Stephen Atkinson reviews Borobudur by Jennifer Mackenzie

January 1, 2011 / mascara / 0 Comments

Borobudur

by Jennifer Mackenzie

Transit Lounge

ISBN 978-0-9804616-6-4

Reviewed by STEPHEN ATKINSON     

Journeys, actual and metaphorical, geographical and spiritual, and the cultural exchanges they facilitate, are at the heart of Australian poet Jennifer Mackenzie’s epic Borobudur, in which the pilgrimages of Borobudur’s priest-architect Gunavarman are a reflection of the writer’s own travels through the region and the writing process. For Mackenzie, wandering and poetry are in many regards the one thing, both conducted along similar trajectories and according to the same states of mind. Of the creative process of writing Borobudur she has said that, ‘texts, my own travels and experiences pointed in a certain direction and I followed’. Along the way she came upon the poets of the Javanese epics, and Kukai, the peripatetic Japanese monk in whose poetry, to her delight, Mackenzie found echoes of the voice she had worked hard to establish for Gunavarman.

            Soon, we are in lockstep with the poet and her guides, feeling the path beneath the soles of their ‘iris-dyed sandals’, embarking on voyages and alighting in sometimes unplanned destinations, hoisted on palanquins, and treated to the hospitality of princes, sages and scribes. The mandala-like structure of the 8^th century Buddhist sanctuary of Borobudur was itself designed to be walked, successive clock-wise circumambulations allowing novices to ascend to progressively higher levels on the path to enlightenment, and so the figure of the journey acquires another layer of meaning, welding the experience of space to the rhythm of steady footfall, and to meditation, movement and poetry.

            Thomas Stamford Raffles, who governed Java for the British over a brief period from 1811 to 1815, is said to have been sitting in his stately residence in Semarang on the Java Sea when he first heard stories of an immense ancient wonder that lay part buried near the plain of Kedu in Central Java. Borobudur, though the subject of lontar texts and folk tales, and clearly known to people living in the immediate vicinity, was nevertheless shrouded in a mystery maintained by a curse: for members of the Javanese nobility, to visit the site meant certain death. It is said that a young prince, who determined to see for himself the ‘warriors in cages’, vomited blood and died shortly after his return.

            Raffles was a product of the English enlightenment, a linguist and scholar fascinated by the cultures, history and antiquities of the places he was assigned to govern. After hearing these fantastical descriptions, he summonsed the Dutch superintendent of historical monuments, Hermann Cornelius, who gathered a team to begin the task of locating Borobudur and disentangling it from centuries of obscurity. After months of steady labour, the extent of the structure and the technical and artistic virtuosity of its creators were revealed. This was almost fifty years before Angkor Wat was hacked from the jungle by a team led by Henri Mouhot, and so constituted Europeans’ first glimpse of the elaborate splendour of the Southeast Asian civilisations that predated their own. Such discoveries could have unsettled some of the presuppositions of superiority that increasingly came to underpin the whole colonial project, but the relatively new field of archaeology, and other disciplines like ethnology that busied themselves with the collection of artefacts, data and knowledge, at the same time constituted another form of conquest.

            Mackenzie’s project in some ways runs counter to the task of archaeology because it is more concerned with the limits of knowledge, the restitution of mystery and a return of some of the dust so assiduously swept away. If archaeology undoes the work of time, Borobudur reaffirms it. Central to all investigations into the past, though often unacknowledged, is the matter of mortality. And if Borobudur has something to teach us, it could be that we are all, like everything else, subject to the same processes of transformation, and that the change inherent in movement and time has somehow to be embraced. While staying with a family of dancers in the Indian Buddhist centre of Nalanda, Gunavarman learns ‘that stone and dance could be equivalent’, and

that in the weathering of stone

I anticipated my own weathering

in the elegance of the gesture

I could traverse that weathering like a god (65)

            While Raffles’ caretaker administration was short-lived, the West’s fascination with Borobudur and structures like it continued, scented with a romance and taste for the exotic not satisfied perhaps by the more austere relics of Europe. The nature of this continuing fascination, Mackenzie’s included, is interesting to ponder. In part it seems to be a case of sunlight and climate, a brightness and clarity that shimmers, sensual and fragrant, and Mackenzie’s verse is full of allusions to colours and light that fill the eyes to aching. Take for example, the sibilant whisper and crystal stillness of:

the lake’s transparent water

luxuriant with lotuses

the blue mountain’s snow-capped

summit moves easily

on its surface (p.62)

            Here, what is more, is a striking image of a time before time, before the white noise of the present, and core to the affect of Borobudur is its concern with time’s passing, with the difficulty of grappling with either eternity or mortality, and with the poignancy of grand endeavours to achieve posterity that tumble into pointlessness, leaving, at best, an enigma, whose meanings are spent and purposes lost just at the moment of their realisation.

            Borobudur gathers together lifetimes lived more slowly and with more conviction, to when journeys embarked upon in the pursuit of wisdom and higher learning could easily stretch to decades. A feature of Borobudur’s strength as a work of poetic cross-cultural interpretation is that it progresses through an engagement with, and imagined dialogue between, the lives, travels and works of the old Javanese poets whose witness offers another glimpse into Borobudur’s historic and cultural significance. In addition to her debt to poets such as Monaguna and Kertayasha, Mackenzie draws inspiration and insights from Prapanca, a documenter of the Majapahit Empire, whose fourteenth-century Negarakertagama makes reference to a Borobudur already long abandoned. That these writers were not all contemporaneous allows Mackenzie to eschew the tyranny of chronology to explore what we mean by timelessness, that is, what we mean when we describe a monument like Borobudur as timeless.

            Borobudur can be read as a companion piece to more conventional guidebooks and histories: one that sets out to complicate as the other explicates, to obscure as the other reveals, to propose dimensions less measurable, to replicate Borobudur as it condensed in the mind of its architect, to explore the conditions of its conception, and to remind us that stone is as ephemeral as the people who shift, shape, and attribute meanings to it. Mackenzie renders it all lyrically as clearly as Gunavarman choreographed his epic dance of stone. It presents a Borobudur that visitors today might not immediately recognise as they pay their admission and run the gauntlet of souvenir vendors, but which lingers in the atmosphere, in the evidence of the chisel, in the favourable aspect of the site, and in the spectacular views and blossoming trees that led in part to its selection.

            While the poems in the remaining section of this slim, beautifully designed volume, ‘Angkor and other poems’ arrive via different routes, they are similarly the product of Mackenzie’s personal engagement and fascination with the region and they also explore the relationship between wandering and poetry, people and nature, the material and the ethereal, time and disappearance. The haunted final poem of the collection, ‘The Botanist Lost at Lake Maninjau’, suggests the existence of portals to realms outside of time, asynchronous and invisible. For Mackenzie, to be lost in the jungle is to cease to exist or to have entered a world of disappearances. It ends:

he entered this light-filled canopy

walked ten minutes

broad leaves coalesced, undergrowth clotted

the air streamed with the inky curlicues of vines

the matte white of a sketch pad appeared iridescent

he turned around. the exit had disappeared.

Brook Emery reviews Motherlode and Not A Muse

January 1, 2011 / mascara / 0 Comments

Motherlode: Australian Women’s Poetry, 1986-2008

Jennifer Harrison & Kate Waterhouse (eds)

Puncher and Wattmann, 2009

ISBN9781921450167

www.puncherandwattmann.com/pwmotherlode.html

Not A Muse

Kate Rogers, Viki Holmes (eds)

Haven Books, Hong Kong 

ISBN 978-988-18094-1-4

http://www.havenbooksonline.com/books/catalogue/not-a-muse 

Reviewed by BROOK EMERY

                What are my credentials, or lack thereof, to review these two anthologies of women’s poetry?

            Despite an androgynous first name, I am a sliced-white-bread, baby-boomer male. Husband not wife. Father not mother. I am also instinctively uneasy with categorisations that assume difference based on gender. Boys Book, Chick Lit – leave me out. Men analytical, women emotional; men aggressive, women nurturing – stop it! Men’s movements re-discovering the bear or hunter in themselves, women learning to be assertive – how sad. Single sex schools – indefensible, an admission of failure. Once, after a reading, I was told by one poet that my ‘sensibility was very feminine’ and, almost immediately afterwards, by another poet that my ‘voice was so masculine’. What to make of this? (That difference is in the ear of the beholder?) What to do? (Shrug and laugh?)

           But biology and evolution cannot be denied, and neither can social conditioning, nor entrenched beliefs and prejudices, and historically, politically and culturally it was, and, unfortunately, maybe still is, important that spaces are made for ‘women’s writing’, though something will have to be done about such a term because it implicitly defines itself not just against the non-existent term ‘men’s writing’ but against ‘writing’ .

          Perhaps it’s not so strange that I should have felt compelled to question my reviewing credentials as, in their own ways, the editors of each book exhibit a little nervousness about the reception of their projects and feel a need to position their anthologies within the history of feminism and so-called post-feminism. Harrison and Waterhouse write in their joint introduction to Motherlode:

We have been asked whether this is a feminist book and it undoubtedly is, if feminism is defined as that which women know and strive to make known.

         They acknowledge that much has changed in the lives of women as a result of feminism but identify the enduring experiences as:

the realities of fertility, pregnancy, birth and the bonds between mothers and their mothers, daughters and sons.

          The editors of Not A Muse: the inner lives of women are more political. Kate Rogers writes that the book explores,

how we define ourselves as women. Are we living our lives honestly, completely true to ourselves? If we choose an unconventional life, what are the costs? Not a Muse is, in part, about our choices. How we define ourselves as women and poets. How we define freedom.

          Viki Holmes asks rhetorically, ‘To what end an anthology of women only in this post-feminist era? Shouldn’t we be looking beyond divisions of gender in the 21^st century?’ She doesn’t really answer these questions specifically other than to assert a right, or need, to speak and occupy the foreground:

Woman as mysterious, retreating Other; an enigmatic figure retreating in the distance, inspiring and intriguing – and silent. But what happens when the muse speaks? Not a Muse began as an attempt to redress this relegating of women to be sources of inspiration rather than creators. The voices in this anthology speak eloquently, reflectively, and with certainty, about the roles women have chosen for themselves – perhaps enigmatic, certainly inspiring and intriguing – but never in the distant background.

          In a preface, ‘On Reading Woman’, the Indonesian poet Laksmi Pamuntjak tackles possible objections to the anthology even more directly. She asks:

Aren’t the days of being jumpy at the very mention of the word ‘female’ or ‘feminine’ finally over, because women have advanced by leaps and bounds to assert themselves as a subject first and foremost, of which ‘woman’ is only part? … Hasn’t women’s liberation gone to such amazing lengths that many modern-day feminists now even believe that the very concept of woman is a fiction, thus raising the possibility that the concept of women’s oppression is finally obsolete and feminism’s raison d’etre has fallen away?

More pertinently: do we still need an anthology of women’s writing? Does it not seem an endorsement of the gender polarisation that women have fought so long and hard to batter down?

         Her answers to the last two questions are unequivocal: ‘yes’, then ‘no’. They rest. in part, on an undeniable political truth: ‘ in many parts of the world where women have no voice, no discourse, no place from which to speak, defining the ‘feminine’ is a luxury that cannot be corralled into the collective’.

          Really, neither book needs an apology or a theoretical feminist defence. The impregnable defence of both anthologies is just that they are artful, interesting explorations of human experience. Each one demonstrates the power of good poetry to engage people on emotional and conceptual levels not easily accessed by other means. How much more powerful, subtle and informing these poems are than shelves full of theory, therapy or self-help.

         Motherlode is a great title playing as it does on all the resonances of exploration, mining and discovery, of richness, abundance and centrality, while gently ghosting the homophone ‘load’ with its connotations of weight and burden. With 125 poets, 172 poems, and at over 300 pages it is abundant indeed. Published by the innovative and relatively new Sydney publishing house Puncher and Wattmann, it is also a beautifully produced book, attractive to look at and to hold. The cover is flexi-case which is closer to traditional hardcover than soft cover, there is a headband at the top and bottom of the spine, and even an attached bookmark ribbon. The binding is stitched, the paper gorgeous, and it is sharply printed and laid out: the packaging does justice to the content.

            The focus of Motherlode is clearly defined and circumscribed. It is dedicated to ‘our mothers’ and is not designed to include all shades of female experience but to explore the experience of motherhood and to make this accessible to the general reader. The anthology is divided into twelve sections: nature, icons, pregnancy, birth, infancy, sons and daughters, daily grind, loss, old wives tales, mothers and grandmothers, the world, this last retreat. 

            The editors suggest that the anthology be considered as a collective narrative and they invite us to read it sequentially as one would a novel. This can work, as poem after poem seems to be a conversation with and a departure from the one preceding it. To read it thus is, perhaps, to impose a narrative consistency and might lead to the temptation to construct archetypes corresponding to the section headings. Thus, to take for example the section heading ‘Birth’, the reader might move from ‘I am waiting / for what emerges / from the white edges / of catastrophe’ (Alison Croggon), to ‘Prostaglandin spreads like cold honey / my cervix ripening, as an avocado in brown paper’ (Kathryn Lomer) to ‘The next pain / takes your spine apart. / Pelvis gags / some kind of thing with horns / in its throat’ (Rebecca Edwards), to ‘Out from you as if in a continuum / is she still yourself? Finally she is not / She separates calmly, not crying’ (Phyllis Perlstone), to ‘This is the first thing I want you to know. I am your mother and you arrived in me and from me. You arrived not “child as other” but as the child of my centre, the child of grass and orchards, of mulberries in summer’ (Jennifer Harrison) to ‘Early this morning, when workmen were switching on lights / in chilly kitchens, packing their lunch boxes / into their Gladstone bags, starting their utes in the cold / and driving down quiet streets under misty lamps, / my daughter bore a son’ (Margaret Scott), to ‘At Bindawalla, the hospital / where only Aboriginal babies were born, / the nurses laughed as they put me in a shoe-box / and gave me to my mother; she cried’ (Elizabeth Hodgson), and finally to Rosemary Dobson: ‘Eight times it flowered in the dark, / Eight times my hand reached out to break / That icy wreath to bear away / Its pointed flowers beneath my heart. / Sharp are the pains and long the way / Down, down into the depths of night / Where one goes for another’s sake’. 

           There is nothing wrong with this way of reading unless the reader imposes unwarranted  generalisations rather than paying attention to the particularities of individual poems; to the way in which the same subject and similar experiences provoke such different responses and voices. Perhaps, though, just as profitably one can dip in and out of this collection reading each poem as poem and not worrying about its place in any sequence, jumping from, say, Jan Owen’s ‘We have no tender name / for you, small being, / drawn awry by some sad chance / as though you thought to play / too early with earth’s creatures, / fish, fowl, seal’ to J S Harry’s ‘I am mrs mothers’ day / I will hire myself out to you / for the 364 other days / I will not be satisfied by / 1 plus 364 / grottybunches of whitechrysanthemum / you choose to offer me snottynose’. Either way the reader will find lively poems which refuse to be shaped to fit any theory – one of the strengths of this anthology is that the editors, while elegantly shaping the collection, have not sought to impose boundaries.  

          Motherlode’s timeframe is restricted. The book concentrates on poems published between 1986 and 2008 and aims to be as representative as possible of the range of poets writing in that period. 1986 is chosen as the starting date because that was when the groundbreaking  Penguin Book of Australian Women Poets was published and, although comparison is not intended, inevitably and valuably, Motherlode will allow readers to consider what changes and continuities they can detect over this period. Motherlode publishes a number of poets (Judith Wright, Gwen Harwood, Faye Zwicky, Judith Rodriguez, Margaret Scott, Oodgeroo Noonuccal, Bobbi Sykes and Rosemary Dobson among them), and a few poems, which appeared in the earlier anthology but it also gives space to newer and younger poets including Rebecca Edwards, Morgan Yasbincek, L K Holt, Petra White, Elizabeth Campbell, Jane Gibian, Esther Ottaway, Lisa Gorton, Judith Bishop and Francesca Haig. The editors say that, to make their selection, they read over 500 books of poetry (plus print and on-line journals).  One of the excitements of this generous and generous-spirited anthology is to discover the number of Australian women poets writing now and the strength of their writing – from my own reading I’d hazard a guess that among the emerging generation of poets it is the women who are the most numerous and impressive. Opening the anthology with Gwen Harwood’s ‘Mother Who Gave Me Life’ and closing it with Judith Wright’s ‘Woman to Child’ provide powerful vantage points from which to view the achievement and consider the evolution of the tradition.  

            If Motherlode is a big book, Not A Muse, at over 500 pages, is huge. It features 114 poets from 24 countries. Ten of the poets (Pam Brown, Michelle Cahill, Suzanne Gervay, Margaret Grace, Tanya Hart, Jayne Fenton Keane, Laura Jean McKay, Kate Middleton, Leanne Murphy, Katrin Talbot) are Australian and, of these, only two, Pam Brown and Michelle Cahill, appear in Motherlode, and six were previously unknown to me. Perhaps the lack of crossover can be explained by the selection process – as I understand it the poets in Not A Muse were chosen by submission rather than by reading the available literature though, perhaps, some of the more well-known poets (Margaret Atwood, Sharon Olds, Erica Jong, Lorna Crozier, Laksmi Pamuntjak,) may have been invited to submit. This selection by submission does mean the quality of the poetry is a uneven and representation might be a little unbalanced but I don’t want that to sound like a serious criticism as I found much within these pages to enjoy and much that was new to me. The many countries represented allow for speculation about what might be thought universal and what culturally or personally specific.

          Not A Muse is dedicated to ‘our mothers and sisters’. Its intent can be guessed by the politically and emotionally charged ‘sisters’ and it’s conceptual scope gauged by the sections into which it is divided. Each is conceived as an aspect of female identity, so each heading, bar the last, is preceded by the words ‘Woman as’: creator, family, archetype, explorer, myth maker, home maker, landscape, lover, freedom fighter, keeper of secrets, keeper of memories, ageing. It is tempting to read Not A Muse, more so than Motherlode, as a single, multi-voiced argument, as chapters in a developing thesis. The title is a rejection or a negative definition, specifically of Robert Graves’s conception of woman as poetic muse. The collection overtly celebrates woman as subject and agent, active, outspoken, central to the creation of her own life and the life of others. Here the section headings really do read like archetypes and could be said to be imposing limits on the conception ‘woman’. Can you imagine a collection with headings like: homemaker, housekeeper, spouse, companion or, indeed, muse?

            This last question is not intended seriously. Poems on my imagined subjects do appear in the anthology and, indeed, ‘home maker’ is one of the headings. Individual poems in this anthology escape the confines of any characterisation even when they are at their most political and assertive and as I was reading I kept mentally thinking this poem could equally appear under this heading or that one. Try fitting the following excerpts under their assigned headings (answers appear, in order, at the end of the review):

Inside me, an Eastern European poet

is trying to get out. He’s killing me,

and I, with my recurring ear infections

and job, am slowly stifling him.

(Joan Hewitt)

I’m not getting up

when you call

I don’t want to

do your bidding

I’ll just lie here

chase some flies

with my eyes

You can be

forgiving

(Kavita Jindal)

Like a river feeding itself to the ocean,

Child, I continue to give myself to you

Until I become undone – scattered pockets

Of primitive earth, peeled bare.

(Tammy Ho Lai-Ming)

Because, like a poem, the city doesn’t know where our feet will

take us, we walked, unseeing, inaudible, heart-shaped. Too

many signs to follow. But there was a delight in being lost,

and rivering along took care of that until our voices

grew shrill and words

hung

        in the air

(Laksmi Pamuntjak)

imagine your mother

down on her knees

and sucking cock

and understand you will never really know her

(Nicole Homer)

I have not swept the floor – the Amy of Now

must pass that task to the Amy of Tomorrow

along with folding the clothes

and taking the garbage out. Tomorrow’s Amy

may not mind, she might open the day

eager to eat chores with a fork

(Amy Maclennan)

The black of Radha’s hair is cow dung

and soot

Her arms of yellow

tumeric, pollen or perhaps

lime and the milk

of banyan leaves

   (Nitoo Das)

One day she will put her hands out, fingers long

like yours

and she will

hold you

play you

and she will find the words that will turn you

into a cunt

(Sridala Swami)

A funnel has been shoved into my mouth

through which I am force-fed the sky.

I have eaten thunderheads, slaughtered angels.

And now they are mashing up the stars

into baby gruel.

‘You can eat anything,’ the doctors say

(Pascale Petit)

a Kurdish woman sang me a lullaby,

she said bab meant gate,

she said I know no poems

but I can sing to my dead child,

will you listen? And I think,

the whole world is listening,

you just don’t know it.

(Kirsten Rian)

I open my hand, see wrinkles, cold marks

of God’s anger upon my flesh. In these veins

runs depleted blood, returning capillary

by capillary from the centre of this rot.

Once, when I was a girl, I stood at the edge

of the sea and was tumbled over

by a rogue wave. What would it have been like

to glide on the undertow past kelp gardens

and coral reefs …

(Carol Dorf)

Who wants to hear about

two old farts getting it on

in the back seat of a buick,

in the garden shed among vermiculite,

in the kitchen where we should be drinking

ovaltine and saying no?

(Lorna Crozier)

           The differences between women (writers) are as great as the similarities. The similarities between men and women (writers) are as great as the differences. The particular disproves any generalisation but generalisations persist. The strength of both these books, on social, political and artistic levels, is that they give voice to similarities and differences, to the particularity and generality of female experiences. These are poems by women from women’s perspectives about women’s experiences but they are not just for women. It would be a terrible failure of  sensibility if a male reader were unable to imaginatively and enjoyably live within the poems in these two valuable collections. Both books belong in all public and educational libraries and would certainly augment a private collection.

(Answers: Creator, Family, Archetype, Explorer, Myth Maker, Home Maker, Landscape, Lover, Freedom Fighter, Keeper of Secrets, Keeper of Memories, Ageing.)

Rob Riel reviews Andrew Slattery’s Canyon

January 1, 2011 / mascara / 0 Comments

Canyon

by Andrew Slattery

             Canyon is a handsome chapbook, the cover stylishly sewn rather than stapled to the text. Publication in this form is a valuable initiative of the Australian Poetry Centre, similar in scope to the Five Islands New Poetry Series, and with very much the same objective: to encourage newcomers to the poetic craft. 

            Like Ron Pretty’s earlier enterprise, workshopping of new poets’ manuscripts is a central element of the program.  If publication is the carrot, a week-long intensive residential workshop at Varuna is the stick used to beat a good manuscript into a winning one.  It’s a proven formula going back to 1994; the vetting process works, and the list of successful applicants is distinguished.

            Without question, Andrew Slattery merits inclusion in 2009.  On the back cover, Peter Porter describes him as ‘an archaeologist of the Natural World.  He invents a Joycean script.‘  Slattery’s poetry is large, his voice original, his craft sharp.  When he is on song, he’s up there with the best.  That said, his wordplay tends to that excessive exuberance common to talented new writers — which is to say, he can’t pass up a chance to impress.  Hence a few über-Joycean passages in the style of Ulysses and Finnigan’s Wake might be described as overworked. This minor flaw can be willingly dismissed in a manuscript of such promise.

            Canyon is a rewarding read, not necessarily an easy one.  The first four poems employ a richly Arctic motif.  William Empson’s Ambiguity Type 1 involves detail, which is effective in several ways simultaneously, and this is one of Slattery’s strengths, as in ‘Arctic Circle, Sweden’:

… In the distance a bull elk

lay across one track; the brown slump of weight

rolled into the ground with a span of antlers

like petrified angel wings.  When Dad tied them off

with rope at my back, I walked the way home,

but it was like I could fly, with wings of bone

lifting me over the rocks in the midnight sun. 

            Two pages later, the title poem Canyon shifts the stage underwater. Here, Slattery limns the vast depths and utter magnitudes of ocean ex ungue, leonem; from the squid, we may fairly observe and admire the whole sea:

The giant squid spools along canyons

cut from the ice age — movements

aggrandised over time, its organ pipes

roll the sea bed with solitary rills,

hear its weight unlying the sea.  

           It’s a strong poem, and none the worse for having appeared elsewhere under the title ‘Bathey Pelagium‘ — identical text, albeit with different (and, to this reviewer’s mind, superior) line breaks.  At least three other fine poems in this 24-page chapbook (‘Lithographone’, ‘Post Office’ and ‘The Rural Piano Rescue Project’) have also been previously published, some as competition prize winners.

            Slattery moves on to a more recognisably Australian landscape in the second half of the collection.  ‘Somniform’ has some impressive sequences …

Calf and cloud and their cummulant fill

unfurl its new tongue and slup a cloud.

The other cows and their dark, bowed heads.

The poppy deflates the balloon in your chest.

Lay on my back, suck slow on the clouds.

The whole world made of stupor.

           … though I stumbled somewhat over ‘cummulant’; it’s a statistical term, usually spelled with one ‘m’, and probably chosen for its sound — Slattery is a closet sound poet, which benefits his work when he doesn’t carry it too far.  A few lines later, though, he consults Joyce once too often:

This disturbance will uncope the heart.

Poppyblood, white noise, metal sweat, dry brain.

A black oil from boiling the feet of cattle.

My limbs are bound with malevolent sleep.

A pink baby curled up inside each poppy.

              This is a higher order of Empsonian ambiguity, the sort of thing emerging poets take great delight in, and which established poets take pride in reining in.  Still, ‘Somniform’ is an impressive piece.  So also ‘Tryptych’ in which the three stages of execution by lethal injection are entwined with beach imagery in a successful extended metaphor:

2. Pancuronium bromide (100 mg)

Only the fated know when

there are minutes left.  Tied to a plank

at sea, rising over troughs of swell,

the land disappears with each drop.

            Slattery is strongest when he harnesses his exuberance to a narrative thread.  ‘The Archaeologist’ is a powerful evocation of childhood and its implications.  ‘Lithographone’ demonstrates his impressive capacity to winkle wondrous imagery out of simple, straightforward, colloquial Australian English.  So also ‘The Slake’:

Dad said his back was too stiff

to bring in the dead lambs, so we went down

and opened the carcasses for the foxes

to come in after dark and take their hubs.

               He’s at his weakest with nonsense verse like ‘Dancey Miscellaney’ …

The ladybug does the Boston waltz,

the lobster a high-kicking cancan.

             where the poem is not much more than a vehicle for amusing himself with interesting words like  “farandole”, “catsrap”, “sarabande”, and “volta.”

             Canyon finishes with ‘The Rural Piano Rescue Project’, a long eight-part piece which plays to all of Slattery’s considerable strengths:

1. Structure

They used the 1912 Esterman upright

to plug a gap in the cow-yard fence.  A yellow

jessamy vine covers its back that faces out

like a dirty gold tooth along the white boundary.

From the other side you can see someone’s kept

the keys glint-clean.  We imagine stock workers;

left to bunk under the stars, spilling drink on the keys

as they sing the cows to standing sleep.

              This is the sort of poem which can win a major competition, establish a strong reputation, and convince readers to buy the poet’s next book. 

            Andrew Slattery is an exceptionally talented new voice in Australian poetry.   He has the craft, the sophistication, and the energy to compete with the very best. Canyon is an impressive milestone, and a worthy contribution to the literature.  At this point in his career, a full-length collection is the anticipated next step.  May it come soon.

Form and Fashion in Stephen Edgar’s Verse: Michelle Cahill reviews History Of The Day

January 1, 2011 / mascara / 0 Comments

History Of The Day                                                    

by Stephen Edgar

Black Pepper Press, 2009

ISBN 9781876044626

http://users.vic.chariot.net.au/~bpepper/edgarhotd.html

Reviewed by MICHELLE CAHILL

             History of the Day is Stephen Edgar’s seventh collection. Acclaimed for his formal virtuosity, the painterly style of his images, and an objective, pondering engagement with his themes, his work stems from the modernist tradition for which temporal, aesthetic and moral categories are ordered into a wholeness: that which Stevens refers to as a “blessed rage for order,” and Adam Kirsch describes as “its unequivocally positive character.” But how relevant is Edgar’s quiet insistence on aesthetic and ethical authenticity in the discursive climate of postmodernity? His formal music might seem to be mannered, anachronistic, or elitist even, in its positioned detachment from the real. Reading History of the Day, might seem a foreign experience, rather like learning a new language, Edgar’s work being labyrinthine and at times recondite. His polished cognizance, his formally oblique and elaborate praise of things ordinary defies a trend in contemporary poetics. Seemingly removed from the lineage of Rimbaud, Lowell, Plath or indeed Adamson, his poetry is, if challenging, deeply satisfying for its clarity, its faithfulness to measured forms of language and thought.

            History of The Day is a collection of modesty and harmony. An outward sign of its grace is reflected in the book’s structure. Each of three sections are inspired by the epigraph taken from Lawrence Durrell’s Balthazar so that we move from poems which encounter the intimately personal, to the those of historical irony and philosophical inflection, followed by the last sequence, a miscellany, in which poems are addressed to other poets. Edgar’s acknowledged influences include WH Auden, Richard Wilbur, Anthony Hecht, as well as the Australian poets Gwen Harwood and Peter Porter, among others. His sensibilities are refined, at times overwrought; his preoccupations are with the relativity of time, space, destiny and history. A poem such as “Space” is a fine illustration of Edgar’s themes and style. Here, he takes a single image of a Treasury flag flapping in the breeze as an instance of the physicality of space as it exists in the mind’s eye. The images are visceral. They emphasise a perspective in which the flag is central: the way it “writhes” against the “muscled” breeze, the “distortions” of matter within “a moment’s frame”. The tangential observer, aware of time elapsing, journeys on towards the “day’s blue, contested edges.” Broken into stanzas the poem derives its form from the Italian or Petrachan sonnet, with some license exercised to the rhyme scheme in the octave. The beguiling simplicity of its subject, the elasticity of its iambic metre, and its refined contemplation are hallmarks of Edgar’s most impressive lyrics. It’s a poem that reconciles image, form and thought effortlessly, turning adroitly from minimalism to perceptual complexity.

           Space-time distortions are a principal concern for the poet. In many of the poems Edgar takes a phenomenological interest in experience and how it is structured consciously. His attention to the detail of these processes enables him to amplify scenes, embellish their dimensions and surfaces, so that time is almost warped, slowed down to the shimmering speed of thought. We hear this echoed in the marvellously speculative poem “Dreaming At The Speed Of Light”:

And every thought would undergo
This rallentando, every word
Would grind down to a halt
Midsyllable, interminably heard,
But charged with full intention even so,
And purity of tone,

                                                               (107)

            Quantum ironies resound within the poem’s weave of internal assonance and simple rhymes. Such poems exemplify the liberating and quirky possibilities of Edgar’s formal music.

            The situations and figures are often more emblematic than realistic, creating the mildly disturbing effect of defamiliarisation, so that we are excluded from the engendering of illusion. The subject matter, however benign, is nuanced with a disenchantment that falls short of defeat. This kind of alienation is modernist in its impulse. There is an almost Brechtian distancing effect which along with the historical referencing of many of the poems, imbues them with complex ironies.

            In “ Out of the Picture” Edgar dramatises the dual perspective of an Impressionist painting. On the one hand is the “unnoticed, unmissed” feminine figure who “saunters between/The poplars” out of the picture towards a forgotten ending. The last stanza suggests an alternate perspective of the painting’s observer, for whom it is

As pointless to depart as to delay:
In either course is folded the same space.
In Istanbul next year or here today:

                                                                (23)

            The attention given to the placement of figures, and to the spectator perspective with its minimalist interaction emphasises divisions between the viewer’s world and the picture space or the scene depicted, whether it be through a photograph of lynching as in the powerful evocation“ Those Hours Which Grew To Be Years”, through a dream, as in “Dream Works” or through a camera lens, as in “The Swallows Of Baghdad.” As a war poem, one could argue that “The Swallows Of Baghdad” pursues its ethical argument tentatively, leaning towards a tactful, aestheticised vision of war’s brutality. The swallows with their “flickering wings,” who dart through a “ruined roof/To perch on dreadful engines,” are twice removed from the observer, being reminiscent of  “a scene from Attenborough.” Edgar’s instincts are always on the side of aesthetics, though one feels the tension  between this principle and what is being represented. Moreover the poem attempts to eschew complacency in its ending lines:

A camera reeling in that chamber follows
Their lit flight, where—too recently to show—
The cameras turned to darkness for their proof.

                                                                  (53)

             The framing of scenes and narratives is one aspect of the poet’s architectonic finesse but it’s also a lens through which history and memory can be purposeful; intensifying and correcting time. This is beautifully realised in the book’s opening poem “Golden Coast’, in which natures’s ravages are compared to those of love. Edgar’s diction juxtaposes the idyllic with the hideous, as overdeveloped skyscrapers “make their mark, /Their ulceration of the golden coast/ whose beauties they would sell, Under the settling sediment of dark.”

            Metaphysical in its dialectic and reminiscent of Herbert or Donne, the poem illuminates how memory operates within a dimension that transcends time. The idyllic moment of love’s intensity is preserved :

This day unknown to time will be there when
The light drifts through the shallows like a ghost
And dies of hours, the skies
And earth fall down and chaos comes again.    

                (6)

             How many contemporary poets would dare voice such painterly abstractions, such affirmation? A reader who might resist a title such as “Golden Coast,” is convinced by the thoughtful accuracy of Edgar’s diction, which describes how “lights as laggardly as sound/ Struggle to make the passage of the gloom.”

             Like a Hopper painting, many of the poems play with a symbolic use of light and shade, and the careful placement of figures within a given scene. This attention to topographies and symmetry is distinctly metaphysical, an ordering principle pleasingly realised in “The Earrings”. The central conceit of a deceased lover’s earrings, gifted to a living spouse, play on the spherical as a symbol of nuptial unity, destiny, and the amatory universe. With adroitness the poet is able to reconcile loss with recovery, the ironic with the ardent, to unify

All of the properties,
           The pain,
Pleasures, desires, memories
That nothing will appease,
            Nothing detain,

                                                            (8)

             Chronological time does not correspond to memory, dream or to lived experience as the portals between past and present are traversed in language. Mystical encounters are celebrated: the dead speak, a doppelgänger contradicts himself, entering not a boardroom, but a museum “of lost antiquities”, the “mortared ghost of locomotion surges” in the sculptural form of a train. In the poem “Nocturnal,” Edgar’s prosody echoes a Keatsian ode in its iambic rhetoric:

Who ever thought they would not hear the dead?
Who ever thought that they could quarantine
           Those who are not, who once had been?

                                                            (17)

            The reader is moved and surprised by the poet’s wit. The discrepancy between the recorded and real voice of the poet’s deceased partner is metonymic of the breach between memory and presence, an impasse into which the poem enters.

            History of The Day is a book of Escheresque passages rendered by the effects of recollection, repetition and doubling: The past is “Undeleted,” Edgar writes, “What happened is embedded and repeated.” Speculative, ekphrastic or historical, the poems duplicate and tease semantic possibilities which we encounter in poems like “Parallel Worlds” or “Interior With Interiors”. This latter poem, inspired by a Ramon Casas painting depicts a scene where a woman and man are mutually abandoned to each other: she “self-absorbed”; he perhaps dreaming of bliss, a ‘total consummation” from which he might soon enough be dissatisfied, “wishing to be elsewhere.” The  artefacts of realism: coffee pot, milk jug and vase become little more than props, or “servants liveried to be ignored,” as the text, painting or poem opens to the world of boundless interiors.

            With idiosyncratic flair, Edgar probes the inner milieu. Yet a stronger dialectic between the individual and history than we have come to expect from him is voiced in this collection. The extrajudicial mob violence of white American supremacy is powerfully depicted in “Those Hours Which Grew To Be Years”. Here Edgar critiques the historical lens in his appalled response to photographs of Frank Embree’s and Rubin Stacey’s lynchings. The naked Embree is “stripped/And scored with the judicial script/Of whips,” but the poem returns a Christ-like dignity to his “composed face.”

             Here, at his most outraged, Edgar turns poetic style to indictment. He scrambles the metres. Rarely do we see him mix the insistent accents of dactyl with the iambic and anapaest in his prosody:

      Take him away
      Airbrush him out,
And all these men who stand about
In the clean light of day,

                                                              (48)

            In another poem from the sequence, a young white girl’s voyeurism is depicted with uncharacteristic and intended vulgarity:

Her hands crossed, mimicking his handcuffed hands,
On her frocked crotch, her naked face intense
And lit up with a half-embarrassed leer,           

                                                             (51) 

            These are poems in which the observer’s perspective, regardless of his nationality, class or race exceeds that of witness. Edgar brings into focus the crisis between the social juggernauts of supremacy and a humanist conscience.

            Whatever subject his poems address, no matter how grand or horrific, Stephen Edgar elegantly affirms an objective displacement, sometimes theatrical or emblematic, as moments of recollection, history, art and culture are revisited and referenced. This self-imposed distance renders him faithful to his aesthetic and ethical ideals. Repeatedly, in History Of The Day, what is beautiful is sustained by loss, to become the property of memory. The ravages of history are, at least partially, restored to dignity. Here is a work which dares, in a postmodern, Microsoft era, to entertain serious aesthetic contemplations. The speaker encounters notions of reality that are fragile, provisional and constructed within the infinite domains of space-time as he attempts to order

Dimensions at the heart of matter,
Immensities wound up, that mind

Cannot conceive?

                                                            (72)

Notes

Adam Kirsch, The Modern Element, WW Norton, New York, 2008, p 10