I recently read Osamu Daizai’s novel The Setting Sun. I had somehow overlooked Daizai before, but found this book to be brutal, brilliant and resonant. Dazai, who killed himself at age 38 in 1948, a year after its publication, wrote like no one else I’ve read. I’m now eager to read his other books.
One of the books I’ve found most helpful to my work is Robert Bresson’s Notes on the Cinematographer. He refers to the actors in his films not as “actors,” but as “models,” because he sees the art of acting as something that gets in the way of the truth that is being shown. He writes: It would not be ridiculous to say to your models: “I am inventing you as you are.”
This reminds me of an interview I read with the actor Ray Winstone, in which he said that his friend Gary Oldman had been helpful to him. As they rehearsed together, Oldman would sometimes tell him, “I can see you acting, Raymond.”
Bresson sees film-making, and every other art, as being separate and unique. I disagree with him on this, and as evidence that he’s wrong I offer that I find his book helpful in all of my writing. When I read books I’ve written and cringe, it’s not because the writing is bad (though it may be) - it’s because I can see the writing, see myself writing, see my own artifice.
I had no one to help me, but the T.S. Eliot helped me. So when people say that poetry is a luxury, or an option, or for the educated middle classes, or that it shouldn’t be read at school because it is irrelevant, or any of the strange and stupid things that are said about poetry and its place in our lives, I suspect that the people doing the saying have had things pretty easy.
It is difficultto get the news from poemsyet men die miserably every dayfor lackof what is found there.