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Quinn - Early House

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Quinn Early House

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Poem formatting, including line breaks, stanza breaks etc, may change according to reading device and font size. For this reason The Gallery Press encourages readers to calibrate their settings in order to achieve optimal viewing. This will ensure the most accurate reproduction of the layout of the text as intended by the author.
The poems of Justin Quinns fifth collection, Early House, are reminiscent of Alan Jenkins work insofar as here also we find the juxtapositioin of urbane attitudes, smooth formal contraol an dstartling sexual detail. As, for examplek in the elegant single quatrain poem Apricots (22): These are what the year perfects, ripening breifly, to a fault a honeyed tang much like the salt and streaming sweetness of your sex. This is a mature eroticism; the pleasures of the ocnjugal relationship, the vicissitudes of domestic circumstance, all thrown into relief by the poetrys ambitious engagement with the larger themes of its time Most poets under fifty writing in English today are descendants not of Heaney, but of Muldoon, his get over yourself echoing ominously in their ears Yet despite the decidedly Muldoonian attitudes it is arguably the engag elegance of Louis MacNeice that is the real forbear of this work; his famous formula for the ideal modern poet seemingly describing Quinn to a T: I would have a poet able bodies, fond of talking, a reader of the newspapers, capable of pity and laughter, informed in economics, appreciative of women, involved in personal relationshipos, actively interested in politics, susceptible to physical impressions.

Poetry Salzburg Review At the heart of Quinns new poetry collection, Early House, is a longish poem that tests out what Quinn has learnt from Brodsky. Letter, Including Bears is, as Quinn describes a typical Brodsky poem to be, a long, lyric meditation, rhymed and metred, louche in its mode of address, wide-ranging. It takes on expansive themes through autobiographical details. The poem places its Quinnish speaker at a Czech brewery at the end of a six-hour ramble in the summer of 2014 The concerns of many of Quinns poems in Early House are personal: anxiety about ones children in the big bad world, the split identity experienced by an Irish person raising a family abroad, moments of everyday eroticism. But at the books heart is this poems sense of the individual as driftwood in the vast maelstrom of global history. The scene at the end of Letter, Including Bears is comical but it is also disturbing, if we read it as an ineffectual political protest in verse Quinn has long tended to be dismissive of the contemporary notion that the poet should seek a distinctive personal voice, preferring to pursue strategies that open up the poems to ownership by others, that allow thinking to be a collective enterprise.

In his earliest collections he frequently writes in the second person, inviting the reader to temporarily inhabit his point of view. As his career progresses, he turns to rhyme as a means to submit to sociality, to insist that the poem knows more than the poet Early House is fascinated by the inevitability that rhyme suggests: as one rhyme suggests another rhyme, so we are born, produce other lives, and die. Generation follows generation in a process that has fascinated Quinn since he wrote of the birth of his children in Fuselage Ailbhe Darcy, Dublin Review of Books Gallery Books
Editor Peter Fallon EARLY HOUSE

Contents


for Tom Frstenzeller
I lost a glove and kept the other, my life on hold through snow and storm, one hand cold, the other warm. I lost a glove and while the other hung on to me for all Im worth, the first roamed free over the earth. I lost a glove and found another, another sheath, a shade of leather that seemed to breathe a different weather. I lost a glove and it found other flesh to clad, crimes to commit, although I had no hand in it.

I lost a glove and, sad, the other at the breach would try to clap but couldnt reach across that gap. I lost a glove, then lost the other. Id no more forms that could withhold the snows, the storms, the perishing cold.

She says the dead come back for a mere flake, fleck or fume of favourite food. A fragrant air we hardly know is more than they can bear. For them the speed of our bored talk is breakneck.

She says when we lean in to catch the scent that rain showers summon from the April earth dead millions groove themselves into the berth of our one sense. They are engulfed, content. He says let them do what they want, these dumb sad hordes of shades. Do you think that theyll come the moment I push back the floral hem of the summer dress you look so lovely in, and lift it off, leaving you just a grin? What do you reckon that will do to them?

I check her photograph in those few months or weeks when she was turning from a girl into a woman, wading from the Adriatic, the wavelets peaks around her legs, and lovely lips that I have come in. Which isnt praise shed like, so let me also say her face has hardly changed, the lines so light, a curl just as it was.
We like our little fight so much we make it stay at least another night and breakfast here next day, wondering all the while what harm is done if any by going the extra mile, or if its one too many.
They wake us with their noise just after five.
They wake us with their noise just after five.

For miles around, in every tree and hedge, the birds draw breath and sing that theyre alive. Ones left a feather tilting on our ledge. I pick it up and play pass after pass till with its tip I suddenly strum along the smooth slats of your spine, down to your ass. You part your lips and join their morning song.

Oh, love is there across the street, a couple in mild rain; like continental plates they meet. She kisses him, again.

As their four parents did before, lovers too, in sun or rain, or just a customer and whore rocked to the old refrain. Sometimes I am that kind of fool who tacks a moral on, some piece of trash I learnt at school or church the usual con of consolation or such guff. Because each year in May the new young people are in love that makes it all OK? Whatever. All I haves an air thats got a good refrain for all I care, for all I care. Here comes the lovely rain.

A square of twilit lawn seen through French doors. Aperitifs. A roast. A roast.

The affable minister murmurs to the host. Breezes glide across the parquet floors. The waiters move in silence. Now the wives draw dutifully together for a talk of family and schools, and watch the clock. Two years to go till our first child arrives. We live five floors up in a block of flats across the city.

Half a mile of muck to walk through from the Metro. Like diplomats, we say, No, after you, and fall in bed, still laughing, stripping off to fuck. Nothing of those hours has touched us yet.

At night, the teaching done, Id have a beer and watch the fireflies float out of the woods. A few miles down the road, the neighbourhoods had homicides for most days of the year. A loose end six months long.

No syllabus. I started reading Gibbon. Took up karate. A young guy from Homeland Security would come occasionally to train with us. On many porches the national flags unfurled. New wars began when others reached their end.

A ghost came whispering, Youre in the Empire, friend. One day, out of the blue, our eldest opts to walk alone to where the school bus stops four hundred yards into the big bad world.

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