destructive is my normal state (37)
Danish poet Ursula Andkjær Olsen is a singular force of poetic vision. Intense, strident, futuristic. Outgoing Vessel, newly released from Action Books, is the follow up to her award-winning Third-Millennium Heart, a powerful reading experience I loved so much that I responded in verse with an experimental review published here (open the PDF to read). Translator Katrine Ogaard Jensen is on board again for this new journey and, as with her previous work, Outgoing Vessel unfolds over a sequence of poetic movements to form a 193-page, book-length poem that is both epic and operatic in scope. I was not surprised to learn that Olsen is also a librettist. As with her earlier project, the “singer” here is an enigmatic narrative force—perhaps the same one, I don’t know, though I hear a companion rather than a continuation myself.
no one except me can hate feelings
anyone else who claims to hate feelings:
let it be known how they still succumb to them
anyone else who claims to hate feelings:
let it be known how they, in weak moments
open up to them and
and become soft with longing
among all time’s winners
i am the hardest (8)
The early suites of Outgoing Vessel seem charged with negative energy, often erupting in harsh declarations of hatred that begin with the self and extend outward. The voice is hard, constrained. Darkness and destruction are evoked frequently. Yet the motion is self-driven, Olsen owns her language, and the direction she is moving toward (and expecting others to align with) is not symbolic, but it is futuristic. She seems to be intent on encasing her darker, grieving being, containing it inside a container—described as an orb:
which I will send off as the outgoing
vessel that it is
after which the new human can arrive in its
Third-Millennium Heart built on a tension between the clinical and the organic, pregnant with promise, anger and grief, rupturing ultimately into a powerful post-human feminist vision—one which gives birth to the possibility of a cyborg-like hive-heart existence. Heart’s speaker devoured and contained. Vessel’s is more isolated, inward focused and philosophical. Pain, grief, and an existential disconnection drive her rhythmic reasoning as she moves toward the foundation of a technological ontology, a science fiction solution, and a re-imagining of a new human beingness.
we must assume there is an original alienation:
first the estrangement, a person, a stranger to themselves
stranger to others, the person exists deep inside their
distant interior, without knowing, they must escape to the
surface, from inside, to become human (108)
The futuristic tone becomes more prevalent as the sequence progresses, propelled in no small part by the “technoscientic” poems that close each section of the work. As translator Katrine Øgaard Jensen explains in her note, Olsen “created these poems by piecing together lines from each suite, running the text through multiple languages in Google Translate, translating it back into Danish via Google Translate” then, from the resulting document, the final piece was created employing a cut-up method. This mechanical process allows for a new tone, energy and uncertainty to enter the cycle (not mention an added challenge for the translator to meet in a satisfactory measure):
in the coffin, a
relic, collection of Bones and Hair
encapsulated and stored in
a humane vacuum
the refuge (94)
The strange brutality of Olsen’s poetry, the slogan-like chants, and the tightly-honed anger can be off-putting, but as with Third Millennium Heart, I find it oddly therapeutic. Anger in its shades and intensities can be a positive force—it is the healing movement of the cycle of grief, it pushes you forward, up and out of the sandpit of sadness that follows loss, trauma, heartache. It sounds counter-intuitive but I saw it many times working with survivors of acquired brain injury. Yet it is hard to allow it in oneself, for fear it will erupt in uncontrollable ways. Through the course of Outgoing Vessel we witness the speaker’s emergence as a voice of concern, intent on invalidating loneliness—through her outgoing/incoming vessel she comes to a radicalizing understanding of empathy and experience.
Olsen is a poet who, as her translator Jensen freely admits, cannot be neatly and directly rendered into English—her work is highly inventive, rife with cultural references, puns, neologisms, and experiments with language. Rather than attempting to produce an exact copy, Jensen aims to stay true to the “spirit of the work,” allowing it to find its own form in translation. This is, it turns out, an ideal approach for a poet who sees her own work as a “translation of an idea”. As such, she is simply the first translator and Jensen is the second. The result is a sequence of poems that carries its own fresh energy. Tight. Terse. Tender. And ultimately affirming in its futuristic vision.
Outgoing Vessel by Ursula Andkjær Olsen is translated by Katrine Øgaard Jensen. It features stark, spare photographic works by Sophia Kalkau and is published by Action Books.