- Title Pages
- Abbreviations and Citations
1.A Poetics of Listening
2.Mr and Mrs Scotland Are Taking a Vacation in the Autonomous Region
- Off the Page
4.Transcending the Urban: The Queen of Sheba
5.‘Proceeding Without a Map’: Kathleen Jamie and the Lie of the Land
6.‘An Orderly Rabble’: Plural Identities in Jizzen
7.‘Sweet-Wild Weeks’: Birth, Being and Belonging in Jizzen
- Even If
8.‘The Tilt from One Parish to Another’: The Tree House and Findings
9.Repetition, Return and the Negotiation of Place in The Tree House
- A Man, a Former Environmental Activist Turned PR Consultant for Logging Companies, Defends His Choices
10.Form in The Tree House
11.Nature and Embodiment in This Weird Estate
- What the Water Says
12.Into the Centre of Things: Poetic Travel Narratives in the Work of Kathleen Jamie and Nan Shepherd
13.‘Connective Leaps’: Sightlines and The Overhaul
- To KJ, in her Attic
14.Life Lines, Sight Lines: Collaborative Works
15.Midlife Music: The Overhaul and Frissure
16.‘We Do Language Like Spiders Do Webs’: Kathleen Jamie and Michael Longley in Conversation
- Notes on Contributors
A Poetics of Listening
A Poetics of Listening
- (p.10) 1. A Poetics of Listening
- Kathleen Jamie
- Edinburgh University Press
This is an exploration of Kathleen Jamie’s ‘poetics of listening’, a consideration of the importance of ‘listening' within her poetic practice. A 'poetics of listening' is compared with the notion that a poet must first and foremost ‘find their voice’. Close examination of Jamie's poems suggests that the stance of the ‘listener’ is one which allows the poet to encounter the non-human on equal terms, but which also offers a solution to the ethical question ‘why should I write?’. Jamie has been called a ‘supreme listener’, and listening encounters pervade her work. The value she places on ‘attention’ is shown to have a connection with her interest in the oeuvre of Rainer Maria Rilke. It is also argued that in Jamie's work, learning to listen is a way to live with, rather than protest our impermanence.
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