Eleanor Hooker launches out of emptied cups by Anne Casey
out of emptied cups
by Anne Casey
ISBN: 978-1-912561-74-2
Launched by ELEANOR HOOKER
The Polish poet Czeslaw Milosz wrote poetry is a ‘dividend from what you know and what you are’.
I am going to tell you about Anne Casey, the person, things I imagine you already know – Anne is a powerhouse, a force for good in a world where cynicism and doubt abound. She is collegiate, kind and considerate of her fellow poets, wherever they might live – just look at her social media, her reach and her conversations are global, she celebrates our successes and commiserates when we miss – that’s a rare thing and something to be cherished. Thankfully, Anne’s accomplishments and achievements have not changed her, she is too steady and noble a character to have her head turned by that.
The poems in out of emptied cups, Anne’s second collection with Salmon Poetry, make the unseen appear, whether it is beloved family members long gone, souls transitioning between this world and their next incarnation, or monsters (who are ever denied a hiding place in a Casey poem).
In many of Anne’s poems, tragedy and joy collide, and it is this collision that moves her poems toward: action – that which nudges us toward conscience, ecological consciousness, and self awareness, and, discovery – that which incites in us the wish to live well. I will talk about this later.
Just as a cinematographer uses a camera, Anne uses language in her poems to create a visual aesthetic – in her poem ‘out of a thousand cups’ (the first poem in the collection) Anne employs a filmic pan to show us the ascent of a soul before its turnaround and return to re-emerge in a different form, and the effect is feather light.
She uses the same technique in ‘All Souls’, the final poem in the collection – shifting between the noises, sights and sounds of Australia, and those desperately poignant images of her mother, delivered of a terminal diagnosis and yearning for her child, twinned with a suffocating religious iconography, associated with old Ireland. All of this is in contrast to the openness and natural exuberance of her adopted homeland, where ‘rainbow lorikeets… ‘will swoop… lifting our hearts/out of emptied cups and away with them into/the heavens’ – a suggestion that Australia is the land where Anne will live out her days.
When I’m editing footage from a lifeboat rescue, I’m careful where to place transitions so as to move the story of the callout scene from scene – transitions are like a blinking eye, that, each time it opens it encounters another image, another time. Anne places her ‘transitions’ to masterful effect in her poem ‘if I were to tell you’, as she shifts our view place from place and person to person central to her life – the second verse is a heart-stopper and illustrates how in describing the personal, that moment of wanting to speak to a parent and remembering that they have died, Anne depicts a universal moment of grief. (I was brought back to a moment soon after my own Dad died when, alone in my car on my drive home, I called out ‘Dad?’ – I frightened myself, and the absence of a response was just desperate.)
This collection includes poems that are at once mysterious and captivating. ‘Wildness’ is a personal favourite, and though the wild creature is never named (and that restraint adds power to the poem,) Anne draws on the many tropes of woman as shape-shifter: selkie; of the woman-hare that links to the Otherworld (a notion central to Irish folklore – Aos Sí), and even to the concept of doppelgänger. At another level the poem is about woman denying her true nature, suppressing her instincts. Interestingly, at her launch, Anne gave an altogether different account of this poem – which shows how a reader imports meaning to a work.
and I will curl up
wrap myself in your shed skin
and marvel at its length
its strength
its tenderness
all that had held you back
your wildness denied
This haunting poem encapsulates one of the central themes in out of emptied cups, that of a woman navigating an often unforgiving world, but ultimately recovering self and strength through family and history, by loving and being loved.
If poetry is the closest art we have to silence, Anne’s poems frame the silences. She is fearless in observing what can and should be named, and what should remain unnamed.
Jane Hirshfield has said that one of the ‘laws of poetry seems to be that there can be no good poem of unalloyed happiness, that good poems always pull in two directions’, and this is certainly what Anne achieves in her book, that sudden shift, that collision, achieved purely by precision of words.
A wonderful example of this (and of an exquisite employment of visual metaphor and experimentation with form), is offered in Anne’s poem thank you for shopping with us – a remonstration that our eco-destruction will literally cost us our earth.
This collection is one of vitality and rhythm. It uses the music of words to make silence felt, and leaves the reader with the glad appreciation that there is so much more to poetry than meaning alone.
Before I conclude I would like to acknowledge the Trojan work Jessie Lendennie and Siobhan Hutson do at Salmon Poetry, their support for poets and especially women poets is phenomenal and is celebrated; the Press is an inspiration.
I will finish with another quote by Czeslaw Milosz written in 1996 and as pertinent today as it was then, and which relates both to Anne’s poetry and Salmon Poetry – ‘that poets today can form a confraternitas transcending distances and language differences may be one of the few encouraging signs in the current chaotic world order.’
Congratulations Anne, I wish you and your work every success.
Photograph: Anne Casey with Eleanor Hooker and Luka Bloom
ELEANOR HOOKER is an Irish poet and writer. She has published two poetry collections with Dedalus Press: A Tug of Blue (2016); The Shadow Owner’s Companion (2012). Her third collection will be published in 2020, she is working on a novel. Eleanor holds an MPhil (Distinction) in Creative Writing from Trinity College, Dublin, an MA (Hons) in Cultural History from the University of Northumbria, and a BA (Hons 1st) from the Open University, UK. Eleanor is a Fellow of the Linnean Society of London (FLS). She is a helm for Lough Derg RNLI Lifeboat.