Abstract:There's a poem I Uke to introduce at readings. It starts with Ustening to a GaeUc singer in the city of Aberdeen and experiencing some kind of recognition. I know the sense of her singing without any ...There's a poem I Uke to introduce at readings. It starts with Ustening to a GaeUc singer in the city of Aberdeen and experiencing some kind of recognition. I know the sense of her singing without any translation. I want people to try to get the same kind of understanding from poetry. Below (or above?) logic there is a feehng and this feeUng is whoUy va?d. All good poems must work on this level. They may do it by a coUection of facts for the reader to associate, or by an onslaught of sensory material, or even by a statement. So long as there are spaces, what you can create there is rich and plentiful. I enjoy a good clear track through a forest, but I also value the sight of the undergrowth, where my dog finds out hidden concepts with his keen nose. For my part I create imagined depths. There are plenty of these spaces to shout through in A Green Man, spaces full, of pulsating Ufe. The track is not always certain, we seem to have been plunged right into the undergrowth, without protective cloth ing. This is de?berate, and it would be a pity to use criticism as a bull dozer.Read More