Miranda, 18 | 2019, « Guerre En Poésie, Poésie En Guerre » [En Ligne], Mis En Ligne Le 15 Avril 2019, Consulté Le 16 Février 2021

Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 18 | 2019 Guerre en poésie, poésie en guerre War in Poetry: Breaking into Family and Everyday Life Édition électronique URL : http://journals.openedition.org/miranda/15752 DOI : 10.4000/miranda.15752 ISSN : 2108-6559 Éditeur Université Toulouse - Jean Jaurès Référence électronique Miranda, 18 | 2019, « Guerre en poésie, poésie en guerre » [En ligne], mis en ligne le 15 avril 2019, consulté le 16 février 2021. URL : http://journals.openedition.org/miranda/15752 ; DOI : https:// doi.org/10.4000/miranda.15752 Ce document a été généré automatiquement le 16 février 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. 1 SOMMAIRE Guerre en poésie, poésie en guerre Introduction Stéphanie Noirard Echoes and Shadows: Creative Interferences from World War II Roderick Watson The War Cemetery and the City Park – “Saturated Landscapes” in Fanny Howe’s The Lives of A Spirit Bénédicte Chorier-Fryd War in the Garden: Reading and Translating James Fenton’s Poetry Sara Greaves Translating Caribbean thresholds of pain from without: Hispaniola out of bounds, Hispaniola unbound? Laëtitia Saint-Loubert “This sudden Irish fury”: beleaguered spaces in Eavan Boland’s Domestic Violence Bertrand Rouby Bugging the Bog: Sonic Warfare, Earwitnessing and Eavesdropping in the Works of Seamus Heaney Fanny Quément Prospero's Island Mr. Smith Goes West : La portée politique du jeu de James Stewart dans le Western (1939-1964) David Roche “We'll let the gooks play the Indians” The Endurance of the Frontier Myth in the Hyperreality of Full Metal Jacket (Stanley Kubrick, 1987) Vincent Jaunas Neo Frontier Cinema: Rewriting the Frontier Narrative from the Margins in Meek’s Cutoff (Kelly Reichardt, 2010), Songs My Brother Taught Me (Chloe Zhao, 2015) and The Rider (Chloe Zhao, 2017) Hervé Mayer Miranda, 18 | 2019 2 Ariel's Corner Theater Du roman à la scène : Les Noms et Mao II de Don DeLillo vus par Julien Gosselin Critique Aliette Ventéjoux In Interview with American Playwright Mark SaFranko John S. Bak Reparadise de Gwenaël Morin ou la dépolitisation d’un spectacle historiquement subversif. Critique de Reparadise de Gwenaël Morin Camille Mayer The Cane by Mark Ravenhill and A Very Very Very Dark Matter by Martin McDonagh Performance Review William C. Boles “In this day and rage”: Albee’s Martha Avenged in Ferocious Feminist Rewriting Performance Review Valentine Vasak Deaf People and Performance: the Example of Sirens An interview with Rosalind Hoy, Performer and Creative Producer of Zoo Co Theatre Company Michael Richardson Music, dance An Interview with Mark SaFranko: The Songwriter Jean-Philippe Heberlé Political satire and music: Humorous (and political) songs in Donald Trump's America Aurélie Denat "Nouvelles en musique" : interview en Ré de Delphine Chartier et Olivier Borne Nathalie Vincent-Arnaud “One Night in Hackney”: From Punk Kids to Cyberdogs Clara Kunakey Film, TV, Video Conference Report: Transnationalism and Imperialism: New Perspectives on the Western Conference organized by Hervé Mayer, David Roche and Marianne Kac-Vergne. Université Paul-Valéry Montpellier 3, November 15-16, 2018 Manon Lefebvre et Katia Marcellin American Network Series of the 1980s A two-day conference organized by Claire Cornillon and Sarah HatchuelUniversité Paul Valéry Montpellier 3, February 21-22, 2019 David Roche Miranda, 18 | 2019 3 Notre Top 10 des films anglophones de 2018 David Roche et Vincent Souladié British visual arts Review of the exhibition “Edward Burne-Jones: Pre-Raphaelite Visionary” at Tate Britain (24/10/2018 – 24/02/2019) Ludovic Le Saux Exposition Vanité, identité, sexualité, Grayson Perry Olivier Thircuir American visual arts Piecing the Puzzle Together: An Interview with Writer and Artist Mark SaFranko Entretien avec l’écrivain américain Mark SaFranko dans le cadre du projet ARIEL (Auteurs en Résidence Internationale En Lorraine), le 20 décembre 2018 Claudine Armand Recensions Laurent Curelly, An Anatomy of an English Radical Newspaper: The Moderate (1648-9) Alexandra Sippel Rémy Duthille, Le Discours radical en Grande-Bretagne, 1768-1789 Alexandra Sippel Géraldine Gadbin-George et Juliette Ringeisen-Biardeaud, (dir.), Partir en Solitaire : Conséquences du Brexit aujourd’hui et demain Jeremy Elmerich George S. Schuyler, Black No More. Ou le récit d’étranges et merveilleux travaux scientifiques au pays de la liberté entre 1933 et 1940 après J.-C Christine Dualé Arnaud Dubois, Jean-Baptiste Eczet, Adeline Grand-Clément et Charlotte Ribeyrol (ed.), Arcs-en-ciel et couleurs Armelle Sabatier Charlotte Gould, Artangel and Financing British Art: Adapting to Social and Economic Change Hélène Ibata Catherine Bernard, Matière à réflexion. Du corps politique dans la littérature et les arts visuels britanniques contemporains. Françoise Baillet Ana Ma Manzanas Calvo, Jesús Benito Sánchez, Hospitality in American Literature and Culture. Spaces, Bodies, Borders Isabelle Keller-Privat Miranda, 18 | 2019 4 Karen McCarthy Woolf (ed.), Unwritten - Caribbean Poems After the First World War Eric Doumerc Alexandra Lapierre, Avec toute ma colère. Mère et fille : le duel à mort. Maud et Nancy Cunard Christine Dualé Miranda, 18 | 2019 5 Stéphanie Noirard (dir.) Guerre en poésie, poésie en guerre War in Poetry: Breaking into Family and Everyday Life Miranda, 18 | 2019 6 Introduction Stéphanie Noirard 1 The soldier poets of modern war had direct and brutal experience of the front line and their artistic works are thus connected with historical testimony or transformed into overflows of traumatised memories. Analyses of their collections abound and have been reinvigorated since the centenary of the First World War. Yet another series of articles on the war in poetry could, as a consequence, seem superfluous, but fewer studies have in fact been looking into the poetry of those who witnessed war as children or experienced it second-hand, through the stories of family members, through the transformation of their daily lives or, later, through history books or fiction or through the media—notably when they cover remembrance days, home or foreign conflicts. 2 Experts are still debating the consequences of post-traumatic stress disorder on war veterans, but since the 1990s, they have agreed on a series of symptoms such as depression, nightmares, and hallucinations, which may affect any person, including children, who is a victim of trauma,1 a Greek term for an open wound. It is perhaps no wonder that war scenes, conflict and violence should break into and impinge—through thematic or structural devastation—on the poems of soldiers’ wives or children, or in the texts of those who grew up during times of conflict and in their immediate aftermath. Poetry, on the other hand, can belligerently intrude into the relating of memories, breaking away from codes and forms, while asserting itself and attempting to survive in places where it may be least expected. 3 It is, however, difficult to assess the extent to which first, second or even third generations can be affected by events they have not been through and the way they can recapture their authenticity. “They fell from sea to earth, from grave to grave / and, griefless now, taught others how to grieve,”2 Scottish poet Iain Crichton Smith wrote, leaving aside the jingoistic aspect of war to emphasise younger generation-centred human concerns. The double question of ethics and aesthetics is nevertheless posed as authors are caught between truth and imagination. Beyond more or less conscious or fabricated memories, beyond loyal remembrance, there is a desire to appropriate war for oneself or to exorcise it. There are then history infractions when poets try to romanticise or demonise the conflict, when they write about facts distorted by the imagination of the children they were at the time, about events that have somehow Miranda, 18 | 2019 7 catalysed a nation or about personal impressions induced by the testimonies of others. This Miranda issue probes into these questions, focusing particularly on the notions of traces—notably real or invented testimony, exposition, reminiscences, haunting memories—and intrusion, namely, unexpected irruption, uncanny presence or formal or thematic breaches. It underscores the similarities and differences in the reactions and what could be called the war poetics of authors from England, Northern Ireland, Scotland, the United States and the Caribbean who write about the Second World War, conflicts in South-East Asia, Jerusalem or Hispaniola, as well as the Troubles. The reflections collected here emanate from a poet, from translators and critics, and span from first to third generation, creating a mise en abyme which not only deeply questions the authors’ writings but also the general interest in and reaction to war texts. 4 In a perfect balance between personal and academic reflections, critic and poet Roderick Watson discusses the “reverberation” of war in his own poetry and the way war affected the poets of his generation, notably through the comics children read and the games they played. He argues that war culture is part and parcel of modern British identity and national reconstruction, though events have different resonance in the different nations of the kingdom. As he reflects on the haunting shadows of the holocaust or the nuclear bombing of Japan, he expresses a “terrible sense of shame in the complicity

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