Marie Craven’s most recent poetry film is a collaboration with the Spanish director Eduardo Yagüe and the London-based poet and translator Jean Morris. I’d been waiting to share it until Marie blogged process notes, which incorporate comments from Jean and Eduardo. The resulting post is too long to quote in full, but here’s a bit of it:

I was immediately drawn to the poem of Metamorphosis when it came up on one of my social media news-feeds, where I regularly read contemporary poetry from around the world. UK writer and translator, Jean Morris, was its author. The piece was inspired by a famous woodcut print by M.C. Escher, Metamorphosis II (1939-40). Jean’s viewing of the art work seemed to have suggested in her a vision of someone who might be similar to Escher himself, a character who perhaps the poet could relate to personally, as could I. The piece sketches a solitary character fascinated by life’s multiple and varying repetitions, of shapes and spaces, movement and time. It has a mirror structure, which I felt apt as a reference to the highly distinctive geometries that appear in Escher’s art.

In another part of the virtual globe, I had been in contact for several years with Spanish film director, Eduardo Yagüe. We had previously talked about a possible collaboration between us. So in 2019 I contacted Eduardo with Jean’s poem and asked if he might be interested in co-directing a film of it. We then contacted Jean, who agreed to a film of her poem. I suggested Rachel Rawlins as a possible voice artist and we were all pleased when she said yes to joining the project as well. […]

Jean Morris (writer):

I’ve always been a loner and not so great at working with others, so having my words become part of this rich collaborative work is a new and rewarding experience. An earlier version of my “mirror poem”, which tried to reflect the morphing mirror structure of Escher’s artwork, appeared on the Via Negativa poetry blog, long established as a beacon of the Creative Commons ethos, which I support, so I was happy to say yes to Marie’s proposal and keen to leave it to her and to Eduardo to make of the poem whatever they wanted. I’d long admired both their, very different, work in poetry film and trusted they’d make something beautiful, technically sophisticated and interesting. It also made me happy that the actor, Pedro, was someone I knew as a poet and the voice, Rachel’s, one long known in real life here in London. What a lovely, complex, international thing in sad and claustrophobic times.

Eduardo Yagüe (direction, videography):

When I was thinking on locations for filming, nothing seemed to me more ‘escherian’ than the Colegio de la Inmaculada in Gijón, my hometown in Northern Spain and where I am currently living. Belonging to the Jesuits, the building owns a long history including some dramatic episodes during the Spanish Civil War. I studied there from age 6 to 18.

Then, when I was thinking for potential actors for the video, I decided, looking at Escher’s portrait, that Pedro Luis Menéndez would be a perfect choice. Pedro was my Literature teacher and my first theater director when I was a teenager student at the Colegio, and now he’s become one of my favorite Spanish poets. One year before recording Metamorphosis I made a video called La vida menguante (Waning Life) based on several of the poems from Pedro’s book of the same title. I also recorded some footage of the streets and buildings of Gijón, a city sometimes aesthetically annoying but very ‘escherian’ too. […]

Read the rest.

I hope this week’s focus on Marie Craven has brought into sharper relief the variety of tools and approaches available to contemporary videopoets and poetry filmmakers. As a much more impatient and slap-dash video maker, I admire Marie’s perfectionism, to say nothing of her artist’s eye and musician’s ear and her openness to collaborations of all kinds.

We may do other week-long features on filmmakers or poets in the coming months. It’s always especially helpful when people take the time to write in detail about the making of their films, as Marie does. Though most projects aren’t as wildly collaborative as Metamorphosis, even the loners among us stand to benefit from a culture of sharing tips and insights, especially with a growing community as full of artistic ferment as the international videopoetry scene.