Instant History, by Richard Tipping (Flying Island Books), was launched by Jean Kent at Poetry at the Pub, in Newcastle on 18th April 2018.
Forty years ago — when I was such a new poet I would never have dared call myself one— I bought a book which is still one of my most treasured possessions. It was the catalogue for a touring exhibition of poems by Australian poets. There were only 75 poets included: one of them was Richard Tipping
Richard had already published two collections by this time, and was a significant presence on the poetry scene. I didn’t know him personally, but I was certainly aware of his poetry. In the years since then, he became known both in Australia and internationally for his visual poems and his sculptural poems, many of which are now held in art galleries. But he has always also been a writer of finely crafted poems for the page, and Instant History is an important reminder of that.
In the beautifully produced, palm-sized format of all Flying Islands books, Instant History may look small, but in fact it is an extraordinarily large collection. Not only are there a lot of poems, their range is also vast. Thirty plus years of life and observation are distilled here, in the typical Tipping style, with dazzling wit, playfulness, precision and clarity.
Richard’s delight in words is (to use one of his own words about the book) multifarious: simply reading the title and the names of the different sections – The Postcard Life, Rush Hour in the Poetry Library, Earth Heart, Kind of Yeah – suggests how he loves the slipperiness of meaning.
Even the title Instant History can be understood in so many ways. Is it immediate history? The history of small instances? Or a nod to the way so much of our lives now is captured by the media and then forgotten?
Considering Richard’s gift for plucking the right couple of words out of air as if this is as natural as breathing, we might think it’s just another of his serendipitous , but very clever throwaway phrases … until we realize that there is also a poem in the book called ‘Instant History’.
This title, though, is not just ‘Instant History’. In brackets after that we find “Gulf War 1”. ‘Instant History (Gulf War 1)’ is a vividly shocking recreation of the way television and on the spot reporters changed the recording and receiving of news about war. Now that the transmission of news, both personal and public, is as instant as a click on a Smart Phone, it is chilling to be reminded of this time when, suddenly, cameras “at the place of the Arabs’ are “filling houses across America with worry”, the President keeps repeating “Read my lips. This war/ is not about prime time television”, and
collateral language
keeps bobbing its head up
out of the bloodied sandwhere bodies have become pink mist
swirling in data smog.
Richard has been a film maker, visual artist and musician, as well as a poet, and his talents in all these areas are obvious in the poems. He has also travelled extensively, so not surprisingly there is a global awareness in much of his writing. There are poems of social and political commentary, postcards from everywhere, riddles, lyrics, meditations … and so many memorable phrases.
I don’t have time tonight to offer more than a small glimpse into the surprises and treasures Instant History contains. But I’d like to mention one of my favourite poems from the travel section.
‘Snap’, is the poetic equivalent of tourist snap shots on a trip from London to Tokyo, interspersed with reflections on how “to find the Tao”. Moments all through the trip are observed with photographic clarity, giving glimpses of the world, gone in seconds, but vivid. There are acutely observed progressions from the confinement within the plane – “Jumbo shivering vast fatness / Dinners warming in the microwave” to the almost hallucinatory brilliance of scenes on the ground, at last, in Japan:
…………….Globular persimmons, orange weights
glowing in bare branchesOld man, bowing to a crowd
of worn stone Buddhas.
Etched shadows on crystal moss
and the wonderfully unexpected end, where
…………….One hundred bobbing nuns
all laugh at once”
In this poem, blank white space on the page gives a sense of time passing, or past. The way poems look on the page is important all through this book. It’s something I especially admire about Richard’s work. He also has a natural ear for the way words work, and there are some wonderful, pithy expressions of both the way language can degenerate into inarticulateness, and the power it has to work magic if we are alert to its possibilities—the way, for instance, a poem can be condensed to
…..a single
dotof tensile energy
transmitted on the tongue.”
There are also tantalizing examples in Instant History of Richard’s typographic and sculptural poems, including one which is in the grounds of Lake Macquarie Art Gallery. This ‘earth sculpture’ consists of bricks laid into the grass in a circle. From the air, the bricks clearly form letters, which spell out Richard’s title of the work: ‘HEAR THE ART (EARTH HEART)’. There are no gaps between the letters, so if you are at ground level, you have to walk slowly around the circle to make sense of it … Other words then start to form – like ‘HEART’ and ‘EARTH’ and ‘HEARTH’. It’s a classic Richard Tipping concrete poem—surprising, enigmatic, charming and clever.
This poem in the earth is much loved by the swallows that live by the lake—they swoop and dive and circle around the bricks, “quick-dancing in the rising wind”, as Richard aptly describes them in a related poem.
In this book as a whole, I think there is also a dazzling combination of aerial views and close attention at ground level. Instant History is a book to dip into, like the swallows, for light-hearted joy, but it is also a complex, comprehensive response to the experience of living in our times, a ‘his-story’ which rewards careful, serious reading.
– Jean Kent
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Jean Kent is the author of eight books of poetry. Her most recent books are The Hour of Silvered Mullet (Pitt Street Poetry, 2015) and Paris in my Pocket (PSP, 2016), a selection of her poems from an Australia Council residency in Paris. With Kit Kelen, in 2014 Jean co-edited A Slow Combusting Hymn: Poetry from and about Newcastle and the Hunter Region. Samples of her poems and occasional jottings are on her website http://jeankent.net/
Instant History is available from https://asmacao.org/publications/instant-history/
Margarita Losada Vargas (Neiva, Huila – Colombia, 1983). Margarita is the author of the book Mejor Arder (2013), and co-author of La Persistencia de lo Inútil (2016). Her poems have been included in the bilingual (Spanish-French) anthology of Colombian poetry Vientre de luz / Ventre de lumiere 14 Colombian poets + Raul Gomez Jattin (Thieves of the Time, 2017) and the Italian poetry anthology Il corpo Il eros (Ladolfi editore, 2018). She currently writes poems, works in psychology, teaches at the university, and sings in a punk rock band.
I first came to know Zhu Zhu’s voice on a New England winter day over a trans-Pacific phone call that lasted a whole night. I wanted to translate his poems and needed permission. As the tone of his voice shifted from distanced skepticism to understated enthusiasm, we felt the trust and it dawned on us that this trust could be extended to a book. That’s how everything started, and our friendship began.
Dong Li (李栋) was born and raised in P.R. China. He is an English- language poet and translates from the Chinese, English, and German. He’s the recipient of a PEN/Heim Translation Grant and fellowships from Alexander von Humboldt Foundation, Akademie Schloss Solitude, Ledig House Translation Lab, Henry Luce Foundation/Vermont Studio Center, Yaddo, and elsewhere.