In Quennets Philip Terry develops a sonnet-like form invented by
the Oulipian poet Raymond Queneau. Across three sequences, the
'quennet' is reworked and refigured in response to three perimiter
landscapes. The first sequence, 'Elementary Estuaries', is inspired
by a series of walks along the Essex estuary, the poems' appearance
on the page suggesting the landscape's expansive esturine vistas,
its pink sail lofts and windswept gorse, beach huts and distant
steeples. In the second sequence, written after a series of walks
around the Berlin Wall Trail, or Mauerweg, the form changes to
reflect the physical, almost bodily tension of the wall as an
architectural and social obstruction. The final sequence,
'Waterlog', retraces the steps of W. G. Sebald through Suffolk, and
here the quennet's newely elongated shape and ragged margin evoke
the region's eroding coastline, its deserted piers and power
stations, electric fences and waterlogged fields. Terry's project
is bold in scope, his poems subtle in effect, a mix of sign and
song, concerete and lyric, Oulipo and psychogeography.It is a work
about boundaries, political, social, and natural, and about the
walk as a critical apparatus through which these fields are shown
to connect.
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