Speech!

The man is brilliant, but so difficult to get through. I would suggest having a handy reference section nearby. He has a beautiful way with words. The current volume is one long poem, divided into sections (in a similar way to "The Triumph of Love"). Hill will definitely become more widely appreciated as time wears on...

Geoffrey Hill is truly a poet's poet. His work is highly intellectual, peppered with references, and tersely worded. Behind the imposing verbal front, however, one finds a vast expanse of wry, analytical intelligence and an immense compassion for his fellow man. "Speech! Speech!" is Hill's newest book, which he describes as his "Inferno"; with his usual erudition and wit (as well as a fair amount of introspection), Hill examines the state of the media in today's world, and his relationship to it. His words tear through such topics as the death of Princess Diana, the BBC in his childhood, and the prevelence of rap. "Speech! Speech!" is a volume both of dissent and of hope; at times brutally honest, unbearably ugly, it is at the same time a testament to the redeeming and timeless power of poetry.

"Speech! Speech!" continues much in the mode of "The Triumph of Love": praise and lament "in different voices", a polyphonous essay into the stresses and strengths of the English language, its potential for wrought honesty as well as casual deception.The poem's ethical obsession is with pitch, as opposed to tone: the making and upholding, in language, of difficult distinctions as opposed to - so far as it can be held distinct from - the equitable imperative smoothing-over of disputes and differends (the "healing" snake-oil of much contemporary political rhetoric). In illustration of this, as in obedience to it, "Speech! Speech!" bristles with split hairs. The defamatory satirical genius of the poem lies in its outrageous conflations, a wit that works insidiously, like guilt, by association. But its moral animus ("animus is what I home on, even as to pitch" - section 90) is focussed on those parts of speech where one is surprised to see distinctions being made, or remade - surprised that they should (still) be thought or seen to matter.There are many places in the poem where it becomes difficult, important, to ascertain what is being driven at, from what angle (or angles) and with what force. So, in section 57, the speaker beckons:Show you something. Shakespeare's elliptical late syntax renders clear the occlusions, calls us to account...The reader of "Speech! Speech!" is similarly drawn to the places where Hill's elliptical verse indicates, but does not show, unaccounted-for ommissions, exclusions, losses. We are ordered to "[j]udge the distance" between generations, to take the measure of what Hill sees as the abrupt - overnight - pillage and erasure of a common heritage - "common" in a sense to be distinguished from, but not opposed to, that of "demotic". This is arguable, of course, and the poem argues with itself about it, about the meaning of "democracy" and the condescension of "the egalitarian anti-elitist SUN" (a widely-circulated British newspaper, whose language Hill parodies passim). Nevertheless, Hill seems genuinely shocked by the way that English culture has changed over the past fifty years, and is clearly contemptuous of the ability of electronic databases and the "world-surfing quote research / unquote of your average junk maestro" (cheers!) to replace the "forms of understanding, far from despicable, / and furthest now, as they are most despised" he celebrated in "The Triumph of Love" (section CXIX). His argument may be judged reactionary, but it is passionately made.I have found it difficult to receive the verses of "Speech! Speech!" as Hill says they were intended - as praise-songs. What is being praised is presumably the faculty the poem itself aspires to, that of fashioning a language fit for human use out of the "acoustic din" of an indifferent mass culture. Or, rather, what is both praised and petitioned by "Speech! Speech!" is that part of ourselves that might find a use for such a language, that is too proud and attentiv