Today we’re featuring two poets who I have an incredible amount of admiration and who I am very excited to share with you today.
I did want to write a brief observation about what I believe both these poems–different as they are–share in common: both are built around a relational core of emotions; both poems climax with the impossibility of speech. Both poems, however, do it in very different ways: Colie through image, Maya through syntax. My observations follow the poems (and below that are author bios).
The Paper One
By Colie Hoffman
It helps to understand there were two realities
and words were in the paper one.
The other was made of clouds
and sometimes whatever animals
or feelings clouds made with their shapes.
The cloud world had giant one-way windows.
You couldn’t see inside and it was very, very dark out.
Your own face sent
out a search party for you.
The limitations of our brains and other body parts
kept rapping on the glass as we danced.
I could never tell which was you
and which was me
and if that simple touch
was some girl’s thighs
or the wings of a moth.
The paper world had words available
but none were the right ones. Later at the bonfire
people threw all the words in
and soon the entire world burned down.
Afterward we kept
talking but one of us kept glancing
at something over
the other person’s head.
You said it was to watch
for predators. I said what’s “predators.”
You made a cloud with your index finger
in the shape of a person whose language had words
for every complicated feeling.
I made the shape of that person’s insides
and internal organs
and started an electrical storm
that would never stop.
By Maya Funaro
Now I’ve heard for the last time.
It doesn’t snow today but October has laid its hands upon my shoulders.
We’re swaying now side to side as if we’re waiting something out.
But I have heard and we are no longer waiting.
It is October and you are gone.
In the air there is a long slow sigh.
In the air a surety dances like smoke.
I can be certain you are gone.
Still my knowing you pulls at me and turns a corner.
In October a life tries to fill itself out,
Searching pigment for even the loneliest spaces.
And death seeps in, a persistent stain,
Overflow of time outside of time.
An aberration, death speaks of saturation.
For this reason there is never enough.
For this reason you come to be all light and all shadow.
I’ve caught your laughter like a headcold.
All day and into the next
Grace tracks me down, looks me in the eye
While awkwardness takes my hand like an old friend and looks away.
What I’m trying to name here I can’t say plainly enough or with enough severity.
Colie’s poem enters into emotion through the backdoor. It’s a bit like wandering into an enormous and sparkling ballroom during an elegant affair, but only after having woven through a maze of underground hallways, each stretch full of doors opening to various rooms containing strange sights. Amazingly, Colie never loses control of the poetic “camera.” Somehow, almost suddenly, what has seemed to be a continual shell game of emotional deferral takes us straight to the heart of the matter, and we are amazed at the path we’ve taken (at least I always am), surprised to find that this whole time she’s actually been preparing us (in the strangest way possible) for a moment of open emotion. Colie’s poems are worth going through again and again, not because they “yield something new” every time (though that’s probably true), but because the poem works every time, the way a great guitar solo never gets old.
There are two things about Maya’s poem that I find worth noting. The first is that Maya’s poem, unlike Colie’s, does not defer any emotion. Beginning writers are told, “show, don’t tell.” And this is true to some extent with Maya: she knows how to imply emotion via objects and such. But Maya also tells a lot. Even the lines that “show” seem to tell (the emotion awkwardness, for example, is cleverly personified–it both shows and tells). The very climax of the poem is a direct statement of the theme of the poem: “What I’m trying to name here I can’t say plainly enough or with enough severity.” It takes a certain craft to openly discuss emotion without being labeled maudlin, especially in an age such as ours that has replaced vigilance of mawkishness with a cynicism of emotion in general.
The second thing to notice about Maya is her lines. Many poets “do” long lines, but I often find myself feeling that such lines wear out their welcome. As a poet, I’m inherently lazy and easily frustrated when I am forced to read across a whole page! Not so with Maya’s poem. There’s some metrical dark matter that sustains it far beyond where my poetic instinct tells me lines should go. It’s magic. I find myself continually amazed that Maya’s lines don’t run out of gas before turning the corner. Indeed, I think there’s a relationship between these two things I’ve noted. You may see that there is an almost direct relationship between the length of the line and the “telling” of emotional content. The longest lines are the ones that seem to carry the most emotional weight (some might disagree with me about that, but I think I’m right anyway!). I can’t imagine Maya cutting the last line of the poem up into 3 lines. Somehow, that would be mawkish. Instead it comes out in a great rush, like an arrow that has been shot into us. I do not know if Maya’s long lines work because of the content, or if the content works because of the long lines. The ghosts of form and content haunt each other mutually, I suspect.
Both Colie and Maya have found a way to enter into emotion that are worth learning from. This, among many other reasons, is why I share them with you.
Colie Hoffman is a copyeditor by day and poet by night living in New York’s Hudson Valley. Her poems have appeared in Blood Orange Review, Obsidian: Literature in the African Diaspora,and elsewhere. Thanks to a grant from the M Literary Residency, she is currently working on her first book at Sangam House in Bangalore, India.
Maya Funaro was born and raised in South Jersey, and currently makes her home in Sunset Park, Brooklyn. Her chapbook Setting in Motion was released in 2009 by Fox Point Press. Her poems have appeared in Ekleksographia and Ology.