Next to Nothing records the years following the death of a beloved child in 2001. Though bereft of belief in the poetic outcome compared to the apocalypse of the loss itself (one sense of the title), the fidelity of these poems to the “heartscapes” of grief constitutes, nonetheless, a work of genuine honouring – spare, delicate, and deeply moving.
Of the collection in general, Agee has written:
“In addition to individual poems and several sequences, Next to Nothing includes a section entitled ‘Heartscapes’, which consists of 59 ‘micro-poems’, as I call them. Many of these are extremely short; most were written during the very bleak and soul-sick year of 2003; and the whole section (with one poem per page) will take no more than thirty minutes to read, and indeed can be read with ease by any general intelligent reader, whatever their familiarity with or experience of poetry. Swiftness of effect was, in fact, part of the intention and fidelity; the challenge here as throughout the book was to record true and deep ‘heart-feeling’ (as opposed to the ‘feeling’ of sensibility, apperception, historical moment, etc.) – that most delicate of poetic material, owing to the swiftness of emotion itself. For once, I think I can say that these poems wrote themselves, in the sense of my being a quite passive amanuensis caught up in pain rather than any sort of instigator – drawing on the habit of technique belonging to what had become a previous life, whilst suddenly also bereft of belief in the poetic outcome compared to the apocalypse of the loss itself – that is to say, the textual as ‘next to nothing’, in several distinct senses, like Matisse’s sparest line-drawings in a sea of blank space …”
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Chris Agee was born in 1956 in San Francisco and grew up in Massachusetts, New York and Rhode Island. He attended Harvard University and since 1979 has lived in Ireland. He is the author of two books of poems, In the New Hampshire Woods (The Dedalus Press, 1992) and First Light (The Dedalus Press, 2003). He edits Irish Pages, a journal of contemporary writing based at The Linen Hall Library, Belfast. He reviews for The Irish Times and has recently completed a new collection of poems, Next to Nothing (Salt, 2009), which will be published in Britain, Ireland and the United States in January 2009.
Crolly Woods
We stumbled
into it, off
a bulldozed lay-by,
its banks guarded
by the titular
April of marsh
marigold and
primrose, sorel
and wood anemone
stippling the green
sward’s floodplain
of climax growth
littered by branches
of blowdown — alder,
whitethorn, oaks,
hazel, dwarf willow …
Up above, it seemed
straight out of
Heaney in Sweeney
Astray, only
the cress was missing:
ancient fragment
of birchwoods,
lichened and ungrazed,
a shoulder’s touch
snapping the pristine
deadwood, all shaggy
bole in wan
shafts of sunshine,
walls and erratics
velveted with heath-moss
and violets, haggard
hosting silver birch
and gnarled trunks
of gorse, hart’s tongue
betwixt stones, hollies
of hardy girth
dappling their berries
on leaf-litter as if
the folklife of dead
Diarmuid and Grainne.
In the middle
hollow, a clearing’s
mire of straw-grass
tussocks and fragrant
bayberry; by the bedrock
falls, a side-eddy
of churning turbulence
swirling foam
and gorse flowers,
sunken fern, tods
of ivy. An old
farmstead hilltop,
its whin-bushes
on the moor’s edge
thick as juniper
in Arizona,
pedunculate oaks
centuries old
overhanging
stream-boulders
wedged with plastic
drink containers …
Later, in the dead petrol
station below the quarry,
two locals, po-faced,
knew nothing (they
owned) of any of it.
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