A review of Thomas Fink's 'Yinglish Strophes 1-19'
While this is a review of a particular title, I deliberately chose a title from Chris Alexander and Kristin Gallagher’s (quite) newly formed Truck Books. The press, based in Queens, has been publishing since 2009 and has published six titles to date. This Spring 2011 they have made three publications available: Robert Fitterman’s Now We Are Friends; as well as titles by the editors — Gallagher’s We Are Here (an expanded continuation of the latter half of her experimental essay “Some Limits of Ratio; or, Aesthetic Has No Goal” from Crayon 5, Roberto Harrison and Andrew Levy’s sincerely useful journal); and Alexander’s Panda.
Interestingly hidden among the book reviews in that same issue of Crayon is a (sometimes cruelly dismissive) provocation, “Neoliberal Poetry,” by Alexander, Gallagher, and Matthias Regan that writes from the accusatory observation that poetry’s marketplace has assumed the structure of deregulatory, free-market capitalism in which community gathers and functions through competitive need, and the winners are those whose self-promotion brands a product that recognizes and fulfills a market niche. In opposition they propose a recognition and reinvocation of a history of poets’ and poetries’ activity outside the logics of capital market and the communal activities (and communities) resultingly invented.
With Truck Books, Gallagher and Alexander gesture to community before market by making attractively designed perfect-bound books accessible on a sliding scale of $5 to $25, and by offering free PDFs of each publication. I don’t know of another poetry press that so explicitly accounts for and attempts interaction with the varyingly broad individual financial states of its community of readers. I’m writing this review not only out of a very active interest in the work of the poets they are publishing, but also in support of the ethics of their endeavor. Whether this model of publishing will be sustained by the community it invites remains to be seen.
(Tangentially: is there a conscious relation between this press and David Wilk’s alternately labeled Truck Press or Truck Books of the 1970s that additionally served as an effective small press distributor?)
Thomas Fink’s Yinglish Strophes 1–19 collects in one volume the series which has been appearing in his published work since After Taxes (Marsh Hawk, 2004) and which is now extended beyond nineteen in Peace Conference (Marsh Hawk, 2011). Each of the nineteen strophes writes a syntactically interrupted and incomplete English that emerges filtered through the syntax of Yiddish. These lyrics are set to a repeated formal constraint, in which the first line of the poem isolated is followed by a three-line stanza, a five-line stanza, a three-line stanza, a four-line stanza, and then sometimes another stanza of varying length. In this repetition lies the strophiness, I suppose, and its consistency forms by contrast the continuously interruptive style of the series.
Rather than representing the Yiddish-syntaxed English of the Ashkenazi-American immigrant as a gap in the complex (and often neurotic comedic) transfer of trauma between an immigrant generation and their English-fluent offspring (think Philip Roth, Art Spiegelman, Woody Allen), Fink’s strophes perform the translative gap in the landing of Yinglish syntax as both an investigation of the speaker’s expression of immigrant experience and, in a productive simultaneity, the flexibility and concerns of the poet-descendant’s hearing.
Though only a few of the poems explicitly infer a younger, English-fluent addressee, an intergenerational relation is active in each poem, for as Fink’s writing of Yinglish syntax creates a distinctly heard voice from poem to poem, it also plays a multiplicity of meanings in the word apprehended by the writer/listener whose generational status as emerged cultural fluent arrests the syntax as a subject of investigation. This is to write that these poems are distinctly not persona poems, in the most productive way. For while they consistently write a person’s voice, they write that person through the poet’s attention to the problems of signification in language. The titles of these poems (“Yinglish Strophes¹,” “Yinglish Strophes²,” etc …), by maintaining the plural of the series title (“Strophes”) in each instance, performatively point to this collision of multiplicity and singularity in the poems.
(Note: sometimes the inversions and absences of the Yinglish syntax explicitly express ambiguities in the space between people, i.e. “Sometimes friends / grow out you or / you grow out them.” While expressing the assertion of singular identity (an outgrowing and separating from your friends), the syntax also speaks a sense that friendship and identity are inseparable multiplicities in which people are growing from the bodies of others.)
Remarkable to these poems is how the poet’s attention to the multiple significations in the inverted English syntax of the speaker — an attention marked by interruptive line breaks and punctuation, mis-punned hearings and spellings — can also reflect itself back onto the person-voice in the language, not as mockery, but as a compassionate (a compassion not rooted in nostalgia) imagining of what this language signifies about particular immigrant experiences. What is investigated is an experience of identity in repeatedly speaking an English through Yiddish
“… No more 66 years.
Still greenhorn on the mouth
that expresses a non-distinction in perceiving abstract concept and physical object:
“ … The small
of the sentence, cavity
spoiling the mouth off.”
that inverts subject and object:
“Everyone keeps when they go
to war things.”
walks a tonal ambiguity between statement and rhetorical question or exclamation:
“ … She
wouldn’t let you anybody
should help her”
“(A baby can explain
both assigns the gendered pronouns of Yiddish to objects and confuses the pronouns of English, can quickly cross the line into incomprehensibility, and must forcibly repeat the gap between the intention of saying and the said.
These investigations are often conducted through individual poems that begin with a subject integral to immigrant experience. “Yinglish Strophes²,” for example, writes the expression of adopted American nationalism in relation to Cold War politics:
Yinglish Strophes ²
Everyone keeps when they go
to war things. You remember
Miss Liberty? Russia’s a liar;
I don’t believe him. How
far are they? They’re in
Cuba. They’re slaves. And they
want to expand over the whole
world they want. Not human
people there to give human
rights anyone. I like capitalism.
As far as I remember
is a lot progress. My
dentures isn’t Republic or Democratic.
Listen, it’s just as bad
all around and no president’ll
do any better. To find
meaningful jobs the unemployed. High
cost of living what can
we do about. A great
country like this shouldn’t
have their own oil, their own
everything? I have sweet potatoes
don’t give me. Soon, soon,
soon, soon you’ll get your
The speaker here expresses her/his relation to the US and Russia as gendered and pronouned: “You remember / Miss Liberty? Russia’s a liar; / I don’t believe him” (in which I’m strangely hearing Dylan’s reply to the “Judas” screamer!); and then voices ethical concerns of communist expansion: “Not human / people there to give human // rights anyone.” The situation of the stanza break in these lines critically reflects back on the expressed refusal to view the communist subject as human, by constructing the self-justifying nature of such as refusal in the statement “to give human, rights anyone.”
(Note: by instigating the addition of absent words and punctuation to fill out the sentence, Fink uses the Yinglish syntax as an expansion of the possibilities of reading by filling absences into multiple significations.)
The speaker then voices a permissive relation to the foreign policy of her/his adopted nation (“A great / country like this shouldn’t have / their own oil, their own / everything?”) that reanimates the origins of American manifest destiny with the debt of experiencing the nation as a refuge from persecution. This sense is affirmed and identified with its relation to capital gain and comfort of material possession by pun in the last lines of the poem when the speaker interrupts to address the listener: “Soon, soon, / soon, soon you’ll get your / steak.”
Not all of the poems in this volume are so explicitly referential. The first six or so poems in the volume tend towards the declaration (with a not too filtering fidelity) of a discrete subject, while these subjects (nationalism, capitalism, religious and generational differences, narratives of an othered past) then seem to happen less as organizing principles in later poems, but rather reoccur within the poems’ somewhat entropic trajectory.
Considering that quite a few lines have been drawn in the last few decades’ sand between poem as language subordinate to a speaker’s voice, and poem as investigation of the way meaning is produced in language, it is significant to read work that is clearly concerned with what performing both might mean. In Fink’s Yinglish Stropes 1–19, this involves creating a second-language speaker as an investigation of underlying structures in signification, but not only, it also uses the significance of those structures to better perceive the speaker’s world in relation to the act of it being written.
A review of Timothy Donnelly's 'The Cloud Corporation'
Timothy Donnelly’s second full-length book of poetry, The Cloud Corporation, is chock-full of feverish strings of iambs and strictly measured stanzas that deftly lilt their way into the subconscious. Donnelly’s virtuosic aptitude for employing traditional poetic form to deliver delightfully idiosyncratic content will come as no surprise to any reader already familiar with the poet’s previous collection, Twenty-seven Props for a Production of Eine Lebenszeit. As Richard Howard observes in the foreword to that volume, “every poem coils about its syntax like a sleek python of reticulated verbality” (ix). What moves The Cloud Corporation into distinctively new, and welcome territory, is Donnelley’s inspired decision to indenture this formal prowess into the structural backdrop for his text.
The poems in The Cloud Corporation are fundamentally aware of themselves as objects of production. Donnelly frames each poetic art-object as an aesthetic commodity with the reflective capacity to wonder “why clouds we manufacture / provoke in an audience more positive, lasting / response than do comparable clouds occurring in nature” (31). This approach frees Donnelly to embrace the role of aesthete even as he dissects poetry’s inevitable complicity in the construct of capitalism.
The Cloud Corporation is populated by a mélange of first-person personas with an array of spatial and temporal origins. There are historical, contemporary, and imagined characters occupying landscapes that range from ancient Mesopotamia to the 9/11 Commission Report. These voices are intensely communal, mapping themselves over a “we” that sifts through both time and space. Collectively, these protagonists, whatever their origin, strive to imagine “what it might be like to live / detached from the circuitry that suffers me to crave” (146). They systematically chip away at the finely crafted veneers of the poems they occupy, all the while rebuking themselves, and us, for our inability to see past them.
A cloud of hypocritical guilt looms over the proceedings, which constantly calls into question the efficacy of any resistance these voices prepare to implement. If a poem’s position as an art-object provides a soapbox from which to launch a program of resistance, it is also a potential prison, where aesthetic value is prized absolutely. “I don’t want to have to / locate divinity in a loaf of bread, in a sparkler, / or in the rainlike sound the wind makes through // mulberry trees,” writes Donnelly in the book’s fourth poem, The New Hymns, “not tonight” (10).
Just as he plays the restraints of form and meter against the emerging voices of these poems, Donnelly allows the notion of singular transcendent genius to collapse under its own weight. “Listen to them carry on / about gentleness,” he continues later in the same poem, “when it’s inconceivable / that any kind or amount of it will ever be able to // balance the scales” (10). Rather than pulling away from introspection and self-discovery, Donnelly writes straight into these modes, embracing them with a cacophony of self-reflective “I’s” all reflecting at once. The result of this rhetorical end run is a sort of communal transcendence that refuses to accept compartmentalization.
To call these poems political, at least in a conventional sense, would be a distinct misrepresentation. These poems make no attempt to call readers to any particular action, aside from a general resistance to the status quo. And yet, neither are they apolitical. The poem Dream of Arabian Hillbillies — an amalgamation of language appropriated from Osama Bin Laden and the theme song to The Beverly Hillbillies — searingly underscores the absurd repugnance of our contemporary political power structure even as it outlines, with businesslike pragmatism, the humble species of resistance we can hope to expect:
May your life
not be a lifelong movie of your life
but a steadfast becoming other than that
which you are: a slave to the power
fiddling among hills of fed clouds and shaken
into wonderment like a shot horse barely
gathering will to lay down with it, y’hear? (82)
These are not propagandistic poems of revolution, but neither are they a battle cry for the disillusioned. Rather than simply identify the ills of society, Donnelly deliberately exposes the systems, both internal and external, that prevent us from righting them. These poems are fundamentally disinterested in oversimplification; they strive to expand their net of introspection “to know the world’s big backslap // unhampered by the stream of this or any downpour” (92).
Donnelly presents us with a veritable Marxist tract for the twenty-first century, fueled by a nagging uncertainty about revolution’s inevitability. He redeploys complex Marxian notions such as commodity fetishism (“I hear the naked hands of strangers make // my dumplings but experience insists what makes them / mine is money”) with such simple poetic panache they resonate with unexpected clarity (70). The Cloud Corporation, in all its temporal and self-reflective tumult, unearths the taproot of contemporary political malaise — our internalization of the new manifest destiny, an unwavering belief in the inevitable expansion of capitalism.
A review of Stephen Coliss's 'On the Material'
For some years now, Stephen Collis has been working on a grand plan, a mission even — a plan toward which the volume under review, On the Material, apparently plays little part. Collis’s last two volumes of poetry, The Commons (2008) and Anarchive (2005) were contributions to what he has called The Barricades Project, an amorphous work-in-progress originally envisioned as including maybe three or four books of poetry and a novel, but now increasingly expansive and (the same thing?) ambitious. (For more details of the genesis and ongoing metamorphosis of The Barricades Project, see The Poetic Front, the online poetics journal Collis edits. He currently sees the pre-existing volumes as part of an initial section, “Platform,” while a second section, “The Architecture,” waits in the wings.) The focus of these first two volumes, and what they tell us of the scope of Collis’s project, is instructive.
Anarchive takes as its explicit subject matter the Spanish Civil War, but draws a lot of tangential material into its gravitational field: the anarchist thoughts (and deeds) of Kropotkin and Bakunin; Durutti and Ferrer; the Picasso of Guernica; Buňuel; Robert Motherwell; Lorca; Lorca as interpreted by Jack Spicer; the apocryphal Ramon Fernandez of Stevens’s “The Idea of Order at Key West” (rather than, or maybe in sync with, the real life critic); and, last but not least, Joe Strummer and the Clash (via “Spanish Bombs”). Despite the punning title and the self-depreciating self-depiction of himself “pulling down texts,” what is most striking about the volume is Collis’s continual passion and engagement: this is not backward-looking historicism for him, not an academic exercise; these are not dead battles:
I produce what is past
again and again
our souls slumped against
the desk whispering
throw it down
throw it down
at the heart of the future
this hope this elegy
that the violence of forgetting
will be remembered
and a correspondence
over Spain will be
the always of revolutions
(There’s even room for a good bad joke: “and you called it paltry / when I spoke only of chicken”).
This powerful sense of empathetic engagement is carried over to The Commons, where the focus is now on the romanticism of Wordsworth, Clare and (via a quick transatlantic leap) Frost and Thoreau, the disputed reality of enclosure and landownership underlying their supposedly neutral “landscapes,” and the ideal of “wandering” as political act. Collis fervently disagrees with Frost’s neighbor that “good fences make good neighbors;” “The Frostworks,” the first sequence in the book, is a commentary on/palinode against Frost’s “Mending Wall,” and sets the agenda by preferring commonality over separation:
something there is
yours or mine
the light of
eerie dawn or
dusk I coat
the fresh rockery
stone fish fibre
crack block breath
bends leans turns
this onto that
Into you too
Collis sets revolting peasants, Levellers and Diggers against enclosure, John Clare’s solitary journeying against confinement, a variety of period tourist guides to the Lake District against Wordsworth’s monolithic vision, all the time stressing freedom and variety over restriction and dearth: “O fence us not to fringe our senses” vs. “enclosure came / to dampen rambles.”
The aim of both books is seemingly to render a lost historical moment tangible again, for the grain of unused potentiality buried in the strata. Borrowing an epigraph from Frederic Jameson — “History progresses by failure rather than success” — Collis casts this belated quarrying piercingly:
What is history but the record
of the places where we were broken?
The triumph of these books, however, is that they refuse to see this situation as merely hopeless:
is a collapse
all is pine
or apple trees
only he says
how are we
In contrast with such ambitions, On the Material is “just” a book of poems. It is, in fact, the most disparate full-length volume Collis has produced thus far (even his debut, Mine, was unified in the attention it paid to the mining history of Vancouver Island). Given that The Barricades Project is, in prospect at least (and contra Pound), a poem containing everything, what does it mean to designate On the Material as outside the work? Is it even possible for there to be an outside? One of the most obvious differences, although it yields to complications on closer inspection, is that, coming from a poet more usually concerned with the epic (or, at least, the semi-epic, or post-epic), On the Material offers a relatively joyful (though occasionally sorrowful) romp in the fields of the lyric.
The first section, “4 X 4,” is the most contained and immediately engaging and attractive. Made up of forty-four sixteen-line poems, each organized into four-line stanzas (4 x 4), topped and tailed by a “double” intro and outro of eight four-line stanzas, making for a grand total of (48 x 4) 192 stanzas and 768 lines, it is shapely and orderly despite its locally disjunctive syntax. Such order both does and does not fit the subject matter. The sequence recounts a period “between February and May 2008, while travelling (or in anticipation or the immediate aftermath of travelling) in Vancouver, Victoria, Calgary, Toronto, Buffalo, Portland, Anaheim, and San Diego,” the planning beforehand and the retrospection afterward. Place tends to bleed into place, and the titular vehicle becomes the defining constant. It all makes for thrilling contrast: as with all true satire, it flirts to some extent with the thing it professes to hate, and Collis does a good job invoking the sublime joy of the automotive:
Looking out the window I will
SUV all over this tarmac world
Fogs lights on suburban gladiator grill
Crunch of rock under tire
Whenever such elevated perspectives induce dreams of hubristic, panoptic power, the poem rights itself with playful bathos:
Here is a claw I
Took from a crab and now
Pretend to pinch at people with
Indeed, “4x4” and this volume as a whole allow Collis to stray away from the history of the Barricades volumes into genres (lyric, elegy, satire) and contexts (contemporary landscapes both tangible and geopolitical) previously alien to, or on the margins of, his poetry. In fact, it is somewhat shocking to encounter Collis so resolutely in the “now”:
We were in the last days of the
Poem sun glinting off countless new and identical
Condo towers hard and the warmth of
Gourmet coffee car idling at the curb
References to “Dubai indoor skiing,” “Hotel Europa,” “Ikea,” “Rumsfeld insisting insurgents / No longer be called ‘insurgents,’” “my Google brethren” and “the vast salt deserts of the Americas” abound, showing Collis’s mind out beyond his immediate physical peripheries, roaming the biosphere.
“4x4” ends stalled — as all satire must? — in “the desert of desire,” with a mere Utopian glance at a possible “ark of resistance” as “horizons future-lit burst bright beyond the frame.” Fun and games continue in the book’s second section, the Sonny Curtis, Bobby Fuller and Clash-echoing “I Fought the Lyric and the Lyric Won.” Collis has long rewired the lyric to carry epic-heavy freight, but has he been explicitly antilyric in the process? Well, if a prominent, foregrounded and consistent “I” is the lynchpin of “lyric” poetry, then that has never been the primary concern of Collis’s history-centric work, even if it has never directly denied the subjective: he simply wasn’t there personally and — as the “Dear Common” sequence shows — The Barricades Project keeps floating the possibility of the communal instead, of a subsuming of the lone ego in the mass.
Equipped, then, with a newly defined, individuated ego, the poems in “I Fought the Lyric and the Lyric Won” ring the changes on a whole gamut of recognizable lyric forms — the death haunted nature-inspired epiphany (“The End of Flight”); the modern(ist) twist on the classical (“Aristeus Mourning the Loss of his Bees”); the ode (“The History of Plastic” — more than ambivalent, admittedly); the intertextual conceit (“Self-Portrait in a Corvette’s Mirror”); and, last but not least, the ekphrastic ars poetica (“Poem Beginning with the Title of a Cy Twombly Painting”) — all given a Collis-specific spin (a natural-epiphany poem in Zukofskian five-word quantitative lines? A bee-filled Virgilian pastoral complete with cell phones, emptied accounts and spy cameras?). In its lack of a single unifying theme or approach, this section may seem the slightest of the three in the book, but that overlooks (or undervalues) the considerable wit on display and the degree to which these poems, precisely because of their “outsider” status, throw up microcosmic metonyms for Collis’s whole project, sometimes plaintive:
Is making itself
This means build I think
The architectures of dream the
Streaming columns rooms of gold
With poetry walls all jade
And gleaming and dark with
Night and wanting the firey
Posts shining lintel and above
This I’ll hang a flaming
Bird and its eternal flight
Will take whatever I have
Built with it
The book’s third and final section, “Gail’s Books,” carries Collis’s newly established lyric perspective further into the realm of elegy. The introduction relates how, shortly after the 2002 death of Collis’s sister from cancer, a fire destroyed her house, taking with it her worldly possessions, including her library, with the exception of only a few books: Kathleen Raine’s Selected Poems, Rilke’s Book of Hours and Novalis’ Philosophical Writings among them. With poetry presented as the “hinge” where the siblings’ interests met, it is not surprising that Collis seizes on the textual as a possible bridge between his own materialist perspective and the mystical and spiritual concerns that gave his sister what he calls an “outsideness to time.” The section takes it epigraph from Michael Palmer — “There’s still no truth in making sense” — and many of the poems seek to reverse the phrase’s logic, wringing some kind of hidden truth out of near-nonsense. The sequence “Variations and Translations from Rilke’s Book of Hours,” for example, translates not only homophonically (leading to such splendid right-wrong titles as “The Night Dies Sick and Stunned, Its Root Mic On” and “Ditch Water Nixed my Steam Watch”) but also “from one English to another,” yielding depth-sounding counterfactuals:
Swell, eye, to end times
Mic a bee whispering
“Lover of sheaves,” night
And waking feel the stream
Oven on, it’s cooking books
A stream wants moss
A rung lower, and tongs
Everywhere, Gail’s present absence is palpable. This is the burden of elegy, and, unsurprisingly, it draws from Collis some of his most tender and hushed writing to date:
Who speaks in limits is smoke
Whose hand opens the book points threads
Whose sister is the fire forming smoke
Whose ash is now ash’s ash
Who walks in that tall flame smoked
A politics rests its hands on its knees
A bird is in one hand it is
The final (and title) poem links this individual loss back to Collis’s overarching rationale for poetry:
Though long dead
they reach you
with lines more
material than you
could have imagined
stays and spars
holding your vessel
Whatever the individual attractions of the poems in On the Material (and they are, as I’ve hopefully indicated, numerous), as a whole it drives this reader at least to more general questions of inclusion vs. exclusion and the role of the “long poem” (or, even more dangerously, the “epic”) in early twenty-first century poetry. Is On the Material mere “parergon,” fingerwork warming up for the next bout of Barricades-related poetry? That belies the emotional heft of “Gail’s Books” and the satiric energy of “4X4”. There are things here, emotions and techniques, that, so far, Collis has not included in his longer work. One suspects the vacillation itself — is this out or in? — to be creative, a sort of built-in irritation out of which (does the oyster want the pearl?) further poetry will grow. The juxtaposition generates its own effect: this is Collis’s most personal volume to date, but, due its place alongside his other ongoing work, it never feels blandly confessional, rather just one more avenue of possibility.
The attraction of “The Barricades Project” as title, as concept, as riff on Benjamin’s Arcades Project, is in the translatability of raw material, the cobblestones that allow for swift transportation transfigured into defenses and obstacles that thwart access. Move them from one street to another, wherever the fighting is. Collis, as poet, unsurprisingly sees such flexibility and use in words themselves:
Try a “Barricades Project.” It can be made of words — it (power/revolution) always is. Tear them out of text and put them up against the sky, across the street.
Collis writes of the lifepoem, the work like Wordsworth’s The Recluse or Pound’s Cantos so tied to the poet’s life that death alone provides (artificial) closure. What does it mean, now, to adopt such a model self-consciously? Can one plan a ruin? Collis, quite likely, would assert that matter dictates the matter and that his expediencies and plans are as nothing compared to his whims and the necessities of his project (remember Pollock: “I am nature”):
It’s not that I advocate errantry
It’s that movement says rive
So, is On the Materials in or out? If you say so.
A review of Mark McMoriss's 'Entrepôt'
Once, we were told by word of mouth that Heraclitus of Ephesus spoke of a grotesque kind of order whereby he declared that: “War is the father of all and king of all, who manifested some as gods and some as men, who made some slaves and some freemen.” Rather than deploring the inequities of the world, he suggests that perpetual conflict is a way of life; it gives us meaning, much as our own history of recent memory has been shadowed by the thrust and force of war’s traumas. In Mark McMorris’s new book of poems, Entrepôt, we confront a like darkness where “The melodious waves / of grass promise no sanctuary / except to the beetle and cicada.”
McMorris’s poems are capacious meditations, investigations, critiques, and queries on the weight of history’s wars and traumas as they seem to enscroll a poetics and ethics on ancient parchment — scrolling that reaches forward toward a future readership. In Entrepôt, war is a threshing ground, a rumbling echo in an olive grove, an acre of light stained by blood and the mark of a pen. The poems challenge in as much as they bring a revivified reading to bear on the present; the inquiry into civilization’s centuries old quest for meaning through art and conflict remains attuned to the need for the poem to be a space where one may cross borders and boundaries. If the poems in Entrepôt arise out of a lyric accretion and ordinary vernacular, it is toward a nomadic flight of probing and investigatory thought.
In the poem, “Dear Michael (2),” McMorris writes: “The wound cannot close; language is a formal exit / is what exits from the wound it documents.” Further on in the poem, we read: “It is the source that makes the wound, the wound / that makes a poem. / It is defeat that makes / a poem sing of the light and that means to sing / for a while.” To speak of a source that wounds, thus necessitating an act of language, infuses a much needed renewal of the lyric’s potential to address and ruminate on what a wound might disclose. Here, as McMorris tells us, “the wound is deaf to what it makes.” In other words, the poem brings us closer to something like revelation, allowing the sequence of words their order and shapeliness to congregate around a vector of its own making. The wound that he calls forth is personal, communal, and historical. It is also a trope for the occult music that arises within a poem. The wound is between something; it is extraterritorial.
The lyric utterance transmitted throughout Entrepôt offers a rich matrix of provisional grounds that can be trespassed and negated. We are properly placed between a formal and experiential arc as the poems remain unfixed, as if they are always at the point of vanishing. As McMorris writes in “Dear Michael (3),” Just so / in any case it is true that I must speak / not only of speaking but of things otherwise unsaid / things and not their names, not the mood of a text / but the text burgled and naked to the wind, at risk / of dissolving as the rain falls, as the sea washes over it.” In these lines, there is an inherent tenuousness to the prospect of speaking and naming; a nagging doubt that what language carries through might fall flat. To speak in such a way is to recognize the potential for a poem to be a dialogic form that sets out to address something.
As McMorris shows throughout his major poem sequence, “Letters To Michael,” the poem as an epistolary event proposes a space where a reader might interact or hover above the interlocutor’s positioning within the poem. It’s not one’s voice propelling the poem forward, but a voluminous echo of overlaying voices straining for a dialogue to take shape. However, looked at another way, on a formal level, a letter is usually addressed to someone. While McMorris samples Michael Palmer in “Dear Michael (14),” “anemone, and the plasma of mud,” a line from Palmer’s “Letters To Zanzotto,” the letter poems in Entrepôt seem to be of a larger structure in which to invoke heterogeneous voices, rather than a singular address to one receiver. At times, though, we might very readily infer that McMorris, as with many other poets, is writing not only forward to a potential reader, but backwards towards previous texts.
The poems of Entrepôt enact the very framework that the title calls forth. An entrepôt is an “intermediary center of trade and transshipment.” In an interview with Rain Taxi in their Winter 2008/2009 issue, McMorris spoke of an entrepôt as “a figure for a space of transition,” and “a place that is between other places.” In this way, beyond the ideational, the poem itself becomes the formal enactment of an entrepôt. If McMorris’s poems resist any defining or absolute location and origin, a place on the map as it were, it is not to dislocate or unsettle the reader, but to enact a language practice where what is said, propositioned, declared, or questioned can reverberate in a meeting place. In “Anaphora of Shadows (11x11+33),” McMorris brings us “ever closer to an entrepot / where signals cross and cancel, or cross and multiply / bands of dark and transitory splinters of light.”
McMorris’s poems are truly a wonder of imagery, sound structure, and intellection; his poems make evident the fact that “the mind is bottomless.” There is a particular gravity to the lyric utterance weaving its way throughout Entrepôt that is of and beyond its moment. It is as much grounded in modern tradition (McMorris draws on Yeats, Stein, Hugo Ball, and others) as it is grounded in classical texts, history’s scholiasts, and the “tin-cup goliard.” From the poem “Three Aspects of the Name”:
The gospel tells us that tradition flows like a river
to irrigate the soul, from origin to the fringe
of reason. It is the thing you can’t avoid belonging to
just as the sea cannot escape mingling with water.
The voice of tradition is ours, or else we are empty
forms cast aside like husks from a coconut grove
able to lie in the sun but not to speak of the havoc
of hunger, or so the philosophers aver, in their moods.
The history of the tribe is fixed within the orbit
traced by the name in written records. Nothing else exists.
The tradition that McMorris is speaking of here can be read as a larger invocation of how identity is made up of a series of sedimentations from the past. Read in more local light, and in a closer reading of McMorris’s imagery, tradition as enounced in “Three Aspects of the Name,” involves a struggle as the speaker “encountered a ghost, my name.” The unspecified name is from “a violent clan of laborers, / men given to dance in the costume of underworld spirits / who took ship with the merchants from the Gold Coast, and blew / ashore in the Latitudes of Weeping.” The speaker’s recalling of the past is closely bound with “events best left to the whistle of tree frogs at night.” While tradition for McMorris is unavoidable, it is also fraught with the memory of colonialism and the challenges present in the act of salvaging a postcolonial identity free from the bonds of colonial rule. Rather than the poem being a site of critique or a potential utopian space, McMorris calls us into the song, where an “untethered polyphony” becomes the currency of the poem.
In the magisterial poem, “Auditions For Utopia,” McMorris imagines the potential for a utopia that begins with a propositional setting within a room that is covered with a mural. On one wall “there is a scene of naked olive bodies / and giant ferns, bodies like ferns and ferns / with the aplomb of the forest.” To set up the imagery of opposition, the second wall shows the “polis in smoky industrial affray, the emblems / of feudal lord and banker and sea captain / in stately parade underneath the parchment heaven.” In order to reconcile these two competing images, the former image has to be dematerialized “to become the prehistory of advertising perfume: / languorous beaches kissed by a glittering sun / where industrialists repose in the elbow of a cove.” McMorris brings us to the very impossibility of there being any kind of utopia that might arise under these conditions. Further on in the poem, the notion of utopia is further expanded upon: it is not a place on a map that one can point to; it is not a place that one arrives at by conscious choice.
Threaded throughout this poem, there is a nameless African boy who dances on the shore of the beach where the “ancient dance of the waves and torchlight” embody the very negation of traditional life that was revealed in the first mural. The boy, who is described as a “miracle of teleported motion,” is also a countermeasure to the surrounding tensions inherent in the Caribbean setting the poem in situated within:
The boy was content to dance himself
bizarre and unreachable as he seemed
to us, almost invisible, in touch
with secret chords and the generations.
He did not have a name. The dance
passed through the slash of the waves
to become a visible present tense
wholly of action in that small frame.
Not only does this boy seem as if he has been transported to this location through a mental process, but through his fluid dance, there is something almost otherworldly about the way he carries himself through time and space. Perhaps there is an inherent innocence that can be attributed to the state of childhood, or conversely, the boy becomes a larger figure for a lost time and memory amid the island’s history of plantations and the chronic behavior that comes with such an oppressive social matrix. Echoing the impossibility of attaining a utopian state, the poem “Inescapable Country,” locates us within pastoral Jamaica. This is another site, rich with natural beauty that recalls a violent history. The speaker of the poem writes: “Something about pastoral calms / the violent heart, wherein desire / takes form in the visible world. // Bending a corner, you see it green / as it once was and will be then / and always with the mind’s deceit.”
Entrepôt as a whole presents a rigorous poetics, in terms of thinking about the formal concerns that might be imbedded in a poem. Again, from “Anaphora of Shadows (11x11+33),” we are told “the poem goes ahead of us and waits.” In “Dear K,” the closing poem of the book, the speaker says “The poem inclines / to restless thought: the night relentless / the heavens unimaginably vast.” In these lines, the poem becomes much more than a depository of materials in flux. Here, the poem is a bearing. It is not just a formal procedure, but a site where things that wouldn’t normally to be placed together are suddenly brought into a dialogic structure. If McMorris’s wielding of language recalls that of the mythmaker in an alchemist’s lab, it is because he finds a variety of forms to push the bounds of thought to a new lyric intensity.
A review of Lisa Samuels's 'Mama Mortality Corridos'
Traditionally, in Latin American culture, a corrido is a narrative song about the daily life, oppression, or history of a particular community. It is often used during moments of great tumult and transformation, like revolutions. The corrido is both a social and artistic act, written to capture a moment or energy during a significant event — or, even, to convey secret political messages to faraway audiences. In other words, to hear a corrido is to experience a broadcast — to be thrust into the middle of someone’s radiation where exactness or meaning is obscured by rhythm and lyric. But the aura of a corrido, its feeling, is strong and lingering.
To read Lisa Samuels’s latest book, Mama Mortality Corridos, is to be similarly positioned in a state of heightened reception. The book’s rich and fleshy language, accompanied by a selection of Samuels’s two-toned drawings, titillates the senses and forces them alert. These Corridos act more like dreamscapes than political messages, as they scavenge bits of language, earth, desire, sorrow, and violence; for example, the first poem, “Envoi,” opens with scene that seems to have spun out and fractured from another world:
Waking without refreshment, no shine to, no mirror
images. Lopsy tide, then, and the list of
friendly rape in the dreams. My hovers
feet and solves the constant world
Published by Holloway Press in 2010, the collection is an art object. The color of cream and terracotta, the book resembles an artifact of the desert — sunburnt, rich, and full of mirages. The abstract landscape drawings littered through the book are composed of simple figures and shapes depicting their own internal narrative. The images are enigmatic in the way they interconnect — each drawing depicts a shape or body-like figure appearing to travel across a certain horizon — but are equally primal and elemental in their ability to procure a tonal message — transition, desolation, peace. The drawings signal both movement and stasis with simple lines and composition and, despite their simplicity, the images appear to carry a heavy code inside them — much like the corrido itself. Horizon, sun, and body invoke the cycles of life, how they weave into each other, and, like the very title of the book, Mama/Mortality, how two ends of a spectrum are gracefully intertwined.
page spread from Mama Mortality Corridos via Holloway Press
The poetry provides a distinct dynamic to the images — similarly primal but more unrestrained and frenetic. The poems swing wildly through words/worlds — English through Spanish, modern through the historical (many of the poems are composed of old corridos, anthologies, other poems, etc. The last poem being totally evocative of this mélange — a cento of C. S. Pierce.) Nothing acts quite like itself or remains intact — especially her phrases, which are constantly looking out to shatter their own logic and keep meaning spinning. Verbs chase nouns which chase other verbs. From the above poem, “The Visitor,” we find “anyone approaches for better face / are really good at needle be familiar. / the story fell on the table near / my head a person suppresses moans.” Aside from the mystery of the unnamed visitor, who oscillates from “anyone” to “you” to “she” and the indeterminate tense, the perspective is dizzying and operates like churned fragments of the chaotic in-between. I can’t help but think of the dead, of ghosts and how their passing may resemble its own restless corrido.
Samuels certainly seems to be signaling us to a place of passing, if not exactly death — corrido echoing the sounds of its false English friend, “corridor.” Looking at the poem titles (“Envoi” “And passing by a corner” “The Visitor” etc.), it’s obvious, a transition or voyage is taking place. This idea of passage/passing is a similarly significant element to the conventional corrido — as they signal a passing of knowledge between peoples or a passing from one era to another. In Mama Mortality Corridos the passing, the movement between involves a new physics, where the trans(ition) itself changes and transforms the message or object. From “Homily”:
That’s a short middle crawl when I
was dropping my ideas on the pavement
and you picked them up. Given
to triadic points of view you hallucinate
self-import, as though ships could bring you
back remotely. I held and dropped you
senseless as at first
Despite the constant transformations in subject or syntax, these poems are so peopled, so full of the (once) living that I’m forced to consider the human body: the footprints on the land Samuels draws in her images, or the suggested violence upon it. (“She with the berry juice creeping up her legs”). These bodies are not quite whole or there, and I wish I knew more about them and not just the bones they’ve left in these poems. Though, that too seems a crucial point for Mama Mortality Corridos — knowing and coming to are part of the same spectrum that forgets and denies. This circularity is expressed in so many of the poems, and so eloquently in “Monkey” where our speaker writes/drives in circles becoming the car, the radio, the bed, the desire, and back to itself in what seems like a memory or dream of a moment that’s gotten caught in a new type of gravity.
It’s a wild corridor Samuels has created. If the world could be caught before one goes spinning into the grave, it would look like a passage from these Corridos. “She turned to shells those / into blues blue sheels / the water turned to air / and blew heels trembling.” It’s a vortex of a book — and a really delicate one, where we cannot “quite touch the bottom” and probably wouldn’t want to anyway.