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The Filial Art: a Reading of Contemporary British Poetry Author(S): Blake Morrison Source: the Yearbook of English Studies, Vol

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The Filial Art: a Reading of Contemporary British Poetry Author(S): Blake Morrison Source: the Yearbook of English Studies, Vol The Filial Art: A Reading of Contemporary British Poetry Author(s): Blake Morrison Source: The Yearbook of English Studies, Vol. 17, British Poetry since 1945 Special Number (1987 ), pp. 179-217 Published by: Modern Humanities Research Association Stable URL: http://www.jstor.org/stable/3507659 Accessed: 03-02-2016 06:54 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3507659?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Modern Humanities Research Association is collaborating with JSTOR to digitize, preserve and extend access to The Yearbook of English Studies. http://www.jstor.org This content downloaded from 134.208.29.220 on Wed, 03 Feb 2016 06:54:42 UTC All use subject to JSTOR Terms and Conditions The Filial Art:A Reading of ContemporaryBritish Poetry BLAKE MORRISON London I I am morecertain that it is a dutyof nature to preservea goodparent's life and happiness,than I amof any speculative point whatever. (Alexander Pope) My fatherwas an eminentbutton maker - butI had a soulabove buttons - I pantedfor a liberalprofession. (George Colman) I wantedto grow up andplough, To closeone eye, stiffen my arm. AllI everdid was follow In hisbroad shadow round the farm. I wasa nuisance,tripping, falling, Yappingalways. But today It is myfather who keeps stumbling Behindme, and will not go away. (Seamus Heaney) It is a little-remarkedfeature of the younger generation of British poets that therelationship which most concerns them is notthat with a loveror spouse, not witha particularplace, norwith society at large,nor with God (those traditionalconcerns of poets) but ratherthe relationship with parents. By 'younger'here I mean thegeneration of poets which came to prominencein and and which Harrison the I97os early I98os, spans Tony (b. I937), Seamus Heaney, Hugo Williams,Craig Raine,James Fenton,Paul Mul- doon,Andrew Motion, and MichaelHofmann (b. 1957). In thework of these writersparents have an unusualcentrality and fathersseem to figuremore largelythan mothers.This overlapof concerntells us much about these poets as a generation;but so, too, the differentways in whichthey write about theirparents are an insightinto theirdistinctive achievements. By examiningthe filialart of each in turn,I hope to removesome popular misconceptionsabout thekind of writer each ofthese eight poets is, and also to arriveat an understandingof why this generation, more than any other one can thinkof, should be so obsessedwith its parents. Certainlymost poets of the early twentieth century were altogether more peremptoryin thisrespect. Their commonpost-Freudian assumption was that we wrestlewith our parents in order to win the space to be ourselves: out This content downloaded from 134.208.29.220 on Wed, 03 Feb 2016 06:54:42 UTC All use subject to JSTOR Terms and Conditions 180 A Readingof Contemporary British Poetry of filialrevolution comes the birthof identityand ofart. Yeats in Autobio- graphiesspeaks of gettingfree of his father'sinfluence. Eliot and Pound crossedthe Atlantic to be freeof the family ties they thought would inhibit theirart. Lawrenceliberated himself by writingSons and Lovers and eloping intoexile: he latercame to feelthat the novel'sdepiction of his fatherhad been unfair,but at thetime it was a necessaryinjustice. The historyof early twentieth-centuryliterature is ofescape fromthe nets of family and father- land. The firmnesswith which thesewriters resisted 'obligation' and undid familyties was intimatelylinked to theprogramme of modernism. Rejecting ancestry,overthrowing precedent, refusing to continuethe line: the lan- guage of (hostile) familyrelations commingled with aestheticmanifesto- making.'We have to hate our immediatepredecessors to get freeof their authority', Lawrence wrote to Edward Garnett in February I913-1 More recentlythe criticismof Harold Bloom has based its theoryof poetic developmenton the analogyof Oedipal struggle;poets become 'strong' by fightingand 'swervingaway from' their predecessors: 'To live,the poet must misinterpretthe father, by a crucialact ofmisprision, which is there-writing ofthe father.'2 The conflationof 'real' fathersand 'literary'ones is typicalof muchmodern criticism and ofthe literature it addresses. Given the aesthetic of modernism,we cannotbe surprisedby the absence of the filialin early twentieth-centurypoetry: both the 'men of 1914' and the 1930s generation lookedto thefuture not thepast; to like-mindedpeers and pioneers,not to precursors. In thepoets of the present generation attitudes have changeddecisively, whichis one reasonwhy they have been called (thoughthe termsraise a numberof problems) both 'anti-modernist'and 'post-modernist'.Their work recognizesLawrence's point about gettingfree of authoritybut recognizesalso the FifthCommandment. Where modernismresembles a phase of adolescent rebellionagainst elders, recentpoetry seeks to do honour,to measureup, to grantthat parents have a lifebeyond that of being parents:an attitudechildren can affordonly when theythemselves have grownup, or becomeparents (as mostof these poets have, but as Lawrence and Eliot,for example, never did), orwhen their parents are dead. If Oedipus Rexand Hamletwere loci classici for Freud and themodernists of the violent mutualdestructiveness of parents and children,for the currentgeneration theyare symptomaticof more subdued feelings of filial guilt and failure:the pertinenceof Oedipus is nothis parricidebut his agonizedself-accusations, thatof Hamlet notso muchhis angerwith Gertrude and Claudius but that conditionof being 'too much in the "son"' (I. 2. 67) whichparadoxically weakenshis resolveto be his father'savenger. The currentgeneration risks TheLetters ofD. H. Lawrence,Volume I, edited T. Boulton 21 190oi-3, byJames (Cambridge,1979), p. 582. A Map ofMisreading (Oxford, 1975), p. 19- This content downloaded from 134.208.29.220 on Wed, 03 Feb 2016 06:54:42 UTC All use subject to JSTOR Terms and Conditions BLAKE MORRISON 181 seemingpious in itsdenial of violent Oedipal struggle.But itsrespectfulness does not precludea rangeof 'negative'(unfilial) emotions: anger, resent- ment,fear, guilt. Hugo Williams's'Death ofan Actor',for instance, from his collectionWriting Home, mixes homage with umbrage: Nowthat he has walked out again Leavingme no wiser, Nowthat I'm sittinghere like an actor Waitingto go on, I wishI couldsee again Thatrude, forgiving man from World War II Andhear him goading me. Dawdlingin peacetime, Nothaving to fight in my lifetime, left alone To writepoetry on thedole and be happy, I'm givento wondering Whatmanner of man I mightbe. Williams's descriptionof his fatheras a 'man fromWorld War II' is significant.For themodernists the assumption that sons must be at warwith fatherswas strengthenedby the eventsof the Great War, that global expressionof the violence in thefather-son relationship, a war in whichthe 'flower'of youthperished through the inflexibilityof old age. This is the argumentdeveloped in WilfredOwen's reworkingof the parable of Abrahamand Isaac: 'Offerthe Ram ofPride instead of him', God urgesthe father:'But theold man wouldnot so, butslew his son And halfthe seed of Europe,one by one.' Pound's 'E. P. Ode pourI'Election de son Sepulchre' expressessimilar sentiments ('young blood and highblood' are sacrifiedfor thesake of'old men'slies'); so do such poemsof Sassoon's as 'Base Details' and 'The General'. To a post-I945 generation,however, there must be almostopposite feelings towards fathers: they were the men who fought,on behalfof democracy and us, in theSecond World War; we are children,not who weresacrificed, but on whosebehalf the sacrifice was made. There is an unspokenburden of obligation here, and thoughresisted and set aside in the I96os, thatdecade ofadolescent rebellion when most of the currentgeneration of poets were adolescentsor in theirtwenties, it has returnedin the g98osto weigh us down.In the 196os itwas possibleto mimic the modernistsand to pretendthat one's fatherswere Victoriannobo- daddies, stultifiedsurvivors from a bygoneera, comfortableconformists. Recent poetry shows paternal figuresin a less patronizinglight: as adventurersand fighters,travellers and heroes, men less shackled by domesticitythan our own post-feminist generation and alongsidewhom our own 'dawdling' peacetimeyouth cannot help but seem uneventful.In a recent collection, Elegies,Douglas Dunn (b. 1942) describes his as a 'gentle generation, pacific ... No friendof ours had ever been to war'. A pacific generation may count its blessings but also feel itself to be weak and emasculated. Measuring up to their fathers, poets such as Williams, This content downloaded from 134.208.29.220 on Wed, 03 Feb 2016 06:54:42 UTC All use subject to JSTOR Terms and Conditions 182 A Readingof ContemporaryBritish Poetry Heaney, and Michael Longley emphasize their own (comparatively) depletedmasculinity. Heaneyis themost celebrated figure of this generation and has donemore thananyone to sponsora poetryof
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