Page Count: 74
Publication Date: Saturday, November 17, 2018
About this Book
‘Fred Johnston’s new collection proceeds from a generous and enhanced awareness of poetry as a human necessity for good living.’
‘What is most impressive about Fred Johnston’s work is how it speaks volumes for this conflicted age we find ourselves in, when short attention spans fatigue even the liveliest. Johnston helps us to focus on what is tearing us apart, egging us on, and asks for loyalty where we have division, and where sometimes we need compassion, as he is holding on to hope as best he can. To heal this hard matter requires our gravest attention and our sorest need.’
The phrase ‘rogue states’ has been conjured up with deadly purpose, by major world powers, in particular the United States, to describe weaker countries who have fallen out of favour with the West, some of whom enjoyed the role of client states for many years, or were permitted to rule despotically under the benevolent threat of ‘regime change’ if they in any way proved politically or economically difficult. Issues of human rights never entered into it. Johnston’s new collection of poems adopts the phrase and personalises it; serious illness is seen as a ‘rogue state,’ a usurpation of the lived ordinary, a demolishing of physical and moral routine, a form of invasion. In illness, as in civil turmoil, civilising rules are often turned upside down or disregarded, a powerful and selfish striving for survival develops. Other poems take on the mundane everyday, the speculative, and contemplate the uses of the poetic imagination in a society where, in the poet’s view, poetry itself is under siege and its use and importance reset. Politics and society can never be outside or beyond the poet’s critical reach. At a time when poets and writers in less humanitarian societies than our own can still suffer – and are suffering – imprisonment, the banning of their work, or much worse, we have, he would maintain, a duty to use our freedom to speak out against injustice, even at the risk of being labelled ‘rogue’ ourselves.
Fred Johnston was born in Belfast in 1951. Most recently, his poems have appeared in The Spectator, The New Statesman, and a short story in Stand magazine; some more new work is also due to appear there. In 1972, he received a Hennessy Literary Award for prose. In the mid-Seventies, with Neil Jordan and Peter Sheridan, he co-founded The Irish Writers’ Co-operative (Co-Op Books.) In 2002, he was a co-recipient of the Prix de l’Ambassade, Ireland. His most recent collection of short stories, Dancing In The Asylum, was published by Parthian. In 1986, he founded Galway’s annual literature festival, Cúirt; in 2002, he was writer-in-residence to the Princess Grace Irish Library at Monaco. Fred has published nine collections of poems, four novels and two collections of short stories, one of which has been translated into French. He has also composed poetry in French and published it in France in magazines such as Ouste, Hopala!, Le Moulin de Poésie and Le Grognard, among others.
Read a sample from this book
A Poem For You
Do not tell me my name
Only my tongue is strong enough to carry it
Do not open my door
My heart alone has the key
Do not measure my acre
Only my stride is long enough
Do not look over my wall
Only these eyes can see that far
Do not stare at my children
For only my eyes can see them
Do not plough my fields
For my earth will not yield to you
Do not harm my olive tree
For it is watered by my blood
Do not wound my flesh
For the mark is inscribed on your soul
Do not offer words to humble me
For no language can drown my shout
Do not tell me where I live
For I know every inch of my own flesh
Do not call me invisible
You cannot see the wind when it blows
Do not offer me vinegar for wine
Nothing is as bitter as the taste in my mouth
Do not offer me sand for bread
For I will make bread even from sand
Do not tell me who I am
For I am written in the Book of the World.
Written for the visit of the Lajee Dabka Dancers to Galway, from the Aida refugee camp in Palestine.
Review: Maurice Earls reviews Rogue States for The Dublin Review of Books Issue 112, 1 (May 2019)
In these poems, which focus on the experience of cancer or a possible cancer, the body is as a rogue state. Intervention to restore the norm is undertaken by the medical, scientific world, which is regarded as not much better than an invading army. There is a sustained objection to falling under the control of the interventionists.
Organised society and its procedures do not appeal. The prevailing mood is one of grim fatalism; there is no belief in the medical world doing good. This is a world without Ms Nightingales. Here it is only machines, their operators and those who manage your appointments with them, the cold and efficient nurses. One has to go along with it.
The poet’s background life surfaces throughout. It is mostly dismal and it is this, the shit of life, which is the felt experience of these poems and it is what the poet trusts:
Images of a father occur; there is warmth and regret. “My father never took me fishing.”
Unpleasant things happened:
His mother’s life was structurally constrained:
For Johnston, at least in these poems, the grim is the real and other experience suspect. In “Golden Age” he rejects the idea of fulfilment in youth, asking:
There is no temptation to say “Hey! Let’s give science a chance, let’s see if we can cut the bugger out.” In Rogue States the intervention is agreed, but with a scowl.
The cancer unit is “Oddly like a waiting-room at a train station” but with “an absence of destination”. This opening poem sets the tone. Medicine is not here to benefit humanity. This is not a vision which sees medicine and poetry as sharing a desire to grasp the human predicament. Here terrified middle-aged men are dropped in a managerial maze, a world whose rules they don’t understand, and which is governed by the emasculating “no-nonsense nurse”. “Names are sweetly called” but no one is fooled. The nurse going around taking details is an agent of power, an angel of death, not cure. Could you escape by being too small to notice?
No such luck. Here comes the humiliation:
Death is the overriding fear. But escape may just be possible.
The medics with their cold efficiency are border guards at the gates of Hades.
The patient-victim is not co-operative, recalcitrant and off-message. His only agency disobedience
An MRI scan prompts one of many bleak wartime images:
The mood is one of powerlessness. The destination clear:
But the rituals must be followed, and confirmation sought:
All must await the machines’ cold judgement:
There is not much in the way of hope. “Hic sunt dracones.”
This world of archaic austerity appeals. Recognition is absent “rejection notes as thick as carpet in the hall”.
Others, it seems find life easier, as in “Ascent”:
Somehow the “official” world of poetry is on the same side as the medical interventionists. The question is how to protest in language and survive
There are moments where personal pain and alarm find voice:
Sometimes it is clear that a poem which embodies a personal truth can never be a negative thing:
Goethe remarked: “Science arose from poetry … when times change the two can meet again on a higher level as friends”.
Perhaps, but not here, not yet.
Interview: Fred Johnston interviewed by Charlie McBride for The Galway Advertiser, Thursday 21st March, 2019
SALMON POETRY has recently published a new collection of poems by Fred Johnston, entitled Rogue States. It is Johnston’s ninth collection of verse and arrives almost 40 years after his debut, Life And Death In The Midlands.
The phrase ‘rogue states’ has been used by world powers like the US to demonize countries which have fallen out of favour with the West. Johnston’s book adopts the phrase and personalises it; serious illness is seen as a ‘rogue state’. Other poems address themes of love and loss, family and friendship, and the place of poetry in a world of turmoil and injustice.
The collection commences with a sequence of poems evoking Johnston’s experience of a cancer scare and its attendant treatment. ‘Diagnosis’ observes that "you went in as one man and emerge/as another, knowing secret things of blood/and tissue and deep scans. You could live/well without such knowledge. Or unknow it."
“It’s not an illness book, I’m chary of those,” Johnston tells me over an afternoon chat. “Those poems make up a small section. When I got the initial diagnosis I was terrified because it ran in the family. But you become enmeshed in the medical process and that somehow flattens out your anxieties. After a while I was taking things in, my surroundings, the jargon of instruments and procedures, the physical milieu of doors and corridors, and I started writing about them and the poems started to come. They are about the experience but they are not ‘woe is me’; I tried to stand back from that and assume an objective view.”
The volume also includes a number of sharply tender poems about Johnston’s father. In ‘My Father Ought To Have Liberated Dachau’ he writes "My father might have done many things/worthy of a photograph/instead he dodged the monumental and settled/for the ordinary trudge, heroism of a different order."
'There is a thin line between being overtly political and propaganda, you can waver over and back across that line and if you are lucky you don’t fall into being propagandistic and stay on the poetry side, but it is difficult to do'
“He’s popped up in a lot of my poems over the years,” Johnston notes. “I have an admiration for him hence the ‘Dachau’ poem. He was the kind of guy nobody noticed. He was quiet domestically and yet he was involved in the labour movement and got fired for trade unionism in his day. He experienced a lot in his life; he came from a large family and was very bright. He won a scholarship but he didn’t take it because the family needed him bringing in a wage.
"He got a job in a bakery and later worked in Shorts Aircraft factory during the war. We emigrated to Canada when I was a kid and had a life over there that was unimaginable in 1950s Belfast. He was earning enough to bring us on travel holidays twice a year. But then he came back to Belfast due to some family situation there and ended up working in a back street garage. He never spoke about it but it must have been a major disappointment. He does come up in a lot of my poems and in those poems it is him I am investigating.”
Johnston holds strong political views on issues like Palestine and US imperialism but when he addresses politics in Rogue States it is mostly done obliquely. One exception is the trenchant ‘A Poem for You’, written in response to a Galway visit by a Palestinian dance troupe. It concludes with the couplets: "Do not offer me sand for bread/For I will make bread even from sand// Do not tell me who I am/For I am written in the Book of the World."
“There is a thin line between being overtly political and propaganda, you can waver over and back across that line and if you are lucky you don’t fall into being propagandistic and stay on the poetry side, but it is difficult to do,” Johnston observes. “Now and then there is a point when a poem-as-propaganda - though propaganda is a loaded word - is justified
"‘Poem for You’ I wrote for the visit of a dance company from Gaza and I read it out on stage when they were here and I think it is for reading out loud where you can be a bit more declarative. The whole subject is one which our writers generally have steered clear of - much as they steered clear - with the exception of Thomas Kinsella and Padraic Fiacc, perhaps - of true criticism of what was happening in Northern Ireland during the worst of that.”