National Poet of Wales
The National Poet of Wales takes Welsh poetry to a global stage and honours some of the most innovative and highly regarded writers of our era. A contemporary reimagining of the medieval Welsh bardd, the National Poet belongs to the nation and is often on the road, performing at events or composing new works.
Established in 2005, Gwyneth Lewis was the first National Poet of Wales, followed by Professor Gwyn Thomas in 2006.
Gillian Clarke has held the post since 2008.
"An impressively achieved and exceptionally rewarding poet"
Times Literary Supplement
Gillian Clarke is one of the central figures in contemporary Welsh poetry. Her own poems have achieved widespread critical and popular acclaim (her Selected Poems has gone through seven printings and her work is studied by GCSE and A Level students throughout Britain) but she has also made her cultural mark through her inspirational role as a teacher, as editor of the Anglo-Welsh Review from 1975-1984, and as founder and President of Tŷ Newydd Writing Centre.
Born in Cardiff and currently running an organic small-holding in Ceredigion, the Welsh landscape is a shaping force in her work, together with recurrent themes of war, womanhood and the passage of time.
Clarke’s world is full of the here-and-now - the scratch of stubble at a young girl’s ankles (’Letter from a Far Country’), the slipperiness of a newborn lamb (’A Difficult Birth’), emotion experienced as bodily sensation, "the tight red rope of love" (’Catrin’). However, immediate as the poems are, they are also haunted by many different kinds of past which re-surface in the present like the drowned girl given the kiss of life in ’Cold Knap Lake’.
Sometimes the past is geological, as in ’The Stone Hare’ that’s waited three hundred million years to be chiselled into existence, or belongs to the realm of childhood memory as in ’Legend’ in which the narrator recalls the treacherous ice of a lake in terms of fairy tale, listening to "the Snow Queen’s knuckles crack".
However, it’s the fate of the women of living memory that is most persistent in these poems. In Clarke’s beautiful elegy for her mother, ’The Habit of Light’, domestic routine is celebrated as a kind of sacrament, but elsewhere it’s fiercely contested as a trap, particularly in the sequence ’From a Far Country’ where she imagines the fruits of her ancestors’ "perfect preserves" trapped like faces behind the glass.
Some National Poet of Wales commissioned poems are available here
You can visit Gillian Clarke's website here
Image copyright Marian Delyth.