"Elizabeth Bishop: Petropolis, Brazil, 1952": a poem by Blake Morrison

My toucan is flourishing, now he takes cold baths:
he plunges in as though he hates it but knows he must.
Once wet, his skin goes the colour of blueberries
or as if he’s wearing jeans. I’ve a cat now, too,
black with a white bib, perfect evening wear for the opera.
The house is under a cliff, and I’ve my own studio.
I am so high here, so high. Clouds spill over the mountains
like waterfalls in slow motion, then float into my bedroom.
No one can tell me what day it is, or even the time of year,
all I know is it’s the season of blue butterflies.
I am learning Portuguese, which is packed with diminutives –
buttonholes are buttonhouses. I’ve bought an MG,
with red leather seats, which my story in the New Yorker
will pay for once they stop demanding changes –
one tires of typing even a masterpiece.
The fireflies move with milky blue lights, like distant trains.
We go to bed at 9.30 and read, surrounded by oil-lamps.
Apart from my asthma, and an allergy to cashews,
I feel better than I have for years. I know it’s a cliché
but Brazilians really are (which I love them for) crazy.

This poem, part of a longer sequence, is a collage of words and images that Elizabeth Bishop used in her letters. Blake Morrison and Ali Smith will discuss Bishop’s time in Brazil at the Cambridge Literary Festival on 5 April (cambridgeliteraryfestival.com; 01223 300 085).

This article first appeared in the 10 April 2014 issue of the New Statesman, Tech Issue

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How the radio stations reacted to Bob Dylan's Nobel Prize

For its part, Radio 1 was too absorbed by the Duke of Edinburgh’s Awards to mention the proclamation on Newsbeat.

Bob Dylan’s Nobel Prize in Literature inspired a bewildering gamut of radio responses. At first, proof of his talent was abundantly forthcoming, Andy Kershaw yelling down the line for World at One from a motorway services on the M6 within ­moments of the announcement. (“I can’t understand why they didn’t give this to him 41 years ago!”)

However, a full six days after Talk Radio excitedly reported the event on its home page (“a pivotal part of the cultural revolution of the 1960s”), the online feature has yet to attract a single comment. That’s zero talk. For its part, Radio 1 was too absorbed by the Duke of Edinburgh’s Awards to mention the proclamation on Newsbeat, though Heart FM firmly quoted the chair of the English faculty at Oxford (“The Tennyson of our time”), and pencil-suckingly dissected lyrics (“Ain’t talkin’, just walkin’/ Up the road . . .”).

Is it poetry? Is it literature? You could tell it was doing everybody’s head in. But when, on Radio 4’s Front Row, Billy Bragg praised Dylan for “bringing a literary and poetic thread into pop music”, the argument sounded terribly old.

The whole battle about Dylan being as great a poet as Tennyson is a hangover from an ancient battle, from a time when it actually had to be pointed out that this pop-music stuff can be brilliant and clever. A time when boring people battled for respect and prestige for an obvious genius. Over on Radio 2, Mark Goodier cheerfully played “Tangled Up in Blue” (“Major, major prize for Bob today. If that isn’t a decent excuse to play a song, I don’t know what is”). But by Sunday, on Radio 4’s Broadcasting House, the gloves were off and guests were declaring that they couldn’t stand Dylan’s voice (cliché, pathetic).

By Monday Simon Armitage was saying that Dylan’s lyrics had no more sophistication than something composed by a child. Is it poetry? Is it literature? Well, it kind of is. But it kind of isn’t. And it doesn’t matter very much, except to the likes of Dylan – and only a long, long time ago. Now he hardly requires the approbation. The Nobel Committee has given the prize to the one writer in the world who doesn’t need it. 

Antonia Quirke is an author and journalist. She is a presenter on The Film Programme and Pick of the Week (Radio 4) and Film 2015 and The One Show (BBC 1). She writes a column on radio for the New Statesman.

This article first appeared in the 20 October 2016 issue of the New Statesman, Brothers in blood