Today on Nowriggling I am thrilled to have a guest post by Vivienne Tuffnell. Viv has written for me before, not least as part of Dandelions & Bad Hair Days (I have to thank her for that title) and more recently blogging on Words are tools of healing when she published a collection of her essays as Depression and the Art of Tightrope Walking.
Here she writes on a subject very close to her (and my own) heart – poetry. Readers of my blog will know that just six weeks ago I lost my much loved Mum, and I gained solace reading Viv’s recently published novel Little Gidding Girl. I have reviewed it on both Amazon and Goodreads now, with 5* both times and I would heartily recommend it to anyone who likes a book to challenge and move them and at the same time be a rollicking good read. Here she describes how important the reading, and writing, of poetry, is to her and how it inspires her work.
I’d like to thank Suzie for hosting this post on her fabulous blog. It’s a great treat to have a friend who loves poetry as much as I do. Though our tastes in poetry differ a little, they overlap in quite considerable ways and we both believe that poetry is important, vital even, to the development and well-being of us poor naked apes.
You might know of German poet Goethe’s smash-hit book “The Sorrows of Young Werther,” a melodramatic tale of a poetically-inclined young man and his sad fate. But did you know that this wildly-popular book spawned so many copycat suicides that it was actually banned? It was seen as the ultimate in romance and despite the ban, sold in numbers equivalent to today’s bestsellers written by Dan Brown and E.L. James.
The power of the written word has never waned, but the acceptance of pure poetry as its primary form has been lost. Young people are made to study poetry for exams and it’s rare for them to continue to read and explore poetry after those exams are over. Those same young people will devote the energy instead to the music that they love because it speaks to them.
Many people see poetry as an irrelevance, a luxury of the few folks able to get to grips with it, but poetry has gone underground and has become lodged in popular music rather than the pages of dusty old books. Song lyrics ARE poetry and like the poetry found on the page, they are as subject to as many variations. From the profound to the banal, from the lyrical to the grating, popular songs get into the consciousness of youth today the way poetry did a hundred years ago.
Yet there’s always a few for whom pure poetry becomes an essential part of their psyche and self-expression. Growing up, I was one of them. Geeky would be the word used now but when I was 17, the word didn’t exist (as far as I know) and we’d be called swots and weirdos instead. For me, poetry said the things that I didn’t know how to express. Not being in the slightest bit musical, I was baffled by the popular music at the time, and when I sought to deconstruct lyrics to better understand the music, I was called strange. I wrote a bit of poetry and a lot of fiction, but it was crowded out by exam pressure, and the last piece of fiction I wrote in my teens was the first version of The Hedgeway, completed not long before I turned 18.
I studied English and Latin at university and I was overwhelmed with the sheer weight of brilliant poetry and literature to such an extent that it was years before I began writing again. I was a new mum with a small baby when I returned to fiction, and I was in my late thirties when I began to explore poetry again. I only got into my stride again then because poetry became the only way I could express the tumult of emotions and experiences and visions I’d become subject to. The terrible mixture of dreams, imaginings, mental wanderings I experienced at that time coalesced around a single volume of poetry, one I’d come to many years after university. Four Quartets seemed to contain everything, hinted at and referred to obliquely, that my restless mind was trying to get at, and up popped a title: Little Gidding Girl. I had no idea what it meant.
In the grip of a flood of creative energy that I’ve never come close to again, during those three years I wrote more than I’ve ever written since. Novel after novel just poured out of me, the words long dammed up. In Little Gidding Girl I tried to explore the painful, poignant memories of being 17 and the frustrations and triumphs of being 37, and the world between the two ages, with all its losses and gains, destroyed dreams and false starts and betrayals. To create a novel that somehow married the two people I had been and was now, needed something that transcended my own experiences and psyche and it was Four Quartets that offered the link between those two eras of my life.
To find out more go to the Amazon page for Little Gidding Girl HERE.
Caitlín Matthews, author of Singing the Soul Back Home, and Diary of a Soul Doctor has said of Little Gidding Girl:
From the unknown spaces between what is, was, and will be, messages and sendings break through into Verity’s life: are they nightmares of a parallel reality or projections from a love that has flown? Vivienne Tuffnell keeps us guessing with utmost artistry as we trace the interweaving way-marks in pursuit of the truth. Little Gidding Girl kept me enthralled until the very end.’ –