{"id":1687,"date":"2012-09-23T17:55:07","date_gmt":"2012-09-23T16:55:07","guid":{"rendered":"http:\/\/www.themanchesterreview.co.uk\/blog\/?p=1311"},"modified":"2016-01-23T18:32:45","modified_gmt":"2016-01-23T17:32:45","slug":"paul-mills-reviewed-by-james-mcgrath","status":"publish","type":"post","link":"https:\/\/www.themanchesterreview.co.uk\/?p=1687","title":{"rendered":"Two Collections from Paul Mills, reviewed by James McGrath"},"content":{"rendered":"<p class=\"MsoNormal\"><span>Paul Mills, <em>Voting for Spring (<\/em>Smith\/Doorstop, \u00a39.95) and <\/span><em>You Should\u2019ve Seen Us<\/em><span style=\"bold;\">, (Smith\/Doorstop) \u00a36.95<\/span><\/p>\n<p class=\"MsoNormal\">\n<p class=\"MsoNormal\">\n<p class=\"MsoNormalCxSpMiddle\"><span>Paul Mills, at a reading in York in the late 1990s, was the first writer I ever heard to suggest that the next major movement in poetry and also literary theory would have \u2018something to do with the environment. It\u2019s inevitable\u2019. In the decade since Mills\u2019 previous poetry collection, <em>Dinosaur Point<\/em>(2000), eco-poetry has emerged as a forceful and diverse area; yet, changing and disturbed landscapes, with tensions between nature and machinery, had characterised Mills\u2019 poetry since his first collection, <em>North Carriageway <\/em>(1976). His debut followed his Gregory Award, judged (perhaps tellingly) by Philip Larkin and Ted Hughes. In Mills\u2019 new, fifth collection, <em>Voting for Spring<\/em>, ecological concerns are made inextricable from core themes of family, history, conflict and resilience. Mills\u2019 additional new publication, the pamphlet <em>You Should\u2019ve Seen Us<\/em><em>, <\/em>opens up further areas, confirming that this intriguing poet, while publishing collections only once a decade or so since <em>Third Person<\/em><em> <\/em>(1978), remains not just relevant in contemporary poetry, but ahead. <em><\/em><\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> In the late 1970s, Mills was Creative Writing Fellow at Manchester Victoria University, then Gregory Fellow at the University of Leeds (which recently acquired his archive). After establishing one of the UK\u2019s first Creative Writing courses, at York St John University, he is now commencing an RLF Fellowship at the University of York. Mills\u2019 <em>Routledge Creative Writing Coursebook<\/em><em> <\/em>(2006) demonstrates the methods and standards of his commitment to developing new writing. <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <em>Voting for Spring<\/em><em> <\/em>will appeal to readers interested in eco-literature, but it cannot be reduced to this label. While vivid in its images of a marketplace destroyed by a gale, the world as a football sailing down a river, and a Tory MP\u2019s novel in a recycling bin, the book is also urgently personal.<\/span><\/p>\n<p class=\"MsoNormal\"><span> Mills\u2019 previous two collections invoked his time in California on a Fulbright Exchange and return to Yorkshire as a single parent. Through literary, cultural and geographical reference-points, Britain and America were situated in dialogue. <em>Voting for Spring <\/em>joins these lands, beginning:<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Three hundred million years, no Atlantic \u2013 <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Scotland, America, one mountain coastline.<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> (\u2018Brimham Rocks in January\u2019)<em><\/em><\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><em><span> <\/span><\/em><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>However, the focus moves from ecological unity to sinister political mergence. The book\u2019s most haunting question is \u2018who is the President of England?\u2019. The question is posed by a psychiatrist in Mills\u2019 twenty-one poem sequence \u201821\/2001\u2019, reflecting on his twenty-one year old daughter\u2019s psychiatric illness, which began in the week of the terrorist attacks on America. The personal and national strands are so tightly twisted as to be inseparable, and the repeated question \u2018Who is the President of England?\u2019 yields implications of the planet itself undergoing an unprecedented kind of illness in the 21<sup>st<\/sup> century. <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>It is, though, the experience of a family that makes Mills\u2019 \u201821\/2001\u2019 remarkable. Other than <em>The Bell Jar<\/em><em>, <\/em>I have encountered no other literature or textbook that so devastatingly, yet truthfully (and thus consolingly) addresses the terrifying unpredictability of some psychiatric illness for both individual and family. The breakdown is also one of language itself for the young woman:<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Now she rehearses walking across<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>the polished surface of words, without taking her eye<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>off her mind, just in case it slips into a corner <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>While hope becomes the most persistent but fragile expression in \u201821\/2001\u2019, it emerges long before the situation has finished swinging between glimpses of recovery and new extremes of despair:<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>So we pronounced you <em>you <\/em>and brought you home.<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Two days later your mind slipped from its ledge [\u2026]<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>When you seemed so much yourself<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>too much to be inside one skin \u2013<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><em><span>she <\/span><\/em><span>appeared, an excess of you [\u2026]<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Every morning the shock like new knowledge<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>after deceitful sleep. <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>While healing is eventually confirmed, the cautiousness of hope coincides with thankfulness. In this way, \u201821\/2001\u2019 honours the book\u2019s overall perspective. Mills ends the sequence not by providing any fixed or reducible resolution, but a look to the ever-evolving landscape:<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>driving towards the moors one afternoon,<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>my hands at the wheel turning glooms<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>of walls and hedgerows light in the last sun,<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>a field stood out, wrecked, luminous<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>As well as reflecting on Mills\u2019 travels in Peru, the book presents alternative viewpoints on contemporary England by invoking the country\u2019s past, juxtaposing geological evolution with the modern history of photography and film. Through the latter, Mills expands another longstanding focus throughout his work: the effective ambiguity between technology and (or as) human nature. In <em>Voting for Spring<\/em><em>, <\/em>and also his new pamphlet <em>You Should\u2019ve Seen Us<\/em>, Mills (who is also a painter) reflects on the relationship between history and photography, as well as (implicitly) that between photography and poetry. <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>While the camera\u2019s invention sent painters in various new directions, its impact upon poetry was more delayed and has been largely uniform. Many relatively recent poets who have written about photographs \u2013 including U. A. Fanthorpe, Ted Hughes, Dianne Wakoski and Jen Hadfield \u2013 have focused on photographs that are generations old and usually depict the author\u2019s family. Mills has proven adept at this in earlier volumes, and a highlight of <em>Voting for Spring<\/em><em> <\/em>is \u2018My Parents\u2019. This is not without risk: such a title \u2013 over a poem beginning <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>1940, married a year, stopping in front of a camera<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>outside a church at his brother\u2019s wedding<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>risks letting the whole piece and the tradition it (initially) follows seem, if not clich\u00e9d, then close to wearing out. Yet, \u2018My Parents\u2019 indicates how it is at such points that tradition can be forced (or forces itself) towards reinvention. <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Mills enables details in \u2018My Parents\u2019 and the unshown photograph to convey whole aspects of lifestyle and personality, but gradually becomes a commentary on the incompleteness of all perception. What makes the poem most valuable \u2013 long after first putting the book down, I noticed \u2013 is how Mills philosophises on photography itself. The effect is similar to that of Manchester artist David Gledhill\u2019s 2008-11 <em>Dr Munscheid Paintings<\/em><em> <\/em>(paintings adapted from photographs), encouraging us to gaze at any photograph from the past with imagination. Mills quietly shows what photography can do to us and others, but more pointedly, how, for earlier generations, the photographic occasion could represent not typicality but anomaly in people\u2019s lives:<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> She beside him, waiting for the aperture<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>to click, for the moment to be returned to movement<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Although much of <em>Voting for Spring<\/em><em> <\/em>appears autobiographical, it also enriches Mills\u2019 poetry through powerfully convincing contemplations of strangers\u2019 pasts. Essential to this are the group of poems composed in response to selections from the Yorkshire Film Archive, which has prompted Mills\u2019 second new publication from Smith\/Doorstop, the large, beautifully illustrated pamphlet <em>You Should\u2019ve Seen Us<\/em><em>. <\/em>This reproduces three poems from <em>Voting for Spring<\/em><em> <\/em>with stills from the films that prompted them, and six new, illustrated poems. These, mostly responding to municipal films of community events, are Mills\u2019 basis for an imagined history from below. <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> \u2018Coronation Celebrations, Harrogate, 1937\u2019 accompanies images of a street procession; \u2018Almost the whole town, it seemed, on parade\u2019. However, \u2018you hated it;\/<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>you refused to participate\u2019. The same poem has \u2018Everyone thinking about London,\/ even the men doing silly athletics\u2019, before<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Upbeat of swingboats, play-time England.<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Downbeat of endemic depression, rain.<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Meanwhile, \u20181958\u2019 asks \u2018Who owns the garden fete?\u2019. The guest of honour Major, the Vicar and the May Queen are all dismissed from the answer, as Mills\u2019 focus transfers to those on the margins of the filmed occasion. An insistent implication through the pamphlet is that the archived films can mask the realities of both local and national community through the very act of parade. It is in imagining back to the mid twentieth century that Mills\u2019 poetry becomes most thought-provokingly political in relation to the present.<\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span>Mills\u2019 poems are unflinchingly candid in their reflections on family, ecology, and a de-sentimentalized national past. It is when moving around and between some of the most frequent topics of contemporary poetry that Mills is most inspiringly risk-taking. The risk is that such areas are already overly-familiar. Yet the achievement of Mills\u2019 two new publications is that they continually address prevalent \u2013 and important \u2013 concerns of current poetry in uncompromisingly stark ways. <\/span><\/p>\n<p class=\"MsoNormalCxSpMiddle\"><span> <\/span><\/p>\n<p>&nbsp;<br \/>\nJames McGrath<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Paul Mills, Voting for Spring (Smith\/Doorstop, \u00a39.95) and You Should\u2019ve Seen Us, (Smith\/Doorstop) \u00a36.95 Paul Mills, at a reading in York in the late 1990s, was the first writer I ever heard to suggest that the next major movement in poetry and also literary theory would have \u2018something to do with the environment. It\u2019s inevitable\u2019. [&hellip;]<\/p>\n","protected":false},"author":45,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":[]},"categories":[13,283],"tags":[11],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.2.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Two Collections from Paul Mills, reviewed by James McGrath - The Manchester Review<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.themanchesterreview.co.uk\/?p=1687\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Two Collections from Paul Mills, reviewed by James McGrath - The Manchester Review\" \/>\n<meta property=\"og:description\" content=\"Paul Mills, Voting for Spring (Smith\/Doorstop, \u00a39.95) and You Should\u2019ve Seen Us, (Smith\/Doorstop) \u00a36.95 Paul Mills, at a reading in York in the late 1990s, was the first writer I ever heard to suggest that the next major movement in poetry and also literary theory would have \u2018something to do with the environment. 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