Showing posts with label Louise Gluck. Show all posts
Showing posts with label Louise Gluck. Show all posts

Saturday, April 25, 2020

essays in the face of uncertainties


Within an hour or two of waking this morning, Rose begins hiding ‘pretend Easter eggs’ across the house for her sister to find. Aoife hides her eyes underneath my desk in anticipation. Apparently this is the only safe space away from their game. By the end of the week, they’re navigating half a dozen daily costume changes by mid-afternoon, including part of a morning in Christmas pajamas, lunchtime in fancy dress, and a mid-afternoon of bathing suits and life preservers, swimming across the length and breadth of our living room. The house is a mess, but for now, we allow it.

Louise Glück, from “Vita Nova”: “Surely spring has been returned to me, this time / not as a lover but a messenger of death, yet / it is still spring, it is still meant tenderly.”

The snow melts into ponds, and the sun striates through our front window. Our girls barely notice, having been in the house for too long.

Philadelphia poet Pattie McCarthy posts an image of a box filled with found materials, an archive from a series of walks by one of her three children. The attentions here are important, and by not including a description of such here, what might you imagine such an archive might hold?

The poem “Thanks,” by W.S. Merwin, from the Academy of American Poets website, seems to have gained added resonance, as it begins: “Listen / with the night falling we are saying thank you [.]” There is something quite fascinating to see the rise in poems being posted on social media during these shut-ins, although I could easily be caught in my own social-media bubble, predominantly following a list of literary writers, practitioners and enthusiasts that would, of course, naturally be seeking salve through literary works. Where else might we turn, but to books? The resonance is there, and one shared with the daily city-wide applause for front-line workers, including medical staff, heard from balconies and windows across Vancouver, to a similar ‘thank you’ in Montreal, as Martha Wainwright recently led her city in a sing-along of Leonard Cohen’s “Hallelujah.” The widespread acknowledgment of those on the front-lines has been gratifying, especially against the growing understanding of what it is they’re up against, from the numbers of loss, the stories of hospital overflow, and the frightening knowledge of supply shortages worldwide. Merwin’s short piece ends:

with nobody listening we are saying thank you
we are saying thank you and waving
dark though it is





Thursday, April 28, 2011

Helen Guri, Match

Since discovering her work in an issue of The Antigonish Review a couple of years back [see my review of such here, and further mention here], I’ve been anticipating what Toronto poet Helen Guri would come up with as her first trade poetry collection, finally published as Match (Toronto ON: Coach House Books, 2011). The poems in Match are damned sharp, as Guri writes a collection of compelling poems about love and (as the back cover informs), through “the voice of the emotionally challenged modern male” and his love for his “110-pound fully operational sex doll, ordered over the internet.” Doesn't this feel like an echo or shade of that strange and compassionate Ryan Gosling film, Lars and the Real Girl (2007)? This collection reads much as a novel-in-poems, a lyric tale told in densely-packed lines exploring the relationship between the fictional Robert Brand and his artificial companion, and the relationship’s emotional turns from every possible angle. Is love any less real, here? Still, it's hard to tell sometimes if this collection is a furthering or simply a retelling/re-imagining of Gosling's own Lars. Where does light gallop in?

COGNITION

My brainwave is the size of an arena –
please grab a seat.

Watch the mystery run laps
through a device
composed solely of antiquated childhood games
an ancient pains:

a crescendo of dominoes
sets off a model train; conductorless,

a flashlight’s plasma siren
burrows through textbook
migraines, refracts in a rat trap

below the buzzer – which one,
what colour?

Keep your ears pricked as baskets
for the unmapped sound, for the crash
landing of a tossed girl.

Let your cogs be a crowd in a wave
of plough and follow.

In a suite of three poems and introductory poem, “Apocalypse Wedding,” the sharpest pieces here are often those in which she uses the fewest words, cutting here and then here to say the same in the least. Damned sharp, as I said, but why this slew of poetry collections that keep insisting on telling us stories? Why not simply poems?

With hints of the surreal, of the fantastic, Guri’s poems turn a perspective that might sound like obsession, like madness, into something more breathtaking, and even impossible: something sounding like love, perhaps. Just listen to this, the second section of the three-part poem “RUBBER BRIDE,” a poem that begins with a quote from Louise Glück (“The beloved / lives in the head.):

People at work began to notice
my smell of must and rumpled lilac,
how my eyes were tumblers where trapped goldfish paced.
The chronic tinnitus of your shower opera
was embarrassingly loud in public places.

But when I called the city to get a permit for your removal,
they told me you’d been designated a World Heritage Site.

The tourists came with cameras, prams, ham-sandwich luncheons,
first editions of certain folk tales for signing.
Their kids playing chicken in the intermittent drip
of mood light from the windows.

I took work in maintenance –
sank my pincers into litter,
mowed the acreage with a ride-on
while you let out a feral howl
in perfect pitch with my petroleum drone.
The children flocked and scattered.

It was not long before I turned into a cat
and you flicked paper mice between the shutter slats
on fly-rods. You knit your golden hair in windsocks,
I ran into a paper bag.