Book review

P.J. Kavanagh, if not dismissed or relegated, is often shall we say bracketed, as a ‘nature poet’. The truth is, he’s as much of a nature poet as William Cowper was: in other words a good deal more than ‘a man who woos a rural muse’. While Kavanagh is also mentioned as a successor to Louis MacNeice and Edward Thomas, and is known for his portraits and tips of the hat to many other poets, such as Robert Lowell, Ivor Gurney and Yeats, it is, in fact, Cowper whose echo I myself hear most clearly.

Fifteen minutes by rail from Paddington, Southall is a ‘Little India’ in the borough of Ealing. An ornate Hindu temple there, the Shree Ram, is set back from the beep and brake of traffic on King Street. When I visited, a pooja (prayer meeting) was underway. Incense fumes — a sweet suffocating presence — wafted round statuettes of the blue-skinned Krishna. The priest was surprised to see me: ‘You are coming from — ?’ ‘Paddington.’ ‘But you don’t look particularly Indian.’ ‘I’m not Indian.’ (With his sandalwood caste-mark and Nehru shirt, the priest himself was of Gujarati origin.) Racially diverse, Southall is distinctly out-at-elbow and peeling paint, but bustling all the same.

From the Greek seafarer Scylax in 500 BC to the Beatles in 1968, there is a long history of foreign visitors being drawn to India. Many have come in search of the ‘exotic’ or the ‘other’, an idea of India that persists despite the best efforts of Edward Said’s post-colonial disciples.

‘Arabist’ is fast becoming an archaism. Perhaps it is already one. These days the word conjures up enchanting visions of racy manuscripts examined over sharbat in the great domed residences of sympathetic chargés d’affaires and lone camels bumping along like single-masted cutters on a sand-dune ocean. At the age of six I dreamed of becoming one after watching David Lean’s great film for the first time. (A few weeks later I saw Jurassic Park on video and decided that I fancied palaeontology instead.) It is tempting, even for those of us who take an Israeli line, to think that had the creation of a massive pan-Arab state followed the Paris Peace Conference, the last 100 or so years would have been much the better for it.

For better or worse, we live in the age of the talking composer. Some talk well, some badly, a few — the strong, silent types — keep their mouths shut, or have to have them prised open. Harrison Birtwistle belongs, by nature, to this last category. I once, a very long time ago, interviewed him for a radio programme, mercifully pre-recorded. Each tedious enquiry would be greeted by a long silence ending with a yes or a no or an ‘I don’t understand the question.’ Nothing would persuade him to contribute to my attempts at fitting him into some preconceived image of British music in the late 1960s. Fitting them in is of course precisely what talking to composers is supposed to do. Harry quietly — very quietly — declined to cooperate.

If I had to be marooned on a desert island with a stranger, that stranger would be John Burnside. Not that he’s a literary Ray Mears: I rather doubt that catching fish with his bare hands or lighting a fire without matches are among his skills. Nor would he be an easy companion, since by his own account he is a brooder and an insomniac and a craver of solitude. He is the erstwhile resident of a mental institution. He also has complicated feelings about women. But he’d be my perfect companion, still. For one thing, the isle would be full of sounds and sweet airs that give delight, because Burnside is the finest poet writing in Britain today.