Languishing in ‘rent-a-Marx/Margaret rhetoric’: the phono-politics of Douglas Oliver’s The Infant and the Pearl

Abstract

In The Infant and the Pearl (1985), the British poet Douglas Oliver draws on the alliterative and allegorical features of medieval verse to create a dream-like satire of Britain under Margaret Thatcher's Tories. Once a central feature of most Old English poetry, since Chaucer, alliteration and rhyme have often been used in the service of parody and satire. But, how do complex patterning of alliteration and sound-structures aid satire and generate political content? Drawing on Oliver's poetic and critical work, as well as contemporary research into prosody and politics, this article argues that the sound patterning in The Infant and the Pearl creates a caricatured or hyper-real version of Thatcher's 'politically unsound' Britain. Oliver uses sonic patterns to create an artificial parody of the bathetic 'uncommon rhetoric' of consumerism and the political classes and where people are subjected to the 'false pearls' of the state. Far from being an accessory to meaning, the sound structures are, I argue, foremost in as a vehicle for parodying the operations of the rhetoric of the 'unreal' apparent in social and political discourse from the common to the Commons. Oliver envisages sound patterning -as performed with every private and public readingas offering recalibration of people's experience of language and the world as well as leading to glimpses of a communality beyond political and social division.