In The New Tourism, Mathews lets the loose cohesion of his poems suggest profundities that seem unlikely coming from often mundane subjects. His poems are cohesive because of formal structure and theme, but it is a deliberately incoherent kind of cohesion. The effect is delicate and oblique, and it is growing on me.
For me the identification of trees has always been a puzzle, one not really made easier by consulting the tree book inside my house, where no trees are. I can certainly remember the caramel color of beech leaves in fall, the cropped silhouettes of plan trees along the highway . . . the purpled boughs of Judas trees where no swallow ever perches.
But do swallows ever perch? It seems that every swallow I’ve seen out of its caked nest is part of an ever-changing, bug-eating swarm—a puzzle too mobile to decipher, tumbling and soaring over the cross of a church in Tuscany or Touraine, with pink evening light inside the bell of the air, an image that saddens me when I return to a highway leading north into the night think and empty as caramel custard.
Gorgeous images without a narrative thread to speak of. The speaker digresses smoothly and almost imperceptibly from trees to birds to cake. It’s pleasant and deceptive.
That is part of a prose poem called “Crème Brûlée,” which is not, despite the title, really about custard. Mathews is only teasing you with references to caramel; he’s also thrown in quite a bit about swallows and wine and modern life and the dark side of the psyche:
There are no demons inside you, just your addiction to any puzzle that will addle your contentment, like salt in caramel. You swallow your last glass of wine and return, not unhappily, to the highway.
All the themes have recurred and been recapitulated, but the poem’s point is elusive. Yet, we can’t very easily write off all these wonderfully suggestive images as meaningless, and there does not seem to be any deliberate (and certainly no malicious) trickery. Something’s going on even in the absence of argument and story.
How do the poems gain their highly suggestive character? It is through a highly developed sensitivity to both the literal sensations of the body and the “sensations” of thought. In The New Tourism, Mathews is a conscientious, intelligent hedonist. He is a wine lover, food connoisseur and lover of picturesque landscapes. (If the ability to write breathtaking description is a sign of a skilled poet, he got skills.)
Mathews the hedonist is especially into gastronomic pleasures. In addition to the wine-centric haiku, Halal lamb, and Genoese lunch, the book’s first section, a single poem called “Butter and Eggs: a didactic poem,” is a rather simple litany of about five different ways of making eggs. My favorite part is the scrambled eggs:
When the fat sizzles and smokes
at maximum heat, the skillet withdrawn from the flame,
the eggs are poured into its center and there with a fork or wooden spatula
immediately stirred and turned so that no part of them
stays long in contact wit the scorching surface but the whole
is uninterruptedly mixed and remixed until, attaining a soft solidity,
it can be folded upon itself and promptly flipped onto a plate.
Mathews is just talking about how to cook eggs. He’s paying really close attention to both the delicate things eggs are the delicate process of cooking them. What for? Because it’s frickin’ awesome. Shut up and enjoy the eggs.
And if you don’t appreciate these simple activities, you’ll never appreciate the highly oblique pleasures of Mathews’ complicated, mid-section poems. Whereas in Part I (“Eggs and Butter”) the subject matter itself provided savory delights, in Part II form and structure are the source of titillation. This is evident in “Waiting for Dusk”:
Whoever in the span of his life is confronted by the word “pomegranate”
will experience a mixture of feelings: a longing to see at least once the face
of a Mediterranean god or nymph or faun; the memory of an old silver mirror
decorated with images of varied fruits; a regret at never having known the spell
of a summer picnic ending with the taste of acrid seeds spat over the bridge
parapet . . .
. . .
. . . But here now is Simon, with his smiling silly face
from which he extracts tough seeds from his teeth with one awkward forefinger, a spell
of not unsympathetic bad manners that, if truth be told, is a mirror
of our own, perhaps more furtive acts. Then he puts on his mask, made of mirror-
like chromed metal, and I think, why, he could face an kill Medusa! Any weather
has its charm, even the green tempest surrounding her writing snakes that spell
death to the unwary traveler, snakes like a wreath of leeks in a Dutch still life where a pomegranate
cut in two glows idly near the table edge.
It’s a sestina. And it wanders. But that’s what sestinas are supposed to do. The form brings you back to an elusive center, which extends and builds the theme even while the strictures of the form almost inevitably lead to incoherence. (In other words, sestinas tend naturally toward cohesion without coherence.) In Mathews’ sestina, we are washed into meditation by the long lines, complicated sentence structures, striking details (like an “unvarnished table,” below) and the nostalgic, pastoral atmosphere. Profound philosophical gestures lurk near the surface and leap out suddenly but dissipate in the contingencies of life:
. . . Remember the pomegranate
sliced on the unvarnished table, I tell myself, that’s something sharp and real! But the spell
of the season and the melancholy hour, sweetened and damped with wine, spell
another revolution of my afternoon regrets, far from Mediterranean . . .
Ultimately, there is a kind of coherence to poems like “Crème Brûlée” and “Waiting for Dusk” that is reached through an almost aesthete-like attentiveness to sensation and thought. And this includes not only literal sensations but human thoughts and discourse. The twists and turns of the mind are like the delicate flavors of breakfast.