Hunter-Blair). This poem
is spoken in Tarkovsky’s film Mirror.
Third quote: first two lines of the second stanza
of Ignatievo Forest, by Arseniy Tarkovsky
(translated by Kitty Hunter-Blair).
This poem is also heard in Mirror.
Fourth quote: the last two lines
of Eurydice, by Arseniy Tarkovsky.
Image: Hen Cloud by Paul Evans (click here to view his paintings, drawings and poems for the Seven Wonders project). Mark Goodwin’s publications include All Space Away and In (Shearsman, 2017), Steps (Longbarrow Press, 2014), and a new collection, Rock as Gloss (Longbarrow Press, 2019). Click here to visit the Rock as Gloss microsite for extracts, essays and audio recordings. You can also order the hardback via PayPal below: