Dmetri Kakmi reviews Sergius Seeks Bacchus by Norman Erikson Pasaribu, transl. Tiffany Tsao

September 8, 2019 / mascara / 0 Comments

Sergius Seeks Bacchus

by Norman Erikson Pasaribu

translated by Tiffany Tsao

Giramondo

ISBN:9781925818109

Reviewed by DMETRI KAKMI

Born to a Muslim father and a Protestant mother, Norman Erikson Pasaribu was raised in Jakarta, Indonesia, but his roots lie in the ethnic Christian Batak community of Sumatra. Though he writes in Indonesian, Pasaribu’s poetry collection Sergius Seeks Bacchus (translated by Tiffany Tsao) is a vehicle for queer voices outside western Anglophone experience, offering a glimpse into a world that is all too real for non-conforming individuals in much of the contemporary world.

As of this writing, in more than seventy countries it is a crime to be gay. In ten it incurs the death penalty, and in no country in the world are LGBTQI people treated equally under the law. Exposure, humiliation, forced medical intervention to affect a ‘cure’, and curtailment of basic freedoms are everyday realities. ISIS tossed gays from minarets, and in Chechnya men and women suspected of homosexual practices are incarcerated in concentration camps. In parts of Indonesia, homosexuality is illegal under Sharia Law and punishable by flogging. 

This in effect is the shadow under which Pasaribu writes—the kind of world western urban gays might believe was left behind in the 1970s, with the rise of gay liberation. And although the poet writes about Indonesia, his references are recognisable and relatable because they are drawn largely from a western pop culture ethos that pulls in television, magazines, social media, as well as the Judea-Christian tradition. Even Dante Alighieri gets a look-in with poems such as “Inferno”. “Purgatorio”, “Paradiso”, and “La Vita Nuova”, representing the symbolic journey of ascent and renewal that is at the heart of the book.

From the outset, however, Pasaribu evokes the spirits of Sergius and Bacchus, two early Christian martyrs who, like Saint Sebastian, have been absorbed into the global male queer sensibility. Mixing defiance and submission, all three are part victim, part rebel, true believers who suffer for their convictions; and, therefore, transcend oppression and persecution. As seen in the eponymous poem, death is not final but a doorway to redemption.

Snake-like, you shed your short-lived skin
and commence/continue your quest. Now the light from on high

passes through you. You’re luminous. Meanwhile, out west
in decrepit Rome sits Galerius, oblivious his end is nigh.

You seek your beloved — he appeared to you in your cell,
his body glowing silver as he whispered, Endure,

for I will always watch over you. With him you will rise
up to heaven and wonder at how familiar

it all feels. Hand in hand, you two will stroll the streets,
introducing one another to everyone you meet.

(p.5)

Far from saying homosexuals are better of dead, Pasaribu disavows doctrinaire notions of martyrdom in favour of an earthly paradise in which same-sex couples walk hand-in-hand without fear. His lines are metaphor for a lapsed Christian who follows in the footsteps of gay club anthems like ‘Go West’ by the Village People (later covered by The Pet Shop Boys) and ‘In the Evening’ by Sheryl Lee Ralph.

An admission. As an atheist who has lived most of his life in Australia, I had trouble getting my head around the notion that gay people continue to hide in the 21st century, especially to appease religious dictates. It seemed retrograde, like reading a book about homosexuality from the 1950s. But such is Pasaribu’s sleight of hand that he quickly popped my insular bubble to remind me what life would be like if I still lived in Turkey, where I was born. Indeed, most of my Turkish gay friends seek shelter in the closet or sham marriage.

The most revealing poem in this regard is ‘On a Pair of Young Men in the Underground Car Park at fX Sudirman Mall’. Here two young men sit in a Toyota Rush ‘parked in the corner of level P3,/stealing a little time and space for themselves,’ and poignantly ‘exchanging kisses wide-eyed — keeping watch as one/for security guards or janitors’ that might interrupt their stolen moments. 

Two things stand out in this cornerstone poem. First, the poem recalls the tone set by C. P Cavafy, the Greek godfather of all queer clandestine confessionals. Second, the secretive location, (simultaneously public and private), brings to mind early Christians worshipping in catacombs beneath Rome streets, awaiting their turn to rise and take over. 

Literally and metaphorically driven underground by unorthodox desires, Pasaribu’s primary stance is seeking; his is a restless questing as his cast of characters search for a shared history that is textually present but remains elusively out of reach. And because the queer body politic walks a fine line between visibility and invisibility, acceptance and rejection, it could be said that this collections is about absence in presence, and presence in absence. 

Despite advances in some parts of the world, the homosexual is still contested territory. Both present and absent in society, the homosexual is made painfully visible and inextricably invisible through obsessive, circular, discourse that seeks to simultaneously comprehend and to exclude. This contradiction is central to Pasaribu’s poems. Caught in the crossfire are men and women who continue to assert the validity of their lives against a tyrannical ideology.

The other emblem Pasaribu draws on is the tree—not surprising, given the book’s original title was Like Trees. But Pasaribu had a last minute change of heart, perhaps to align the book with evolving queer narratives; and, more important, to signal that in each of the fifty-nine poems the emphasis is on pairing, bringing people together, whether in love, quest, or Socratic dialogue.

As an animist, I lean more towards trees than to Christian iconography. That is just as well since the tree is a universal archetype that can be found in different traditions around the world. They are symbols of physical and spiritual nourishment, transformation, liberation, and union. Moreover, Jungian psychology sees the tree as a symbol of individuation, bringing together the feminine and masculine principles.

In light of this, it is interesting to follow Pasaribu as he weaves a path between doctrinaire religion and tree-worshipping paganism. This is best seen in “He and the Tree” where an individual stands at the border of civilisation and the natural world, seeking forgiveness from the tree that shelters his car from the sun in the company parking lot. As the tree listens, it remembers his friend who was ‘ripped from the earth for being too close to the foundation’, thus losing a chance to tell his friend ‘how much he loved him’.

If he were here, he would take him to a church. At the altar
they would be joined together before god, who had three branches
— like a tree — and their children would fill the lot, every
single square inch, so that someday everyone who passed
would think a forest had sprung up in the city’s heart.
The man hugged the tree and tree hugged the man.
(p.4)

This poignant, wryly observed poem would have been an ideal way to end the collection. It brings together the book’s main symbolic and ideological positions in an act of compassion and empathy that yields fruit; and that in a way is what Pasaribu hopes to achieve in this slender but weighty tome that both affirms and transcends the classification of queer poetry.
 
 

DMETRI KAKMI is a writer and editor based in Melbourne. For 15 years he worked as a senior editor at Penguin Books. His fictionalised memoir Mother Land was shortlisted for the New South Wales Premier’s Literary Awards in Australia; and is published in England and Turkey. He is the editor of the acclaimed children’s anthology When We Were Young. His new book The Door and other Uncanny Tales will be published in 2020.

Tamara Lazaroff reviews Wordslut by Amanda Montell

September 7, 2019 / mascara / 0 Comments

Wordslut: A Feminist Guide to Taking Back the English Language

by Amanda Montell

Black Inc.

ISBN: 9781760640958

Review by TAMARA LAZAROFF
 
 
Wordslut, as the ironic title suggests, is a book about language, gender and power by debut author, Amanda Montell, an LA-based self-professed linguistics nerd, feminist and also magazine features editor. It’s no surprise, then, that the writing is entertaining and that Montell is able to elucidate in a concise, relatable manner the precise ways in which ‘… people use language to express gender, how gender impacts how a person talks, and how their speech is perceived’ (4). In short, she demonstrates how words are inherently social and political tools. And if anyone has any doubt about this, Montell cites a 2002 legal case in Kansas Supreme Court where the dictionary definition of woman prevented a transgender spouse from inheriting her deceased husband’s estate.

Montell continues to illustrate her arguments by mining history and making use of other case studies in the book’s eleven chapters, which cover topics such as cursing while female, girl talk, how to confuse a catcaller, and the struggle of being a women who speaks in public. She also conducts interviews with leading North American sociolinguists, such as Lal Zimman, Deborah Cameron and Sonja O. Vasvári, Montell’s former NYU professor. The book is certainly well-grounded and well-researched.

In the first chapter, for instance, Montell, reveals the etymology of various English slur words usually reserved for women, which refer most commonly to either desirability, ‘evilness’ or promiscuity. One of these words is ‘slu’t. Apparently, in the Middle Ages ‘slut’ referred, fairly innocuously, to an untidy woman or man (29). But, Montell asks, even if contemporarily meant to offend, why is this slur and so many other slur words so enjoyable to say out loud? Well, studies show that, phonetically, short and plosive sounds and stop consonants, such as b, p, d and t, are human favourites from birth. Thus, reclamation and reappropriation, Montell believes, is key, and is, in fact, what is already happening. Terms like bad bitch – ‘a confident, desirable woman (40-1)’ – and the chicer, Frencher-looking ‘heaux’ instead of ‘ho’ are currently being used as terms of endearment and humorous affection between women, thanks mostly to speakers and creators of African-American Vernacular English.

So, words can and do change in meaning, Montell wants to stress. Sometimes slowly, but also sometimes quickly. To take an example, she asks us to recall the word ‘suffragette’, which, when it was first coined by political opponents, was intended as a smear and referred to the ‘husbandless hag[s] who dared to want to vote’ (42). However, activists immediately ‘stole’ the term for their campaign, and now the label connotes qualities such as courage, honour and strength. If anything, this is Montell’s aim in Wordslut: that women, and indeed any other groups oppressed by language, continue to consciously take language into their own hands in order to verbally, as they say, ‘smash the patriarchy’.

Another area that Montell suggests women can take linguistic action is in describing the act of sex. Disturbingly, as a beginning reference, she cites, British slang lexicographer, Jonathan Green’s collation and study of terms used for male and female genitalia spanning from the 1500s to 2013. (Interestingly, he collected 2,600 word items, more words than were in the first English dictionary.) But more to the point, Green was looking for patterns, and what he found was that the penis has been, over five centuries, most commonly described as some kind of weapon, and the vagina, a passageway, a passive void. Furthermore, terms for intercourse were more often than not a way of saying ‘man hits woman’ (256). Montell sums up: ‘…our languages most potent phrases… paint a picture of women, men and sex from a cisgender dude’s perspective’ and ‘… portray… sex as… violent’ (205) What about instead, offers Montell: ‘We enveloped all night… I sheathed the living daylights out of him… it would be a real head-scratcher’ (257). Alternately, she goes on, could some inspiration be taken from trans folk who self-identify their own genitalia – venis, diclit, click (268) – and their own sexual experience? Overall, this is what Montell thinks is needed:

A discourse of sex as pleasure… acknowledging women as active desiring and sexually assertive subjects, not necessarily centred around the erect penis, will challenge and confront established power structures … a new mythology, one which speaks about mutual exploration, communication, discovery, and pleasuring one another, where penetration is not an end unto itself, but one of the many possibilities for erotic enjoyment.’ (Crawford, Kippax and Waldby in Montell, 268).

In subsequent chapters, Montell takes further inspiration from the linguistic creativity and inventiveness of queer communities. She gives the example of gay men in the Phillipines who have developed a particular, ever-changing lexicon called swardspeak, which ‘combines imaginative wordplay, pop culture references, malapropisms and onomatopoeia’ (242). Then, in the early to mid-twentieth century, there were the British gay men who used a particular vocabulary called Polari, which contained several hundred words and was a ‘mix of London slang, words pronounced backwards, and broken Romani, Yiddish and Italian’ (248). It, like swardspeak, was mainly used to identify speakers as homosexual and also as a protective device, but Polaris was ultimately discarded when homosexuality was legalised in 1967.

Lesbian slang and/or secret codes, on the other hand, writes Montell, are largely unrecorded or absent prior to the 1970s, mostly due to the fact that lesbians were once socially, historically and even linguistically invisible. Unbelievably, the word ‘lesbian’ was not added to the Oxford English Dictionary until 1976, and even then its usage was illustrated with this chilling example sentence:

‘I shall never write real poetry. Women never do, unless they are invalid, or lesbians, or something’ (281).

Nevertheless, second-wave feminists – lesbian or not – were incredibly productive and wrote umpteen feminist new dictionaries, transforming patriarchal speech ‘into a language for and about women’ (275). The most famous, Montell notes, was Mary Daly and Jane Caputi’s Websters’ First New Intergalactic Wickedary of the English Language (1987). It includes revamped definitions such as this:

HAG: A Witch, Fury, Harpy who haunts the Hedges/Boundaries of patriarchy, frightening fools and summoning Weird Wandering Women to the Wild (in Montell, 276).

And then there were those who invented whole new feminist languages, such as the linguist, Suzette Haden Elgin, who coined words to sum up what she thought to be ‘common physical, social, and emotional experiences shared by women, which were otherwise unspoken or would take multiple … sentences… to describe’ (279). One of Elgin’s head-nodding terms is this: radiidin, ‘…which translates to “a non-holiday”, or an occasion generally thought to be a holiday but is actually a burden due to women having to cook, decorate, prepare for so many guests single-handedly’ (279). The entire final chapter of Montell’s book is devoted to these second-wave feminists’ ambitious and expansive linguistic undertakings.

In many senses, Wordslut is a carrying of the torch, a continuation of these earlier feminists’ work. Like her forebears, Montell shows and gives women ‘the knowledge to reclaim the language that for so long has been used against us’ (20). She sees language as the next frontier of gender equality and her book has plenty of suggestions for how to take charge. One, as recent research has indicated, is this: for women in the public eye or in positions of authority, the best approach is, rather than listening to spin doctors and life or voice coaches, simply to be oneself (225). This is advice that Montell certainly takes on herself. Readers will enjoy her shameless humour, the intellectual stimulation, historical detours, current-day relevancy and the way her book deconstructs social norms in many unexpected ways. Ultimately, Wordslut is hopeful. And for those who want more, there is a TV adaptation coming soon.
 
 
 
TAMARA LAZAROFF is a Brisbane-based writer of short fiction and creative nonfiction. She has a particular interest in hidden histories, the migrant experience, feminist and queer themes, oral storytelling traditions and celebratory stories of social interconnectedness.

Fernanda Dahlstrom reviews Prisoncorp by Marlee Jane Ward

September 7, 2019 / mascara / 0 Comments

Prisoncorp

by Marlee Jane Ward

ISBN: 9781925589542

Brio Books

Reviewed by Fernanda Dahlstrom
 
 
 
Prisoncorp is the third volume in a young adult speculative fiction trilogy that engages with issues in contemporary Australian society. Marlee Jane Ward posits a near-future setting where current legal and economic trends have gone to an extreme, but which contains enough of the current features of our country to ring uncomfortably true. The first book, Orphancorp won the Victorian Premier’s Award in 2016 and was heralded as timely, in the same year that confronting footage of human rights violations in Don Dale Youth Detention Centre became public, raising questions about the criminalisation and institutionalisation of vulnerable youth.

Ward’s series centres around orphan Mirii, who believes herself to be Aboriginal, but has lost her connection to family and country. She knows her last name means ‘shooting star’ in an Aboriginal language, but only because she looked it up on the Tab that is her only connection to the outside world. In Orphancorp, Mirii counts down to the day she will obtain ‘age release’ from the privatised foster system in which she has grown up. A rebellious girl with a dirty mouth, Mirii is subjected to brutal forms of discipline in the days leading up to her release from the ironically named Verity House, where information is near impossible to come by.

In the sequel, Psynode, we re-join Mirii a few months after her age release. She is staying in a women’s dormitory and feeling that, while at Verity House it was ‘us and them’, now it’s her against everyone. Mirii gets a job and waits impatiently for the day she is supposed to meet up with Vu on the steps of the old Sydney Town Hall, one of the few old buildings still standing. However, her plans go awry, and she is arrested for a suite of offences committed in the process of trying to free Vu, the girl she ‘like-likes’, from her captors.

Prisoncorp opens with Mirii being held in a solitary confinement cell at the notorious corporatized prison located in a remote part of the Australian desert. She is not, however, alone. Her nemesis, Freya, is with her and the novel plunges straight into action with a fist fight between the two girls. Mirii reflects that although she earlier had an epiphany about how their enmity ‘played into what the system wanted of me’ (p.2), Freya has not achieved this insight. Relationships between women are consistently foregrounded in Prisoncorp. Mirii’s friendships are staunch, but we are afforded no illusion that any general sense of sisterhood can be counted on. An unknown prisoner of whom Mirii asks a favour promptly tells her, ‘go fuck yourself’ (p. 6). A day out of solitary, Mirii discovers her crimes are so serious as to warrant a ‘real, human lawyer’ (p. 31), whose face pops up on a screen to tell Mirii that she will be doing 25 years for manslaughter.

Mirii is soon reunited with kids from Verity House. Young people who grow up in the system are seen beating a well-worn track into prison, a familiar pattern that reminds us of how far along the path to this future we have already come. The privatisation of the prison system, which began in Australia in the early 90s, is now complete, with the prison headed up not by a Warden but by a Chief Operations Officer (COO), who ‘represents the board’ (p. 36). Ward’s depiction of prison from the point of view of an Indigenous woman alludes to current concerns about prison demographics. The fastest rising incarceration rate in Australia is currently that of Indigenous women This concern is made explicit when another prisoner tells Mirii, ‘There are a lot of us in here…it’s a crime to be Koori in our own bloody country’ (p. 97).

Ward presents the prison industrial complex and the immigration detention industry as inseparable, with the screws announcing unceremoniously that 200 immigration detainees are to be amalgamated with the prison population. This prompts Mirii to reflect:

I feel about as hopeless as they do. I wonder where they’re all from, how they thought their new life in Australia might go. Did they expect to be rounded up and put into this dusty camp, to waste away on starvation rations? Weren’t they seeking something better, and is this better, or is it more of the same? (p. 61)

The book’s engagement with current human rights issues gives Ward’s predictions an uncanny immediacy, but it also leaves us craving more detail. How did we get from the Australia we know to this near future? Why are there few old buildings left? Where does the climate crisis stand? Where is this hellish private prison located?

Mirii’s sexual involvement with Vu is presented as unproblematic throughout the series (except to the extent that touching anyone is forbidden in the Orphancorp). Ward also presents a number of other same-sex sexual encounters and their queerness passes without comment. Monogamy seems to be a thing of the past, as do fixed sexual identities. In Psynode, Mirii recounts a history of sexual experiences that would make Tony Abbott and other opponents of Safe Schools shudder: boys, girls, threesomes and kink. The unproblematised sexual fluidity of Ward’s characters provides welcome relief from the overall bleakness of her premise. It allows the focus to remain on the struggle of these young women against a brutal and oppressive system while suggesting some more liberal developments in Australian society in the near future, taking Ward’s vision beyond a simple dystopia.

The plot progresses swiftly, with Mirii’s initial hopelessness turning into resolve as she and her friends conceive of an escape from Prisoncorp, which snowballs into a full-scale riot. Characters express doubts over where they will go after breaking through the fences, given they are in the middle of the desert. The situation calls to mind the mass break-out of the overcrowded Woomera Immigration Detention Centre during a protest by refugee activists in 2002, which led to clashes between Corrections and asylum seekers fleeing across the South Australian desert.

The novel climaxes with an uprising that confronts us with some of the ethical dilemmas associated with rebellion. How to treat one’s captors once they become one’s prisoners? To what extent can individuals be blamed for acts committed in obedience to orders? Can you justify risking the life of someone whose name you don’t even know to attain freedom for the group?

Prisoncorp includes an epilogue of only a few pages in which we glimpse the aftermath of the series’ dramatic conclusion. This is precious little space to explore the myriad ways characters have developed over the three books or how society may look outside of the institutions where most of the action has taken place and this feels like a missed opportunity. However, Prisoncorp offers a powerful vision of the future of the carceral state and a warning of the dark places to which prison privatisation threatens to lead.
 
 
FERNANDA DAHLSTROM is a writer, editor and lawyer who lives in Brisbane. Her work has appeared in The Guardian, Kill Your Darlings, Overland, Art Guide and Feminarsty.

Caitlin Wilson reviews Too Much Lip by Melissa Lucashenko

August 11, 2019 / mascara / 0 Comments

Too Much Lip

by Melissa Lucashenko

University of Queensland Press

ISBN: 978 0 7022 5996 8

Reviewed by CAITLIN WILSON

Talking Back: Too Much Lip, Melissa Lucashenko

If this book were a sound, it would be the roar of a motorcycle down an empty road; bold, and for the moments when it’s in your path, dominating of all your senses. This book swallowed me and churned me in its guts and, as all good books should, spit me back out, a little bit different.

Its premise is not unfamiliar: a woman is called to return to her home as her grandfather nears death to say goodbye, and finds more waiting for her than she had anticipated. But Lucashenko renders this framework classic rather than clichéd. Melissa Lucashenko’s name has been synonymous with vivid characters negotiating the complexities of belonging since her debut novel Steam Pigs was released in 1997. Tangled and tumultuous relationships are her hallmark, and the Salters, the family around which Too Much Lip centres, are no exception. The story boils with emotion, and its characters carry scars both physical and invisible from their shared past.

In Too Much Lip, a stranger rides into town, “but it wasn’t a stranger, it was Kerry”— the novel’s observant, funny and immediately likeable in a she-says-what-we’re-thinking way protagonist. She roars into frame on the back of Harley, headed to her hometown of Durrongo in Bundjalung country, northern New South Wales. Kerry is a marvellously difficult woman to pin down—a self-described lesbian who falls for a man, a ‘lone wolf’ who thinks often of her ex-girlfriend and cares deeply for family, almost despite herself. The novel doesn’t dwell overly on romance, but Kerry’s burgeoning relationship with her handsome former schoolmate, Steve Abarco, complicates her understanding of herself. Kerry never calls herself bisexual rather than a lesbian, a fact that was jarring at first. However, I came to see it as a part of her all-or-nothing image of the world, rather than any oversight on the part of the author. That the exception to her sexuality is a white man is even more of an about-face for Kerry, who treats the white ‘redneck’ townsfolk of Durrongo with earned suspicion:

“Had they realised at all that running was a bulwark against the taunts slung about so casually at Patto high? Nigger, nigger, pull the trigger. Kerry would sneer at the white faces mouthing the words- Abo, black bitch, boong- and picture their owners wheezing on the edge of the track as she floated past triumphant, her giant banner reading: Whatever, maggots.” ( 59)

Jim Buckley, the land-grabbing white mayor of Durrongo, slights Kerry nearly as soon as she arrives home, and threatens a beloved site of family history for the Salters. Drawn into the fight for her family’s land, Kerry is a reluctant activist, her cleverness and rage useful weapons against greedy developers. While it would be easy to call Jim Buckley the antagonist of the novel, he is only its human form: personifying white selfishness and the disrespect of Indigenous people that is all too persistent, in fiction as in historical fact. White Australia’s callous disregard for Indigenous people is the social and structural violence at work in this novel; and slaying it, or chipping away at it the best one person can, is Kerry’s heroic journey.

Too Much Lip is thus as much about repairing past damage and safeguarding against future destruction as it is about new romance. The Salters distance themselves from each other in ways literal and metaphoric. They are tough, loving, violent and soft by turns, never easy and certainly never dull. Kerry’s older brother Ken drinks and rages without quite knowing why, his son is entranced by the escapism the computer screen offers, and her mother’s Tarot cards guide her way through the world. Kerry and her middle brother, Black Superman, have put physical distance between themselves and Durrongo, and their sister Donna, missing since her sixteenth birthday, is a gaping hole of absence in the Salter family.

Despite—or perhaps because of?—its depth, Too Much Lip retains much of the dark comedy for which Lucashenko’s 2013 novel Mullumbimby was so well received. Winner of the Queensland Literary Award for Fiction, Mullumbimby also circled themes of the bittersweet familial obligation and the sacredness of land, though Too Much Lip arguably pushes Lucashenko to darker and more personal places. Lucashenko herself described the writing of Too Much Lip as “frightening” and “retraumatising”, and while the enduring rawness is evident, the novel reads as anything but fearful. Lucashenko’s characters feel real and personal. The first chapter is preceded by a quote from a 1908 court case, where an Indigenous woman has shot a man. This woman, Lucashenko reveals, was her great-grandmother, Christina Copson, and a source of inspiration for Too Much Lip’s incisive depiction of the white people in power in Durrongo.

Early in the novel, Kerry stumbles on a quintessentially-Australian image of sublime natural horror- a crow, having tried to eat a dead brown snake, has caught its head in the skeleton of the snake. This grotesquery is Australia writ-small; a penetrating force attempting to invade that which it does not understand. Three other crows that have gathered near the snake speak to Kerry in a mix of English and Bundjalung, a moment which allows Lucashenko to establish the uniquely Indigenous realism of her novel.

“The snake-crow tilted its mutant head at her.
‘Gulganelehla Bundjalung’. Speak Bundjalung. A test of good character.
‘Bundjalung ngaoi yugam baugal,’ she said. My Bundjalung is crap. The bird hesitated.” ( 9)

Moments like this evoke Alexis Wright’s The Swan Book: terming them as ‘magic realism’ undermines the deft translation of an Australian experience as real and complex as any described by a Tim Winton or Christos Tsiolkas text. Too Much Lip doesn’t gesture at universality, or attempt to speak for anyone. Instead, it speaks personally on shared issues of family, home and loss.

Indeed, one of the many remarkable feats this novel achieves is its determined peeling away of the layers of toxic masculinity to reveal the trauma at its core. The male characters in Too Much Lip, particularly the four generation of Salter men, carry heavy burdens that are revealed bit by aching bit through their interactions with each other and the women of the novel. Even the local landscape, so loved by the Salter family, imparts an omnipresent threat of violence:

“Maybe it was a dog to begin with, or a doob, for that matter. But make no mistake. That mountain’s a fist now, girl.” Pop told her, letting his arm drop. He looked at her in anguish.
“It’s a gunjibal’s fist waiting for us mob to step outta line, waiting to smash us down. We livin’ in the whiteman’s world now. You remember that.” (64)

Memories like this proliferate the novel, as the Salter siblings attempt to make sense of their past and protect their future. Lucashenko’s writing is never sentimental, and yet the careful revelation of the secret darkness rotting the heart of the Salter family is deeply moving. By lovingly sketching characters who are deeply flawed, Lucashenko hints at redemption without the need for saccharine prose. It was fascinating to read this book in the wake of the debate over the cogency of Erik Jensen’s decision to disqualify from the Horne Essay Prize “essays by non-Indigenous writers about the experiences of First Nations Australians”. While it’s a complex issue I wouldn’t presume to be able to solve, I was struck reading this book the importance of telling your own story, your own way. What makes Too Much Lip not only engaging while reading, but memorable, is its tangible roots, which burrow deeply into the realities of Australian existence, through the author, this country, and now, this reader.

Citations

Chernery, Susan. “Melissa Lucashenko: Too Much Lip was a frightening book to write”. The Sydney Morning-Herald. 27/07/18. https://www.smh.com.au/entertainment/books/melissa-lucashenko-too-much-lip-was-a-frightening-book-to-write-20180724-h1326h.html

Lucashenko, Melissa. Too Much Lip. QUP. 2018. Pp. 9, 59, 64.

Wahlquist, Calla. “Horne essay prize scraps rule change after judges resign in protest”. The Guardian. 24/9/18. https://www.theguardian.com/media/2018/sep/24/horne-essay-prize-scraps-rule-change-after-judges-resign-in-protest

Wright, Alexis. The Swan Book. Giramondo Publishing, 2013.

CAITLIN WILSON is a Melbourne-based student and writer of criticism and poetry. Her poem was recently short-listed for the University of Melbourne Creative Arts poetry prize, and her criticism can be read in Farrago and The Dialog, among others.

Gabriela Bourke reviews Lucida Intervalla by John Kinsella

August 10, 2019 / mascara / 0 Comments

Lucida Intervalla

by John Kinsella

ISBN:  9781760800079

UWAP

Reviewed by GABRIELA BOURKE
 
 

Can art make things happen? John Kinsella says ‘yes’. ‘Poetry functions more directly in cultures at different times, but it is part of most things we do. Consciousness of poetic language informs reading the newspaper as much as it does listening to songs on the radio.’ (Watts 2013) Kinsella’s most recent novel, Lucida Intervalla, is set in a frantic and failing world almost indistinguishable from our own, except that the things we fear happening – coastlines that are no longer coastlines, fire hail raining from the sky – are already happening. Lucida Intervalla might be read as a deliberative novel, one intended to provoke discussion and inform change, or it might be read as a novel resigned; to climate change and climate denial, to fallen cities and interminably displaced refugees, to an end ‘…without style. So bland. So fated.’ (233)

The world may be plummeting ever closer to self-destruction, but Lucida grants it little attention. As a child, she creates self-portraits in vomit and menstrual blood, the latter for which she is expelled. References to rising temperatures are rife and the planet seems on the precipice of collapse, if not already there. If this novel is a bildungsroman describing Lucida’s trajectory from troublesome child to super-celebrity; it is also one reflecting the gradual and uncomfortable movement of humanity toward accepting what is has done: to the earth, to the animals, and to ourselves, ‘…drowning and choking on its own goo and efflatus’ (219). This is unsurprising from Kinsella, a self-proclaimed anarchist pacifist vegan (link to Kinsella’s blog provided below) who coined the terms ‘pleasurism’ and ‘leisurism’ to describe acts of environmental degradation for, you guessed it, the purposes of pleasure and leisure. Uneasy and destructive relationships between humans, other species and the natural environment appear often in this novel. Wildlife is synonymous with road kill and forests only exist in conjunction to bulldozers. Young Lucida keeps mice as pets, one of which aggressively procreates and then eats its own offspring (32). Although mice are identified as herbivores and it is true that they can exist as such, they are opportunistic eaters who feed on what is available, much like humans. The incorrigible Pinkie, then, with the blood of his own and others’ infants on his snout, is the harbinger of society in this novel as in life.

This is the battle that rages between the old and new world in Lucida Intervalla, foregrounded by measured references to Aristophanes’ The Clouds. Lucida’s big break comes in the form of a trip to interview an aging and reclusive artist who has rejected the brave new world and retired to Centralia – a state which thus far does not exist, but is borne from the tentative idea raised by former Territory and federal MPs to merge parts of South Australia and the Northern Territory into one state. This move is touted as being a significant opportunity to reinvigorate this part of the country by taking advantage of its relative proximity to Asia, but Centralia as represented by Kinsella is as weary and shrivelled as the artist who has taken up residence there.

‘He is an artist and he should be in his prime…but his brushes dried with the wet and he’s not even done a sketch. It’s gone, whatever he had and whatever he hoped for. In the open, he is confined. In the open, and the blue sky, he is isolated. The birds are thoughts flitting by, or pecking at their stems. The heat haze shimmering within a few metres is the mirage he’ll never reach, never have.’ (50)

Centralia is hot, dusty, uninhabitable but for the regular delivery of water and other resources. The earth will not provide, not for aged celebrities nor ‘stray cows with calves, nibbling at the thin sheen of dead grass soon to be skin and bones…’ (54) yet it is from this dead earth that Lucida mines her fortune, capitalising on the fame that comes with proximity to celebrity. ‘Industrialism, consumerism, greed and general rapacity seem universal wrongs to me,’ says Kinsella (Watts 2013).

Lucida is an anti-heroine in that she actively profits from these things. At one point, envious of an author’s success, Lucida along with her team of managers and creators put together a book branded with her name which is published ‘…in a first print run of three million copies which took out a large chunk of forest’ (173) while the e-version ‘ate the energy from a dozen power stations around the world’ (173). Trapped and unable to cope with a conversation concerning indigenous land rights, she interrogates the speaker about the ways in which rodents are poisoned on his farm (183). This refusal to participate in imperative discussion concerning the future or lack thereof of postcolonial society repeats often throughout the novel, as each reference to climate change is followed by the increasingly desperate responses of deniers, each person willing to make positive changes stymied by the raising of a separate topic that successfully halts progress of any kind. This distraction away from imperative discussion of indigenous land rights toward an altogether unrelated – and comparatively unimportant – topic is an apt example. These kinds of unproductive conversations where significant issues are countered by irrelevant rejoinders abound in the media. Perhaps Kinsella, a vegan of many years, has participated in fruitless discussions with those claiming that the growing movement toward rejecting animal agriculture is pointless when rats continue to be poisoned in the process of wheat production.

Passivity is a violent act in Lucida Intervalla. Pro-Green artwork is funded with mining magnate dollars, activism is inefficient and often tainted with that which it seeks to reject and overall, things seem fairly hopeless. The characters are frogs sweating in water fast coming to the boil, unable or unwilling to leap out. And yet, perhaps Kinsella’s forlorn imaginings are deliberative. Perhaps the call-to-action is to jump from of the pot as quickly as possible, in any way possible. Lucida is an antonym to John Kinsella. He notes ‘[Lucida] …doesn’t like me much, and would disagree with most of what I have to say. She determines her own paths, many of which I find frightening.’ (Acknowledgements) Lucida is not a likeable character, but she is painfully familiar to anyone who has chosen to circumvent the difficult conversation and engage in behaviours we probably shouldn’t. She’s familiar to us all.

Humans should leave well enough alone, according to Kinsella. ‘People don’t have to occupy every square metre of the planet. Some places should just be left to do their ‘own’ thing.’ (Watts 2013) Reading is to be enjoyed, and books don’t need a takeaway to be satisfying, but if Lucida Intervalla is to continue to be speculative fiction rather than contemporary fiction, we need to do better.

Notes

Ryan, Tracy, and John Kinsella. 2019. “Mutually Said: Poets Vegan Anarchist Pacifist”. Poetsvegananarchistpacifist.Blogspot.Com. http://poetsvegananarchistpacifist.blogspot.com/.

Watts, Madeleine. 2013. “Interview With John Kinsella”. Griffith Review. https://griffithreview.com/articles/interview-with-john-kinsella/.

GABRIELA BOURKE is a PhD candidate in Creative Writing at USYD

Helen Gildfind reviews Calenture by Lindsay Tuggle

August 5, 2019 / mascara / 0 Comments

Calenture

by Lindsay Tuggle

ISBN: 9780648056812

Cordite Publishing

Reviewed by HELEN GILDFIND

The striking title of Lindsay Tuggle’s poetry collection is immediately defined in her preface:

Calenture, n:

A fever incident to sailors within the tropics, characterised by delirium in which the patient fancies the sea to be green fields, and desires to leap into it. (ix)

This title, Tuggle’s preface, the book’s dedication to her dead sister, Kate Middleton’s introduction, and the notes that complete the text, provide an intriguing and welcome frame through which readers can ‘leap into’ Tuggle’s darkly beautiful worded-world. 

Tuggle’s preface notes that: ‘Every elegy needs an author. And then, an autopsy’ (ix). The themes and impulses shaping her book are thus clear, and she describes her collection as an:

ossuary to a constellation of deaths, some sudden, all strange. It is also a catalogue of medical and mercurial oddities, curiosities that call forth the exquisite corpse hard at work beneath our living flesh. The echolalic duet between what is lost and what is left behind. The phantom limb. The wandering womb. The book bound in skin. The face that ghosts itself. The fever dream that ends in drowning. (ix)

Tuggle clearly loves language that is ‘diagnostic, archaic, hysteric, mesmeric’ (ix). She writes knowing that the ‘management of thresholds / is perilous business’ (49), and her collection thus maps the obscure imaginative landscape that joins the living to the dead, the personal to the universal, and the abstract to the concrete.

Tuggle’s collection is divided into two suites. The first shares the title of the book, and is introduced by three eerie quotes, including ‘We need a dead woman to begin’ (Hélène Cixous), and ‘One need not be a chamber to be haunted’ (Emily Dickenson). In this suite, we meet a woman who cannot live ‘within her limbs’: she feels ‘on fire’ and ‘cut to pieces’ (34). We meet another woman (the same woman?) who ‘wakes to remember / her garnet cluster of early deaths’ (9). We glimpse ‘wrists / graced in the master’s hand’ (8), ‘mouthfuls of gravel’ (41), ‘bruised’ and ‘bandaged’ tongues (3, 5), and ‘feral anorexics’ (5)—including ‘the concave half of a sister’ (5). 

This reference to ‘a’ sister shows how it is never quite clear who the subject and object of these poems are. This ambiguity is elaborated by the poems themselves: ‘Some days her face obliterates my own’ (15), and ‘we wear / each other’s faces’ (4), and ‘I trespass her name as my own’ (25). Of course the reader assumes, as they’ve been directed to, that such phrases refer to an actual ‘sister,’ and Tuggle’s ambivalence towards this relational identity is expressed when she refers to the ‘ambiguous wound’ (19) of her loss, to the ‘old grievances’ (‘shame’ and ‘blame’) that riddle such relationships (20, 21), and to the archetypal sibling emotion of jealousy—expressed when she looks upon a female corpse and wonders: ‘do I covet her still / diluted by sleep.’ (5) The narrator chillingly concludes: ‘I love the dead more than you / always will’ (6). Tuggle’s ambivalence towards the ‘biological gift’ (21) of a sister can also be read from the poems’ most common structural constraint of couplets—two lines, coerced into a relationship, across time and space. 

More ambiguity is built into this first suite by reference to other deaths, including that of a man who lay ‘lay unfound’ for days (27), and the ‘integral burial’ of a flooded town where the ‘measure of loss’ lies in the ‘submergence of trees’ (31): 

in the vanishing tendency
of the object

where descent
is watery and burns. 

[…]

The wet are pretty. (33)

This deadly flooding is mirrored in a later poem, when a woman ‘walks in blindfolds’ into ‘bitumen tributaries,’ where ‘drowning ends in a glassy sprawl’ and roadside altars whisper ‘fire soars’ (41). As above, such vivid and violent references to suicide, death, drowning, burning, basalt and glass are often juxtaposed against the ostensibly trivial notion of ‘prettiness.’ Is drowning ‘a pretty way to die’ (19)? The ‘pretty suicide guide,’ would say so: ‘beauties never harm their faces’ (27). Of course, there’s nothing benign about the value of feminine beauty. This is made clear when the narrator looks upon a female corpse and thinks: ‘she’s prettier now / in coffined silhouette’ (5). Isn’t this the ideal woman? Pretty—and inert, silent, and surrendered to others’ devouring gaze? The narrator defies this value system: the female which dazzles (3) her gaze is a ‘raving’ (39), ‘ungroomed and carnivorous’ (3) ‘slattern’ (41).

The second suite of poems responds to the work of anatomist and naturalist Joseph Leidy (1832-1891), and the poet and naturalist Arsène Houssaye. Both men shared a bibliophilic ‘fetish’ for ‘anthropodermic’ books—that is, books bound in human skin. These books were normally created by surgeons, with Houssaye’s own book of essays bound in skin sourced from the ‘unclaimed’ body of a French, female mental patient (63,64). 

The woman (women?) alluded to in this second suite call out to the women-sisters of the first—relating the latter’s more personal specificity to the more universal history of ‘the diasporic womb’ (56). In the first suite, the very ambiguity of the poems’ subject-object allows them to enlarge on their own anyway, especially in the poems referring to medicine and asylums, like in ‘Asylum, Pageantry’ (‘it is best not to dream for long / here medicine disallows her florid stutter,’ 3), and ‘The Heretics’ Asylum’:

The physician knows nothing
of angels with proper names.
Reverence is permitted only
toward unseen patients,
an innate distrust of that
which can be embodied
in a creed. (24)

In the second suite, we enter a world where a woman is literally disembodied—torn from her skin: 

A splayed book attracts all the gazes.
You are the title closeted gazelle.

Just another posthumous seduction 

[…]

To best display her character

no other decoration is placed. This
book deserves its own human cover. (53)

Sickened, furious—and utterly entranced—the reader asks: what does the woman deserve? This ‘brutal homage’ (54)? Here, the woman becomes another version of the inert ‘pretty’ female corpse in the first suite—one which others can literally ‘open’ and inscribe their own ‘creed’ into. This ‘echolalic duet’ between the first and second suites thus evokes the notion of an everywoman—an anywoman—who literally fights-to-the-death against patriarchy’s reduction of her to ‘flesh / toying architecturally with bone’ (56).

What Flannery O’Connor says of prose, surely applies to poetry also:

‘The meaning of fiction is not abstract meaning but experienced meaning… A story that is any good can’t be reduced, it can only be expanded. A story is good when you continue to see more and more in it, and when it continues to escape you. In fiction two and two is always more than four.’

In Calenture, two sisters are absolutely more than the sum of their parts, and the sophistication of Tuggle’s tightly crafted, cryptic and compelling ossuary—her home for the bones of the dead—becomes evident with each reading. Like the best poetry, this book is first and foremost an experience—one which no analysis can do justice to. 

Note

Flannery O’Connor, Mystery and Manners: Occasional Prose, Farrar, Straus and Giroux, New York, 1970 (c. 1957), pp.96-102

H.C. GILDFIND (hcgildfind.com) is the author of The Worry Front, published by Margaret River Press.

Lindsay Tuggle reviews Stone Mother Tongue by Annamaria Weldon

August 5, 2019 / mascara / 0 Comments

Stone Mother Tongue

by Annamaria Weldon

ISBN: 9781742589930

UWAPublishing

Reviewed by LINDSAY TUGGLE
 
 
Resurrecting the Oracle: Stone Mother Tongue

Annamaria Weldon’s luminous fourth collection returns the poet to the archipelago of her birth.  Stone Mother Tongue begins in prehistoric Malta, where Weldon mourns the “goddesses we trample[ed]” across the centuries.  The poet guides us through shifting incarnations of her homeland, where “Recollection is mapped country folded backwards / along familiar creases” (50). Weldon’s poetry enacts a uniquely feminine divination; she calls forth a goddess oracle unbound from history, a statuary tongue unloosed from time.  Ancient relics —museumed, looted, or abandoned—are portals to haunted islands where “pre-history seems just offshore . . . time’s lost coast in stone, not words.” Weldon elegantly negotiates the fraught territory between conflicted and conflicting histories: collective and personal, traumatic and resilient, human and divine.

At first glance, Stone Mother Tongue is arranged geographically and chronologically:  Part 1) Prehistoric Malta, Part 2) Phoenician Malta, Part 3)  Anthropocene, Antipodes. Yet Weldon’s mesmeric slight of hand is already at play.  Within each section, her poetry unsettles both geographical borders and linear time, paradoxically disturbing the author’s own system of organization.  Weldon’s readers cross and recross liminal thresholds, inhabiting poetic interstices where boundaries and clocks have no sway. 

In anthropology, liminality (from the Latin word līmen, meaning “a threshold”) signifies the ambiguity of middle rites, when the seeker has shed her pre-ritual status but has not yet completed her rite of passage.  Arnold Van Gennep integrated the concept of liminality into anthropology in his 1909 study Les Rites de Passage, which outlines three distinct phases of ritual progression:  separation, liminality, and incorporation. Van Gennep’s ritual trinity is relevant not only to Weldon’s poetically resurrected antiquity; the anthropological concept of liminality also captures the elegiac melancholy of her work. At once preciously specific and sweeping in their historical resonance, her poems mourn the erasure of deities, landscapes, selves and beloved others.

In a land where “asteroids once smashed to earth,” language remains as eroded as geological history: “Each remnant’s recorded by era, / but Beta counting only calculates rates of decay, / a relic’s meaning remains cryptic (50, 23).  This curated vacancy creates space for illumination and divination. Weldon calls on “incantatory” stones to resurrect an ancient, maternal language, born of a time “When everything was the Goddess /and stone was our mother tongue.” Her elegiac “undersong” mines the blank spaces beyond and between words, the inability of language to capture the most enigmatic aspects of human history: our ancestors and their deities.  Yet, she insists that the oracle’s translation can only ever be partial. The Goddess speaks “a language [as] untranslatable as stars in daylight.” Despite the poet’s efforts at resurrection, “a relic’s meaning remains cryptic” (23).  

The first section in Part One, “Divining the Neolithic,” shows us that even when ancient matriarchal rituals and relics have been ravaged by time and violence, traces of divinity linger. “Geomancy” reconfigures the “broken altars” of abandoned temples.  

Time and weather, the ploughman’s husbandry
and urban sprawl effaced them, leaving us to guess
the geomancy, gutted now from enigmatic temples. (32)

Agriculture, exposure, and expansion have “effaced” this holy site, but the final desecration is rendered as an anatomical wound: the temple has been “gutted.”  Part of Weldon’s poetic magnetism lies in her capacity to evoke visceral responses through language that is often violently acute: “History’s survivors have heard it all before / the sound of invasion that some call arrival.”  Yet, Weldon asks far more of her audience than simply outliving the open wounds of history. Survival, she tells us, “is not endurance alone” (20-21). As an (inevitably partial) antidote to the unceasing escalation of gender violence across the centuries, she conjures divine maternal voices from the deep past, a chorus that both harrows and heals.  

Goddess, when your body was worshipped
as holy matrix of the world incarnate
no clerics or sceptics mocked our devotion
and love conjured more power than hate. (18)

Throughout Weldon’s work, divination is disturbed by the arrival of new wounds, both personal and cultural.  The deconsecrated temple has become a tourist destination, its deities reduced to ancient curiosities.  

Inside the sanctuary walls, torba floors endure
as bone-white ground, broken as the silence now
deities are curios, gift shop souvenirs. (31)

While it may not be possible to resurrect the goddesses that once inhabited this hallowed ground, Weldon compels us to try. She invites us to listen beyond the gaudy white noise of our century, for the low hum of an oracle who keeps the secrets of her own survival well guarded, despite the hoards of curiosity seekers who trample her grave.  Yet, Weldon’s poetry is far more nuanced than directive. While she argues that survival entails more than mere endurance, she does not reveal the resilient alchemy for surviving history’s ravages. That mystery belongs to the deity, alone.

Catalogued as myth, in time She was denied
all ceremonies, those rituals that temper
time’s lapse to entropy. (45)  

This inquiry underpins the poems of Stone Mother Tongue: How do we, as a species, survive “time’s lapse to entropy”?  Could the resurrection of ancient, maternally-embodied rituals help us to “temper” the technologically-saturated ennui of late capitalism?  These questions are integral to Weldon’s work, even as they are revealed as unanswerable. The goddess’s stone tongue remains immobile, her “silence mystical and terrible” (33).  

“In Geotherapy” Weldon’s archival poetics turns inward, enigmatically curating personal wounds alongside antiquity’s ravaged aftermath:  

Enlist a devoted archivist to polish history.
When topography frames experience, you will accept
the residual changes heartache left in its wake. (50)

The poet becomes her own “devoted archivist,” preserving histories that are at once personal and collective, ever-present and archaic.   In “Devotion’s Aftermath,” the Goddess shines as an elusive specimen of antiquity, “hidden in plain sight” (45).

In “Borderlands,” Weldon guides us into the liminal “Interstice” between the living and the dead.  “Disarticulated by its darkness, we / have traversed all the stations of being / from birth to the excarnation of bones.”   The portal of “sympathetic magic” is guarded by the “gaze of ancestral protection” — a hollow skull “watching all our futures.”  (56). Under the protective eyes of this this spectral guard,, women gather, “as if willingly entombed,” crooning not in mourning but in celebration: “mantras of maternal consolation that rise / and fall with the birthing cries of the woman crouched on the cusp of deliverance.”  Now, after the desecration and (partial) resurrection of ancestral deities and their followers, a birth arrives, and “the boundary between worlds is breached” (57). A new divinity — human, this time– emerges from “the cocoon of smooth deliverance. . . / a priestess / is not made, nor merely / born, but recognized” (59).

The poems of Part 2, “Phoenician Malta,” document the atrocities inflicted on the Maltese people by  “colonizers, slavery, trade, cruelty” (70). Weldon interrogates what the Phoenicians brought with them as well as what they stole or destroyed, treating the islands merely as a “stepping stone settlement” (73).  “Entire seashores, bays and beaches made middens” by an insatiable hunger for beauty that demanded destruction:

A quarter million snails sacrificed
for one ounce of dye.” (69)

In “This Precious Stain,” Weldon questions “What stories lay– still lie–beyond beauty!” and whether, “if we knew / their true cost, would their magic be dispelled / or the enchantment deepen?”   Other poems elegize the human cost of quarrying the islands’ precious stones (formerly the source material for the statues of maternal deities who dominated Part One, “Prehistoric Malta”). These stones are now subjected to a “violent separation.”  “Enormous slabs” are quarried and “prised open with fire, sanded smooth to elide the trauma / of calving rock.” The colonizing labour of unsettling these relics of geological time is equally violent: “Boys died here from a moment’s slippage, manoeuvring the masonry.” “Crushing has many sounds,” including “an exhalation / vaguely human, hanging in the air / hauntingly as final breath.” (71)

Alongside the desecration of the islands’ people and resources, the Phoenicians left something behind: an alphabet.  “Newly designed Phoenician letters” gave those who survived the invasion and its aftermath the words to record their trauma: “incised on clay / or inked on papyrus.  Before their invention / thoughts that could only be wept / sank unmarked into the dark water.” (67) In “A Shoreline Scripted for Heartbreak” we follow the “arrivals and departures” of the “Literate, captive women . . . assigned as scribes to passing merchants.”  Starkly rendered in sparse language, the poem elegizes the “Ill-fated, unrecorded, charged encounters” these women endured in the “ceaseless maritime traffic” of “colonisers, pirates, naval flotillas, hospital ships, refugee boats, cruise liners, smugglers.” Weldon once again holds our hand to the flame, forcing us to see the harrowing similarities between the human trafficking of their century and our own.

Part Three, “Anthropocene, Antipodes,” merges Australia’s cultural amnesia with the aphasia of personal grief.  “What I Saw at the War Memorial” articulates the national tendency towards historical erasure with the compulsion to create monuments that privilege nationally sanctioned deaths, while participating violently in the erasure of other, marginal massacres.

Grief is the gap where words
won’t meet.  Time is a stone-cutter
quarrying rocks for monuments.

Memorials are what we build
to limn the invisible, mark thresholds
we can’t cross [.] (101)

In the 21st century’s amnesiac liminality, such thresholds of grief remain invisible and impossible to cross, rendered in fissures of language and memory.  The poems of this final section embody an enigmatic loss of unity, sketching a deliberately fragmented picture of “grief’s blurred peripheries” against the hazy backdrop of “memories that rise like mist” (99).  Weldon’s final poems elegize a multiplicity of losses, including a harrowingly beautiful tribute to her father’s remaining memories as he struggles with dementia: 

when all that’s left
of your former life are those memories of the journey,
sightings and oracles remind me who you are — had been
before your mind soared to where there are no maps. (103)

In the end, Weldon brings us full circle, the poet herself becomes an oracle in “Leaning Back Towards the Neolithic.”  Returning to her ancestral homeland, divination is not invoked or invited, but embodied:

From village to hamlet, the valley path from Gharb
to Birbuba has become my pilgrim’s way, each step
rephrasing me as I walk it.  Words come unasked,
immersive as the weather of prayer, heartache
like a fig tree’s barren longing to bear fruit.

In her “Epilogue,” Weldon shows us that even when the statues of ancient dieties have all been effaced, the oracles silenced for centuries, poetry can offer a portal into the liminal threshold of harrowed divinity — if we only are willing to seek out the ruins, and to listen to the halting echoes of our Mother’s stone tongues.  

LINDSAY TUGGLE is the author of The Afterlives of Specimens (The University of Iowa Press, 2017) and Calenture (Cordite Books, 2018) which was commended in the Anne Elder Award and shortlisted in the Mary Gilmore Prize. She has been a fellow at the Library of Congress, the Mütter Museum / College of Physicians of Philadelphia, and the Australian Academy of the Humanities.