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MALTATODAY 15 September 2019

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maltatoday | SUNDAY • 15 SEPTEMBER 2019 5 THIS WEEK POETRY It was only in the past two years or so that I felt that I had a group of poems that was sizeable and consistent enough which could exist to- gether in a new book. It was important to me that the po- ems: (a) represented a new phase in my work, and (b) had a reason to exist togeth- er. I was also very lucky to be able to work with Antoine Cassar and Marco Scerri who did an excellent job curating and designing the book. As far as themes go, eve- rything seems to stem from a loss that keeps on giv- ing. 'Tluq' explores differ- ent kinds of relationships to what was in 'Leħnek'. The new poems draw from many personal events in the past ten years that made me pon- der deeply on the meaning of being a friend or sibling, a son or grandson, a parent or grandparent. You will probably find that much of the imagery in the book is quite sorrowful. Af- ter I wrote the poem 'Tluq', however, I was surprised to find in it a redemption of sorts. I was on a road trip in Turkey, and on the surface the poem was just an ab- straction of the day-to-day existence on that trip. Each day brought me to a 'new', different, town. Yet there was suddenly a sameness in transitioning from one unknown place to another. What looked like seeking an unknown purpose each day was in fact just a 'rehearsal' for the only – and final – de- parture that affords a true ar- rival or ending. Immediately, I knew that 'Tluq' completed the book and would give it its title. The final poem of the book is logically an accept- ance of this sameness by way of 'learning how to leave'. A lot of the poems in 'Tluq' appear to be based on your memories and impressions of places that you've visited – what draws you back to them for poetic exploration? You are right, for me the sense of place is key. In 'Leħnek' the place featured mostly as newly-visited towns or cities (as in 'Bath', for instance), or generically as in a sea-side setting and so on. In 'Tluq' it takes on a much more ominous role. There is a lot going on in hos- pitals and in kitchens, for ex- ample. These are places that serve a practical purpose, but as the setting for a particular event or dialogue or thought they become something of a 'theatre stage' in my case. This emphasis on place could perhaps explain why certain dramatists – Ebejer, Pinter, Ionescu, and Miller – leave such an impression on me. In the same vein, Polan- ski's first feature film 'Knife in the Water' – involving just three characters stuck on a claustrophobic sailboat in the Mazurian lakes during Communist times – is one of my favourite cinematic works. On a practical level, it happens that distractions and mundane concerns are least present when I am away somewhere, so it helps me to concentrate on writing. Memories created in this way seem to offer the richest tapestry of images for me. Do you think that poets are born or made, or is it a mix of both? Why do you think poetry is no longer such a central part of our cultural experience? We live in an age of distrac- tion and it is hard for silence and introspection to win the competition for attention. In Malta specifically, there are of course many people and organisations that cham- pion culture and literature. Unfortunately, this is not reflected at an institutional level, where all that matters is greed and speed. For me, the most depress- ing manifestation of this is the daily gnawing away at what remains of our natu- ral and historical environ- ment. I do not know whether poets are made or born. Would Na- zim Hikmet have written dif- ferently, if at all, had he not spent most of his adult life in prison? I cannot read Sylvia Plath's work and not think of how she ended up. A specific sensibility is needed first and foremost if poetry is to speak to you at all, and if you are to build the skill to make words work for you. Whether you create any poetry of your own is then a question of your circumstances, priori- ties and consistency. What do you make of the literary scene in Malta? What would you change about it? Generally, I am happy that cultural activities are much more varied and that ac- cess to them is much easier than when I was in Malta. It is probably the only aspect I miss about living there. I would particularly like to mention all the work that Inizjamed has done over so many years to bring lit- erature and Maltese into the mainstream without diluting it into simple entertainment. What undermines all this and needs to change is the quality of public debate and the values we are encouraged to live by. I am not holding my breath. What's next for you? I am very much looking for- ward to the launch of 'Tluq' which will feature poetry readings, singing and music. The Gabriel Caruana Foun- dation has kindly accepted to host the event of 'Tluq' at their Mill in Birkirkara. 'Tluq' will be launched at The Mill, Birkirkara on Sep- tember 21 at 7.30pm. For more information, log on to: https://gabrielcaruanafoun- dation.org/events/tluq/ "A specific sensibility is needed first and foremost if poetry is to speak to you at all"

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