Poetry through cinema is expressed in Forsström's intensely visual work, inspired by film-maker Andrei Tarkovsky
This week's poem, "The snow whirls over the courtyard's roses," is by the Finland-Swedish writer, Tua Forsström, translated from the Swedish by Stina Katchadourian. It's the first poem in her 1998 collection After Spending a Night Among Horses, which is included in the four-part Bloodaxe collection of Forsström's work.
The poems in After Spending a Night Among Horses are inspired by the film-maker Andrei Tarkovsky and are interleaved with quotations from Tarkovsky's film, Stalker, and from his prose-book, Sculpting in Time: Reflections on the Cinema. Tarkovsky once said, "There is only one way of thinking in cinema: poetically." Forsström expresses the reverse idea, of thinking in poetry cinematically. The collection itself is a montage, and many of the individual poems, like this one, draw on a similar technique, combining different settings, seasons, voices and moods in one imaginative sweep.
This week's poem, "The snow whirls over the courtyard's roses," is by the Finland-Swedish writer, Tua Forsström, translated from the Swedish by Stina Katchadourian. It's the first poem in her 1998 collection After Spending a Night Among Horses, which is included in the four-part Bloodaxe collection of Forsström's work.
The poems in After Spending a Night Among Horses are inspired by the film-maker Andrei Tarkovsky and are interleaved with quotations from Tarkovsky's film, Stalker, and from his prose-book, Sculpting in Time: Reflections on the Cinema. Tarkovsky once said, "There is only one way of thinking in cinema: poetically." Forsström expresses the reverse idea, of thinking in poetry cinematically. The collection itself is a montage, and many of the individual poems, like this one, draw on a similar technique, combining different settings, seasons, voices and moods in one imaginative sweep.
- 3/4/2013
- by Carol Rumens
- The Guardian - Film News
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