The Eggshell Parade brings you Connor Syrewicz reading (an edited-to-meet-FCC-regulations version of) his short story “Tomorrow ‘Dun Gone”, which appears in Issue 9 Spring 2012 of Superstition Review.
The Eggshell Parade brings you Connor Syrewicz reading (an edited-to-meet-FCC-regulations version of) his short story “Tomorrow ‘Dun Gone”, which appears in Issue 9 Spring 2012 of Superstition Review.
The Eggshell Parade brings you a reading and interview from poet Emily Vogel.
The Eggshell Parade brings you an interview with writer Minrose Gwin.
The Eggshell Parade brings you a reading and interview from writer Catherine Lacey. Catherine reads her short fiction piece “(Grew),” which appears in issue 12.3 of DIAGRAM.
The Eggshell Parade brings you a The Noisy Reading Series reading and interview from poet Katharine Coles. Katharine reads her poem “Tempo for a Winged Instrument,” which appears in the July/August 2012 issue of Poetry.
Alfred Corn’s recently published tenth book of poems Tables is charming, confident, polished, ambitious, learned, elegiac, plus playful too, which makes the slim volume very seductive, poignant, intelligent, self-conscious, deeply-nerved and rooted; succinctly: humane. Tables brims over with both the visual and aural surprises we ought to expect from any and all great poetry, except here these serve Art and Humanity, not preachily, but indirectly, for the poet seems to be processing and re-processing both lived and creative experience for himself and us. A quick, direct listening in to this theme of re-processing can be found, for example, in these lines from his “Letter to Pinsky”: “…sheer chance/Which governs half of what turns out to happen/Can feel in retrospect like Destiny.”
Tables proves a raw, every-which-way roaming collection, an enterprise in full creative recall and exposure. Not only do we meet historical people here (Anthony of the Desert, Hadrian, Audubon, Brodsky), but also some related to the poet (Corn’s father, mother, grandmother, Pinsky, Hacker, Fenton, etc.), as well as some convincing shades of people affected by both personal and broader circumstances, like the imagined “senior chef” prepping bread in one of the towers on 9/11 in “Window On the World” and the “Unknown Soldier” who trails off by saying, “From nil and dark the self I knew calls out/For the small tag love once attached me to” in “From the Prompter’s Box.” The endeavor in Tables and its accomplishment/s are truly Dantean.
Corn’s latest poems consequently say there is no way through both the real and imagined life than living through them, which entails the facing and/or voicing of ugly or exalted extremes within families, relationships, friendships, the historical/spiritual, even such out-of-immediate-control externals as national or international conflagrations. Still, and this is what touched me most about the poems taken together, about the poet’s possible nature, if it may be deduced via the energy that made them and their sentiments be, Tables/Corn does not depress, does not sink into self-pity, sanctimoniousness, or misanthropy. Nor do the poems set the poet as above or better than the rest, though the poet is cognizant and communicative of his education, erudition, discipline, striving to grow, succeed, even please as an artist in our tragi-comical, rapidly changing world.
This is not a poetry/poet of self-indulgent escapism either. A poem like Corn’s “Window On the World,” which dares to offer critiques of and possible revisions for the way the 9/11 event has been told, its artifacts valued, proves it; just as do his more personal lyrics like “Resources” and “Series Finale,” where we only need an actual name or names to be dropped that we may have the personal drama/s more true-to-life. Alas, the poet errs on the side of manners/gentility here or perhaps what Aristotle termed “the universal.” Tables has its delicious moments of mirth, too, which lend a needed sweetness, for example, in the wistful, almost Disney/Downton Abbey-worthy poem “Dinner Theater,” where “Sharp Knife starts bantering with Mrs. Fork—/Quips and metallic whispers re Parsnip,/The fossil he’s been trying to butter up.” And more of this table-ready whimsy is at hand while deciding upon a dessert in “Fig”: “What’s to put forward but the sleek green fellow,/The veiny, five-lobed leaf your wineskin swelled/Beside?—like the one Vatican marbles wear/To spare shy gazers a betraying blush.”
So what exactly does Alfred Corn give to those who attempt an ambitious read, a daring to be moved by what is pondered over in Tables? Not only a voice that says life must be lived despite failures, gruesomeness, confusions, deaths, or residual/accrued pain, but a voice that says it is best done when we pause to reflect, consider, reconsider, talk, gaze, read, play, love, pray, eat, drink, fashion art; to pick, smell, consider not just the thorns on the rose bush of life, for they are there, but to acknowledge and celebrate the roses they protect! In effect, Tables shows how we can try and leverage as well as apprehend meaning in a rough and tumble, sometimes painful, sometimes misunderstood world of relations and situations with roots bitter and sweet and in-between. The collection insists upon a world and life that can be enjoyed, lived, examined, leveraged—personally or in community, over a meal, say, whilst at table, reminiscing, joking, or just breaking bread.
Poems from Tables that explore the above and ask for loving rereading: “What the Thunder Said,” “Resources,” “Series Finale,” “Window On the World,” “Coals,” “Dinner Theater,” “Corn, Alfred, D. Jr.,” “St. Anthony in the Desert,” “Priority,” “Vines,” “Upbringing,” “Audubon,” “La Luz Azul,” “Poem Found….,” “Futbol,” “Fig,” “Bond Street Station Underground,” “Letter to Grace Shulman,” “Letter to James Fenton,” “Domus Caerulea,” “New England/China,” “Antarctic,” & “Lighthouse.”
The Eggshell Parade brings you a reading and interview from writer Woody Brown. Woody reads his short fiction piece “Sillyhead,” which appears in issue 12.3 of DIAGRAM.
The Eggshell Parade brings you a reading and interview from poet Neil Shepard.
TY: I want to ask about line breaks, which can do a lot of work in free verse poems. What principles or rules or guidelines do you use when deciding when to break lines?
CW: I try to rely on composition as much or more than instinct. First of all, I aim to compose in lines. I don’t think of line breaks as an afterthought. For me, it’s helpful to read aloud while writing since line breaks are in part about breath. And relating form to content is essential. A poem whose energy is equable may want end-stopped lines with contained images, while one whose energy is frenetic or about a certain kind of momentum may require a type of enjambed composition. I ask myself, what is the poem trying to do? Different line breaks evoke different sensations.
While free verse isn’t governed by rules of meter or rhyme, there is no question that writing free verse can be informed by understanding how they work. I’ve found that experimenting with forms, especially with obsessive forms like sestinas and pantoums, has helped me see how lines work. It’s not surprising that the writers who proposed the radical idea of free verse in the early 20th century were fluent in meter and traditional forms. Discipline was a means to liberty.
Francis Ford Coppola said something that I relate to this topic; something that has stayed with me. When filming Apocalypse Now, he told Dennis Hopper, “If you know your lines, then you can forget them. But it’s no fair to forget them if you never knew them.”
I like that in part because his ruling of “no fair” sounds like a playground outburst. After all, there’s a certain amount of play as well as rebelliousness in creating. But he underscores the need for laying groundwork before launching squally inventiveness. Similarly, Charlie Parker said, “Learn the changes and then forget them.” Not that writing is the same as interpreting character before a camera, or improvising onstage. But there’s a similar sort of negotiation that is best entered with knowledge of the constraints and a certain amount of skill working within them.
TY: How do you know when a poem wants to be in sections rather than presented as a whole block?
CW: Different stanza structures offer different rewards to the reader, so I consider what I’m trying to achieve with the piece. I use similar judgment regarding stanzas as I do with lines: I try to bring the concerns of content to the needs of form. Changing theme, shifting imagery, musical modulation, the need for a strong pause are some things I consider when determining stanzas. As with lines, experimenting with stanzas brings to light for me the various ways they can build or temper tension and sustain the reader’s investment in the piece. I have a poem called Velocity about a drive at night and the rush of images the narrator sees in her headlights. I presented that piece in a unified block. The content was about an almost manic state and presenting the piece in a unified block created an unremitting tension that mirrored the narrator’s experience. Another poem in “Bartab”, Belly Up, is the expression of a kind of spiral of ruminative thought or anxiety. The same kind of stanza structure would have been too much. Ordering it in carefully composed lines separated the movements and mitigated the tautness.
TY: Some writers talk about inspiration – a Muse is the traditional term – is there anything in your life that inspires you to write and keeps you going when you don’t feel like it?
CW: I grew up in a very isolated place in the rural South and spent a great deal of time alone. That solitude along with an unpredictable and often violent home environment cultivated my imagination by necessity. In those years, flights of imagination were corporeal needs. They were acts of survival. Music and dance and language were terribly important to me. And they still have a power and magic for me that reach beyond fleeting pleasure or escapism. I’ve always tried to write songs I needed to hear. Now I try to write what I want to read. A startling image or seemingly insignificant detail can draw together a moment of unity or emotional clarity. This aspiration continues to summon me. Writing is also an urge for catharsis; a way to exorcise elements of my past and to process it. I know it sounds bizarre, but I have long felt that writing for me is a way to dialogue with generations of my family.
While I do it differently than I did years ago, for me inspiration requires surprise. When I was younger, I bought into the idea that an artist has to live a life of violent transitions. If I wasn’t feeling inspired, I felt it was my duty to go out and challenge stasis. I felt I could only draw on the experiences of upheaval and privation and exhilaration. I’ve outgrown that self-destructive urge, but the need for surprise remains.
Since I was a teen I have rather defensively defied traditional gatekeepers who hindered my efforts at getting my voice and work into the world to connect with a listener or a reader. I’m still driven by this. Before I began the manuscript for “Bartab: An Afterhours Ballad”, I had inherited a bit of the cultural disdain for feminine forms of expression, for the journal or diary. But after confronting events I couldn’t have possibly anticipated, I made a decision to work within personal narrative. Considering the challenges and dangers confronting girls and women, as well as the silence and secrecy surrounding those perils, telling our individual stories can be politically empowering. I teach writing workshops to women in recovery. When you give permission to these women to write about their lives, to talk about things that aren’t part of the cultural dialogue, it’s powerful. You can see the inception of a transformation. I’m inspired by the idea of a similar exchange with a reader.
I could go on about this topic. For example, I would love to talk about Lorca’s “duende” and how my pursuit of it has been important to me since I was a much younger writer. Suffice it to say, I find inspiration everywhere because I like to solve problems. I get excited when I read something that succeeds or excels in what it aims to do. I want to know how the writer achieved that and I set about figuring it out.
Perhaps more important than the question of inspiration is how to persist in its absence. For me, the answer is just that – persistence. Perspiration is more reliable than talent or inspiration.
TY: I hear lots of sound devices in your poems, which is one of the ways even contemporary poems can sound musical. Have you been influenced by music in your writing? Or how did you become conscious of and use sound so well in your work?
CW: I’ve absolutely been influenced by music. I grew up drenched in music of every kind. I was taught nursery rhymes from a very young age, and memorizing Bible verses was very important. We had songs and rhymes for every occasion when I was small that I still remember – a morning song, and one to say goodnight and even one for when I came out of the bath! It was great stuff, really instructive in language while filling me with delight. Not surprisingly, my first poems were really just juxtapositions of different words that were interesting for their harmonic interplay, if you will; experiments with the music of language. Today when I’m at work on something, I have found that reciting it while walking helps me explore its rhythm. I’m very conscious of poems as something read aloud, the physical sensation of their recitation, how it’s like singing. When talking with excitement about something I’m working on, I frequently slip and call a poem a song and vice versa. It used to cause me chagrin, but now I look at it as a blessing, the fact that there’s unity in the things I love to do.
TY: What writers do you return to most often? Why? What is in their work that continues to teach you?
CW: Andre Dubus, Sherwood Anderson, Richard Yates, Denis Johnson, Raymond Carver, Susan Minot, Breece D’J Pancake. When I was a student of Gregory Orr, he talked to me about creating one’s family of writers, and I think it’s essential, really. Among poets, I’d say Sharon Olds, Charles Simic, Jane Kenyon, Gregory Orr. I love how Simic never gets in the way of the poem but trusts the unadorned image. But in talking about what I admire and try to learn from these writers, I could devote several hours to each.
Cesca Janece Waterfield is a journalist, poet, and songwriter based in Virginia. She has been selected three times to receive songwriter grants from The American Society of Composers, Authors and Publishers (ASCAP). She is the author of Bartab: An Afterhours Ballad (Two-Handed Engine Press). Her poems and fiction have appeared in numerous literary journals. She can be reached at cescawaterfield.com
By Christopher Kondrich
Parlor Press, 2012
Music, for being such a well-diffused cultural product, can be challenging to adequately write about. Like many creative disciplines, it commands its own lexicon and sits atop a tall barrier of entry. But this shouldn’t preclude anyone who wants to get hip-deep; we’ve all experienced music to some degree and should attempt to verbalize our reactions to its influence.
Then you have folks like Christopher Kondrich, a poet who is clearly comfortable writing through the influence of music in his latest collection, Contrapuntal. The first instinct one might have with a book titled after the musical theoretical concept of counterpoint (two or more melodies moving with respect to each other), is to look for counterpoint’s influence on the book’s metrical and sonic aspects. Such an approach would not be a mistake, but Contrapuntal is more than a book of poems informed by musical theory. Kondrich transposes counterpoint and lyrical melody in a book that, yes, deserves to be read aloud (as most books of poetry do).
Four sections comprise the book, and each one is made up of mostly single-page title-free poems that read with a clear, slippery speed. The lines are mostly short enough to slide into one another without any friction on the surface, prompting the reader to stop and revaluate the lines being read. This is a metrical way of demanding a closer inspection, and the poems work for it. Without titles to ground (or disrupt) particular readings of each poem, it’s easy to lose focus on what the aim of each page may be, but the poems channel and direct the reader well.
Between “T”(“Tim”), and the narrator, a slight narrative emerges, but the dates and times are unclear and not really the point. They’re more like those previously mentioned melodic lines swirling around each other, occasionally harmonizing or just meeting within and throughout the poems. More so, there is a sense of self, and self-contradiction and counterpoint, that also swings throughout the book. Early on we get (from I feel it all time):
but either way I can
empathize with you,
not to mention empathize
with myself as I felt
that day telling you
that I can because
I did at the time
and I do now.
Like notes, certain words are emphasized and repeated within and between poems. Here Kondrich brings those notes into play, twining the threads of “you” and “I” and the various identities within the self. Rather than simply penning “I” poems, these lines drill down past the subjective, and by the end the “I” is almost lost. Later we get (from Tonight, the piano will project me into a dream):
threaded outside into something wonderful
and this is called counterpoint
a need to return to a previous state
buried beneath years of habit and rationale
Here the illusion of time rendered through music is brought into play with regard to the self, which is never really static or concrete, but a series of states paved over in sedimentary layers. On the next page:
that’s what one of your colleagues asked me
the man asked me if I felt looped.
If not looped, then maybe even conversing with the self, digging through layers—or not—and bound to repeat the same actions. The first poem of book 4:
I heard two voices
both of which were mine.
I was always afraid they
would remove what I held
in my invisible hands,
and then came the hour
I had to accept
because living meant
accepting the loss
of one hour after another,
of what felt like an hour,
which could be two,
which could be none,
a mere few minutes
compressed into a rock
the size of a thumb.
I spent part of the night
on the couch another part
at the kitchen table—
I would like some tea,
said one of my voices.
This is a solid example of Kondrich’s ability to express the experience of music, listening to music, and collating the voices in and around us. This is the final dissemination of self into segments, parts, a non-centralized existence without the core.
Contrapuntal is not a book about diametrics, bipolarity, or extremes, but rather a sonic and sonorous exploration of the way music, sound, time, and relationships exist throughout the body, mind, and self. Such a read is what contemporary poetry is poised to accomplish, and Kondrich has a measured and meticulous style that winds well around the musical and interpersonal ideas he’s presenting here.
The Eggshell Parade brings you a reading and interview from poet Marie-Elizabeth Mali.
The Eggshell Parade brings you a reading and interview from poet Kelli Russell Agodon.
Trick Vessels, by Andre Bagoo
Shearsman Books, 2012
Reading Andre Bagoo’s Trick Vessels incites a strange and rather silly first thought: “the imperative sentence wages a huge comeback!” Dumb thought? Being kind to myself (a favorite past time of mine) I begin to scratch this first thought for its complexity:
A. There is no greater or more compressed ordering device in the grammar of English than the imperative sentence.
B. It is the God sentence, and thus noun may be swallowed up in verb, and understood through action: Go! Leave! Look! Let!
C. There is much authority in the imperative. Eliot, knowing this, blasphemed against that authority, and gave it an ironic twist in Prufrock, that prime example of modern urban equivocation and enervation: “Let us go then, you and I.”
D. This much authority in a post-structural age, used without irony, is a huge gamble. After all, are we all not relativists, masters of the “but, perhaps not”, whores of the non-authoritative. After all, are we not men- kinda, sorta, well… really not? Isn’t our language always correct, and non-committal? Aren’t we sensitive and caring, and “Aware” and “grocking” even as we aim our drones at lil children, and assorted other enemy combatants?
Damn, straight! (well, maybe…). The first poem in Bagoo’s Trick Vessels doesn’t only use imperatives. It uses God’s imperative: Let. Unlike Prufrock, it is not immediately undercut and sabotaged by equivocation. This is the precise, intense, unequivocal imperative of ancient poesis: the poet conjuring the world, making it up as he/she goes along, taking on the authority of a lower case god:
Let the daughter of the Hibiscus say: “His love has no end.”
This is let restored to the full, non-ironic, authority of invocation, and, reading the poem, I wonder if Mr. Bagoo might not be a believer as well as an anti-ironist. But the poem is too tricky to rate a mere Christian wave. According to the poem, this love that has no end is a flower, and that flower is night, and hence the title: The Night Grew Dark Around Us.
I think of that trickster, Bob Dylan, informing us: “it ain’t dark yet, but it’s getting there.” I do not think this is the same dark as Dylan’s sinister version. The Poet’s dark could perhaps be not unlike St John’s “Dark night of the soul.” It could be the dark of his skin, of his ancestor’s skin, the dark ripped from its negative relationship to light, and turned into its own species of light dark as a form of light? This is not at all unusual with poets of a mystic turn, nor is it unusual with poets under historical crisis and duress (consider Miguel Hernandez writing from a dank Franco prison: “I go through the dark lit from within.”).
Perhaps this night which is flower which is love is a wager, a leap into the absurd. A decision to trust darkness itself as the percipient condition out of which light comes and to which it returns. Night in the sense of love is tomb and womb as one, and reading deeper into Trick Vessels we find this sense of dark, of erasure, of trickery to be what the great critic Kenneth Burke called “Equipment for living.”
The trick vessels could be the slave ships, but, being trick vessels, they shape shift and are never one thing, never condemned to an absolute definition. If they must be identified, the trick vessels are the words of the poems themselves, the words of invocation, of magic, of night. Let us consider night first:
IV On Encountering Crapauds at Night (from the poem, Trick Vessels):
I’ve grown to love the backs of Crapauds/That hide in dark spaces between steps/
And bow as though at temple.
And on trickery (Part VI):
The fig tree could be a murderer
A bandit come to ambush.
And later in the same section:
A soft whisper can bite.
A world of murdering fig trees and biting whispers is a world in which things can be counted on to have no loyalty to seeming. It is a word of shape shifting, a tricky world of night and, in such a world, the only true ordering intelligence is invocation—the authority of words as magic, as act—as incarnation. In such a world, “let there be” without irony is still warranted, still efficacious. In such a world where soft whispers bite, language does not resort to irony, to the glib, to the entitled, the privileged, the self referential. It is a matter of life and death, a matter of the right spell at the right time, a ceremony of erasures against erasure. Night may efface night and not be lost. The light of day has no such power, cannot live in erasures, and must resort to Prufrock’s whining equivocate: “that is not it at all.” Protest here is swallowed up in the medicine and strength of words as an act of majesty.
Much magic thinking runs up against rather brutal modern realities (Bagoo is also a journalist in Trinidad), but this is not the magic thinking Eliot would have condemned as Prufrock’s form of “Bovarism.” Instead, these words of night are as vessels, as ships, a ceremony of journeying where the Unnamed Creature Said to Come from Water (Title of the second poem) assures us:
But I have such knowledge, /I ensure these erasures/I follow the stop. I do not leak.
Broken Vessels then moves from certainties to uncertainty in many respects (as erasures tend to do), but out of this shape shifting, this world where soft whispers bite comes a new dynamic. It may be expressed as: I may not exist, and you may not exist, but what exists, and what can be trusted in the ongoing dynamic between the you and I. Sure enough, in the poem, Preface for Seasons the voice of the poem addressed a “you” to which it is in relation. The seasons here as mainly liturgical, seasons of ceremony: Advent, Epiphany, Lent, Holy Week, Easter, Ascension, Pentecost (ordinary time is, as with most poets, left out). These are Catholic, but Catholicism is here but a form under which deeper orders hide and are enacted:
Some Lines from Advent:
There is a church inside a church/Where a mountain clump breaks off
And then from Incarnation:
Becomes a tree/the tree that breaks free/to become a ceremony
(note how this echoes the opening transubstantiation of love into flower into night. Trick Vessels is full of transformations under the signs of night, ocean, and the ongoing shape shifting of identity and politics).
From the section called Lent:
The values becomes valueless/ The desired is at first rejected/ the reject is later consumed.
This is a trick in theology known as transvaluation of values: the mountains are brought low, and the valley raised, the rich are brought low and the poor exalted, the valued becomes valueless, and the desired is rejected.
From Holy Week:
Thousands of touching hands/covers for secret agents
The praising mob that touches becomes the mob shouting crucify him. Judas betrays with a kiss.
From Easter (the shortest and most cryptic of the sections):
In between dreams/I make sense/In waking life/Chaos is hard to prove.
Chaos is not hard to prove in the night, and in the dark night of the soul, chaos is the only true order—the complex order of what has been lost and what might come to be—percipient order, the chaos of da Vinci’s deluge sketches—not void of order, but order as yet undetermined. We must resist the too easy chaos of contemporary life for it is not chaos but merely the random, the arbitrary, and these poems while shape shifting, call on something more than the arbitrary life. They call on ceremony. The poems of Trick Vessels are not the imposed order and false certainties of neo-conservatism, but an embracing of the power and force of night through the spell casting power of language–the magic that does not destroy uncertainty but which gives it value, and purpose. Because Bagoo’s poems do not traffic in false certainties, they restore the authoritative voice to its poesis—its intimacy with the dark, with the shape shifting upon which the poet’s older right to invoke most firmly rests.
In a larger sense, beyond the book, I see in Bagoo’s poetry a moving away from the equivocations of the best who lack all conviction and beyond the worst who are full of a passionate intensity. The poems in this book represent a movement away from equivocation, from irony, from the parody, the self-referential, towards a more genuine formalism—not the somewhat neo-conservative formalism of Hacker or, more so, the cranky formalism of metricists, but an older sense of poetry as the enacting of a ceremony, a vital and rhythmic invocation, almost liturgical in its use of the imperative, and the invocative. It is the genuine precision and formalism of spells, of prayer, or rhapsodic speech, a ceremony which must be formed out of the utterance itself to “order the sea.”
Bagoo might strike some as too sincere, as too insistent in his intensity. He uses anaphora, the imperative, the list, the rhetorical tricks of mystical oxymoron, and of transvaluation–all the tools of the magic trade—of invocatory speech. He undercuts such tricks at times with news from the world, but the world does not triumph over the verbal will here. These poems, as I said, are very formal in terms of their deliberation and engagement. Unlike the neo-formalists they are not about rhyme, meter, intellectual display or emotional detachment. Bagoo does not impose wit and order upon the landscape. He is not the return of Auden. He is, in a sense, the return of that which “Sang beyond the genius of the sea.” His is an ordering intensity—a ferocity of engagement which is always, by its nature, a thing of ritual. “A ceremony must be found” John Wheeler, the poet, wrote some eighty years ago. Bagoo has found that ceremony in this fine collection of poems.
The Eggshell Parade brings you a The Noisy Reading Series reading and interview from poet Michelle Bitting. Michelle reads her poem “Free,” which appears in the winter 2012 issue of diode.
The Mimic Sea
By Erica Bernheim
42 Miles Press, 2012
I hope the Monarch butterfly I released this spring landed in Mexico tagged with
the ending line of the opening poem of Erica Bernheim’s Moonrats:
I’ve got rights and I should look into them.
This is the fewest of the “first books” I’ve read that feels completely self-interrogated and worked upon. It shines and it never presumes its own rescue. Dear Baby, I am held up/by anchors and antlers: one holds me down, the other/keeps me alone. There are statements all over this collection one could theoretically hear from NBC News’s Foreign Correspondent Richard Engel if he’d been released from captivity after five years instead of five days. Laid end to end, seven million hummingbird/eggs will take you to the bus stop and back. Ask the bodies I stand beside on any public transportation and they’ll tell you: I don’t toss about a term like interiority often.
Opening of The Superstition of the Clean Glass:
A cross-section of a tough person seems/touched in the middle of an island, and/we like it.
Bernheim’s is an interior lyric, on par with the elegiac verse of the late Larry Levis. Reading this book is not dissimilar to overhearing a soliloquy on intimacy pieced together by tape-looped recordings of “empty” residences visited and perturbed by The Atlantic Paranormal Society. I miss part-time investigator Donna, who also used to run the Ghost Hunters front office. Sometimes the Connecticut female accent is the only reason I remain in this country.
There’s a newer lyricism stirring around and around the Large Hadron Collider Chamber.
The newer lyricism is more about vibration and less about experience and feeling, experience and feeling having gotten humans squadoosh. This book continually reminds me buoyancy is better than tone, or being right. Bernheim challenges her reader to be intimate. She’s going to be intimate whether you choose to participate or not. I tried to impart to my Navy town how high on the courage-scale that ranks, but most of my neighbors care more about watching me fall off the fiscal cliff.
In the poem Fifteen Beautiful Colors, Bernheim examines light. I didn’t think that kind of magnification was possible anymore in poems.
XII. Two arms reaching make little sound grasps at smoke.
Nothing here will/bloom or rise, planetary faces.
Speaking of light, whenever sunlight is mentioned, something terrible has happened or something wonderful is about to happen. I love that. Prediction: Bernheim will win the third season of Spike TV’s Ink Master. Her championship tat will be whatever life form eventually emerges from Saturn’s moon Enceladus. She’ll pull on host Dave Navarro’s goatee and it will come off. As Ink Master, she’ll tattoo whoever she wants whenever she wants however she wants. As Ink Master client, my mother may desire three-dimensional Wedgwood buttons on her eyelids, or nipples? I’m praying for behind the calves, Mama.
I want the following gem from the poem Dialogue for Robots (pg. 67) tattooed on my pelvis:
In front of our eyes are too many ways to breathe.
It’ll be a cover-up for the botched Soul Train choo-choo.
There are poems addressed to a day-lily, a zookeeper, and a bellhop in here. They’re all provided the same equality of respect.
Let’s dig deeper into the Bernheim/Levis comparison. Here’s three lines. Pick which ones are Bernheim and which ones are Levis:
We go & there’s no one there, no one to meet us on the long drive lined with orange trees
You can recognize the words and not understand the sentence.
Put me in a scene and watch as nothing changes.
It’s like your bones died two weeks before you did.
We was just two tents of flesh over bones.
Sex should be no more important than a glass of water.
Don’t worry, Good Will Hunting is still working all this out too.
Having appeared in the 2006 anthology Legitimate Dangers, Bernheim legitimately waited nearly two presidential terms to publish this full-length collection in 2012. She took her sweet time, I suspect, in order to release something rare, special, and dangerous — a finished book.
The Eggshell Parade brings you a The Noisy Reading Series reading and interview from poet Michael Homolka. Mike reads his poem “Family V,” which appears in the inaugural issue of Phoenix in the Jacuzzi Journal.