The Tiger in the Head by Robin Gurr. Jacaranda Wiley 1987. First published in SCARP No 16. May 1990
The title of Robin Gurr’s sixth collection of poetry, The Tiger in the Head, is echoed in her poem ‘The Visionary at Dawn’:
Inside the cherished
chaparral of his skull
.
nestles a stealthy drowsing
tiger
While the poem has, as its departure point, Rousseau’s painting ‘The Sleeping Gypsy’, there are also very deliberate and unmistakable echoes of William Blake. The most obvious reference to Blake is the image of the Tiger. Compare, for example,
a tiger
stalks in emancipated bliss
.
flashing poems from its sulphurous eye
with
In what distant deeps or skies
Burnt the fire of thine eyes
(Blake)
or
Inside the harsh
Saharas of his skull
,
a tiger
rasps into its pondered mash
(Gurr)
with
What the hammer? What the chain?
In what furnace was thy brain?
(Blake)
Gurr’s concentration on light and dark, day and night in the opening poems of the collection also recalls Blake. This dichotomy recalls the Songs of Innocence and Experience and, indeed as we progress through The Tiger in the Head, we come across poems with titles like ‘Child in nature’ and ‘Three meetings: Dark, Fear and Death.
For Gurr a celebration of youthful life and naivety is followed by the realisation of death in the same way as night follows day:
The sea mouths the morning
Then spits it on the shore
The stippled shells hold warnings
that night will come once more
‘Shells’
In these poems Gurr moves from the very strict rhythms and rhymes of a poem like ‘Shells’ to the apparent freedom of ‘The Visionary at Dawn’. Her best poems however, are those she keeps under a tight rein. The Plath like ‘The Cutting of the Wind’, with its carefully measured lines which have the effect of emphasising each word, is an example of Gurr at her best:
My face is turned by blade
my mortared limbs were
.
cast in clay earth locked
and burnt to strength
While the highly structured nature of Gurr’s poetry at first seems a little ‘old fashioned’ when compared with the current directions of contemporary poetry, her obvious skill at utilising traditional forms quickly overcomes any reticence in her readers. She doesn’t allow the structure of the poem to dictate to her, rather she uses it to mould her ideas, constantly surprising the reader with unconventional rhythms and sound patterns. Indeed Gurr’s poetry repays a careful reading.
The Tiger in the Head i s a very accomplished collection by a poet who is obviously in complete control of her genre. While the book has been handsomely produced by Jacaranda Press my only complaint is that there is no listing of her five previous collections. This is going to make tracking her earlier work down difficult for those many readers who may want to read more of Gurr’s work.
– Mark Roberts