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[…] poets scorn
The boundaried love of country, being free
Of winds, and alien lands, and distances
Vagabonds of the compass, wayfarers
Pilgrims of thought, the tongues of Pentecost
Their privilege, and in their peddler’s pack
The curious treasures of their stock-in-trade
Bossy and singular, the heritage
Of poetry and science, polished bright
Thin with the rubbing of too many hands
Last Monday Stephanie and I travelled out to Kiama to take in the sights. It was a beautiful day, the sun was causing little birds to queue up for shallow bird baths and the town itself has a lovely series of shops that stock tasty condiments, dessert sweets and some unusual jewellery. There was of course also a second-hand book shop, which I made a bee-line for.
There I picked out this book, as I have always wanted to learn more about Vita Sackville-West. All I really knew about her was that she inspired the Virginia Woolf’s novel Orlando. Indeed she is most famous these days as Woolf’s lover, a great woman reduced to a footnote. I flipped through the book, with its water-damaged cover and dedication dated 1939 – and found on the back page a poem written by the book’s original owner.
So here’s what I am doing folks. I am going to quote the poem in full, here, so that it lives on and survives this decaying book. Just a little gesture on my part to this book lover who was inspired by Sackville-West to write his own poem –
Plus and Minus
What is a tree before the Spring?
A skeleton, a scaffolding
And yet the inner spirit grieves
At the officiousness of leaves
When does it most delight the age?
In January or July?
And in the sum of loveliness
How much is figure, how much dress?
George Keogh
Anyway, back to the business of reviewing.
Sackville-West long-form poem is split between the four seasons, beginning with Winter. Each seperate season is allocated it’s own canto and within each of these the perspective of an assortment of labourers, farmers and country-folk is described. The relationship between man and the land he tills is described as an alternating master/slave dialectic:
There is a bond between the men who go
From youth about the business of the earth,
And the earth they serve, their cradle and their grave
This same passage leads to what I think is the most devastatingly beautiful line in the collection:
Life’s little lantern between dark and dark
Her purpose is not to condescend to the ‘yeoman’, and ‘shepherds’ cited within their verses, but to celebrate them, frame their labour as an expression of the purpose of humanity itself. Sackville-West takes the pastoral Romantic vision of, say Wordsworth, and injects it with the individualistic thrust of Walt Whitman. The Land is also passionately nationalistic:
An English cornfield in full harvesting
Is English as the Bible
The English weather is cited as a temperate ideal envied by ‘exiles’, in other parts of the world.
The purpose of the poet is to celebrate and promote such ideals of individuality and nationhood, but also the essential role played by ‘ordinary workers’, in sustaining humanity’s foothold on the earth. In a sense, Sackville-West is attempting to collapse the rarefied divide between upper-class literary society and the working class. High learning may be of no practical use, but the farmer, the bee-keeper and the gardener has a deeper understanding of the world than insensate Romantics:
I have not understood humanity.
But those plain things, that gospel of each year,
Made me the scholar of simplicity
The passing of the seasons is shown not just to require different activities in relation to harvesting and husbandry, but in turn causes the men who work the land to change. The fields that have been ploughed and tilled should not be mistaken for a beaten opponent. Those who work the land should respect it as an ally, a companion. Somewhere in between the free-flowing verse of pastorals and the dry concerns of farming, a middle-ground is sought, where true understanding can be found that outstrips empty talk of Nature(!).
To a contemporary reader perhaps Sackville-West‘s language seems too old-fashioned, but consider the audience she was pitching this work to. The Land received the Hawthornden Prize in 1926, so I imagine her message was heard. Of course the idealism and forward-looking culture that rose up following the ‘Great War‘, would soon be lost..
A socially conscious corrective to Romanticism, beautifully captured.