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A Ghost (Sonnet) in Gene Tanta’s “Unusual Woods”
Posted By Brooks Lampe On November 8, 2010 @ 7:00 am In Language,Poetry and Poetics,Reviews & Interviews | 3 Comments
Last time, we saw that in his critical introduction to Unusual Woods, Gene Tanta wants us to approach his poetry both as immigrant poetry (which means a couple of things) and for its aesthetic value. I postulated that he accomplishes a dialectic between “local” and “universal” through strategies that extend and enrich Deep Image and surrealist poetics. Let’s see how this happens.
First, look at how these thirteen-line “ghost-sonnets,” as he calls them, are built:
The cavalry is always peering down into the ravine
whenever you’re not looking.
Someone is burping.
Someone is shirt-shinning the author’s coffin.
Someone’s nose or finger or toe
is playing in the underwater roots downstream.
Under the lean and starry sky
took your money, saying:
You seem far away,
like a cuckoo clock on a sunken ship.
If it consoles you,
you’ll die on an odd breath or an even breath.
Architecturally, this poem comprises fragmented, disjoined images struggling towards coherence. The second person pronouns and the indefinite pronoun “someone” establishes some cohesion of persons. But temporally, there are problems. The three lines beginning with “someone” borrow the surreal technique of the continuous (indefinite) present tense, in which multiple, seemingly disconnected actions are happening simultaneously. “Always” in the first line also suggests a continuous, indistinct present tense—in a sense, it is an eternal present, which is to say, no time at all. If one needs events passing over time to have narrative structure, this poem is putting up a fuss.
Even so, paradoxically, the simultaneity of the events forces a coherent reading. Parataxis aside, normal reading expectations demand that proximity (in the text) implies relationship. But here, at least within the narrative framework of the poem, persons and events are disjoined. Thus, like a collage, these images are simply asserted (placed by the artist) and readers are forced to make what they will of it. Implicitly, these seemingly disconnected things are envisioned as unified, which is the surreal experience of the “marvelous” or the Deep Image experience of the “deep image.”
So Tanta’s poems are built like surrealist collage; in addition, the images themselves are surreal in their catachresis and play. What is the meaning of that cavalry peering into the ravine? And what is to be made of the cuckoo clock on the sunken ship? Throughout Unusual Woods, Tanta freezes the reader with similarly obscure imagery:
Clearly, you are a severed viper head
and not as you claim
his eyes flickered (beaten)
in a gold-leaf epic splashed inside his skull
Yet another hooligan utopia
awaits its facial hair to grow.
My pulsebeat still listens for yours,
a ghost just leafing thru,
the library books of your body.
These images succeed not just because they are surprising and beautiful, but also because they are teasingly suggestive, even while their possible meanings are limited and redirected within the complex structure of the whole. As Tanta says in his essay, structure gives us the means by which we can approach the text aesthetically and thus as something universal (because beauty and structure are universal).
But what of the local? Tanta explores his identity as an immigrant and ESL poet in the courageous (but tasteful) exploitation of puns, idioms and other kinds of word play. In general, ESL poets tend to take things literally, resulting in images that are deeply ironic for readers even though they underscore the speaker’s innocence and naïveté : “Back in Romania, I knew a gypsy boy named God who carved words on his inner thigh….” At times the poet admits to (not insignificant) gaps in comprehension: “It’s so hard to tell few from fewer” (47). Other times deliberate ESL-like misuse of language can create a new, interesting phrase: “A dash sparrows in to sip a little water / from the water-fountain” (85). The poet cannot resist playful manipulation of idioms: “He had an ax to pick / and a bone to grind.” Finally, and most rewardingly, the ESL vantage point exposes metaphoric relationships hidden within the language itself:
At night, lightning flashes its teeth
over the Seine.
Surely, whether consciously or not, the poet discovers the idiom “flashing a smile” to be congruently matched to lightning, which literally “flashes.” Thus, the teeth/lightning relationship was idiomatically implanted in our language without our (or at least my) noticing it; it took the eye of an immigrant to find it.
My final observation is that in spite of the obscure images, anti-narrative structures, and non-transparent language, Tanta’s poems project a clear voice that navigates the reader. While Unusual Woods could be analyzed thematically (there are numerous gypsies, firing squads, and dictators), I found the personality of the speaker to be a more important (perhaps the most important) unifying force in this collection. Whether it concerns love, family or writing, the voice’s sincerity gives the sonnets weight and timbre. Here is one example:
My father did not invent fire and I refuse to vote
the birds in thick alarm.
I am thru with my voice, here it is
like a fire:
About what you cannot sing you weep and sob and cry.
Along these atlases
we alter things all the time with our sexual conduct.
You don’t know me as a broken arrow’s broken diction
but by my desperate Dionysian catapult,
by my Grecian star map,
by my Assyrian aqueduct, by my Brooklyn bridge,
by my Yugoslavian copper, by my Sumerian plow.
Once a termite lived.
Sandwiched between the cryptic first and third sentences is a dazzlingly direct, emotional statement about the writer’s own struggle to speak (as immigrant and as poet). Then there is a catalogue of exotic items by which we will “know” him. Whatever it is these items collectively mean—taking note, meanwhile, that Eastern European and America are represented—their symbolic resonance clearly outweighs the brokenness of self and speech that is the mark of an immigrant (“a broken arrow’s broken diction”). And yet, it is this “broken diction” that is partly to thank for the success of his poems (not that Tanta reads like anything less than a master of the language). And even though the disjunction of the last line deflates the intensity of these personal, direct statements, the sonnet undoubtedly proclaims something vital about the speaker. The core self is at stake.
And this is the coolest thing about Tanta’s work—even though these poems are centered on a persona, the indeterminable and seemingly fragmentary aspects of the world co-exist with the self. That is to say, aspects of the self and aspects of the world are placed in relationship. “Once a termite lived”—in the context of the poem, this statement and what it signifies are appended to the self and become an aspect or extension of it. The self is neither merely “a broken arrow [with] broken diction,” nor even a compilation of architectural structures and tools; rather, and ultimately, these poems are about an introspective, enculturated, embodied soul who must interpret the world in order to make sense of its own existence. It is because the world—whether native or foreign—is such a strange place that one finds oneself looking for meaning within “unusual woods.”
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