Everything sings if you listen hard: A History of What I’ll Become by Jill Jones

I want to say that this is not poetry for the young. Of course anyone can read it, admire the wit and the wordplay, lose track of the number of perfect lines that emerge, page after page. But there is something else. I looked back to my review of one of Jones’ earlier books Brink, my introduction to her work and to date the only one of her many collections I’ve been able to readily obtain. I was surprised to see my response to that work so very closely echoed my reaction to this book two years on. My review reflects the fact. From the mention of a conversation I had with Caribbean-Canadian poet NourbeSe Philip about how, at its best, poetry comes from lived experience, and decades of it, to the way I found in the queerness of Jones’ poems a rare, even unlikely, resonance with my own strangely gendered history. These very same ideas came to mind when I started thinking about how to write about A History of What I’ll Become, but I can’t simply tread the same paths again. And fortunately, I don’t have to.

As her twelfth full-length book of poetry, this new collection carries many of the threads that thrilled me in her earlier work, qualities of her poetic sensibility no doubt, but somehow it feels larger, bolder, more intense, and yet as wise, linguistically playful and physically fragile. At times I am aware that I don’t know enough about the craft of writing poetry to appreciate the forms, inspirations and influences she may be drawing on. I notice the improvisations and the poems constructed of her own dismantled and reorganized present and earlier material. But what’s important is the final measure; what comes across on the page. That’s what matters. I read, write about and even occasionally write poetry in appreciative ignorance. I attend to the impact of the emotion, the power of the word. And there is something thrillingly immediate in Jones’ language. She knows how to “listen hard” for the song; there are stanzas and passages in which I instantly recognize my own existence. Strangely (or perhaps not so), I feel comforted and challenged to be able to grow older in her poetic company.

There’s nothing sacred about me.    I was born under stars
that kept moving.   Outside I could smell lost temperatures
stolen dust    my blood tainted with history.
But here I am without a prayer    looking for gods in everything
that’s melting.   I watch the littlest sparrow.   It knows
where the crumbs are.

– from “This Crumbling Aura”

Jones’ native habitat tends to be urban, domestic but not domesticated. Backyards and city streets. Places for coming together, in the passions of remembered youth or the sensuous intimacy of long-term loving. Spaces for fracturing and falling apart, relationships and bodies fragmenting against the passage of time. If Brink was a more intentionally ecopoetic exercise—natural imagery and elements are a significant presence—I want to say that, in A History, nature rides on a deeper, personal, existential current. Nature reflecting the poet back to herself.

I’m less articulate than grass.
I hobble on my syllables
hoping something will surrender
a thought, maybe, a kindness,
a practicality.
A gap in the trees before sunset
does more.

The wind picks up
as the horizon I stare at
slips away from
the slope of today’s sun.
In some places there are no days.
I could write it down
but who knows what colour
anything is?

– from “A Gap in the Trees”

Yet what strikes me most in this book is the sensation of being alive, of life as it stretches out and shapes us from the time we are born—our temperaments, genders, identities, attractions—to a growing awareness of our limitations, aging, death. This is very much an embodied process, or rather, a coming to peace with the body, a learning to live with one’s body. I’m not certain this can ever be but a lifetime journey, one with different stages, elements and aspects. Not over until its over, perhaps. But it also exists apart from the body, in our memories, our expectations and our dreams. In our own histories of what we will become. That is the force that drives this collection for me, reinforced through the recurrence of lines in the “Improvising” series that runs throughout, and in the pieces that appear at the halfway mark, especially this, “Dream Home” which begins:

I sometimes dream of always dreaming.
I don’t think of that as death. But when will I wake?
When will I turn to you, go to you, come to you,
carrying night with me, the things I can’t tell?
   (As if it’s loss that remains, that no tongue
    can assemble within daylight.)
Maybe this dreaming is the immortal body,
dormant except in sleep, a kind of bliss that evaporates
each day, a kind of dread that escapes the waking
of shape and sinew.

And ends with the couplet:

To wake is not the opposite of dreaming.
To dream is to be unowned by anything but the dream.

Or, to be honest, where else but in sleep can we truly surrender to a dream? In waking life, especially these days, too many uncertainties persist. Dreaming is possibly that place in which time can extend in more than one direction, often simultaneously, making this poem a perfect point of balance for collection that looks to the past and the future, with room for both heady nostalgia and lingering uncertainty. But then, that’s just my reading. I would encourage you to entertain your own.

A History of What I’ll Become by Jill Jones is published by UWA Publishing.

The human animal in the room: The Grass Library by David Brooks

Central to Australian writer David Brooks’ meditation on the ethics and implications of existing in a truly honest and respectful relationship with the nonhuman creatures who share this planet with us, is the question of how one can properly write about animal experience at all without filtering it through a decidedly anthropocentric lens. Are words, as we know and employ them, even up to the task? These are neither easy nor straightforward questions, but the search for possible answers is a journey that Brooks stumbles into willingly, and frets about, fumbles through, marvels over, and shares with surprising humility in this engaging—and endearing—collection of interrelated essays.

It all begins with a sudden life shift when Brook’s partner, T., announces over dinner one night that she can no longer continue to consume meat. He takes it well, but when this declaration is soon further refined to exclude all food that comes from animals, he finds himself accepting, if at first a little mournfully, a vegan diet. Where this path will ultimately lead them he can hardly imagine at that moment, but within a few years they will have left their rented house in Sydney and moved—cautiously at first and with an intermediary purchase—to a small farm in the Blue Mountains where he, T. and  their dog Charlie will find themselves living with a growing “herd” of rescue sheep, not to mention the snake, ducks, rats, and all the other creatures that come and go. The resulting account is not a book about veganism or guilt but it is a book detailing one man’s ongoing effort to realign his values in accord with respect for animals. More importantly it is a lyrical philosophical tale of “discovery and wonder: wonder and wondering.”

But first, to set the stage, there is the move. Reluctant to cut ties with the city cold turkey, so to speak, they buy a house in a mountain town, but continue to rent in Sydney. When they finally try to make a permanent move to their new home, a variety of factors prevent them from settling in and feeling at peace. So, when they hear about a farm on the edge of town, they check it out. Two sloping acres, an old farmhouse and a small cabin just begging to be converted into a library. It seems to be perfect given a number of circumstances and dreams that are beginning to colour their thoughts of the future, so they buy it, move in, and within a few months are joined by a couple of rescue sheep—Jonathan and Henry-Lee.

The genesis of the text that will become The Grass Library lies in a vegan friend’s challenge to Brooks that he should write about animals. However, if that was, at least for the friend, envisioned to be part of a grander exposé about animal cruelty, this book is smaller, more intimate and close to home, but it raises fundamental philosophical questions all the same. He draws, for example, on the writings of Kierkegaard and on Derrida’s The Animal That Therefore I Am. But the true beauty lies in the self-reflective exploration of what it means to write on behalf of another creature with an openness to possibility of experience—ours and theirs. Uncertain how to start, Brooks decides to begin with their rescue dog, Charlie, and his curious dusk anxiety. A window on the life of another, a life that overlaps with but is not contained within those of his human companions. See the problem? “Owners” is a fraught term. Even writing this review echoes the challenges of writing about animals—what can we ever fully know about anyone who shares our lives with us, even if they are of the same species, let alone if they belong to another species or even order of being? Brooks struggles to tell Charlie’s story as Charlie might, an exercise, at best never more than approximate and subject to an endless double guessing that he will continue to practice as the group of nonhuman animals who become part of his life and narrative expands.

The true nature of the nervousness Charlie displays as the day comes to a close is never fully understood despite efforts to analyze or assuage it, but it seems that once his family relocates to the farm, where he quickly takes to his fleecy new friends, he finds a comfort zone of sorts. Once “the boys” arrive, followed in time by an orphaned lamb, little  Orpheus Pumpkin, Brooks’ creature considerations extend and, for much of the book revolve around sheep. Living with these characters (and they are definitely distinct individuals) offers countless opportunities for observation, contemplation and, on occasion, serious concern. As for example, when David and T. decide that it would be an act of complicated kindness to have Henry castrated. A ram who exhibits a desperate longing for the ladies whenever ewes are nearby, they worry that he will either injure himself trying to reach them or harass his poor companion Jonathan, a wether, to the point of distraction. But whose comfort is really on the line?

The surgery does not go well, prompting worry, guilt and doubt, though Henry eventually does recover and seem calmer and, dare one say, happier. But, of course, Brooks cannot be entirely certain they did the right thing:

We began this process of—I don’t even know what to call it: stewardship? protection? attempted redress?—so naïvely, despite all the thinking that had gone before. But of course that had been thinking about the animal, in the absence of the animal. No one told us—who was there to do so?—that we’d encounter, almost inevitably, these pitfalls, dark holes, perilous places. As we open up to these creatures, as we apprehend more and more of their Being, or think we do, we’re dealing more and more with lives no less complicated, painful, traumatised, or liable to trauma than our own—indeed we’re dealing in most cases with lives that have been much more traumatised than ours are ever likely to be.

There are, as one can see, more questions than answers, and throughout this book, among the accounts, humorous and tragic alike, of daily life on the farm, Brooks invites the reader into his internal queries and quandaries. The closer he aligns himself with the ethics and obligations of animal advocacy, the more he is forced to re-evaluate his own childhood interactions—the shovel to the head of a snake, for instance—and, perhaps even more painfully, his enthusiasm for some of the literature and authors he once loved as he comes to recognize aspects of their attitudes toward animals as debatable, even distasteful.

Of course, in his evolving effort to articulate this growing self-awareness, Brooks’ engagement is not limited to animals, birds or reptiles. One of my favourite chapters is “Cicada Summer.” Referring to the insects as his “almost-totem,” this piece which could easily be read as an elegant and thoughtful stand-alone essay, describes the emergence of one particular season’s generation of cicadas from their waiting larval refuges buried deep on the roots of trees. He marvels at the fragile beauty of discarded carapaces, and even finds, with sadness, a nymph that has died in a failed effort to free itself from its shell. The song of the insects is the soundtrack of the season, implying in its consistency, an ongoing eruption of these otherwise short lived creatures—short lived, that is, in this stage of their lives. But of course, the cicada offer more than an opportunity for a little speculative natural history. In their epic drama, lies a lesson for us: “If we think we are anything other than creature,” he warns,—have crawled very far beyond it—we are kidding ourselves.”

He then goes on to draw a striking parallel between the discarded carapace of the larval cicada and the creative acts we human creatures engage in:

A book, a poem is like that: the shell of something that has emerged, gone. Writers work hard at those shells, but as soon as we finish them—a poem, a novel, an essay—there’s a sense in which we’re not there any longer. A cicada, I note, sheds multiple shells before the one we see clinging to the bark of a tree; and humans too—human animals—have to shed carapaces, create shells, whether they’re authors or not, if they are to mature. That can be agony, pulling oneself out of oneself.

The further Brooks’ effort to write about animals—and to write about writing about animals—takes him, the more it brings him write back to the human animal in the room: himself. And, for that matter, the rest of us too. As he recounts his and T.’s adventures with ducklings in the swimming pool, a persistent rat in the kitchen, or little Orpheus Pumpkin who spends his early weeks living in the house (and, like his fellow sheep, falling in love with T.), practical and philosophical musings and digressions are frequent. As such, the book has a sense of active construction—tentative, meditative, worked and reworked. Brooks is unafraid to confess to missteps, let the seams show, leave possibilities raised, but unresolved.

And then, through it all, there is the beautiful, poetic prose. It is as if all of Brooks’ years as a poet, essayist, novelist, and short story writer have been channelled into what has become a deeply personal life project. At the end, as he stands out in the paddock with Charlie, surrounded by all of “the boys”—Henry, Jonathan, Orpheus Pumpkin, and the latest arrival, Jason—there is a sense of a man at peace with the world. At least, perhaps, until the next, creature in need arrives on the scene.

The Grass Library is published in Australia by Brandl & Schlesinger and will be released in North America by Ashland Creek Press in June.

Letters to a distant shore: A Kinder Sea by Felicity Plunkett

I have spent most of my life landbound, far from open water. As a result, oceans and seas have always held a special fascination for me—those distant horizons, blue fading into blue, and endless watery expanses. Similarly, poetry inspired by ocean imagery has invariably captured my imagination and that’s what I suspected Australian poet Felicity Plunkett’s new collection, A Kinder Sea, with its stylized black and white wave-decorated cover might offer. And it does, but of course it is so much more. It is a rich and generous exploration of an ocean of skeletal fragments, human longings, and loved and forgotten souls.

Written over a period of seven years, the poems in this book seem to come together around their uniting element in an organic, interactive manner, forging connections and participating in debate with one another along the way. There is a clear sense, then, of a creative ebb and flow that runs through the collection. Referring to Paul Celan’s depiction of poems as “making their ways to readers like letters in bottles,” Plunkett describes her new work as “a book of unspoken hopes, un-mourned losses, of mute and unprayable prayers and letters never sent.”

If the poems that comprise A Kinder Sea arose, as their author indicates, over time, in conversation with one another, as missives in search of readers, they also exist in dialogue with artists and poets from whom Plunkett draws inspiration. Early on, Celan’s quote referring to poems as bottled messages, serves as the epigraph for the multi-part piece, “Glass Letters”. Twelve aching, embodied and intimate poetic communiqués follow:

This morning want-of-you has left me.
I test for its absence, press bruises, look clear

in the sea’s flat glass. No sign of storm’s spines:
sharp possibilities. Disturbance has bled

itself out. Shaken wordless, I wash syllables
in salt, trace remembered promises to

the place where they rolled in foam. You
erase waves from our correspondence:

excise agitation.

The palette she paints from is one of varied, often melancholy colours. Poets, most notably Emily Dickinson and Celan, but also Rilke, William Carl Williams, Sylvia Plath and others offer epigraphs, allusions and inspiration, alongside the likes of Bob Dylan, Leonard Cohen, Nick Cave and Neil Young.

Felicity Plunkett writes with a formal sensibility and delicate precision, her language seems to register, not simply in the ear or the imagination of the reader, but on the very surface of the skin. One senses that each word, each line has been carefully honed to cast a reflection at once sharp and shifting—much like the surface of the sea. As in her award winning debut, Vanishing Point where flakes appear as a recurring image, in A Kinder Sea, there is, apart from the obvious connecting feature, a bone-level awareness and an existential grammar awash in the waves—the abstracted self as body and language. Consider the hospitalized speaker’s lament in “Songs in a Red Key”:

Conduct a river in plastic over
my shoulder through an elbow’s fold
My shroud stretches to fray
translucent at its seams, rolled
soft by the smooth stones
of a queue of injured
bones: white-gowned, awkward

-ly sheeted  nativity
angel, nameless, I shepherd
drip chamber and tremble-wheel
trolley across night’s locked ward
jitter this tangle through
silence: my hubris muted
below drug’s sea levels

Or the epistle to a secret, perhaps doomed, addressee in “Strand”:

Nothing to say when words lose their letters
in winter. Letter’s spines dismantle
in my silent hand.

I hear your name in a dream of sea. Dream
my secrets fall from my mouth, braced
neat as pearls

Broken mirror, split salt, opened
umbrella. Salt rain broke and I thought no
harm could come to you.

But, of course, the sea is the primary note sounding through this collection, sometimes as a passing metaphor, sometimes as a broader backdrop, and in one set of poems, as a vast, inviting, yet often unforgiving space that has drawn daring souls to adventure, even death. The sequence “In Search of the Miraculous” contains some of my favourite pieces: “Equal Footing Mermaids” honouring Donald Crowhurst, the British businessman who died competing in a single-handed round-the-world yacht race in 1969, and “Disappearing Act” in memory of Dutch-born film maker and performance artist, Bas Jan Ader, who was lost at sea in what would be his final performance, an intended solo voyage across the Atlantic. These poems speak to the romance of the sea that has always held a particular allure, in art and literature, for a landbound soul like myself.

A Kinder Sea has rightly been referred to as a masterpiece. It is certainly a testament to Plunkett’s ability to evoke recurring themes in a constellation of image and form that remains fresh, never predictable. And, like the ocean itself, there is an unmeasurable depth to this collection, one that invites slow, thoughtful engagement.

A Kinder Sea by Felicity Plunkett is published by University of Queensland Press.

Distant and immediate intimacy in Felicity Plunkett’s Vanishing Point: A personal response

I want to say that the strength of Felicity Plunkett’s award winning debut collection, Vanishing Point, lies in the singular beauty of the images evoked. That sounds, perhaps, too, trite. I am, as I always confess when I set out to write about poetry, not a poet. And yet, that is what held my attention throughout the reading, even in the most unlikely moments. Many of the poems in Vanishing Point traverse the an unexpected terrain, drawing on the annals of history, science, medicine, and film production while others touch delicately on the familiar moments of life. However, all move with an intimacy that unsettles and reassures in one breath.

The collection opens with “Journey of the Dead Man”, a dreamlike vision that juxtaposes the words of the Hindu god Shiva invoked by Robert Oppenheimer in his remembrance of the first nuclear testing in the desert of New Mexico, with the Jewish notion of sitting shiva after death to offer a powerful poetic commentary on destruction and mourning—one that rises, in its closing passage, to a shattering conclusion:

Stand in the desert, your hands
open, the shards flaking away,
and call the name of Shiva.
Omega: let there be an end to it.
Death be not proud now I am become you.
Cover me with your furious limbs
and shatter me when our eyes engage.
Remember you are dust,
and unto dust shall you return.

This is a very assured collection; Plunkett’s verse weds a poised formality with a lyric passion and perceptivity that may well appeal to readers who are resistant to poetry. Her poems are accessible, but offer a curious mix of tenderness and tenacity. Recurring themes, grounded in embodied emotion and experience, provide a certain, if not always comforting,  continuity, while flakes, in many different forms and contexts—flakes of skin, flakes of snow, flakes of paint, the flaking away of a dream—form a unifying motif, one that speaks to the transient quality of desire, memory, life. Such transience, is often conveyed in familiar terms, such as in “Restraint,” which begins:

Soft now on their wooden clavicles
each of your frocks once knew its place.

The speaker goes on to call to mind memories of a mother’s loving dedication to the tasks of rural domestic life before returning to the dresses:

Now I run my hands through
mended cotton, starched linen
stiff skirts, blouses still holding a remembered body
and my touch awakens mothball mint and lavender—
those ghostly scents.

The reminiscence then moves on to the more ambivalent questions of life, with all its joys and disappointments, carried unspoken in the living, and now left to linger in the air.

Vanishing Point is very much a book of passages, of uncertain pasts and uneasy futures. Within this tapestry, birth and death, are closely wound threads explored most vividly in the closing section of the book—from the overview of the medical and philosophical understanding of female reproductive capacity, traced in the delightful “A Knitted History of the Uterus” to the fragmented processes of pregnancy, delivery, and the vulnerability of the body. The imagery, again, is often striking, as in “The Negative Cutter”, a multi-part piece which incorporates quotes from a text on film editing to expose the accepted performance of diagnosis, treatment, and grief:

DISCONTINUITY EDITING
Any alternative system of joining shots together using techniques unacceptable within continuity editing principles. Possibilities would include mismatching of temporal and spatial relations, violations of the axis of action, and concentration on graphic relationships.

Clowns rehearse outside the next caravan.
You crush words hard against your teeth.
They fly out of your mouth like shots
or you spit them, blooded and cutting,
fretted and strung with beads of shiny feeling.
You are drowning inside yourself, alone.
Anger jerks out of you, or unstopped crying that falls fluent
the way it does in dreams: salty, benedictory.
The skirt of your feelings, stuck in the car door,
flaps at passersby without your knowing.

This collection has a strong feminine awareness, but paired with a curiosity  and a measure of physical disengagement. The female bodied experience extends beyond the specific to the universal—inviting a distant and immediate intimacy. Or at least that is how I responded. Vanishing Point was published in 2009 and, a few years earlier, some of the material might have triggered a particular discomfort for me. But I come to it now as a transgender male reader and writer finally beginning to reclaim aspects of his female past  after nearly two decades of estrangement from a perceived reality incompatible with the coherent history of a man, including the birth of two children. Whether it is the benefit of sufficient remove or the growing need to be able to embrace a whole life lived, I don’t know, but it is fortuitous that I picked up this wise and wonderful book at this time.

Vanishing Point by Felicity Plunkett is published by University of Queensland Press.

Being sneaky and queer within: Brink by Jill Jones

This past fall I had several precious opportunities to speak with the exceptional Caribbean-Canadian poet, NourbeSe Philip. On the first occasion, we were riding in the rear seat of a vehicle en route to the venue where she would be performing from her innovative masterwork Zong! I told her that I was taking some time to focus on writing, admitting that I was troubled that, at fifty-seven, I only just beginning to try to find self-expression and was having trouble sifting through a mess of accumulated personal experience. She smiled and said, “Oh you’re still young.” She went on to say that, as far as she was concerned, novels might be the sort of heavy-lifting suited to younger writers, but that poetry required a significant measure of life-lived perspective, adding that Thomas Hardy, after whom she named her son, didn’t write any poetry until he was finished with fiction.

I don’t write poetry, but I think that, at best, I aim to write somewhere in the intersection between poetry and prose. The more I focus on writing, and the older I get, the more I find myself turning to poetry with a new hunger and intention. I am drawn to both the experimental and the expressive elements afforded by the form. And although I’ve enjoyed and deeply admired so many of the works—primarily shorter contained collections— that I have encountered over the past year or so, something different happened with Brink, by Adelaide-based poet, Jill Jones.

Now I don’t want to speculate on age, with only an author’s photo to go by, but I did sense a degree of generational comfort in my engagement with her poetry. And by that I simply mean that I sensed I was in the presence of a poet who has come to understand, as I have, that questions are easier asked than answered, and that observations are often best left open-ended. This is where the ability to continue to marvel at life’s small wonders crosses weary wisdom and the understanding that words are at once necessary and inadequate. The poems in this collection, which range from the lyrical to the linguistic and experimentally playful, examine the emotions, images, and concerns that reflect an awareness of place and of the passage of time on an increasingly small planet.

In an interview with Tony Messenger, Jones admits that this book which had, at the time of their conversation, just been released, “covers a lot of ecopoetic territory, as the title Brink would suggest.” Natural elements—earthy textures, weeds, leaves, sky, clouds, birds, waters—are all recurring images. The fragile state of the world’s climate is a longstanding concern for her. But this collection is varied in practice and purport, “a big mix of detail and dislocation, images and word play, a lot of play, actually.” Indeed, these are poems that demand to be read, not just for the alliteration, and the slippery shifting of vowels, but for crunchy crispness of the language and the unlikely juxtapositions.

Shape-not-shape and
other shape
move with

wind, mind
argument between
ground, grass, leaf, cloud

barely words
for ephemeral world
beneath breath bones

                   — from “Arkaroola”

What a poet imagines into her own poetic explorations and what a reader meets there is complex and dynamic. In my personal encounter with this collection, I was drawn into the poems that spoke to me of the weight (or weightlessness) of words, and the longing for a language to express or make sense of, a pervasive restless disconnect. This is a sensation that is fundamental and primal, but coloured with the mixed blessings and illusions of modern interconnectedness:

I’m helpless against sky, shadow, gutter
clouds without formality, empty grey branches.
How to explain light on glass
and how not to do that
in this return after work’s decorum
another animal listening into the air.

Each evening practices its street repertoire.
Night blurs lines against my gate.
Tonight the moon is nearly naked.
Forgive me if I seem scrawled
with prefab thought rather than thinking.
I’ve brought no conclusions with me.

                            —from “Scrawl”

Sometimes writing is as much about being unable to write than it is about being able to tell stories, articulate experience or find self-expression. As words try to reach closer to the self, the more contrived or meaningless they tend to become. In my efforts, as an essay/memoirist (a preferred construct) I am fascinated and frustrated by the difficulty of finding a way to talk about a real and persistent experience for which I had no vocabulary until I was in my late thirties. In the meantime, an entire queer discourse has arisen over the past twenty years to parse the intricacies of gender non-conformity, to simultaneously celebrate and police self-definition, and yet it says little about my own queered experience. The words I am searching for remain elusive. My favourite piece in this entire collection, the one that I keep returning to repeatedly and that has earned this book a spot on the shelf inside my bedside table, speaks so clearly to my existential voicelessness. It is called, most fittingly, “Self and Nothingness” and I’m reproducing it here in full:

I’m running all over the world. I’m running
within sight of what might happen.
I’m running with a crazy kind of make-do.

The new plants waver in the cold evening.
It’s cooler than when I left these things, these ideas
in rooms. Is there a knack to it?

If I could shift my head without the world
shifting: It can’t be that hard to look up
into the trees. I know they’re there.

I’ve argued over silence.
I’ve collected nonsense.
I crave nothingness.
I know it doesn’t exist.
That it does.
I am a source of virtual violence.

What senses are, I’m not sure, or how many.
I smell strange but that could be
the way the air is.

The craft is the devil, disquiet a relief
jokes become bullet points, and my life
an account explained in columns.

Perhaps the essence has dissolved, become paler.
Whether to drink it, whether to pour it
whether to watch something else drink it.

Perhaps it’s all a set-up. It doesn’t matter
what it is. Everything in my mouth
cracks like a sweet.

I am a project as I scour the streets, for
what it’s worth, and I’m looking for ways
to write back the damage.

                    — Jill Jones, “Self and Nothingness”, from Brink

Looking for ways to write back the damage. Looking for ways to be. Mid-way through this collection I encountered a poem that, in the moment, spoke to me of conversation about a mutual sense of groundlessness that a faraway friend and I had shared.  I immediately had to photograph the page and send it to him. That is poetry that speaks.

In the end, Brink is, for me, a strange brew. It is blend of perceptive, sensual imagery; a confident exercise in word-crafting; an ode to a stressed climate; and, above all, wise counsel to: “Take better joy.”

Brink by Jill Jones is published by Five Islands Press.

No country for young men: Border Districts by Gerald Murnane

The reflective, circular “report” that occupies the narrator of Gerald Murnane’s latest, and if he can be believed, last, novel is presented as an account “of actual events and no sort of work of fiction.” This clarification, coming in the midst of an extended extrapolation of possible impossibilities, anticipates the skeptic:

As I understand the matter, a writer of fiction reports events that he or she considers imaginary. The reader of fiction considers, or pretends to consider, the events actual. This piece of writing is a report of actual events only, even though many of the reported events may seem to an undiscerning reader fictional.

Of course, in Murnane’s mental terrain the line between fiction and events actually experienced is a slippery one, but Border Districts reads like a meditation on a lifetime of traversing imaginary landscapes as a reader and writer famously adverse to physically travelling beyond the confines of his home state of Victoria, refracted through a playfully multi-toned meta-fictional prism. This is a novel about perception and memory, and the degree to which we can ever hope to grasp the contents of our own minds. More critically it’s about the way our experiences and our experiences of our experiences are inflated or telescoped with the passage of time.

The narrator of Border Districts has relocated from a capitol city to a small town near the state border, echoing a similar move made by Murnane a number of years ago. He has not entirely shunned the city, he makes several return trips to visit friends and family, but his stated goal in moving to this remote place is to spend his last years focusing on the images, emotions and words that have stayed with him over time, “guarding” his eyes, as he puts it, so that “I might be more alert to what appears at the edges of my range of vision.” Anticipating the essential, fragmentary quality of this mental inventory he embarks on a meticulous effort, paragraph by paragraph, to trace the connections from one recollection or set of recollections to another.

The result is a digressive internalized odyssey. Perspective shifts from first to third person for a time as the book-hungry boy approaches the remembering man. Uncertain boundaries exist between recalled events and the fiction writer (and reader)’s inclination to wander off on paths not taken, to imagine what might have been, sketch out potential storylines, flesh out characters that could have existed, and step out from the shadows of possible unlived trajectories to anticipate a meeting of minds on the open plains of a mental landscape. Idiosyncratic sideways cognitive processing is acknowledged, examined, and entertained. But the challenge with exploring the way our minds work is that we can never clear the workspace, step back from the stage. We are always in our own way.

There are a number of key motifs or pivot points to which the narrator returns as he attempts to maintain order and control of his own report. Lines of thought that keep circling back and merging. Readers familiar with Murnane will recognize the elements of the rural Australian landscape, the fondness for horse-racing, and a certain literary cynicism. Houses with return verandas hold a peculiar affection. But the key image that recurs is one of coloured glass—from the windows of the unassuming church in his adopted hometown, to observations about stained glass, to a treasured marble collection—and the difficulty of accurately perceiving the shade and details therein. Just like our memories, in our mental images, appearances are mutable. Light is the key because:

. . . a coloured pane better reveals itself to a viewer on its darker side, so to call it; that the colours and designs in glass windows are truly apparent only to an observer shut off from what most of us would consider true light—the light best able to do away with mystery and uncertainty. The paradox, if such it is, can be otherwise expressed: anyone observing the true appearance of a coloured window is unable, for the time being, to observe through the window any more than a falsification of the so-called everyday world.

Yet knowing this limitation does not diminish the narrator’s natural inclination to want to penetrate the opaque surface of the window, to truly see the nature of the glass itself. He even attempts to capture, on film, the coloured windows of a friend’s house. When he retrieves the processed images and brings them home, he realizes that the image-panes are less colourful than they were when he photographed them. Was this a function of his modest photographic skills or further evidence of the unreliability of memory? Perhaps. But the explanation he chooses to endorse, is that the qualities he perceives as lacking are not inherent to the glass, but rather unique to himself:

. . . what I missed when I looked at the photographic prints was the meaning that I had previously read into the glass. And if I could give credence to such an eccentric theory, then I might go further and assert that I saw in the glass part of the private spectrum that my eyes diffused from my own light as it travelled outwards: a refraction of my own essence, perhaps.

As he makes his way through a range of remembered images, experiences, and feelings, obscured with the patina of time, he is interested in what details he does recall. What he has forgotten, if it does not resurface on its own by association, is of no regard. He is keenly aware of his age and fascinated by the memories that have persisted, with a measure of intensity, for thirty, forty, sixty years. The narrator’s associations and meanderings are unique to him, but they reflect our own idiosyncratic mind loops—those layered networks of connections constructed through exposure to art, literature, landscape, life experience—which increase in depth but become more firmly attached to our specific pivot points or mental signposts, as we get older.

I have come to this book midway through my sixth decade (as frightening as that sounds), younger than Murnane and his alter-ego, but close enough. I come to it as a writer interested in capturing his perceived experience, rather than biographical detail, and inclined to believe that we only have the ability to know what we think we know, a through-the-coloured-glass perspective at best. Border Districts is an older writer’s reverie. It dips back to childhood and adolescence, marriage and parenthood, and spins off into realm of possible lives unlived. There is something to greet a reader at any point in life, but I wonder what my twenty-eight-year-old self might have found. What I do know is that this novel entertains the kind of questions about memory—about the feelings, colours, and images that linger ever “on the edges of my range of vision”—that occupy me more and more with each passing year.

 Border Districts by Gerald Murnane is published by Giramondo Publishing in Australia. It is now available in North America through Farrar, Straus and Giroux.

The beauty of bloody fists and broken bones: The Agonist by Shastra Deo

Once again, my attention turns to a work of contemporary Australian poetry, and this time it’s a remarkably gritty, often grisly, exploration beyond the raw edges of physical and emotional endurance. Embodiment. Disembodiment. Lyrical evisceration.

Evoking characters and imagery drawn from diverse, seemingly unlikely sources—anatomy textbooks, World War I poetry, a scout manual, boxing, entomology, ichthyology, divination, tarot cards—Shastra Deo’s debut collection, The Agonist, is an impressive, unforgettable experience. Like a sucker punch to the gut.

But in the best way possible.

Agonist: (n) one that is engaged in a struggle

The narrators that move through these poems—the voices Deo borrows or inhabits—cover terrain familiar to poetry. They speak to pain, love, loss, damage, healing. But they engage with the world at a visceral, cellular level. Their words work their way into and through the hollows of memory, exploring what slips though the passages of the brain, examining what the muscles retain and imagining the intersection between reading the past and foretelling the future.

So what does that entail? The Agonist is divided into three sections, each of which opens with an illustration from Gray’s Anatomy. Many of the poems in the first section deal with relationships, familial or romantic, employing surreal thaumaturgic, and anatomical imagery.

“Arrhythmia,” for example, details the painful, desperate emotions of the partner not ready to accept that a love affair is coming to an end:

             You count the notches of his spine.
His eyelashes flutter and he sighs, his breath
so warm that for a moment you can
pretend you aren’t cold. You want
to crack him open and hold
his heart in your hands, sink your fingers
into the thin membrane of his lungs.
You want to pull back his skin
and curl up inside his ribcage.
You want to know what he is inside.
Find the symptom, the sickness,
the anomaly that let him love you.
You want to be warm again.

Deo is adept at creating a surprising, brutal beauty in her romantic imagery. We see it again with “Cutman,” a graphic, meaty piece that opens the second section of the collection. Here the connection between a boxer and the attendant who cleans and cares for his wounds between rounds is reimagined in intensely intimate context:

He comes home each night with his hands soaked red,
and when he smiles it’s sharp and jagged and his teeth
quake in his wet mouth. You card your cold fingers
through his hair and lead him to bed, wait
for the weight of his arms around your neck, warm
and drowsy, the familiar shape of his bones and tendons
cradling the base of your skull…

In this part, Deo calls on themes drawn from war and boxing to engage in dialogue with other poets and experiment with poetic form. Included are three centos formed from the Index of Titles and First Lines in The Penguin Book of First World War Poetry. Moving into the final section, inspiration is found in, among other things, a Boy Scout manual from 1914 and a deck of Tarot cards. Consider “XIII—Death”:

. . . I live in the present tense,
tensed and present at the wheel
of a car wreck. My name is re-
membered. I apologise too often
for my lack of biography. He
does not yet know what divinity
he belongs to, but he knows I was
not born for this. He takes the
sheets off the mirrors. He escapes
our mythology.

In my experience of this work, which is of course, all I can honestly speak to, The Agonist is a collection in which the sound of the words and the impact of images are central, the point from which a narrative emerges and takes form. These are not autobiographical poems, for the most part. Nor do they read like “stories” so much as they remind me of paintings or photographs out of which vignettes have been abstracted with vivid, scalpel-sculpted, incantatory language.

Reading this book has left me with the sense of having spent time in a gallery. Attending a deliriously disturbing exhibit.

Shastra Deo was born in Fiji and raised in Melbourne. She presently lives in Brisbane where she is pursuing a PhD in Creative Writing. The Agonist is published by University of Queensland Press and, as ever, the indefatigable Tony Messenger has a review and interview with Shastra on his website.

A delicate madness: The Last Days of Jeanne d’Arc by Ali Alizadeh

Jeanne d’Arc has been the subject of countless historical, literary and dramatic accounts, and it is likely that, at least in the western world, everyone has some image they associate most readily with the famed young woman who donned men’s clothing and led the army of France to a series of decisive victories against the English during the Middle Ages. The rough outline of her story is so ubiquitous in our culture that it is likely difficult to recall one’s first encounter. But I certainly remember my most intense moment of identification with the Maid. It was late May, just over twenty years ago. I was, at the time, at the height of an episode of psychotic mania that would lead to a bipolar diagnosis and, ultimately, to an understanding of the deep gender discomfort I had felt for as long as I could remember. At the time however, I was a mess. Female-born and married with two children, my ex and I had endured a few years of destructive soul searching on my part. My madness, complete with visions, was just one more thing we tried to survive in the desperate hope that it would all pass. In my experience I’d seen drag queens and butch lesbians but no one I identified with. Until May 30, when I suddenly realized—and to this day I don’t remember how or why I knew it—that it was the feast day of Joan of Arc. In this convergence I saw a message. I saw myself. In the state I was in, the timing was fortuitous and seemingly miraculous. In the end, the ultimate moment of self-understanding was still a number of months ahead, but I will ever think of Jeanne’s appearance on my journey toward belated manhood with a mixture of embarrassment and wonder.

When I first heard of the premise around which The Last Days of Jeanne d’Arc , the recent novel from Australian author, Ali Alizadeh is constructed, I was skeptical. It triggered my frustration that, looking back in history, cross-dressing women are typically conflated with lesbians or “straight” transmale identities, in these days of heightened trans awareness. However, it’s not always accurate, historically or today. But that is another matter. My initial negative reaction quickly turned to curiosity the more I heard about the unusual, innovative approach taken in this account of a life that has been celebrated, and excoriated, in so many well-known renditions over the past six centuries.

For Alizadeh, who was born in Iran and emigrated to Australia in his teens, the fascination with Jeanne d’Arc is long standing. It goes back to his childhood years.  His enigmatic heroine was the subject of an epic poem he wrote for his PhD and it is this background—a comprehensive understanding of the historical material combined with the spare elegiac prose of a poet—that allows him to create a curious, sensitive, and deeply human portrait of a complex historical figure.

The Last Days of Jeanne d’Arc, as the title implies, is structured around the final days of Jeanne’s life. After months of brutal interrogation, she has renounced her Voices and her actions by signing a letter of abjuration. She has saved herself from a charge of heresy, torture and execution, but now she is imprisoned in a cold, damp cell beneath the Treasury Tower of Rouen Castle. Forced to remove her male attire and put on a white gown, she feels vulnerable and alone. However, it seems that there is something more weighing on her, a sense that her passion runs deeper than a divinely inspired drive to serve her King and country—something much too fragile and painful to remember.

As Jeanne’s story is fleshed out, the narrative will return repeatedly to this dim prison, and each time we will know her a little better. But, Alizadeh, a skillful storyteller, takes his time, inviting the reader to remain open to possibility. Effectively employing an inventive style that weaves together a chorus of voices and shifting perspectives, The Last Days avoids falling into the morass of detail that can drag down more conventional historical novels. Narrated primarily in the present tense, from a third person perspective, the historical context and military conflicts are presented in a spare, dated, often time-stamped, documentary style echoing nonfiction prose poetry. It is blunt and remarkably effective:

1413

In England, Henry V succeeds his father, the Lancastrian usurper of the English throne. Twenty-seven years old, a grotesquely scarred face. An extremely devout Christian, not at all the fun-loving, riotous youth of Shakespeare’s future play. Severe and frankly soulless. Muscular. Possibly a psychopath, probably a war criminal. Is never seen to smile. Must prove himself to the English nobility as their ruler, as a real, mighty man. Or else his dynasty may be toppled just like the dynasty his father toppled. Is keenly aware of the turmoils in France. Decides that the time has come to renew the claim to the throne of France…

Once Jeanne enters history and, in her first battles proves her value, the narrator gradually moves closer into her thoughts, letting the account slip back in time again, to meet our heroine as she hits adolescence. It is at this time that young Jeannette, as she is still called, has her first visionary encounters. It is also the when she begins to sense that the affection she has for her childhood girlfriend is of a somewhat different order. Before long she finds herself distanced from the other youth of her village. She is excessively pious and decidedly indifferent to the idea of dancing with boys, marrying and having babies—something her peers are well on their way toward achieving by their early teens. There is a soul wrenching loneliness in being set apart like this, by desire and, if her beloved Saint Catherine of Alexandria is to be believed, by divine destiny.

As the narrative turns to follow Jeanne’s life more directly, her Voices are allowed to speak, set apart in italics and indentation, appearing to float in the text. Jeanne’s own voice also enters, slipping in periodically either to comment on or clarify the account, or to address another, a “you” who remains, for a time, unnamed as in this passage, just prior to her first encounter with her Voices, where perspective and tense shifts several times:

She has never been caught in such a terrible storm and there is so much pain in her skinny body. I struggled to stand back up. The whole world flared up in the lashes of blinding lightning. The rain immersed my being. She is kneeling, paralysed by the mud. My tears merged with the rainfall. (Did I tell you, my love, how exactly it happened?) The thunder strikes harder and the rain is now a flood and it is in this cascade—why do historians insist it was a sunny day?—amid the fruits and plants being washed away by the storm that Jeanette clenches her fists. It is then that she howls back at the unforgiving sky. She rips off her scarf.

O God O angels O Saint Catherine.

Are you there?

Are you there?

 Allowing room for Jeanne’s voice to reflect back on her experience deepens the intimacy of the present tense narrative. This polyphonic quality will become more pronounced as other emphatic voices interrupt with curses and threats as the story progresses toward its inevitable and unfortunate end.

The portrait of Jeanne d’Arc that emerges over the course of this novel is one of a mix of vulnerability and determination. We see a young woman torn between her convictions and her doubts, conflicted by her desires, and isolated from others by gender, lack of education, and the unconventional role she plays. She is never entirely free from concern about the reality of her Voices and her own sanity, especially when her entreaties meet silence. And, while she becomes hardened to the violence and gore of the battlefield, she grows increasingly distracted by her love for another woman and all of the complex emotions that such a forbidden affection arouses. What comes across is a certain naivety. She is, after all, young (only nineteen at her death) and has, in a sense, been protected from the kind of demands of life that would have hardened and matured her peers who married early. So although she becomes an experienced soldier and commander of men, her romantic love affair has an idealized, almost adolescent intensity that betrays her youth.

Alizadeh does not offer this speculative image of Jeanne d’Arc as a lesbian woman lightly. He knows the relevant documentary material exceptionally well and is aware not only of the limitations but of the spaces where possibility resides. His narrator respects his heroine, balances the historical account with the personal, and situates his chronicle to the contemporary reader. His Jeanne is a medieval heroine for a modern imagination, his novel is an absorbing, lightly experimental, and human re-imagining of the life and death of a young woman who has never ceased to be the source of inspiration and intrigue.

As I can attest.

The Last Days of Jeanne d’Arc by Ali Alizadeh is published by Giramondo.

With a multitude of voices: Star Struck by David McCooey

There is a line from Rilke’s The Notebooks of Malte Laurids Brigge that has haunted me since I first encountered it about a month ago. Quoted at the opening of Franz Fühmann’s At the Burning Abyss it reads: “For poems are not feelings, as people think (you have feelings early enough)—they are experiences.”

A simple statement, but one that instantly made sense. Poems are experiences. Rilke goes on to insist that everything the poet observes, everyone he or she encounters becomes part of the potential material for a poem. I have read a few highly praised poetry collections recently, typically by popular younger poets, that seemed to be exploiting emotional intensity without sufficient substance. By the end of a short book I tend to feel a little bludgeoned by the sameness and relentlessness of the imagery. I find myself wondering what the same poet might be like with just a little more life to draw from. Experience.

And so to my first review of the year, which happens to be the last book I finished in 2017. It is a collection of contemporary poetry and, once again, it’s Australian. David McCooey’s Star Struck is another book that came to my attention through a review and interview on Tony Messenger’s website. What initially drew my attention was a very immediate and personal connection. I was intrigued by the fact that one of the sections was inspired by his own encounter with a life-threatening medical event. Like McCooey, I have spent time on the cardiac ward and, whether the circumstances differ or not, there is nothing quite like heart trauma to upset your fragile equilibrium. To this date, I have not been able to write about my own experience, much of which is forever lost to my memory. And so I was curious to see where he would take his own explorations. Of course, I also found much more.

Star Struck is a lyrical collection, rich with musical and literary references, that relies on a wide range of voices and characters. Two poems, both titled “This Voice,” frame the work, reflecting the ambiguity and universality of speakers to be found within:

It goes without saying
that it sounds like your voice.
But is it yours? And if
not yours, then whose?

In his interview with Tony Messenger, McCooey admits that the second person “voice” here is intended “to be alienating, and to undermine simple ideas of my poems simply expressing ‘my voice’.” This is an awareness that continues, in varying forms throughout the main body of the text. Divided into four sections, the first part, “Documents,” traces his hospital adventure, from presentation at Accident and Emergency through surgery to rehabilitation. The experience is recounted with a level restraint that is mediated by the use of the second-person perspective. Addressing himself at a distance has several advantages—it allows the poet to ensure that it is not entirely about himself, accommodates exploration of some of the oddity of the hospital environment, and, as I read it, captures the strange surreality of the patient experience itself, the temporary suspension of control required:

There had been an earlier
waking,
in the ICU,

a time you have
deeply forgotten,
when you had the worst

of it—the pain, the detubation,
the harrowing scenes
of your return to life…

– from “Intensive Care (ii)”

Literary references appear throughout this work, his cardiac patient turns to Calvino, Muriel Spark and Tomas Tranströmer, while Georges Perec-style constraints shape a simple domestic scene; but since McCooey is also a musician, it is no surprise that he delights in incorporating characters and themes drawn from popular music into the eighteen dramatic monologues that comprise the third section of Star Struck, “Pastorals.” Here he takes on the voices of artists like Joni Mitchell and James Morrison, imagines scenes involving rock stars, music fans, and even peers out of the eyes of a caged primate watching a curious tailless creature  in a poem with the Peter Gabriel-inspired title “Shock the Monkey.” There is a restrained  confidence in these resulting mini-portraits that shift effortlessly between male and female speakers, taking their cues from music, musicians, movies, along with classic poetic sources, to give voice to those moments in life marked by association with an artist or piece of pop culture.

Poems as experience.

What marks the reading of this collection for me, moving in and out of it for several weeks as I have, is the way that the simplest observations can be spun into narratives that hint at a larger story. This is not say that there are not pieces that take on grander themes—“Election,” for example takes direct aim at the detention centre on Manus Island—but it is in the ordinary that we see ourselves. However, being drawn to this book for its hospital poetics, if you will, the poems that struck closest to home for me were those that revolved around the experience of illness and recovery. The final poem (before the closing version of “This Voice”) is one of my highlights. The narrator of “La Notte: A Tale of the Uncanny” is a widowed sixty-two-year-old who is recovering from a recent illness and surgery. It is a extended meditation on aging, loneliness, and the strangeness of post-illness existence, every other stanza an aside in parentheses:

I put off the performance of dinner, deciding
instead to have a lie down. Perhaps I had, after all,
overdone things a little by going out that afternoon.

(Time takes on a different quality when one lives alone;
the hours I sometimes longed for thirty years ago
can now feel like a ghostly presence in the house.)

I went to the bedroom, which used to be my son’s,
about to lie down, when something caught my eye.
The small glass owl on the windowsill had been moved.

(I do not say ‘had moved’, since such objects can’t move
by themselves. This goes without saying, I know, but I
want to make it clear this is not a supernatural story.)

Sometimes serious, sometimes satirical, Star Struck offers much to enjoy. Unsentimental, but attentive to the nuances of character, McCooey highlights the passions, regrets, and familiar associations that bind us in this accomplished collection.

Star Struck by David McCooey is published by UWAP, the poetry series of UWA Publishing of the University of Western Australia.

Idly tossing stones: Glasshouses by Stuart Barnes

Although I’ve never been a stranger to poetry, I have read (and acquired) more this year than ever before. I have even, cautiously, attempted to write about some of the shorter collections that have resonated with me most strongly. However, whereas the more I read, the easier it is to articulate why some books—even a couple of those by the celebrated young poetic stars of the day—fail to win me over, I am often at a loss to write with confidence about the collections that draw me in, hold my attention, and continue to call me back.

If there’s a moment when the proverb that likens offering unjustified criticism to throwing stones seems especially apt, I can’t think of a better one than this: my attempt to gather my thoughts about Glasshouses by Australian poet, Stuart Barnes. And yes, I know I am twisting the intent of the original wisdom, but I am slowly learning enough about poetry to be increasingly aware of what I don’t know.

I read this book through, listening to the rhythms, enjoying the wealth of rural and natural imagery, the sensitivity to the nuances of familial and intimate relationships, and the recognizable cultural references. And then I hit the detailed Notes at the end of the book and discovered what a cento is (a patchwork of lines taken from the work of other poets), and learned that some of the poems sample or rework other texts, or incorporate very specific structures and form. Tony Messenger’s interview with Barnes further confirmed my suspicion that I was missing entire levels of structural significance and poetic discipline; an awareness that is at once exciting and intimidating.

If one stops at superficial impact is that enough? What does it mean to enjoy a poem? If a line that catches me short in a cento actually originates from another work, who owns the power? The poet who crystalized the image, or the poet who re-envisions it, a jewel among other salvaged (and fully credited) jewels? Or—and I should hope this is correct—both but in different ways?

At the same time, returning to the closing poem in the collection, “Double Acrostic,” one of my favourites, after taking a moment to refresh my memory (again) about what an acrostic poem is (words or names are spelled out through the first—and if double, last—letters of each line), I found it thrilling to re-experience the poem on two levels, appreciating the beauty and the precision of the language anew.

For the novice poetry critic like myself, Glasshouses is a luminous example of what can be done within an array of poetic forms. Barnes openly takes rhythm and inspiration from his mentors, his favourite music, and from the application of specific limits. As he admits in the interview linked above:

I adore writing in form, be it fixed or one I’ve altered or one I’ve conceived; when writing in form I feel as if I’m at my most creative; I feel liberated, not constrained.

But, of course, the true test is, do his poems work for the casual reader? I would be inclined to think that form, if it is effective, should function beneath the surface—neither obvious nor necessary for the enjoyment of the piece. After all is there only one way to understand a poem? Poetry is, ideally, not written from the top down. A poem is not an intentional exercise to illustrate the universal by forcing specific images and allusions; the poet enters the process of writing to see where it takes him or her, and the reader has to feel comfortable to do the same.

Or perhaps I am tossing stones after all.

And so, to the reading. Glasshouses is a collection that feels intensely intimate and personal, in the sense that Barnes seems to be engaging directly with his reader, sharing his love of the poets who have guided him, directly or through his careful reading, drawing inspiration from his family and from his own experience as a gay man, and openly riffing on the influence of music and pop culture. The wide range of voices that emerge, together with the variety afforded by his delight in structure and form, allows for a reading experience that never falls into tired and predictable patterns. There are misted melancholic pieces, and poems that explode in loud, energetic bursts. In short, this collection is so much fun to read that I can easily imagine myself returning to its pages again and again.

Yet, within the limitations of this brief review/reflection, it’s impossible to offer more than a glance at a poem or two. Many cannot be reproduced because they are printed in landscape format, are shaped, or employ unusual fonts for emphasis and impact. Otherwise, it is difficult to zero in on any one representative example. For me, at this point in my life, I found the translucent beauty of a series of in memoriam poems to be especially powerful—“eggshells” and “colour wheel” in particular. The latter (i.m. Mervyn Barnes) begins:

The American-
barn-red-off-centre
timber shed

trumpeting
through blood &
bone the glasshouse’s
yellow stars

the front yard’s statue-
sque rooster
screaming blue
murder till blue

in the face
Bay of Fires’
orange lichen,
zinc-creamed lips…

However, since I began with an allusion to a proverb, it seems fitting to close with a taste of “Proverbs”—a playful literary take on proverbial witticisms:

A fish always stinks from the elegy down.
Hell hath no fury like a metaphor scorned.
The senryū does not change its spots.
You can’t get blood out of a trope.

Love of the couplet’s the root of all evil.
Procrastination’s the thief of metre.
Nothing is certain but stress and narrative.
The darkest stanza’s before the dawn.

Ah, yes, but fortunately I have a copy of Glasshouses to wake up to.

Glasshouses by Stuart Barnes is published by University of Queensland Press.