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Michael Hofmann - One Lark, One Horse

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Michael Hofmann One Lark, One Horse

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Michael Hofmann is renowned as one of our most brilliant critics and translators; that he is also regarded as among our most respected poets - one of the definitive bodies of work of the last half-century,TLS- is all the more impressive for his relatively concentrated output.One Lark, One Horsewill be his fifth collection of poems since his debut in 1983, and his first sinceApproximately Nowherein 1999. But it is also one of the most anticipated gatherings of new work in years. In style, it is as unmistakable as ever: sometimes funny, sometimes caustic; world-facing and yet intimate; and shows a bright mind burning fiercely over the European imagination. Approaching his sixtieth birthday, the poet explores where he finds himself, geographically and in life, treating with wit and compassion such universal themes as ageing and memory, place, and the difficulty for the individual to exist at all in an ever bigger and more bestial world.
One Lark, One Horseis a remarkable assembly of work that will delight loyal readers and enchant new ones with its approachable, companionable voice.

Michael Hofmann: author's other books


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Of course he was very witty and funny when he was happy and loved to tell her - photo 1Of course he was very witty and funny when he was happy, and loved to tell her Jewish jokes and stories; like the one about Goldberg and Cohen, who have delicatessen shops next to each other. Goldbergs shop (he recounted) is always packed, while Cohens is empty; so finally Cohen asks his friend what on earth he is selling. Lark pt, Goldberg tells him. Lark pt? gasps Cohen. But how can you afford it? I add a bit of horse, Goldberg replies. How much? One lark, one horse, says Goldberg. CAROL ANGIER, The Double Bond:
Primo Levi A Biography
Stop trying to be a poet. Theres no time. NAGUIB MAHFOUZ

Contents
Im past the age of reading, and well into the age of re-reading.

I know, because I hated my father for it when he did it. And I dont re-read either. About eight months ago, I started buying reading glasses. I have three pairs, which I variously use and dont use. Ive never had glasses before. I was the boy who saw the buffalo a mile away.

A piece I wrote last summer about Brecht was my first with glasses. I avoid putting them on as much as possible, because they make the rest of the room disappear. Now I have another piece about Brecht to write. Im an inefficient volcano. Half-remembered scraps of things come out of my head. I dont know what book I last read, except for purposes of reviewing or translating.

Do you have that in a large type edition? Admission: I read Leon Wieseltiers piece in the New York Times about our virtualised post-human scientistic predicament. The Internet seems to have killed off pictures, writing and music at one fell swoop, which isnt bad going for one lousy money-spinning invention. I thought that was probably the best synoptic article Ive read for ten years, or whenever the Guardian had a piece about a nasty practice called astroturfing. The world is so full of false accounting and conniving. All vampires and zombies, if you ask me. It gives one conniptions.

I put on John Cales Paris 1919 this morning, and sat there in floods of tears. That mixture of prettiness and geography and bottleneck guitar does me in. And Lowell George and Ritchie Hayward are dead. Nothing post-human there. And when I last saw John Cale he had pink hair and a goatee.

Nothing required an account of me And still I didnt give one.
Nothing required an account of me And still I didnt give one.

I might have been a virtual casualty, A late victim of the Millennium Bug. No spontaneity, no insubordination, Not even any spare capacity.

The luncheon voucher years (the bus pass and digitised medical record always in the inside pocket come later, along with the constant orientation to the nearest hospital). The years of sir (long past mate, much less dearie), of invisibility, of woozy pacifism, of the pre-emptive smile of the hard-of-hearing, of stiff joints and the small pains that will do me in. The ninth complement of fresh stale cells, the Late Middle Years (say, 1400 AD on the geological calendar), the years of the incalculable spreading middle, the years of speculatively counting down from an unknown terminus, because the whole long stack shale, vertebrae, pancakes, platelets, plates wont balance anymore, and doesnt correspond anyway to the thing behind the eyes that says I and feels uncertain, green and treble and wants its kilt as it climbs up to the lectern to blush and read thou didst not abhor the virgins womb. The years of taking the stairs two at a time (though not at weekends) a bizarre debt to Dino Buzzattis Tartar Steppe, the years of a deliberate lightness of tread, perceived as a nod to Franz Josef thinking with his knees and rubber-tyred Viennese Fiaker.

The years when the dead are starting to stack up. The years of incuriosity and novarum rerum incupidissimus, the years of cheap acquisition and irresponsible postponement, or cheap postponement and irresponsible acquisition, of listlessness, of miniaturism, of irascibility, of being soft on myself, of being hard on myself, and neither knowing nor especially caring which. The years of re-reading (at arms length). The fiercely objected-to professional years, the appalling indulgent years, the years of no challenge and comfort zone and safely within my borders. The years of no impressions and little memory. The years of I would prefer not and leave me in the cabbage.

The years of standing in elevators under the elevator lights in the elevator mirror, feeling and looking like leathered frizz, an old cheese-topped dish under an infrared hotplate, before they kindly took out the lights and took out the mirror, and slipped in screens for news, weather, and sponsors handy messages. The years of one over the thirst and another one over the hunger, of insomnia and sleeping in, of creases and pouches and heaviness and the barber offering to trim my eyebrows. The years of the unbeautiful corpse in preparation. The years to choose: sild, or flamber ?

Heavy, and now grizzled (pro tem) and generally high coloured. The voice light, tripping over itself, setting off at an angle into the thickets of vocabulary. Its gone; let it go.

No one knows I stole (wonder how?) Alan Waughs chewed voice when I was seventeen. Piling out of the car, my Siebensachen on the tarmac, my rucksack upside down, the small size of bulldog clips everywhere. Forty years of chaotic exits, and now one more.

That rather sprawling foursquare spelling. Always in my mind half associated with the hirsute 14-year-old I saw in the newspaper who sued his local education authority to keep his beard, out of a sort of medical necessity. Derrick. Derrick.

Clean-shaven, Welsh, heavyset, lugubrious, his steel-grey hair apparently parted by a steel comb. Tracksuit bottoms, graphite racket, retired from something or other, maybe ex-army. A plangent sonorousness. If I have it right, India. A grandfather in spe, then fact. He was shy, I was shy.

At the height of things he fed me clippings from the Telegraph, and we talked about militaria (I was translating Ernst Jnger though not in time for him). Some village-y gene had given him the atavistic habit of standing outside his front door for hours arms crossed, surveying the scene. Perhaps a swagger-stick to take the parade. He knew the street as I didnt know him, spent years setting plants and persecuting graffiti in a tiny doggy flowerbed under the railway bridge, played tennis on the corporation courts, kept an ear open for the local scuttlebutt. Like a hardy perennial he stood there under his wifes hollyhocks now both under the ground, massive heart attack (he), years of chemotherapy at the Royal Free and Easy (she), buried from St Dominics down the road, the orphaned court, the problematic flowerbed improbably flowering, the neighbours shuffling past the hollyhocks (pink), more local connections than Ill ever have.

What changed? Same maisonette in West London, the straight shot of Talbot Road, held onto in spite of everything ones original intended went away, someone else eventuated riding to work on the Tube like an Edwardian, same job, steady Eddie, not a new kind of tobacco at eleven, and my love returning on the four oclock bus, more cut out the ciggies and a new palliness.

Hamlet for yonks, kicked upstairs, Prospero under this bonkers management.

The age demanded an image
Of its accelerated grimace EZRA POUND
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