<strong>Midl<strong>and</strong></strong> <strong>Arts</strong> <strong>and</strong> <strong>Culture</strong> <strong>Magazine</strong> | SUMMER 2012The CollaborativeSpaceby Eileen CaseyHow then does a poet collaborate withself in order to produce a poem?Michael Longley once said: “if I knewwhere poems come from, I’d go there.”Longley puts forward the bel<strong>ie</strong>f thatpoems come from a certain pre-ordainedplace designated ‘there’.However poems arrive, it’s safe to saythey do not arrive in delivery vans. Thereis no idea factory out there belchingfumes of blood sweat <strong>and</strong> tears. Nor isthere an introduction agency on a sleazybackstreet waiting to match the perfectpoem with the poet. If Longley focuseson arrival, the departure point shouldn’tbe forgotten. Poems arrive mainlybecause the poet has been able to exitthe departure lounge <strong>and</strong> keep faith <strong>and</strong>some degree of nerve until the craft issafely l<strong>and</strong>ed.Isaac Bashevis Singer once said: “Everycreator painfully exper<strong>ie</strong>nces the chasmbetween his inner vision <strong>and</strong> its ultimateexpression.”This ‘space’ can be a minimalist’s delightor cluttered up with feelings, images,word play or what poet Anne Waldmancalls “goofy profundity.”The collaborative engagement with thecreative self requires courage, trust <strong>and</strong>an uneering instinct for following thedirections on those quirky departuresigns.Picasso maintained: ‘The artist is areceptacle for the emotions that comefrom all over the place: from the sky,from the earth, from a scrap of paper,from a passing shape, from a spider’sweb.” Trusting in both self <strong>and</strong> theuniverse inspires the confidence thatcomes from hoping whoever is pullingthe strings will, on a particular day, giveenough loosening of doubt, enoughstarlight to write, paint, sculpt, artisticallycreate by, enough energy <strong>and</strong> generosityto get the work done.Bridging the collaborative space betweentrust <strong>and</strong> finished work, means being ahoarder to some extent, gathering‘ordinary magic’ from ordinary places,smells, tastes, sounds; noticing how a lilypad <strong>and</strong> a broken umbrella can betenants on the same fully paid up terrorof the blank page. In seeking their owncollaboration, these disparateneighbours might make misch<strong>ie</strong>f thendecide to make up, or not, as the casemay be. While they share the samespace, they are essentially seeking to34make their presence available inwhatever shape the poet, having signedthe contract on the dotted line, is fullycommitted to.American Poet Susan GoldsmithWooldridge describes the collaborativespace between this trusting in self <strong>and</strong>universe as “finding the coyote in thepoet; seeking out the nearest place withwildness in it, driving there if necessary,even for one hour”.Negotiation between the poet <strong>and</strong> thereader of the poems is not always, norshould it be, a symbiotic relationship.The meaning of text rel<strong>ie</strong>s on social,cultural <strong>and</strong> historical factors. Theprowess of the artist l<strong>ie</strong>s in an ability toprovide the necessary gaps <strong>and</strong> chinksso that the reader is able to find enoughairholes to be able to respond to thework without recourse to an oxygenmask.Encaustic artIn 2007 I began working with encausticart, or c<strong>and</strong>le wax, using the imagesproduced to generate themes <strong>and</strong>moods for the poems to come. Thespace between what can burn so brightly<strong>and</strong> painfully one moment <strong>and</strong> thenfreeze so solidly the instant it leaves theflame is, for me, a potential source ofintrigue for me. The resultingcollaboration between ‘reading’ what Isaw <strong>and</strong> felt in the resultingmetamorphic qualit<strong>ie</strong>s of the wax <strong>and</strong>‘writing’ the draft poems <strong>and</strong> thefinished work went on show under thetitle Reading Fire, Writing Flame at Arásan Chontae, Tullamore, in 2007. Theprocess of the work, the raw images, thedrafts of the poems were on display also,together with seven of the completedworks sign painted on 6ft x 4ft Perspex.It was interesting to watch people usingthe council offices for all sorts of otherengagements; stop <strong>and</strong> read the work.A seat was even provided for theirconven<strong>ie</strong>nce. Builders in hard hats,working in the offices at the time, whomay also be committed library goers, sat<strong>and</strong> munched their s<strong>and</strong>wiches <strong>and</strong> readthe poems. Does poetry taste nicer whenflavoured with the collaborative miracleof mayonnaise or pickled onions?Reading Fire, Writing Flame featured inPoetry Irel<strong>and</strong>, Issue No 92, edited byEiléan Ní Chúilleanáin. In NíChuilleanáin’s essay Where is Poetry,she explores the role of the poem inpublic places, describing it as being“unpredictable” <strong>and</strong> saying it “can be illtempered,so it might snuggle downunder the hotel duvet or snap back evenas it is quoted. Perhaps it doesn’t mindbeing co-opted into the regional p<strong>ie</strong>ty”.Collaboration with Emma BaroneBetween 2008 <strong>and</strong> 2011 I’ve enjoyedtwo collaborative productions with visualartist, Emma Barone. Our first meetingwas rather a collision rather than anarrival or departure. I was runningthrough an art exhibition called ShoeShow by Emma when I bumped into her,almost knocking her sideways but I knewI wanted to write poems based on herwork. The visual aspect of the work wasalready there <strong>and</strong> I was collaboratingwith completed work. Many of the poemsin this collection are Haiku, Shoe Haiku.Birds Take off/At the end of sling-backdays/Wings slapping skywardsFly Agaric Summer was suggested by thetitle of one of Emma’s shoe images but itwas her innovative use of mushroomdesign that sparked the central image:‘Ball gowns balloon a soon ofscent/ Plumed headdresses glistenwith pomadeRouge brightens leaded faces –everywhere / Fluer-de-lys. In thedrowsy gardensFun.gal, cap <strong>and</strong> stalk, strippedpileus / Lamellae, gilled, frilledwings – / Spread beyond thePalace walls, / Where, clamorousas small-pox / The mushroomingmob. / Sounds of hurrying feetSculpt a rise <strong>and</strong> fall / – whatsurely must come / - <strong>and</strong> follow – inthe long hall/At Versailles.’Our next collaboration occurred in 2011,the fruits of which appear in our jointpublication From Bone to Blossom. Forme, as poet, the collaborative space tobe negotiated required, for some reason,the purchase of a yellow notebook, <strong>and</strong>the commitment to include poems aboutenvironmental themes. Emmainterpreted her vision through nontraditionalrepresentations whichexplored a collaborative relationshipbetween the earth bound object ofnatural art that a tree undoubtedly is <strong>and</strong>its ability to transform <strong>and</strong> transcend.When we completed the work, we invitedDedalus Poet Grace Wells to write anintroduction for us. This was of particularinterest because it brought anotherdimension into the collaborative space, acritical focus that we couldn’t articulate.Grace Wells saw the overall collaborationIn its broad sense, collaborationmeans to enter into a process,agreed or otherwise, with anotherout of which a product or purposedevelops or emerges. This ‘other’can be interpreted in many ways,including one’s own creative self. Italso encompasses the relationshipbetween the author of the work <strong>and</strong>the consumer of it; whether thecollaboration is a fr<strong>ie</strong>ndly one, or atraitorous one <strong>and</strong> what’s generatedwhen the collaborative space isreinterpreted with a critical eye.as being in some ways symbiotic,while both artist <strong>and</strong> poet retainedcore individualism. Wells describesthe collaborative space in From Boneto Blossom as ‘shared’, that word<strong>and</strong> image work off one another,Barone’s striking images of CoastalTrees complementing engaging poems.Jean Cocteau said that ‘an artist cannottalk about his art any more than a plantcan discuss horticulture.’ It’s as if thepoet <strong>and</strong> the visual artist have beengiven a third eye which is not distorted,a glass that magnif<strong>ie</strong>s <strong>and</strong> zooms in onplaces which might well be overlookedotherwise. In this sense, it’s safe tosay that the introduction of a thirdperspective into the collaborativespace results in a lens through whichthe individual artist finds another wayof seeing.ConclusionIn conclusion, the collaborative spaceis an available space, interesting,challenging, conversational <strong>and</strong>indeed, necessary. Emerson once said:“Everything in creation has its appointedpainter or poet <strong>and</strong> remains in bondagelike the princess in the fairy tale ‘till itsappropriate liberator comes to set itfree’.” MAbout EileenEileen Casey is a poet, writer <strong>and</strong>creative writing facilitator from Birr,County Offaly <strong>and</strong> lives in Tallaght,County Dublin. Her poetry <strong>and</strong>prose is published widely <strong>and</strong> hasreceived many awards including aKatherine Kavanagh Fellowship<strong>and</strong> a Hennessy Literary Award forEmerging Fiction. A chapbook Spit<strong>and</strong> Clay won The Green BookFestival Poetry Category in 2010.Her collections include DrinkingThe Colour Blue, (New Isl<strong>and</strong>) <strong>and</strong>From Bone to Blossom (AltEntsPublishing, Rua Red, Tallaght). Shecompleted an M.Phil (CreativeWriting) at The Oscar Wilde Centre,Trinity College Dublin. Snow Shoes,a collection of short stor<strong>ie</strong>s is dueout from Arlen House.
<strong>Midl<strong>and</strong></strong>s<strong>Arts</strong><strong>and</strong><strong>Culture</strong><strong>Magazine</strong>Meet the teamTempus Media <strong>and</strong> Brosna Press, using their combined expertise injournalism, marketing, design, print <strong>and</strong> production have created anew-look <strong>Midl<strong>and</strong></strong>s <strong>Arts</strong> <strong>and</strong> <strong>Culture</strong> <strong>Magazine</strong>.TEMPUS MEDIAThere’s never a wrong time to do the right thingTempus Media was established at the height of therecession in September 2009 as the founders sawan opening for a top quality, good value mediacompany in a challenging marketplace for business<strong>and</strong> Government. <strong>Midl<strong>and</strong></strong>s-based Tempus Mediaspecialises in five key areas - Publishing/Copywriting, Public Relations, Media Training,Lobbying, <strong>and</strong> Business Crisis Management.Editor: ANGELA MADDENAngela has more than 15 years’ exper<strong>ie</strong>nce in thepublishing industry as a Journalist, ForeignCorrespondent, Editor, Group Editor <strong>and</strong> GeneralManager for trade, local <strong>and</strong> national press inIrel<strong>and</strong> <strong>and</strong> the UK. Angela has excellent localknowledge as she was previously Editor of theAthlone Voice <strong>and</strong> has an enviable list of contactsthroughout the country, built up during her time asGroup Editor for 13 River Media newspaper titles.She also has a wealth of exper<strong>ie</strong>nce launching newpublications responsible for content, layout <strong>and</strong>templates having brought a number of new RiverMedia titles to market in ’07.Deputy Editor: BRIEGE MADDENBr<strong>ie</strong>ge is a trained journalist who has worked forlocal newspapers for close to four years. Afterattaining her BA Creative Writing & Media Stud<strong>ie</strong>sdegree she started her career at The Athlone Voicebefore taking up a more senior role at the CavanPost. She joined Tempus Media in April this year asBusiness Development Manager <strong>and</strong> is the leadconsultant on a number of important PublicRelations contracts. Br<strong>ie</strong>ge is also an avid poet,short story writer <strong>and</strong> artist.For further information contact:angela@tempusmedia.<strong>ie</strong> • 086 7732023br<strong>ie</strong>ge@tempusmedia.<strong>ie</strong> • 086 0737227BROSNA PRESSCreative Design <strong>and</strong> PrintLocated in the heart of the midl<strong>and</strong>s, Brosna Presshas been providing a nationwide cl<strong>ie</strong>nt-base withcreative, high quality design <strong>and</strong> print for over 50years. Its Irish Print Award acknowledges thecompany’s commitment to the pursuit of excellencein print <strong>and</strong> creativity in design. Cl<strong>ie</strong>nts in the artssector include: RTÉ National Symphony Orchestra,RTÉ Concert Orchestra, Music Network, Music forGalway, New Ross Piano Festival, County Council<strong>Arts</strong> Offices, Dunamaise Theatre, Birr Theatre &<strong>Arts</strong> Centre, Tuar Ard <strong>Arts</strong> Centre. Brosna Pressoperate their design studio & print works froma state-of-the-art 12,000 sq ft facility inFerbane, Co. Offaly.Creative Director: DIARMUID GUINANSenior Designer: ANDREW MOOREProduction Manager: CIARAN GUINANCreative Director Diarmuid Guinan holdsa BDes, <strong>and</strong> has more than 18 years professionalexper<strong>ie</strong>nce in graphic design <strong>and</strong> printing. Hemanages a highly creative <strong>and</strong> exper<strong>ie</strong>nced designteam including Andrew Moore, BDes, SeniorDesigner, Ann Quinlan, BDes, Senior Designer<strong>and</strong> the highly exper<strong>ie</strong>nced Mary Egan. ManagingDirector Ciaran Guinan holds a Diploma in PrintManagement <strong>and</strong> has more than 25 yearsprofessional exper<strong>ie</strong>nce in the print industry.The production staff at Brosna Press areall highly skilled press operators <strong>and</strong> printfinishing specialists.diarmuid@brosnapress.<strong>ie</strong> • Tel: 090 6454327ciaran@brosnapress.<strong>ie</strong> • Tel: 090 6454327A REVIEW OF THE ARTS IN LAOIS, LONGFORD, OFFALY AND WESTMEATH SUMMER 2012Laois Comic Bernard O’SheaEmer BarryISSUE17moves a step closerVISUAL ARTSMUSIC & DANCETHEATRE & FILMTHE WRITTEN WORDFREEHaveyour storycovered…If you have a story or newsrelating to the arts in the<strong>Midl<strong>and</strong></strong>s that you would liketo see covered in <strong>Midl<strong>and</strong></strong>s<strong>Arts</strong> <strong>and</strong> <strong>Culture</strong> <strong>Magazine</strong>,contact your local <strong>Arts</strong> Officer(details opposite).ARTS OFFICE CONTACTSMuireann Ní Chonaill, <strong>Arts</strong> OfficerLaois County Council, PortlaoiseTel: 057 8674342/44 • mnichonaill@laoiscoco.<strong>ie</strong>www.laois.<strong>ie</strong>/artsSinead O’Reilly, <strong>Arts</strong> OfficerOffaly County Council, Charleville Road, TullamoreTel: 057 9357400 • soreilly@offalycoco.<strong>ie</strong>www.offaly.<strong>ie</strong>/artsCatherine Kelly, <strong>Arts</strong> OfficerWestmeath County Council County Buildings, MullingarTel: 044 9332140 • ckelly@westmeathcoco.<strong>ie</strong>www.westmeathcoco.<strong>ie</strong>/artsFergus Kennedy, <strong>Arts</strong> OfficerLongford County Council County, Great Water St., LongfordTel: 043 3346231 • fkennedy@longfordcoco.<strong>ie</strong>www.longfordcoco.<strong>ie</strong>/arts_office.html35
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