Skip to main content Accessibility help
×
Hostname: page-component-77c89778f8-9q27g Total loading time: 0 Render date: 2024-07-16T09:32:09.099Z Has data issue: false hasContentIssue false
This chapter is part of a book that is no longer available to purchase from Cambridge Core

2 - Mapping the Geographies of Hurt in Barry MacSweeney and S.J. Litherland

from Part I - Placing Selves: Identity, Location, Community

Peter Barry
Affiliation:
Aberystwyth University
Get access

Summary

Barry MacSweeney's Wolf Tongue: Selected Poems (2003) and S.J. Litherland's collection The Work of the Wind (2006) explore the same ‘territory’, in many senses of that term. According to its publisher, Litherland's book ‘charts the hurricane years [1993–2000] the author shared with her fellow poet Barry MacSweeney’, while MacSweeney's Selected contains three major late sequences – Hellhound Memos (1993), Pearl (1995/1997) and The Book of Demons (1997) – which cover the same period. This essay mainly discusses connections between the two books, using what I call the ‘geographies of hurt’ to explore the way each person in the relationship presented in the poetry perceives the other within the context of an ‘imagined geography’ of north and south. I try to show how these perceptions are intricately bound up with both a need to hurt and the sense of being hurt. The formulation ‘imagined geography’ is my own slightly modified version of Rob Shields's term ‘imaginary geography’, which, though useful, perhaps too readily implies that the divisive north/south geographical model of the UK is entirely a construct by which ‘places and spaces are hypostatised from the world of real space relations’, providing a ‘spurious homogenised identity [for places]’. On this basis, the ‘imaginary geography’ can always be deconstructed and defused by the provision of detailed, objective data and rational analysis. The substitution of the word ‘imagined’ for ‘imaginary’ recognises that we always have to imagine and (re)construct what is real, as we do, for example, when we relate an incident that took place at work, or, for that matter, analyse literary texts. No untangling of the ‘real’ from the ‘imaginary’ (however rigorous its procedures) can ever be definitive, and the best role of theory is to clarify questions rather than pre-empt answers.

With these caveats in mind, I will begin by saying that MacSweeney is a ‘northerner’ from Newcastle, and Litherland a ‘southerner’ from Warwickshire (Coventry and Leamington Spa, to be precise). Whether the Midlands is really part of the south (or, for that matter, the north) is, of course, debatable, and it really depends on where you are looking from. For, as Rob Shields also points out, the north is said by a few ‘to include even the Midlands’.

Type
Chapter
Information
Poetry & Geography
Space & Place in Post-war Poetry
, pp. 33 - 48
Publisher: Liverpool University Press
Print publication year: 2013

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×