Poems are “instruments for thinking” (Allen Grossman). The object of a poet’s thought, however, is often unstated–especially in lyric poetry. Lyric poetry never speaks to an audience, and so–as it is when we are alone–the speaker does not feel compelled to explicitly state the object of thought but only the thoughts themselves. In this review, I want to try and discern these objects of thought in the works of two poets whose work seem directed at resolving particularly spiritual problems.
diatomhero: religious poems
The primary question about Lisa A Flowers’ work is this: What spiritual universe does her poetry inhabit? What are its rules and how do those govern the assumptions and hence possibilities/ambitions of her work?
It seems to be a world in which incarnation is the rule, and yet there is also a kind of Heaven and Hell–locations that suggest some kind of finality. The figure of Justice speaks in one poem:
“…the Lord just takes all those who have died that day and consumes them.
The good ones are absorbed into His system,
And the bad ones pass right through it
And drop out into Hell,
Which is situated conveniently beneath Him as a toilet.
Some think they’re getting away because they’ve existed
Inside the camera of the body for so long.”
Heaven, here, I can understand as the escape of Nirvana, but not Hell–unless Hell is the earth, which I suspect is the case. What is the nature of this incarnation then? The images of the poems are constantly morphing, yet the syntax suggests stasis: it’s possible to go many lines without encountering an independent clause. Even flesh itself undergoes a kind of reincarnation.
But more importantly, I suspect that reincarnation is itself a kind of metaphor for dualism: mind-body, but also the dualism of one’s inner spiritual conflict. Reincarnation seems to be an image of the trauma of thwarted spiritual aspirations. The most compelling image of this metaphor is the “Rorschach” (from a poem of that title):
I was two places at once:
One side of my body bleeding indistinguishably into
Oneness, like an inkblot,
The other sketching the actual picture,
Past and present lives
Back to back, in a Star Wars trash compactor.
After awhile I opened my napkin and recognized myselves:
Two Versailles rivals turning fans to each other’s disdain,
A flattened hydra peeling itself off a window,
“Beast turning human,” like Nora Flood’s lover.
I think trauma is the right word. Reincarnation, though natural, seems to be a constant tearing, disorientation–a surprisingly appropriate metaphor for the self of modern poetics.
This raises some more questions for me about Lisa’s work: What is the relationship between trauma and time, between trauma and eternity? If trauma can stretch across eternity, then it is a fundamental aspect of the self. It seems to me that this is the question Flowers’ writing attempts to answer; it is this conflict that she aspires to resolve.
Digressions on God
The title of Emily’s chapbook is utterly perfect for these poems. “Digression” is almost a sustained method. One line in particular captures this movement:
Today I will have a conference with God,
And then I will boil a potato.
Many (not all) of the poems begin in an abstract thought on God or theology and eventually unwinds into an indiscernible particularity of Vogel’s everyday life. For instance, Vogel often addresses a “you” without any qualification–a figure made poetically inscrutable by the particularity of reference.
As readers, we are quite used to the opposite model–the upward aim–its firm entrenchment in Romantic poetry, especially. Vogel’s poetry is deliberately “downward aimed”; in this sense, the chapbook’s dedication–“In honor of the Holy Spirit”–is entirely appropriate as the Holy Spirit is God’s outpouring upon the world. This chapbook is not about man’s ascent to God, but God’s descent upon, His digression on man.
So what are the spiritual aspirations of Vogel’s poems? I think Vogel states it fairly directly in her poem “Exile” when she says
One must find the most reasonable solution
to the problem of despair.
One must come to some conclusion about God
the order of ordinary miracles.
What is the spiritual universe of Vogel? In her poems, this problem of despair is the abstract, where the idea of good can overwhelm the good, yet it is enmeshed and arises in daily-ness:
I am not, like a Poet, walking alone on the street,
reovering lost memories in the stench
of fih markets, finding hidden meaning
in a city train.
I am consoling your busted heart
in a desperate attempt to dispel the terrible Pride
which plagues my spirit. I am mad
with the desire to go mad with desire.
Yet final line contains a conundrum, and I believe it is aspiration of these poems to resolve this conundrum: “desire” is used in both its senses here–both abstract (“the desire to go mad”) and particular (“with desire” for the particular “you”). Vogel attempts to rectify both these senses of language by means of her digressions.