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Enter Poem or Quote (Required)Required Transl. of Eric Mottram’s A Faithful Private - 4 with a Clive Bush comment on Mottram's poetry Excerpt from an article, “From space to caves in the heart recreating the collective world in Eric Mottram’s poetry” by Clive Bush, Director of American Studies, King’s College, University of London in The Journal of Comparative Poietics, Vol. I, Nos. 2 & 3 (Paris), 1990/1991, p. 49. Founder-Editor: T. Wignesan. “The very few good English poets are buried endlessly under unbelievably overpublicized and minor poets like Larkin, Betjeman, Tom Gunn, Irish exiles, expatriates from previous colonies (and the darker the skin the better) who are endlessly flattered by the Arts Council, the British Council, and the Establishment Poetry Society and who have never understood the difference between writing “political” poetry and writing poetry politically.4* They ensure that anybody with a noisy social, sexual, racial, religious, or mental/physical problem, and almost everybody published by Faber and Faber since 1960 is instantly legitimated in a market dominated by the comforting guilts of liberals. (…) Mottram himself is absolutely unprovincial in form, content, and in the sheer range of available materials he puts together. In this sense he is closer to an English tradition which took for granted it was artistically part of Europe: a tradition which includes Chaucer, Milton, Coleridge, Shelley, Byron, and beyond Europe, an American tradition which would include Whitman, Pound, Williams, H. D., Rukeyser, Olson among many others. Jerome Rothenberg is among the exemplary poets whose sense of the world enables him to draw on traditions which range from ancient Indian and Chinese poetry to poetry of Native Americans, Eskimos, Pacific peoples: that still enormous range of different histories, often non-literate poetries, artistic practises, forms of life, and human experience which academics, aristocrats and commercial advertisers designate as “ethnic”. “ 4. Le chanteur l’Interstate 40 au croisement de la State Route 27 abandonnée aux graffiti les fumeurs et copperheads — Visant la Gloire — la bibliothèque d’Okemah Oklahomah ne voulait pas ses écritures et signes ses cendres au-delà des falaises d’Atlantique la pluie tombe ne tombe pas sur les peacans cacahuètes sur une église pour chaque centaine pour le compte de la fierté civique dans des clubs de service militaire où un agent de service secret témoigne sur serment quotidiennement le chanteur en déplacement est détenu par les Soviets afin qu’il fasse adapter les chansons de guerre russes en ballades américaines jouables agent Matusow R. S. No. 115 Woody Guthrie Memorial Inc. une corporation à but non-lucrative pour un musée en vigueur la date est 1972 le faux témoignage sans vitre sans portes la maison à l’intersection de qui la terre de qui les chansons * The distinction is Kurt Well’s….(…) quoted in Eric Mottram’s Interrogation Rooms (London: Spanner, 1982), p. 10. (c) T. Wignesan - Paris, 2017
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