[neidio i'r prif gynnwys | skip to main content]

Red Sap of Love, The: Collected Lyrical and Lyrical Sequences 1951–2000

Ar Sêl! | On Sale!

Prîs | Price: £2.00

Prîs Gwreiddiol | R.R.P. £8.90

Ychwanegu i fy Rhestr Fer
Add to My Wish List

Manylion a Disgrifiad y Llyfr | Book Details & Description

ISBN: 9781845270629
Author: Tony Conran
Publication September 2006
Format: Paperback, 213x137 mm, 237 pages

A compilation of one element of Tony Conran's work spanning fifty years; some poems somewhat revised.

Gwales Review
Born in India in 1931, but raised by his grandparents in Colwyn Bay and going on to study and teach at the University of Wales Bangor, Tony Conran is ranked with R.S. Thomas as one of the two major English writing poets of North Wales. Wynn Thomas has called him a ‘shaman of shifting form’ and this collection, spanning half a century and tracing the poet’s development from youth to maturity, upholds that, reflecting the phases of Conran’s life and his changing interests, priorities and perceptions.

Book Five (Range-Finders) and its preface overtly express the change in Conran’s views about poetry and its purpose. The poems in this book were written between 1961 and 1983, when Conran found himself ‘diverging radically from most modern English poets’, whose poetry ‘had no obvious reason to exist’. In the early 1960s, Conran spent several years translating poems for The Penguin Book of Welsh Verse and it was in Welsh poetry that he found meaning and purpose, with the poet playing the time-honoured role – stretching back to the Middle Ages and beyond – of creator of cultural coherence and communality.

Book Three (Metamorphoses), whose poems were all written in 1959 and 1960, marks a pivotal point in the shamanic journey of change, the point at which ‘you become your walking’. The poems evoke the powerful experience of entering the creative void and emerging transformed; having found the courage to break the shackles of our often-imaginary fears, we have to acknowledge our ability to choose and therefore our duty to take responsibility for ourselves.

The shape-shifter is evident throughout: in the early Etudes, in which language seems to take precedent over meaning; the Horatian Odes, with their personal tone, each addressed to a specific individual; the Canzoni, whose strict forms give them an uncharacteristic formality; the very personal Daughters and family, and Personal Talk; the slight Lyrical Sketches; and Ghost Homes, with the aching simplicity of its poems and the repeated metaphor of blue flowers and the black fruit they produce – the inevitable link between joy and pain; the shamanic cyle of birth, death and rebirth.

Suzy Ceulan Hughes