Must-Read Poetry: March 2021

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Here are six notable books of poetry publishing this month.

Peach State by Adrienne Su

An exquisitely textured book. Food is a language, and Su follows its turns and tastes. She announces in “Ginger”: “We’ll affirm its arrival / when it’s not in the titles / of recipes in which it figures / quietly, as moderate slivers.” She rails against recipes that include the admonition to “serve immediately”: “Already the days // overflow with imperatives.” She laments that in “Home Baker,” “Art becomes chore, / your hair, clothes, the floor flecked with powder.” Be wary: “Having baked before marriage for the one you chose, / you pay to the end. Courtship is delusionary, // bread corporeal.” There is an unfortunate paradox: “Now, despite furnishings, a loaf / has the heft of a gift, the hours a miniature life / not spent on a book or a song.” Poems like “Peaches” cover much ground. “I thought everyone bought fruit by the crate,” she writes, “stored it in the coolest part of the house, / then devoured it before any could rot.” Other Georgians ask her “But where are you from originally,” and she wants to quip “The homeland of the peach.” She writes about being “Chinese in that part of America, both strangers / and natives on a lonely, beautiful street,” and considers her parents: “Their lives were labor, they kept this from the kids // who grew up to confuse work with pleasure, / to become typical immigrants’ children, / taller than their parents and unaware of hunger / except when asked the odd, perplexing question.” Peach State is so deliciously crafted through food that it makes me wonder why poetry is written about anything else. 

If This is The Age We End Discovery by Rosebud Ben-Oni

Most of these poems include the narrator wrestling with something: an ode to her brother, happy little clouds, derelict spacecraft, and Rick & Morty (but mostly Rick). “All my timelines lead to this poem,” she writes an especially apt poem about pondering life in a possible simulation. “I suspect / my own veins are rogue simulations/ flitting with a new kind of heightened self- / awareness. Proof: the nurse says they are flighty / & hard to find.” The f sounds of those lines capture the fluttering sense of ourselves: are we really here? Do we always awaken to the same world? “It’s also sad to think / the envy still filling us over some horse / we knew for less than a week / is simulated,” she says. Ben-Oni’s poems often spray across the page, her lines reaching for the edges as if they seek to uncover the outlines of our tenuous existence. In one wonderfully heartfelt poem, “All Palaces Are Temporary Palaces,” she writes of how her six-year-old niece calls her to ask questions. The girl talks of asteroid mining, comets, quarks. “My dear, dear girl,” the narrator responds, “Calling on this overcast day in the spring, where sky is one, long cover / Of impassivity. Why are we here? She’s asking for the first time, / And I hear the anxiety of one who’s stumbled upon a burning / Temple in the fields.” Ben-Oni courts wonder throughout this book, while acknowledging that opening ourselves to the search can be perilous. 

American Wake by Kerrin McCadden

Impressive range in this collection, both within and across poems. In “Objects in Mirror Are Closer Than They Appear,” she asks: “what isn’t closer than you thought?” Bills, of course, but also “texts from an ex-husband that you have cleverly given / his own ringtone—the science fiction one, / so that every time he wants something / he breaks into your village home like a flying saucer / landing on earth, so close, all of a sudden / the peace and quiet you have built shattered.” Funny lines, but we sense the tension here, the hesitancy. “A Hagiography” is more comfortably hilarious: “Heads will roll, we say when shit gets bad, / but they don’t anymore—no more Saint Alban, // his head rolling downhill into a well, the water / turning holy.” More good questions: “Where was Saint Denis going when he walked / downhill into Paris, holding his head in his hands? // Where does anyone go with their head in their own hands? And what sermon does he give, this man gone walking // and praying, having played chicken without backing down / from men with swords, scourged and racked?” McCadden’s ability to shift without jarring owes to her care with sound and setting, as in “Our House Behind the Hawthorns”: “Our house // is just stone walls—a box filled with rusted bed- / frames and ploughs.” “Work and haul, kettle and hook, / stick broom, dirt floor, turf-light. At night, tiptoe / the edges of thirteen people sleeping.” When I read the lines “The sheep say their words / with their heads low, as if they know a story // is a sacrament” I feel an inclination toward the spirit that also permeates “The Dead.” The narrator watches her mother at her grandmother’s grave, “surveying lots, / approving and disapproving care and neglect.” She knows: “They worry I won’t keep the graves when they’re gone.” Elsewhere McCadden ponders her Irish lineage, in solemn pieces like “Saying the Rosary, Station Island.” An aged priest leads parishioners in praying the rosary. “I didn’t come for this,” the narrator admits, “but it takes me, and soon / I am walking outside, around and around the chapel, the priest // droning another decade, all of us walking in a circle.” They move “past the lake, past the holy water font, past the restrooms // where the Dyson hand-dryer joins the droning, a little engine / of extra prayer.” 

In the Antarctic Circle by Dennis James Sweeney

Appropriately enough, I settled into this book during a storm that dropped three feet of snow. The mood was externally set, but Sweeney’s book will get you there in any weather. In these prose poems, an unnamed narrator and a companion, Hank, exist in some ethereal plane in Antarctica. “The bed yawns under us,” Sweeney writes, on the introductory page. “He and I grip fingers. Thighs on thighs like batons.” We might consider this a prose-poetic play, discovered in scorched fragments. Each poem has coordinates as its title, leaving us somehow both exact and dizzied. Where are we? Hints of Samuel Beckett and William Gass (snow, wind, eternity, terror) haunt this book. “You will learn,” the narrator warns: “In a whiteout you cannot see shadows, but that does not mean the edges are not there.” Sweeney startles with the precision of his figurative description: “Harpoons loll in our arms like children too old to be held. Along the horizon animals run, disappearing over the brink of snow.” The narrator and Hank might be in love; they might simply be among each other, as we tend to gravitate toward what is warm when we are freezing: “Our rites of love and boredom circle each other, waving their leather whips.” Their purpose in this land is less clear than the explorers that Sweeney critiques. They are often powerless in this book: “Though no savior is due, we make a life of waiting.” The narrator ultimately sighs: “The world has less to offer than you think.” 

The Perseverance by Raymond Antrobus

“Echo” is a perfect choice as the first poem for this book: “Gaudí believed in holy sound / and built a cathedral to contain it, / pulling hearing men from their knees / as though Deafness is a kind of Atheism.” The narrator continues: “Even though I have not heard / the golden decibel of angels, / I have been living in a noiseless / place where the doorbell is pulsating / light and I am unable to answer.” In a later poem, he explains that this is “the reason I sat in saintly silence / during my grandfather’s sermons when he preached / The Good News I only heard / as Babylon’s babbling echoes.” “Dear Hearing World” is a dynamic poem, an ars poetica and more. “I am equal parts sick of your / oh, I’m hard of hearing too, just because / you’ve been on an airplane or suffered head colds. / Your voice has always been the loudest sound in a room.” The narrator’s mother remembers Robert Plant, the “cheeky bugger,” who tried to haggle down her prices. “I didn’t care about Led nothing. / I’m just out in snow on a Saturday market morning / trying to make rent and this is it.” He recalls his father in “Dementia”: “When his sleeping face / was a scrunched tissue, / wet with babbling,” the narrator went close to him, “unravelling a joy.” The narrator then “swallowed his past / until your breath was / warm as Caribbean / concrete.” He understands dementia will take its course, but prays that it will “make me unafraid / of what is / disappearing.” Antrobus can be gentle, tactile, and pointed in this book—which collects into an affirmation, a pronouncement. 

No Chronology by Karen Fish

In “Alibi,” Fish perfectly captures youth: “I knew nothing about anything: school, dreams, tornados, / strangers, smoke-filled bars, silent, oblivious mothers, / the teenage girls across the street, swaying and sashaying through the late afternoons with transistor radios.” She remembers how those years were full “of abrupt boys / running, stopwatches, athletic accidents, stitches, // snuck cigarettes, stashed girlie magazines, pogo sticks, / headlocks, handlebars to fall from.” Elsewhere in her book, there is the sense that the world will pass us: “The river forgets the fish, and the winter sun slides beyond / the far hills.” There’s a similar awareness in “The Accounting”: “Of course, there is some accounting, / right as you leave this world—stepping down // the rocky embankment, a purgatory.” Fish is absolutely exacting in her description, as during “Evening Song”: “The daylilies wince sut, reduced to orange tongues / waving by the woodshed, woozy on the wind.” and in another poem: “Living in the country, the great spaces / between the houses. The river just a black line / that underscored the sky.” And another: “Like most beauty— / the deer arrive unnoticed and then, / simply, are indisputable.” These precise lines (emotionally, syntactically so) are a stay against the mortality she reminds us of elsewhere. That’s comfort enough, I think, for now. 

Must-Read Poetry: February 2021

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Here are five notable books of poetry publishing this month.

Love and Other Poems by Alex Dimitrov

Dimitrov’s clever, casual, and inviting lines—“I don’t want to sound unreasonable / but I need to be in love immediately. / I can’t watch this sunset / on 14th Street by myself”—are especially welcome right now. But this is a complex collection; in “Waiting at Stonewall,” he ponders, 50 years later: “Those of us who resisted heroes / and sentiment. Those of us / who waited and found neither— / not the promised liberation / in marriage, or the salvation / of laws.” Sit down and appreciate “Love,” a long, anchoring litany-poem: “I love religious spaces though I’m sometimes lost there. / I love the sun for worshipping no one.” In “My Secret,” the narrator shares: “I’m suddenly / one of those people / who goes out / to dinner alone.” He knows: “Everyone I love / is disappointed in me.” This is a book about love, yes, but it is also one of the best recent books about New York City. If you love that city, if you hate that city, if you want to understand that city: read this book. His smirks and winks (“Or even worse / they’re going home to cook / and read this sad poem online”) are tender rather than tendentious; we are invited to experience this book. He calls out all of us, “Such righteous / saints! Repeating easy lines, / performing our great politics.” Dimitrov is good enough—his lines are smooth enough—that the guilty will gladly take the punishment. 

Promoteo by C. Dale Young

“As a child,” Young writes in a poem halfway through this book, “I asked my mother to listen to me / while I practiced words like cobalt, each one more / and more odd for their sounds, their structures.” Drawn to syntax and sound, the narrator remembers the repetition of Mass—how he was “trying to master // the language, the very words, fearful they would master / me, instead.” Years later, Young, the poet (and radiation oncologist) has mastered language in this finely wrought new volume. Continuing a tradition from previous books like The Second Person, Young’s narrators have inherited languages of religion and desire, and they intertwine in their ecstasy. “You punish or are punished,” he writes. “It really is that simple. // Dominus, Holy Father. I have hidden myself / in the cane field. I may have sinned.” “Portrait in Ochre and Seven Whispers” is a searing poem of suffering and abuse, beginning with: “To make and remake one’s self is / the artist’s job, I believed. And so, in poems, / I gave myself wings.” The narrator later laments: “You were supposed to save us. You were / supposed to help save our souls. Isn’t that part / of the vow you made to God when choosing / the life you did?” He ends the stanza: “You must have forgotten that. / You didn’t kill my soul. But you didn’t save it either.” An excellent book.

Self-Portrait with Cephalopod by Kathryn Smith

Playful and smart: Smith shows those traits can synthesize into memorable poems (with great titles). In “Most of Us Aren’t Beautiful, Though Some Learn How,” she admits: “I’m back // where I started: stuck in a parable / I cannot, botanically, and do not, // theologically, believe.” In the first poem, Smith writes: “The beauty of birds isn’t flight. It’s how they let / their young cram pointy beaks down their throats.” In “Dear Sirs,” she wonders—if the “traditional forms of revelation” included “interpretable dream, flashes of light,” then what “are some of the modern forms?” It’s a good question, and Smith is comfortable not answering it, resigned to a truth: “I fear that fire // will burn the insides of my eyes, / flames licking the wounds and disappearing / names of the dead.” Smith’s poems often ponder an entropic world through a theology of absence: “It is said in God / there is no darkness. / It is also said / I am made / in God’s image.” In this way, “I am fearfully and wonderfully / made, made wonderfully / fearful.” She concludes: “Surely goodness / will dog me all the days / of my life.” 

Oh You Robot Saints! by Rebecca Morgan Frank

God in the machine, God is the machine: Frank’s new book is a menagerie of automation, automatons, sentient verse, errant prophecies. She considers the tradition of mechanical Eves: “fetching your tea, serving / you wine,” they “didn’t have a mind” and “were built from the ribs / of men’s brains.” “Oh, man has made her!” Frank intones (long live exclamation points in poems!), “and she is uncanny (and / infertile!).” Man has long made women “in his own image / for beauty and service, oh, man has / made her, a more pliable Eve / with no desire of her own.” I think of how Thomas Pynchon lifted the Luddites from their 19th century economic vengeance to their contemporary technophobia; Frank similarly mines past art, story, and parable for astoundingly contemporary truths. She follows the metaphor of body-as-machine to its logical end: we are all gears, oiled, “no different than that of medieval / mechanical monkeys lining the bridge // in the park at Hesdin.” Eye-opening, jaunty: this is a whirl of a book.

The Readiness by Alan Gillis

What routes these lines take. Gillis begins one poem with an earthworm who “squinches / through soil to ooze in dew, / only to be pincered / in the beak of a crow, // lifted above the garden, the gable wall, into a sky / of porridge / with faint pools of blue.” I’m a believer in poetic surprise (when Frost created that image of ice on a hot stove, he knew that sometimes the ice melted into itself and steamed into the air: no surprise for the poet, no surprise for the reader, and so on). Gillis delivers, finding the lolling and lyric in the everyday: “get set for the whigmaleeries of the ticking clock, / spilt milk, the mystery / of missing socks, the transport peeve, the hundred-tonne / weight of to-dos.” Maybe poetry isn’t utilitarian in a grand, salvific sense, but it is a cure for language, and it might be a method to sing boredom into beauty. Gillis wants us to be ready: revelations, small and strange, “could happen at sunset / on a sloping lawn. / In a yawning estate / it could happen at dawn.” “Everything changes,” Gillis writes in a later poem. “In this there is no change.” Gillis’s willingness to bounce between jest and earnestness is a good reminder of how comic-poets can stun us with their well-placed truths: “And you know this, / the oncoming day, is nothing / but the night’s brief parenthesis.”

Must-Read Poetry: January 2021

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Here are six notable books of poetry publishing this month.

God of Nothingness by Mark Wunderlich 

The book’s first poem, a jaunty etymological journey through the poet’s last name, establishes a folkloric tone to the collection: imagine a trickster who has come from the cold forest one evening to knock on a cabin door. There’s a darkness here foretold by the book’s title, which calls to mind complexity: a God of nothingness, no-thing, absence as an eerie poetic presence. In “Haunted House,” the narrator moves into a home and “gutted it to the bones.” He tore up the floor “to uncover a floor, // sanded tulip poplar to a sheen.” Perhaps that was what stirred the house to “wake,” and its stories came to him: “Now I live here alone with the spirits I cannot see.” Rilke and Roethke haunt this wonderfully melancholic book: “I wanted more—not of summer, // with its swampy air and the nightmare / amphibian whir, but of autumn // with its metallic skies swept with clouds, of the promise of something about to end, // but not yet taken away.” Incantatory, Wunderlich’s poems are perfect for journeying elsewhere—as with “Proposition”: “That the smell of cows drifting in the open window is, indeed, that of a living beast. // That I too am a living beast.” Later: “That we were born suffering, but that we are not meant to suffer.” But what of the title? Where is the no-thing? Everywhere, Wunderlich suggests: “I watch at the edge of the grove, the bees flung out / into the sun. My only life is being spent—today— // the longest day of the year, here on a hill looking out / for a moment and feeling my body unearthed.” Take this book to a silent place, and let yourself go.  

Pretty Tripwire by Alessandra Lynch

Lynch can quickly and effectively render uncomfortable moments. In the long first poem, the narrator considers her fractured childhood, how “Not eating was a sign / of grief / in our house.” Her mother “stunned / thin as a rake draped / with her wedding veil, bruised eye / staring out.” Meanwhile, “mouth / stuffed with a fist / lest someone hear,” she recoils in her bedroom. Soon, checked into the hospital with a “yellow wrist ID for the children’s ward,” she sees that “lovers sailed past, / arm-in-arm, ample with flowers.” Lynch’s usage of ample here reveals her instinct for juxtaposition: the world opening beyond a moment of suffering. This sense returns in “Hymnal”: “Book in my hands—thin / & sleek” and “Whelk of syllable, / silk against my cheek, the book is / ballast.” Again, in the poem “Worry”: a hummingbird’s “tiny body throbbed with sound, fast-heaving, clacking / music.” And yet: was the bird “restless prisoner of air or pioneer?” Can any of us ever know?

The Sunflower Cast A Spell to Save Us From the Void by Jackie Wang

Wang’s debut collection, formally diverse and marked with a sardonic tinge, suggests a porous border between the dream and waking worlds. “Who is the woman lurking in the woods?” she wonders in an early poem, recognizing that she is a “fellow traveler,” for “She is lost and I am lost.” Wang drifts between the real and unreal, documenting an almost Yeatsian interest in that third space, a poetic place between, where the absurd is necessary. She imbues her lines with this hypnotic sense: “In the rain, in her head, an elegy for the not-quite-dead.” Among sentences from Cixous, Nietzsche, Benjamin, and others, Wang outlines a poetics perhaps best captured by her reference to Anne Carson, and her translation of Sappho when “brackets appear in the poems where the papyrus has disintegrated, as papyrus is the structure of dreams. Never intact.”

Stay Safe by Emma Hine 

One particular poem that stayed with me from this nice debut was “A Circling,” an understated tale of a man who was attacked by a shark, a “bite of thigh missing, skin like a spider tried / to stop the hole with web.” The narrator can barely look at her great-uncle after seeing his wound, but she becomes so attached to his presence: “By the time he’d died, I’d memorized his shape in the recliner, / the pattern of beer bottles across his floor. Mapping / his aftermath like a frontier.” I’ve been thinking about that dissonance, that looking but not looking, and it is an apt way to consider Hine’s method: a catalogue of bodies spent and passed, of sisters, of those who “want to say that together / we could be two words / the sort that hold hands / but still keep their original meanings.” Hine often returns to shared scars, body markings; in “Still,” the narrator thinks about how her great-grandmother, while nursing her grandmother, saw a foot-long centipede “falling toward her / from a branch, its back-plates twisting.” She moves away the baby, and the centipede, “segmented and heavy, / landed on her exposed breast.” It left a scar that never vanished; Hine’s collection captures that feeling.

Not for Luck by Derek Sheffield 

Sheffield is very adept at finely crafting scenes as the spaces for poems (they expand beyond the time and place of these scenes, but they feel syntactically rooted and united, one by one in the book). An early poem in the collection, “The Scientists Gather at Mount St. Helens,” opens with a question—“What does it mean?”—asked by one of the scientists amid “the wind / of a gray plain” while they look at the “crater’s living steam.” The patchwork of “shrubby trees” among “the clean white spikes / of the countless dead” stand behind them. The poem’s structure suggests a theme and method for Sheffield: what does it mean to be within a world that exists beyond us, longer than us? Melancholy pieces live among heartfelt moments, as in “Daughter and Father in Winter”: “we clap the stuttering // snaps of the kindling / coming to life in the stove.” Later: “More river than daughter / her arms fill with treasures” of rocks, “her pockets // already clack-and-bristle.” Poetry to make you long for moments in the wild. 

The Visible Woman by Allison Funk 

Funk’s newest collection begins with a statement against vanishing; the narrator summons a woman “rib by rib, scapula, tibia,” but “she turns and speeds away / like someone fleeing fire.” The poem establishes an immediate and lasting paradox of body and spirit, request and rejection. In “The Visible Woman,” she affirms: “Mine, too, is a story / of how we disappear” as she considers her childhood assembly kit for an anatomical model of a woman. It was a woman fully revealed, and she now longs “to go back to when I was ten, / to start all over with the bones, / the brain, the heart in two parts / I’m trying to glue together.” Funk often returns to the body as a source of wonder, fear, and possibility. The narrator’s father in “Blood” goes pale at the sight of any of the titular fluid, “so I learned / to hide my wounds—scraped knees, / little playground injuries, even gashes / that needed stitching.” In “Vespers,” she partially laments: “This late I’m still not in the body / I’m trying to occupy.” This sense comes back in “A Nun’s Prayer,” a revision from Psalm 22: “My God my God,” she calls, “I am poured out // bones heart breast // they stare and gloat over me.” Women are forever revealed in these poems. 

Must-Read Poetry: December 2020

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Here are four notable books of poetry publishing this month.

Nothing but the Music by Thulani Davis 

“Well, this isn’t poetry, I don’t know what it is, but keep writing it.” Elizabeth Hardwick’s advice to her student, a young Thulani Davis, resonated: Davis stepped aside from fiction for some time, and began writing poetry, including work that was performed with Ntozake Shange and Gylan Kain. Nothing but the Music collects work from 1974-1992, often originally performed, with frequent footnotes of date and venue. “I don’t wanna riot / don’t wanna riot / it’s Saturday morning / and I wanna dance,” Davis thrums in “It’s Time for the Rhythm Revue,” a poem that begins with play and ends with resonance: “a kid from Brownsville asked me / had I ever seen any violence / that’s why I clean my house / listening to songs from the past / times when no one asked anyone / if they’d seen a town burn / cause baby everybody had.” In “Zoom (the Commodores),” the narrator recalls driving through a thick thunderstorm to Atlantic City to see the Spinners in concert, and when she discovered the Commodores, the “tasteless fleshiness of the seventies,” a pulpy feel she still recalls: “give me the tacky grandeur of Atlantic City / on the Fourth of July / the corny promises of Motown / give me the romance & the Zoom.” A vibrant and yet smooth collection, steeped in rhythm. 

The Strangeness of the Good by James Matthew Wilson

Wilson aptly begins with “After the Ice Storm,” when a rough storm splits trees and knocks out the power: “One night was all it took to give / What men had built back to the earth.” The piece establishes a tone of something greater; a grander, more mysterious presence than quotidian life. That sense also permeates “Those Days of Weighted Solitude,” a poem that ponders a narrator’s melancholy past. He remembers walking down the “quiet avenues of Sunday morning” and “passing by the large, neglected houses” on his way to church. “Along these ways,” he recalls, “I’d drag myself, head bowed, / The leaf bed softening my steps to silence.” He “bore not just a sense of loneliness, / But sorrow and remorse, and would have gone / Alone, in any case, ashamed to share / With anyone this walk of half-belief.” One his way home, the “Eucharist a dry taste in my mouth,” he “did not know that there would be whole years, / Where neither grief nor joy could pound my chest.” Wilson has an acute sense of the space between faith and doubt—the lingering latitude of weary belief. The book is anchored by “Quarantine Notebook,” a masterful sequential poem that spans March 15-May 17, 2020. The poem is one of the finest, most focused pieces to come thus far from the pandemic. In the sequence’s first poem, a neighbor’s tree has just bloomed: “White blossoms hang like egg shells in the air, / While down the road the restaurants shut their doors.” The narrator drearily goes to a store to buy bags of mulch, and then “toss / Them one by one like limp, resistless bodies.” He begins to shovel and spread the mulch, doing “the small, familiar, yearly tasks / That after a long winter one must do / To overcome its slow decay.” Spring arrives, but without its requisite joy. Elsewhere in the sequence, Wilson writes of celebrating Mass at home, the churches shuttered, and there’s a curiously cavernous, quiet feel to the homebound ritual. In a later poem, he goes to help with Mass at the parish when it is recorded on a Saturday. The next morning, while making pancakes for his children, the virtual Mass plays in the kitchen. His children seem him on the screen. He wonders why “one curious miracle / In many of the saints’ lives is the act / Of bilocation”: the self in two settings. He concludes that “we all want / To be both fully present in the flesh / And yet give some clue that our spirits can / Stretch out beyond themselves, can penetrate / The lives of others in a real communion.” We could use such transcendence right now. 

The Candlelight Master by Michael Longley

“The most urgent political problems are ecological,” Longley has said: “how we share the planet with the plants and the other animals. My nature writing is my most political.” Born in Belfast in 1939, Longley has demonstrated that so much of writing “is adoration. For me, celebrating the wildflowers or the birds is like a kind of worship.” This worship is based in a sentiment of dirt and death; a poetics of natural cycles, of human as earth. Longley follows The Song of Amergin with his own affirmation through litany: “I am the pipistrelle bat / At home among constellations. / I am the raindrop enclosing / Fairy flax or brookweed.” Longley’s is a wildly genuine voice; a poet whose talk of mortality is calming. We are here, and then we are not, and yet we live on in the love of others. “I hear the sandpiper from years ago,” he writes, “Just there, at the end of the dunes, a peep / Where the lost burial mound used to be.” He writes of his granddaughter, who “spotted tadpoles / In the rainwater puddle / Under the rustling cattle-grid / That marks a boundary between / Thallabaun and Corragaun.” She returns in the book, prodding him with child-questions: “Which one of my feet is your favourite?” He answers, as a poet: “The one stepping over a skylark’s / Or a ringed-plover’s nest, I’d say.”

Heaven Beneath by Anne Marie Macari

In an essay about the lyric impulse in a time of extinction, Macari has wondered how the lyric form “crosses, even erases, boundaries, connects us to the other and to other worlds, helping us enter the ineffable, to let go briefly our false sense of dominion or safety.” She channels this kenotic gesture in her new book, and follows her lyrics to parts of herself that have drifted away. In one poem, the narrator laments that “I know less than when I was young.” Elsewhere she airily and earnestly writes “Each day I start out I don’t know / where I am, stay with me if you can.” There’s a longing that bursts beneath these lines, as in “I Feel the Need of a Deeper Baptism,” in which she wishes “to be with nettles and thorns / to be with tree stumps, withered fruit, // to be with the drowning dog.” Another poem of the same title, she again affirms: “I feel the need of the hole / in sand that froths // when water’s called back.” Her poems want to stay there, above and alive, as she writes in “Yielding and Simple”: “Don’t go down into heaven, don’t go down / to heaven’s woods, where / deer lead the way into circles  // of birch, through circles and shadows, too fast / to follow.” Perhaps, as she suggests in “Hummingbird Bones,” our mortality is what weds us with the natural world. She thinks of how a child “makes a nest of her palm,” a gesturing cradle for life to rest in—in the same way “a small box, in a museum cabinet” is a resting place for bones. “One day,” as she writes in a later poem, “I’ll let go // this hunger and thirst / to find you’ve / been here all // along.” 

A Year in Reading: Nick Ripatrazone

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The first book I read this year—or I should say re-read—was Blaise Pascal’s Pensées

I have a few copies of the book, for no good reason. One is a relatively new Penguin version: healthy and intact. The other is an aged copy of used bookstore origin. I really like the book—I cycle through it every few years, like writing letters to an old friend—but I really am not sure why I have more than one copy.

This is a recurring problem.

My house is full of books. It is overflowing. My books creep and crawl: on the floor, between pieces of furniture, behind bookcases—where they have fallen and collect dust, only to be resurrected, dusted, and re-shelved. 

My wife has patience with my obsession. We have bookcases on bookcases. They fill, they overflow, and that flow snakes into rooms that have no business storing books. 

For years, each day brought piles of new books to the mailbox, the doorstep, the driveway in front of the garage. I write about books—lots of books—so the refrain continued. This year, it paused; or I should say, it became virtual. I appreciate the digital access, but I miss fresh new books, arriving through expectation or surprise.

Despite the slowed stream, there are many books in our house. I often send my twin daughters on searches for books. Find me Redeployment or The Crying of Lot 49, I say. They have become good at these literary hunts.

Occasionally they help me discover other books of which I have multiple copies. Beloved. The Bluest Eye. Pale Colors in a Tall Field. Ulysses.

Sometimes they are in separate rooms, like displaced siblings. Other times they are in the same bookcase, separated by wood and brother-and-sister books. Once in a while they are together: twins.

I can’t let go of them. They often have different covers, or different colors. The pagination or font differs. The soul is the same.

Book lovers, those of you who are reading this: you understand. At some point, we fell in love with books. It is a silly love, a stubborn love. 

There are worse loves. There are worse devotions. I hope that books have kept you company this year. I hope that some books have given you comfort, and that others have made you feel uncomfortable for good reasons.

I was reading Pascal for a review that I was writing, but like much of my reading, it started with a purpose and was continued by curiosity. I finished the review, but stayed with Pascal for a little bit. I am still with him.

He wrote: “Rivers are roads which move, and which carry us whither we desire to go.”

I hope that 2021 is a gentle river.

More from A Year in Reading 2020

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The Stories We Become: On William Cash’s ‘Restoration Heart’

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Restoration Heart begins in 2009 with William Cash, the British journalist and publisher, hiding from the tabloids. He listens as a photographer and reporter banter outside his front door. Cash, frazzled and melancholy, huddles inside. His girlfriend’s photo appears “on the front page of the Sunday Mirror, alongside that of a well-known British politician, touted as a future prime minister.” Cash’s girlfriend was embroiled in a political sex scandal with none other than Boris Johnson.

Cash, who has often written of society and scandal, is adept at setting dramatic scenes throughout his memoir. Yet there’s another layer to Restoration Heart—an acute literary sense. While “camping out in a former tack room,” lamenting another failed relationship and the family he has always longed to have, Cash thinks of a line from Graham Greene: “No man is a success to himself.”

It is an appropriate quote—Cash once wrote a biography of Greene that examined his long affair with Catherine Walston, a relationship that influenced The End of the Affair—yet another line from Greene might be even more appropriate: “I feel there’s something awful in sealing up the envelope, not being able to add to this.” Cash’s memoir is the story of a man whose penchant for letters suggests a desire to hold on to the present. Sealing up the envelope means ending the letter; it means allowing our fantasies and stories to be finished, read, and judged.

Greene haunts this book in the way perhaps only the British novelist can; a lingering but vacillating Catholicism, a predilection for drama, and the worry that life is a series of disappointments. Those disappointments—and accompanying hopes—are often set at Upton Cressett, an Elizabethan manor in Shropshire, England. In 1970, Cash’s parents “had become afflicted with that most British and expensive of diseases: the ‘dream’ of finding an old English manor house and restoring it, the more of an overgrown ruin beyond hope, the better.” Built in 1580, the house, Cash quips, “has always been the most durable of my relationships—more reliable than any love affair or marriage.”

In 1899, H. Thornhill Timmins wrote in Nooks and Corners of Shropshire of the home’s past: “The course of the moat, the ancient well, and the site of the drawbridge can still be identified.” Rumor has it that an underground tunnel once ran from the home to Holgate Castle in Corve Dale, six miles away. Yet now, Cash laments, the home “had come to resemble an architectural salvage yard.” He decides to renovate the house, and his life.

The action is uniquely British. “The Germans, French, and Italians don’t understand the British Cult of Restoration,” Cash affirms: “restoring an old manor farmhouse, mill or ruined abbey until we are driven into the financial grave. It relates to our national obsession with the past and how our best domestic architecture—from castles to cottages—gives character and identity not only to our towns and villages but also defines who we are.” 

Cash quotes P. H. Ditchfield, from The Manor Houses of England, that manors such as his “do not court attention,” nor do they “seek to attract the eye by glaring incongruities or obtrusive detail. They seem in quest of peace, love and obscurity.” For much of his life, Cash seemed the opposite. Drama found him, or compelled him. Failed relationships were compounded by literary ambitions. 

He documented it all. One of his teachers at Trinity College was Eric Griffiths, who made Cash realize that “Letters or poems to those we have loved, or still love, can live on, long after the relationship is dead. I am sure this contributed to my chronic inability to let go of my past, and my habit of photocopying and collecting my letters.” Cash tended to fax his letters to lovers, friends, and foes, which left him with boxes full of originals. He confessed his deepest desires, but those desires also remained near. It is a not-always pleasant paradox to have our secrets archived and in reach.

Cash is full of secrets and stories. In a representative tale, he first met the actress Elizabeth Hurley in 1992, and lived with her for some time, including “when Hugh Grant had his notorious back-seat encounter on Sunset Boulevard with Divine Brown.” Cash hunkered down while paparazzi swarmed their home—perhaps preparing for his own encounters with the gossip press.

Cash placed Hurley “far too high on my usual pedestal for anything more than being her confidant.” Although Hurley was only a friend, Cash had a succession of girlfriends and lovers, and each relationship seems not only a potential marriage, but a marriage with children—which might include “having twins, writing bestselling thrillers, buying two borzoi puppies, importing wild board to roam around the medieval wood and peacocks for the garden, flooding our medieval moat, learning to cook, paying my credit-card bills each month.” 

Restoration Heart is buoyed by Cash’s self-effacing humor. He’s a romantic when it comes to love, and also writing.  The novelist Jay McInerney once told Cash there are two types of books: “the type you put in everything you know, and the type you leave out everything. Make sure you know which yours is before you start.” Cash puts his life—loves, losses, and longings—on display here, and the result is a paean to hard-worn optimism, and an affirmation of the epistle as cherished form. Reflecting on his many letters, Cash concludes: “So many are hopelessly self-indulgent attempts to win a heart or offer some thread of hope (often self-deceptive) to myself. Is the narrator of my letters really me, or a persona I created? I can’t answer that. I don’t know.” Restoration Heart suggests we don’t need an answer; that the stories we tell others, ultimately, become us.

How We Endure: The Millions Interviews M.I. Devine

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“Julia Zavacky comes down to us today as an eccentric accomplice to an eccentric artist well supplied with accomplices—a factory of them,” M.I. Devine writes, describing the mother of Andy Warhol. “But what if, instead, Julia, you signify—your journey, endurance, sacrifice—a human depth upon the surfaces of things, even the surfaces of a son.”

Warhol’s Mother’s Pantry is an inventive, playful, and rangy consideration of that human depth upon the surfaces of things—an examination of what it means to put “the mom back in pop.” It’s the type of generative book that left me with a personal syllabus of poetry and film—Devine has a way of magnetizing himself to past and present, bounding across references and texts.

M.I. Devine is, along with Ru Devine, the pop music project Famous Letter Writer. Their debut album Warhola was released on Big Deep Records, and was recently featured on NPR. Devine earned his PhD in English from UCLA. He has won the Gournay Prize for Creative Nonfiction, was a finalist for the American Studies Zuckerman Prize from the University of Pennsylvania, and has received support for his work from the National Endowment for the Humanities. He is an associate professor of English at SUNY Plattsburgh.

We spoke about the definition of pop, the merits of playful literary and artistic criticism, and how Warhol still haunts us.

The Millions: The first section of Warhol’s Mother’s Pantry begins with a photo of Andy Warhol and his mother, Julia. The arrangement of the photo places Julia at the forefront—which is true of the book as a whole. I feel like Warhol “haunts” this book more than he is physically or literally present in the text. What is the spirit of Warhol himself in the book?

M.I. Devine: Well, there’s maybe a double haunting, because for me Andy is Warhola, the immigrant’s son.

So, let’s start with Julia Warhola, his mother. Her infant daughter dies in her arms while her husband is in America. (I’ve called this elsewhere the Pietà of Slovakia). She came here alone when the border was closing in 1921. Year of pandemic, persecution: sounds familiar, right? Everything is haunted: now by then, 2020 by 1921, Andy by his mother, a name by its erasure. Call it a haunting, or call it the deep continuity between all things. I call it pop. Why not?  

That’s how the book starts, with a kind of prose poem about this nobody woman crossing the water, this folk artist. She’s my “reusable muse.” She cut soup cans into flowers, and taught Andy how to use scissors, how to remake, recrop, repurpose. 

To your question, then: Andy as a spirit of reproduction—in every sense of that word (as child, of course, but also as force, as strategy) is what haunts the book. To reproduce is to repeat, and pop is always a bid against death, against our own ends. It says we’re not just these woods we wander in, to quote Richard Wilbur (wildly out of context—which is a very pop thing to do!). It’s a portrait of Marilyn the day after her death. A soup can that’s maybe your mother, for sure. And it’s Kendrick Lamar singing “Promise that you’ll sing about me,” it’s Leonard Cohen’s Casio “Hallelujah.” It’s a way to live. Our equipment for living. How we endure. 

I see Andy, in other words, as endlessly affirming. Our desire to cut through. To make new. Tyehimba Jess tells you to use scissors on his poems in Olio and I see Andy there. I see him in the long takes of Cuarón’s Roma, a mother and her stillborn child.

You might say that we know so much more than Andy. Maybe so. But of course he is that which we know. 

TM: Your references to film and music are encyclopedic in this book—and both well-crafted and entertaining. How would you define “pop,” and where does poetry belong within or related to that definition?

MD: Pop means saying something deep in a stupid way.

To say something stupid in a deep way, of course, is to be an academic. (Okay, okay, maybe that’s just from a meme I just shared. Ha! If it’s not it should be.)

But I think there’s something there. Stupid is flow. Stupid is your body. It’s your stupid limits and our stupid forms and the stupid fact that we all die. Andy suffered seizures as a kid and he knew all about the body. We’re not free. So much we can’t control. Right? Right. Pop is most pop, most stupid when it leans into that, let’s say, and a little bit of light shines through, and then we feel at home. We sing along. Pop is deeper than you suspect and probably more superficial than you can take. It’s the skin and the soul. It’s Stevie Smith’s poetry. It’s waving and drowning, the body and the sign; it’s a dead man explaining it all at the end, which is an absolutely stupid and wonderful thing.

Pop is MF Doom, a rapper who wears a kind of superhero mask. It’s repeating the title of his song “Sofa King” three times fast. (Try it.) And pop is especially the opposite of pop, obviously. Doom has a line that goes, “All fake rappers, 23 skidoo.” As far as I can tell, it’s a reference to, among other things, a very early Edison film called “What happened on 23rd Street”—a stupid little bit of cinema in which a woman stands on a subway vent and, voila, you know the rest, Marilyn Monroe. “23 skidoo” means beat it, stop watching, scram. And it means Keep Moving! Which is what all pop says, right? How did that expression reach Doom? Who cares? This is pop’s archivist poetics, the thrill, remixing, flowing, telling us what’s real and, you know, what’s not—who’s just the fake rapper. 

Perhaps this sounds stupid. If so, I’ve answered your question.

TM: You write about one of the poet Philip Larkin’s selfies: “He’s thin here, alone, taking a picture of a mirror, which of course is what we all did before our phones grew smarter.” Later: “Can a form be selfish? And what’s that even mean? What are forms but rooms you put yourself in, self-portraits that keep things out, let things in?” How would you describe the “form” of this book? 

MD: Oh, God, talk about stupid, using Philip Larkin in a book about American art! What was I thinking? And of course it gets worse: while traveling in Genoa, I took a selfie with a bomb that is unexploded in this absolutely stunning cathedral. It just sits there like a statue. And a few things occurred to me: 1) The British fired it there about three months after Coventry, Larkin’s hometown, was absolutely razed in WWII. And 2) The rather Gothic bomb was shaped almost identically like the cathedral. Okay, I’m getting to the point: Later that night, I watched a Pearl Jam cover band (quite good) and took notes on all of this—Italian Eddie Vedder singing “Young girl, violence,” Larkin’s city erased, the bomb unexploded in a church. Now what part do I leave out? What part do I keep in? I began by writing about how forms repeat and endure, and somehow I ended up here! With Eddie Vedder telling me that things change by not changing at all!

The point is: this is all very Andy, who’d be a great writing teacher. He said, “When you do something exactly wrong, you always turn up something.” So, I guess I’ve tried to be a bit stupid, which is maybe what literary criticism needs.  Writing is taking a selfie and it’s knowing you can’t help but let in the chaos, the clutter, the noise. When I finished writing my book I read Amitava Kumar’s Every Day I Write the Book. It’s advice for academics, but it’s really just great about writing as every day practice—as pop, and open, and conflicted, and stupid, even, and, look!, there’s Elvis Costello! Writing is life. 

So order and chaos, pattern and chance, I wanted all of it in the pantry, footnotes that aren’t footnotes at all, distractions, startling juxtapositions. It’s all part of the journey, starting with Julia’s journey—for the reader. Into America, into the violence and beauty. Into great writers and artists I love. Into my writing.

TM: “I am not Jesus,” you write. “I can’t speak plainly. I’ve wept and fasted. Write and wait. Give you what I cross out.” There’s a great rhythm and layers to these lines, which I see reflected in the way you write of John Donne: “Donne doesn’t explicitly say whether God exists outside of language. Perhaps because Donne so loves the wor(l)d that he just doesn’t care. Like Hopkins, he reads in the Book of Creatures the unmistakable authorship of God. But undone, always undone is Donne. He has to complicate things. God is a strange king. And so hard to know.” Maybe it is because I have been reading a lot of that pun-admirer Marshall McLuhan, but it feels like punning and play are a big part of your prose. Is Warhol adjacent or present in that linguistic and intellectual play, for you? How about his mother?

MD: Well, to quote Kumar quoting Geoff Dyer quoting Albert Camus: “After all, the best way of talking about what you love is to speak of it lightly.”

Look, there’s a deep humorlessness that stains our understanding of art and creation. It took, what, about half a century for art critics to actually even read the words Picasso and Braque were cutting up in their paintings. Cubism’s a cut up! Oh, now I get it! Visual puns, verbal puns: to get it means you use more than your mind; you use your body; you let art touch your body; you laugh when you see that cutting up “Le Journal” makes some joyful nonsense. Jouer. Jouir. My book’s brilliant cover designer, Jeff Clark, ran with that idea. Collage is less about fragments and more a punning strategy about depths and surfaces. 

Am I divine? I’m not. And this feeling of epistemological play is rooted, I guess, in a broader approach to writing. Who am I to say what art should teach me? Art will not be possessed, nailed down. Andy’s mom titles his book 25 Cats Name Sam and One Blue Pussy and Andy’s like, Nailed It! One of his earliest religious works: “The Lord Gave Me My Face but I Can Pick My Own Nose.”

But the part you mention first is from “Dead Poets”: my elegy for Sam See, a poet, professor, and dear friend who tragically died. I process his death by returning to early childhood encounters with Duchamp in the Philadelphia Art Museum. Looking through peepholes at death. At life. I found it all terrifying and wonderfully out there as a kid. This sounds bleak, right, but pretty soon Andy crashes the party and the elegy, as all elegies do, turns joyous. I didn’t plan that. But it’s precisely because of this spirit of play, of affirmation and life one finds in the pantry, I guess.

Death is stupid, like I’ve said, and our only hope is to outwit it. 

Jesus said to Lazarus “Come forth.” But he came fifth so he lost the job. 

TM: There’s a fascinating bit here about film historian Tom Gunning’s observation that in early film, spectators were cued to the act of display and movement, something like “See the still image spring to life!” You mention that this “pop throwback” has “become more and more common post-9/11,” and consider it “an attempt, I think, to recover a shared experience.” Why didn’t it return after other traumatic events?” What was it about 9/11—and us then and now—that prompted this resurrection?

MD: The 21st century has seen the great early cinema revival, no doubt. Our 1890s peeps watched cat videos on a loop, and, turns out, we watch cat videos on a loop. Sure, some of our cats are more poetic (please google Louiswildlife, a German cat, immediately) but the point is what you’ve said before: a kind of haunting. And hauntings are good! That’s where the spirits are! In lots of ways our digital habits have returned us to the wild sublime of the medium. Dogface 208 skateboards and sings to Fleetwood Mac on TikTok to a trillion views and it’s like you’ve never seen the sunset before; it’s like you never seen our massified, inhuman infrastructure of roads before; it’s like you see for the first time the body in space, singing, free.  

This return, I think, began, ironically, with a brutal collective GIF: 9/11. After the Towers, and the run-away machines, artists responded in all sorts of ways, from Foer to Scorsese in all sorts of magical ways that I write about. I think we’ve been trying to heal that wound, taking new control over our machines, because that’s what pop does. Remixing, recovering, going “old school.” Back to innocence. We are like Andy the amateur not quite sure knowing how to use his camera, you know? And that’s beautiful. It’s a way of unknowing better, which is all we can ask for from art. If readers tell me that they unknow art and America and Andy and even writing better after reading my book, well, that’s all I can ask for. 

Must-Read Poetry: November 2020

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Here are six notable books of poetry publishing this month.

Together in a Sudden Strangeness edited by Alice Quinn 

“I don’t want to find meaning in it,” Diane Seuss, writes in “Pandemicon.” She’s not surprised “how America can brand even a pandemic, turn it / into a thing.” After all, we’re in “a reality series with viral bread recipes / and optimism,” and perhaps only absurdity can capture the heart of our moment. Quinn has accomplished something dizzying here: arranged a stellar cast of poets, some with Seuss’s satirical eye, others with a fresh deep down sentiment. It is what all great anthologies must be: comprehensive, contradictory, stirring. A prose poetic sequence by Rick Barot includes gems: “During the pandemic, I knew each neighbor by one thing. The neighbors above, the baby. The neighbors below, the dog…I wondered what one thing the neighbors would know me by. What truth an inadvertence could betray.” Jericho Brown proclaims: “I don’t know whose side you’re on, / But I am here for the people / Who work in grocery stores that glow in the morning / And close down for deep cleaning at night.” I pause. I think back to those early months of the pandemic, that dull cyclone of despair. What a world we have just lived through; what a world that so many among us haven’t made it through. Traci Brimhall, always sharp in her song, offers a “Plague Diary”: “Today, I walked the worn / shadows to the pond and congratulated myself / on my attention, my ears turned to the blackbirds, // my eyes catching the hawk. Today, my heart, silly little / star cup, measured the odd inches of the crocus.” We can only hope to live the dream lyric offered by Carl Phillips: “Slowly the fog did what fog does, eventually: it lifted.” It is sad that one of the best books of poetry of the year is about our shared pain, but maybe that is the catharsis we need.

Dearly by Margaret Atwood 

“Were things good then? / Yes. They were good. / Did you know they were good? / At the time? Your time?” I like when I find a poet’s book that feels transcendent, like the poet’s anchor in time, and Dearly reaches that level of permanence. Atwood can spin lines both gentle in piercing, as in “Salt,” how the “mellow lamplight / in that antique tent” was “falling on beauty, fullness / bodies entwined and cherishing, / then flareup, and then gone.” A later poem starts: “One day I will be old, / you said; let’s say / while hanging up the wash— / the sheets, the pillowcases.” The fabric holds “their white smell of June rain.” Atwood always winks before her lines become sentimental (“and your brain sang Yeah yeah yeah / like a backup group, / three girls with long legs / and thigh-high boots.”). But she returns to this sentiment, as in “September Mushrooms.” “I missed them again this year,” the narrator laments: “I was immersed elsewhere / when the weather broke / and enough rain came.” Atwood is interested in memory here, and domestic curios; how a narrator saves passports in the same way she saves “those curls / culled from our kids’ first haircuts.” We hold on to the idea of memory more than the memories themselves: “Why was I wandering from here to there / to there? God only knows.” What these narrators do know is mortality. “Things wear out,” unfortunately. “Also fingers. / Gnarling sets in. / Your hands crouch in their mittens. / Forget chopsticks, and buttons.” Remember: “The body, once your accomplice, / is now your trap.” 

My Name Will Grow Wide Like a Tree: Selected Poems by Yi Lei (translated by Tracy K. Smith and Changtai Bi) 

Lei died in 2018, and these selected poems—each dated at their conclusion—offer a route and a timeline through the work of this important Chinese poet. In “Picnic,” “Daylight tumbles down the grassy hill / Where we feast on spiced fish, / And the whiskers speckling your chin.” The narrator wonders why her companion doesn’t let his “beard go long, shambolic / Like a sage or savage?” She adds: “Just once, I’d like to be a savage,” the lines ending with an ellipsis that wanders into wonder. “Love’s Dance,” a long, early poem in the collection dazzles in Smith and Bi’s translation: “Your animal heat, heart in full gallop. / I gripped you with my heels, fingers / Knotted into your hair.” Later in the poem she writes: “I want to feel / Civilization flourish and fall. // And I want to live to tell.” She proclaims: “Let bodies go to Heaven! / Let souls go to Hell!” Short poems, like the five-line “As Clear and Thus as Virtuous as Glass,” arrive with equal power: “To see through me, you need only glance.” In “Talking to Myself,” she wonders: “Do I really believe / The fiercest flame / Is silent?” She offers more necessary questions in “To the Viewer”: “Whose hands scrub clean the soul? / Whose eyes cleave the future? / Whose mind fathoms God’s intentions? / Whose compassion undoes affliction?  // Whose? / Whose?”

Rosetta by Karina Borowicz 

“The whiskey stink of rot has settled / in the garden, and a burst of fruit flies / rises when I touch the dying tomato plants”—so begins “September Tomatoes,” a poem deep in Rosetta, but which captures Borowicz’s skilled sense (I felt it to be a cross between Seamus Heaney and Sylvia Plath’s pastoral verse). The poem is a lament for change (“Something in me isn’t ready / to let go of summer so easily.”) and also manages to drape the present with tradition, as when the narrator recalls the songs of her great-grandmother: “Songs so old / and so tied to the season that the very sound / seemed to turn the weather.” That sentiment explains the first poem of the collection, “The Old Country”: “I was nourished / by nostalgia for a place / I couldn’t remember.” Borowicz captures that intangible but rich feeling of inheriting a world and words that are beyond anything we can directly experience. It can infect us, as one narrator wonders: “Does it matter / that everything I’m living / is memory / that nothing happens / anymore / for the first time.” Rosetta is a beautiful book; there are gifts here, as in the way Borowicz offers gentle truths: “The original wind has not yet / stopped. Generations of hawks / have glided on the same gust / that pulls me now down / a busy street.” 

Music for the Dead and Resurrected by Valzhyna Mort 

“We walk into a book the way we walk into a garden,” Mort has said in an interview. “There are several paths we can follow on our walk, we can smell things before we even see them, we can hear things without ever seeing them, colors and textures complement each other.” Music for the Dead and Resurrected feels made for such meandering, from the figurative descriptions that capture the bending of time and the stretching of pain, to other lines that feel hypnotic, recursive, even jarring. “Not books, but / a street opened my mouth like a doctor’s spatula,” she writes in “Bus Stops: Ars Poetica.” The texture of her lines almost seem to tickle: “In the State Archives, covers / hardened like scabs / over the ledgers.” In “Genesis,” she admits: “I prefer apples that roll / far from the tree.” She concludes a later poem with a lament: “And instead of evening prayers / I plead / with myself / to just leave you / be, my dear, my // undear Lord.” Mort’s take on “Psalm 18” includes a question: “How could it be that I’m from this Earth, / yet trees are also from this Earth?” A dizzying imagination permeates this book, one that we can trace back to childhood, as in “An Attempt at Genealogy”: “Days of merciless snow in the kitchen window— / snow was deposited like fat under our skin. // How large we grew on those days! / So much time spent at the kitchen table / trying to decide where to put commas / in sentences about made-up lives.” Meanwhile, the real world is strange enough. “Of the empire’s fall / I heard on the radio / while waiting for a weather forecast,” she writes in “Self-Portrait with Madonna on Pravda Avenue.” “Chlorine, opium of the pupils, / granted us purity, absolution of sins / for our grandfathers / whose heroic deeds / festered under torn book covers.” A rich collection with language so sharp it unnerves. 

A Memory Rose into Threshold Speech: The Collected Earlier Poetry by Paul Celan (translated by Pierre Joris) 

“It was a landscape where both people and books lived,” Celan wrote of his homeland. As Joris notes, Celan was “reticent of speaking of private matters,” so the paucity compels us to return to the poems. The pieces in this collection were mostly written and published during the 1950s. “Your hair waves again when I weep,” he writes in “The Years from You to Me”: “With the blue of your eyes / you set the table of our love: a bed between summer and autumn.” “In Praise of Distance” concludes: “In the springs of your eyes / a hanged man strangles the rope.” Celan’s syntax intertwines the mysterious and macabre, revelatory in their juxtapositions. “Autumn eats its leaf out of my hand: we are friends,” he writes in “Corona,” and I am carried, perhaps gently—in the way that only a master can carry—to the final lines: “It is time that the stone took the trouble to bloom, / that unrest’s heart started to beat. / It’s time for it to be time. // It is time.” I’ve drifted to and from Celan over the years, and the return is always heartening, his melancholy a permeating force. “Mouth in the hidden mirror, / Knee before the column of pride, / Hand with the stanchion,” he begins “Into the Foghorn”: “hand yourself the darkness, / say my name, / lead me to him.” “I have never written a line that did not have something to do with my existence,” Celan wrote in 1962. “I am, as you can see, a realist in my own way.” I have always taken Celan at his word, perhaps paradoxically (is there any other way, truly, to read verse?): his spareness, his dreaminess, his anaphoric refrains. “Mute autumn odors. The / aster, unbent, passed / between homeland and abyss through / your memory. // A strange lostness was / palpably present, you could / almost have / lived.” The poetic skill of the soft line break, like an outstretched hand as the poet walks away.   

Ghosts Who Walk Among Us: The Millions Interviews Claire Cronin

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“Horror fans are often asked to explain why to people who don’t like or understand the genre—to offer an apologia,” Claire Cronin writes in Blue Light of the Screen: On Horror, Ghosts, and God. “I’ve always felt haunted…There is something about watching ghosts on screens that satisfies this personal unprovable.”

Some books arrive at the
perfect time, but Cronin’s fascinating book feels absolutely made for this
especially disturbing Halloween. It speaks to the transcendence of her concerns:
she reveals how horror, ghosts, and God exist among each other.

Cronin’s vignette-style
structure arrives like whispers in the dark, or frenetic prayers. Her sense of curiosity
permeates the book. Fans of horror films and Catholics—devoted or drifted—will
love this unique book, but so will those who seek to understand fear.

Cronin is a writer and musician. Her latest album, Big Dread Moon, was described as “a full-length folk horror movie” by The Fader. She has written for Fairy Tale Review, Bennington Review, Sixth Finch, and elsewhere. She earned an MFA in poetry from the University of California, Irvine, and a PhD in English from the University of Georgia.

We spoke about writing that scares us, the power of ritual, and the ghosts who walk among us.

The Millions: Blue Light of the Screen is unique, expansive, and scary—and I don’t think it’s merely because I read it during the Halloween season. Your book mines the spiritual in a true sense: the world of spirits and the spirit. Were you ever scared while writing this book?

Claire Cronin: I did sometimes feel scared of what I was revealing about myself. The process of writing about my past called distant memories to surface, and some of those memories were scary—or sad.

While
working on the book over several years, I also became more attuned to uncanny experiences
and weird synchronicities. By the time I finished it, I found I was more of a
believer in the mysterious and supernatural than when I began, which was not
the outcome I expected.

I think my experience of the spiritual world has always been one of awe, fear, and dread: the “tremendum” in Rudolf Ottos’s definition of the numinous as “mysterium tremendum et fascinans.” It wasn’t ghosts and demons that most frightened me while writing; I was haunted by God.

TM: While reading your book, I recalled this observation by Father Andrew M. Greeley from The Catholic Imagination: “Catholics live in an enchanted world, a world of statues and holy water, stained glass and votive candles, saints and religious medals, rosary beads and holy pictures. But these Catholic paraphernalia are mere hints of a deeper and more pervasive religious sensibility.” Catholicism and God permeate this book—there’s even a Johannine (Gospel of John) cadence to some of your formulations about horror, like “We see it to believe it, and in believing, see.” What makes Catholics particularly receptive to horror and discussions of mortality?

CC: Well, the version of Catholicism I grew up with combined ordinary, post-Vatican II masses and catechism with my mom’s more magical beliefs and practices. From a very early age, this gave me the sense that our lives stood in a complicated relationship to the hereafter, and that we were sustained by our connections to invisible beings: God, Mary, the Holy Spirit, angels, and the dead, which meant both saints and dead people we knew personally. I learned that even if I couldn’t directly experience these beings, I should speak to them as if they were always present and listening. That whatever suffering I might face on earth was very small compared to the suffering of those who came before, and smaller still compared to the torments I might face in purgatory or hell. There’s a real horror to this idea, and it’s distinct from the secular, nihilistic horror of a vacuum. It’s a depth that’s filled with something—not a void.

And of course, the central rite of the Catholic mass is the sacrifice of Jesus’s body. This is very violent and mysterious. Catholics are taught to think of the eucharistic bread and wine as the literal flesh and blood of Christ. Through the power of the ritual, these substances are transformed. They are not symbols. When you’re actually in church, however, it’s hard to believe this because the eucharist still tastes and looks like bread…but there are stories of saints who were so holy that when they ate communion, they said it tasted like raw meat.

I
think this muddling of the symbolic and the actual is what set me up to be an
artist. I am, and always have been, fascinated by questions of what’s real and what’s
unreal, what’s manifest and what’s occult. I learned elaborate prayers to the
dead, saw images of wounded and transfigured bodies, heard gruesome stories of
the martyrs, and took seriously the threat of demonic evil. All these things were
present in my psyche before I recognized them in the horror genre.  

TM: “TV is a medium of ghosts,” you write. You title one section “Spirit Box,” and tell the eerie story of the 13th-century St. Clare of Assisi, the patron saint of television—who, unable to attend Mass in person, saw a vision of it projected on her wall in the convent. She is your namesake; what do you have in common with her? What does it mean to experience the world—material and spiritual—through a screen, a vision?

CC: I’m sure I’d be a disappointment to St. Clare. I’m not willing to give up everything I own, become an ascetic, and serve the poor with someone like St. Francis. My dad chose the name for me after his mother, but he’s also had a long career in the television industry, so it  fits in several ways. Or perhaps the name determined my fate, and I grew into it.

I think visions seen on TV, movie, or computer screens are very different from spiritual visions like St. Clare’s, but the problem of visions is something I spend the whole book worrying about. In one sense, a vision is by definition unreal—it’s a delusion, fantasy, or dream. But at the same time, a spiritual vision can reveal something more true and real than what’s normally perceptible.

I don’t know that people are capable of experiencing reality in some pure, unmediated, wholly physical way. We’re always drifting off into visions of the past and future. We become overwhelmed by memories and fantasies and moods, and we spend many hours watching images flicker across screens. Some of us, like St. Clare or William Blake or the poet H.D., have spiritual visions so powerful that ordinary reality fades in comparison.

There is something about watching a convincing horror film that is akin to having a terrible vision or a nightmare. But I think it would be an oversimplification to say that films are the same as dreams or delusions, or that witnessing an apparition of a ghost in a horror movie is the same as seeing a ghost appear at the foot of your own bed. The difference is the essence of the thing, which is the hardest part to define and yet the most important.

TM: I love to see Malachi Martin included in this book! Hostage to the Devil was a book I found in my house as a kid, and, fresh off repeated viewings of The Exorcist (and probably clutching a rosary), I pored through Martin’s disturbing tales. For the uninitiated: could you tell us a little about Father Martin? And how do you see possession relating to ghosts?

CC: Yes, thank you, Malachi Martin is fascinating! I still don’t know what to make of him. He was an Irish priest who left the Jesuits in the mid-1960s because of their alleged corruption, then he moved to New York, where he began a writing career and started practicing as an exorcist. He’s most known for Hostage to the Devil, which gives a terrifying and convincing account of several possessions. The book was a bestseller, but reviewers weren’t sure how seriously to take him, and he won as many followers as enemies.

I like Hostage to the Devil and find it scary, but I’m more convinced when I hear recordings of Martin speak. He gave a few long interviews on Coast to Coast, Art Bell’s long-running fringe paranormal talk show, and I found Martin to be so erudite and charming that I sincerely considered everything he said, though much of it is plainly impossible. The effect of that was chilling.

Within the world of horror, Martin was in the same circle as other paranormal investigators, like Ed and Lorraine Warren, and mentored a few contemporary demonologists who are still working in the field. The stories from these exorcists have been used as fodder for fictional horror films for decades.

As for the differences between demonic possession and ghostly hauntings, I think a person can be haunted, literally or figuratively, in such a strong way that it can seem as if they are possessed. What I mean is almost Freudian: that the ghost of a deceased parent or other ancestor can stay with a person and dwell within them, determining their interests, moods, and thoughts.

A
demonic possession is something totally other. It’s not a frustrated or unhappy
human spirit exerting its influence. It’s a nonhuman entity that has only
hatred for our species and wants to see us utterly destroyed. In horror films and
paranormal reality shows, these two kinds of spirits often coexist: a house or
a person may be tormented by both demons and ghosts. Very unlucky! But a demonic
possession is much worse; your soul is at risk. A demon works with a logic and
power we can’t understand and shouldn’t underestimate. No matter how frightening
a ghost may be, they are essentially the same as us.

In
my book, I think about haunting and possession as different metaphors for the
experience of depression and suicidal ideation. Both are states of being
overtaken by a negative force. My description of those states gets a little
more complicated and nuanced in the manuscript.

TM: Rilke, Plath, McLuhan, Merton, Deleuze, Sontag, Styron, Baudelaire, Kristeva, Freud, Lucretius, and Barthes all make appearances in this book—and that’s nowhere a complete list of thinkers and writers you reference. You include an especially great quote from Deleuze: “The modern fact is that we no longer believe in this world. We do not even believe in the events which happen to us, love, death, as if they only half concerned us. It is not we who make cinema; it is the world which looks to us like a bad film.” I can’t help but receive this quote in the world of 2020—and connect it with your observation that horror, possibly more than any other genre, “gives its fans the gratifying daze of repetition.” Are we somnambulating through this moment? How do you view horror films during a time of visceral, worldwide horror?

CC: It’s a good question, and we’ll see what happens in the next few months—if things get better or worse as the year comes to an end. Since lockdown began for me in March, I’ve have had the strange sense that life has never been more virtual, more screen-mediated, yet the danger which keeps me trapped inside is physical. I have never felt more aware of my own bodily fragility and mortality, and never more afraid of the hatred, violence, and delusion in our country, which is making the pandemic so much worse.

No
matter how much time I spend “doom scrolling” on social media or reading the
news on my phone, I don’t feel numb. I don’t think we’re sleepwalking through
this, though time has taken on very strange proportions, and life has often
felt surreal. The distance between me and everything that’s awful (which is,
perhaps, the distance of a screen) doesn’t make the situation less emotionally
charged, it just makes me feel more powerless. But of course I’m grateful that
it’s not my body on the line right now, and that I have the tentative good
fortune of health and safety.

I think people are still watching a lot of horror in 2020. It can be a helpful genre in a terrible time because it works as a distraction (replacing a bad thing with something worse) and as a way to think through questions about evil, violence, and death at an entertaining distance. There are many subgenres of horror that speak directly to the issues we’re dealing with now, though as always, I get the most satisfaction out of ghost stories. I think a lot about the hundreds of thousands of people who have died this year, and I wonder what those ghosts might ask of us in the future. I suspect they’ll be returning, seeking justice.

Bonus Links:—Eight Horror Films About WritersTerrify Yourself with These Ten Horror NovelsTen Haunting Ghost Stories for Halloween

A Liturgy of Language: On Don DeLillo’s ‘The Silence’

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1. “Man has every right to be anxious about his fate so long as he feels himself to be lost and lonely in the midst of the mass of created things.” — Père Pierre Teilhard de Chardin, Hymn of the Universe 

In the opening chapter of The Silence, the new novel by Don DeLillo, Jim Kripps and Tessa Berens are flying home. Turbulence will come soon; the plane will go down. But first there is a steadiness: “Here, in the air, much of what the couple said to each other seemed to be a function of some automated process, remarks generated by the nature of airline travel itself. None of the ramblings of people in rooms, in restaurants, where major motion is stilled by gravity, talk free-floating.” All of their speech echoes the novel’s opening line: “Words, sentences, numbers, distance to destination.” DeLillo’s liturgy has always been one of language.

2.“I think my work has always been informed by mystery; the final answer, if there is one at all, is outside the book. My books are open-ended. I would say that mystery in general rather than the occult is something that weaves in and out of my work. I can’t tell you where it came from or what it leads to. Possibly it is the natural product of a Catholic upbringing.” — DeLillo, Rolling Stone interview (1988)

The Catholic kid from the Bronx. The son of immigrants from Abruzzo. The student who maybe slept through his four years at Cardinal Hayes, but who then went to the Jesuits at Fordham, where they taught him “to be a failed ascetic.” 

One of my former editors at America magazine, the Jesuit review, told me that he and DeLillo shared a professor at Fordham, and he’d gotten a peek at DeLillo’s term papers. At Fordham, DeLillo would have read Pierre Teilhard de Chardin, the French Jesuit paleontologist whose theological views of evolution—past and future—later permeated DeLillo’s novels. Teilhard’s influence comes first with Gary Harkness, the running back turned desert monastic in End Zone. Harkness’s fever-stricken body seems to become fully spirit at the end of the novel, but the Jesuit’s presence arrives more explicitly in the Teilhardian titled Point Omega.

3.“I studied the work of Teilhard de Chardin…He went to China, an outlaw priest, China, Mongolia, digging for bones…He said that human thought is alive, it circulates. And the sphere of collective human thought, this is approaching the final term, the last flare.” 

***

“Father Teilhard knew this, the omega point. A leap out of our biology. Ask yourself this question. Do we have to be human forever? Consciousness is exhausted. Back now to inorganic matter. This is what we want. We want to be stones in a field.” 

— Point Omega

DeLillo has said that for a Catholic, “nothing is too important to discuss or think about, because he’s raised with the idea that he will die any minute now and that if he doesn’t live his life in a certain way this death is simply an introduction to an eternity of pain. This removes a hesitation that a writer might otherwise feel when he’s approaching important subjects, eternal subjects. I think for a Catholic these things are part of ordinary life.”

The Silence, from start to finish, feels like an overcast book—a night book, taking place on that holy day of the Super Bowl. Friends—Martin, Diane, and Max—are watching the spectacle of the game, until the “images onscreen began to shake.” The disruption “formed abstract patterns that dissolved into a rhythmic pulse, a series of elementary units that seemed to thrust forward and then recede.” DeLillo avoids conflagrations; his end of the world is an absence of sound. A pulled plug. A flipped switch.

Why should we expect more from him? From the world?

4.“All pessimistic representations of the earth’s last days—whether in terms of cosmic catastrophe, biological disruptions or simply arrested growth or senility—have this in common: that they take the characteristics and conditions of our individual and elemental ends and extend them without correction to life as a whole.” — Père Teilhard, The Phenomenon of Man

DeLillo’s characters have lost their faith. They are anatheist—they seek faith after faith. “The important thing about the paranoia in my characters,” DeLillo has said, “is that it operates a form of religious awe. It’s something old, a leftover from some forgotten part of the soul.” 

The characters watching the Super Bowl together are left with nothing without the game. Max, bored, speaks in contemporary tongues: “Ground game, ground game, crowd chanting, stadium rocking.” The silence surrounds them outside. No cars, trucks, or traffic. The characters wonder: “Is everyone at home or in darkened bars and social clubs, trying to watch the game? Think of the many millions of blank screens. Try to imagine the disabled phones.” 

It recalls lines from Wyatt in DeLillo’s play, The Day Room: “I used to imagine, listening to a ballgame, as a kid, on the radio, that when I turned the radio off, in the seventh inning, say, with two out, men on first and third, that everything sort of shut down at that point. It simply stopped.”

When our power goes out at home, we soon wonder: are we the only ones? There must be others. There’s comfort in that idea. 

5.“The more one reflects on this eventuality….one comes to the conclusion that the great enigma presented to our minds by the phenomenon of man is not so much how life could ever have been kindled on earth as how it could ever be extinguished on earth without finding some continuance elsewhere.” — Père Teilhard, Hymn of the Universe 

The game off, the silence surrounding them in the apartment, Diane quotes a line from Finnegans Wake, “a book I’ve been reading on and off, here and there, for what seems like forever”: “Ere the sockson looked at the dure.” 

Outside, people “began to appear in the streets, warily at first and then in a spirit of release, walking, looking, wondering, women and men, an incidental cluster of adolescents, all escorting each other through the mass insomnia of this inconceivable time.” 

The end will take us all by surprise, but that there will be an end is not surprising. DeLillo is the laureate of this unsettling truth.

6.“Man came silently into the world.” — Père Teilhard, The Phenomenon of Man

DeLillo knows we will also leave the world in silence.

Bonus Links:—End Zones: On Football, Sports Scandals, and Don DeLilloThe Novel Still Exists: The Millions Interviews Don DeLilloFaith in Appearances: Don DeLillo’s ‘The Angel Esmeralda’Oil Plumes and White Noise: On Rereading DeLillo