Poetry Reviews

Over the Edge

Norbert Hirschhorn
Holland Park Press (£10)

by Warren Woessner

Poet Norbert Hirschhorn’s parents fled from Austria just before the Holocaust and resettled in New York when Hirschhorn was ten. He went on to become a social services physician who was honored for developing a treatment for cholera; later in life, he started writing poetry and has published several books. His latest collection, Over the Edge, is not an easy read, but it is compelling. The edge that the poet and his parents go over is from normal life as survivors (albeit temporary ones), toward Hirschhorn’s visionary descriptions of what may be waiting on the other side. (Hint: It is not heavenly peace.)

The section of poems entitled “853 Riverside Drive (New York City)” offers an unflinching memoir of death and its precursors, depicting the anything but hopeful strivings of a young emigrant. Hirschhorn helps his mother with the laundry, where he would “edge over to the waist-high / parapet, and imagine myself flying to the next building / over. It was my first sense of suicide.” He is not alone:

Sitting at my 8th grade homework in the alcove by
The kitchen I smelled something strange. I turned.

To see my mother sitting calmly, wearing her new
housecoat, her chair facing the gas-oven door.

Hirchhorn’s father leaves the family but eventually returns to die at 853 Riverside Drive. The poet reviews his father’s body for the last time before it is “lowered into the ground, followed by / dirt, rocks, prayers and perpetual darkness”; in the next stanza, Hirschhorn the medical student compares dissecting a corpse to carving a Thanksgiving turkey. Perhaps as a sort of atonement for his disrespect for his father, Hirschhorn includes a poem titled “Tahara,” a formal death Jewish ritual:

the body laid in a plain pine box.
The family kissed his head in reverence.
Tahara, a gift to the bereaved, done.
The body now ready for burial at sundown.

Some of the most arresting poems in Over the Edge describe conversations with death as vivid dreams, as in the last lines of “The Call,” where we get both sides of the story:

Please, give me some ease.
None to be had.

Then let me ask you something.
Go ahead.

Why does it take me so long to leave the house?
You know, forget this, forget that, recheck the stove,
Go back for the umbrella . . .

You’re afraid you’ll die.
I am afraid.
Good then. Let’s go.

In “I Dream Of Him In Lightness and Dust,” Hirschhorn calls up death as a rather suave fellow, but one the poet would rather not meet:

Before me now, arms outstretched.
I want to fall on his breast, panting, crying,
bury my face in his sweet-smelling neck.

Instead, we press our hands together,
my right hand between his, his between mine.
For this is the manner, this is the custom

how the dead greet the dead.

Dramatic in the best sense of the word, Over the Edge is written to be spoken and meant to be heard. With a physician’s candor and the complex perspectives of a child of survivors, Hirshhorn offers a roadmap to a vacation that few of us want to take.

Rain Taxi Online Edition Spring 2024 | © Rain Taxi, Inc. 2024

Night of Loveless Nights

Robert Desnos
Translated by Lewis Warsh
Winter Editions ($20)

by Geoffrey Hagenbuckle

In 1922, the Surrealist prodigy Robert Desnos (1900-1945) threatened his friend and fellow poet Paul Eluard with a knife while speak-walking and sleepwalking, singing under hypnosis or in dreams. Though Surrealism’s dream kingdom has been watered down here in the U.S. to advertising, in his 1929 poem Night of Loveless Nights, Desnos imbued love, death, and jouissance, the “little death,” with that tragic magic of his signature themes. A new edition of this truant poem marks the 50th anniversary of its translation into English by New York School poet Lewis Warsh (1944-2022).

Through an epic drift of shifting moods, motifs, and styles, Desnos constrains or expands Surrealist automatism to include the alexandrine, one of the strictest self-conscious classical meters in rhyme. It’s a form close to prose, at which Desnos excelled; he notoriously composed lengthy automatic prose poems such as Liberty or Love! as well as the deftly opiated novel The Die Is Cast. In Night of Loveless Nights, Desnos splits the difference, displaying endearingly enduring twelve-beat rhyme amidst idyllic lyric while breezily tossing off kiss n’ tell bagatelles in a single languorous love song or run-on billet doux.

Unlike its appearance in the ’70s, the original French text of Night of Loveless Nights is included in this new edition, but if it reveals that some of Warsh’s version seems forced, it’s not from oversight or ineptitude, but rather from compelling the strictest of regimes to meet its own demands. Following Desnos, Warsh teaches rigorous classical verse to lilt, laugh, and utter nonsense (“utter” here being both superlative and verb). Reachy malapropisms arc from the recondite and recherché to the heteroclite and Byzantine:

Like the clouds evening parties are born without reason and
die with this tattoo on top of the left breast: Tomorrow

In its first manifesto, Surrealism stuck to avant-garde schemes without glimpsing lateral or equal dispersion strategies to come. Desnos’s reply to the position he inherited as Surrealist seer was to outdo even his fellow enragées:

One day I met the vulture and the sea hawk.
Their shadows on the sun did not surprise me.
Much later I made out the chalk on the ramparts
The carbon initial of a name I knew.

In its second manifesto, André Breton excommunicated Desnos for essaying rhyme and fairy tales; acting after that as a sleeper agent, Desnos is perhaps the more adored of the two today. His death at a Nazi concentration camp in 1945 makes it all the more important that readers revisit him today, with fascism alive and smelling rank in the age of its technical reproduction.

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Fugue and Strike

Joe Hall
Black Ocean ($17)

by Greg Bem

The grotesque yet inquisitive poetry of Joe Hall returns to the limelight in Fugue and Strike. The book has six sections and opens with a short sequence, “From People Finder Buffalo”; its vital poems on the economy and police violence instill in the reader a sense of the core protections of the structures that impose upon our communities and threaten our collective livelihood.

Fugue and Strike bursts from the seams through its two largest sections, where Hall brings together distinct series of poems that tackle one large theme: labor. The first, “From Fugue & Fugue,” falls in the lucid tracks of other serial works like John Berryman’s The Dream Songs and Ezra Pound’s The Cantos, where Hall’s distinctive, deranged, and blunt imagery centers the whirlwind lives of the American working class. The poems in this sequence are some of Hall’s most experimental, their language derivative of both machine-like repetition and the manic bracing of daily stress:

I consider debt, each word, each poem
an easter egg, w/absence inside and inside absence
you are hunger, breathing this time and value
particularized into mist, you are there, at the end
of another shift

Following the fugues, the hypnotic and didactic series “Garbage Strike” sheds light on the history of sanitation worker strikes from the 1600s to the present. Across international cities including New York City, Oaxaca, Buffalo, Tokyo, and Memphis, Hall’s poems dig deep into the folds of garbage, trash, refuse, and output on a massive scale. These are stories of people deserving of the spotlight, of ecosystems of everyday life. Hall highlights the work of society’s perceived lowest working classes, those the systems want invisible or forgotten:

I want the history of lurching waste flows and accumulation, the labor of carriage and decomposition, the production of intensified difference and hierarchy among workers, and the rebellions of those laborers: Mudlarks; dirt-carters; loaders of horse-corpse barges, dung ships, and containerships; workers in ship-breaking yards; emotional garbage sorters and haulers. What if it was a celebrated labor? To disassemble the titans.

The book closes with a cluster of three standalone poems, “I Hate That You Died,” “The Wound,” and “Polymer Meteor”; each confronts loss separately while getting to catharsis collectively. In the final poem, Hall closes the book with statements on rigorous criticism, outreach towards sustainability, and our persistence through cycles of production:

Given that we, flesh, are affiliated with so many polymer immortals, I would like to suggest we imagine future time as present weight in order to see the world. If long after our bodies die, the case of a cell phone lives on into the thousands of years, its mass multiplied by (all that) time, would be unliftable. It would break your floors.

Like the contemporary American working-class poetry of Ryan Eckes, Robert Mittenthal, and Tim Greenup, the poems in Fugue and Strike foster a sense of irony combining labor and solidarity. Hall may not be overtly Marxist in his words, but he consistently throws punches against capitalism. His tones are derived from a spectrum of monotony and crisis with speakers engaging in moments of reflection amidst toil, explosions, brutal reckonings, and epiphanies.

As his fourth full-length collection, Fugue and Strike feels more mature than Hall’s previous releases; form across the collection feels neatly fitted despite the sprawling subject matter. Balancing personal stories with historic retellings, the book bears an academic level of research and contains an extensive bibliography. Coming out of a world of education and pedagogy, this poetry may serve for many as a kaleidoscopic keystone into the relentlessness of work, the void of commodification, the hope of solidarity, and the necessity of revolt.

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Rain Taxi Online Edition Spring 2024 | © Rain Taxi, Inc. 2024

Childcare

Rob Schlegel
Four Way Books ($17.95)

by Stephanie Burt

I woke up today intending to review Rob Schlegel’s new collection—his fourth, shortest (by line count), and maybe his best. Then I couldn’t find the book for hours, because one kid’s D&D backpack, a bag of dog food, my own undone dishes, and a scheduled Zoom call got in the way. When I finally found Schlegel’s volume, I realized that my distracted, distressed, and familially challenged mood fit the book I wanted to recommend. Childcare is a book about parenthood, household maintenance, and daily life; about maximum distractibility and post-quarantine forced togetherness; about our manifestly required (but secretly fragile) emotional resilience in an age when capital and mass media tell us to find individual solutions for collective problems. Are we too busy making grilled cheese sandwiches to address the tragedy of the commons? Or vice versa? What will my words do for my kids, if anything?

Such questions have shown up, for decades, in poems by moms (Rachel Zucker and Bernadette Mayer are two shining examples) but they’re pretty new for poems about, and by, dads, whom adults expect to work independently and outside the home, and who don’t normally, if they are cisgender, come with the same umbilical connections to young children. Schlegel knows time spent writing is time not spent preparing that grilled cheese, and Schlegel’s kids know it too: “Daddy, my daughter says, / When are you going to stop?” “Poetry / Is pointless, my son says. If you write that down / I’ll kill you. I fear he fears / The attention I give it.” What poet parent has not felt that fear? Who has not asked, as Schlegel does, “When will I reach the people I love?”

If such lines—however quotable—sound bald, or abstract, or all too accessible, it’s worth mentioning the elegance and the sophistication in this volume too. Schlegel has learned spareness, abstraction, and accessibility from Oppen (who provides an epigraph), Niedecker, and Dickinson. He’s also learned how to bring readers deep into his own fact-studded idiosyncrasies, quick images (a baby is a “little herring”), and the sounds he makes when he’s alone: “The rolling hills of Pomeroy / Bring the locals local joy.” The diary, the flatness, and the divided attention between what the kids need and what the poet desires place Schlegel in a delightful—and young—tradition, among recent books about domesticity by poets such as Chris Martin, Nick Twemlow, Dobby Gibson, perhaps Dana Ward.

To their disarming ongoingness, to the “competing / Sorrows of parenthood,” to fears about being a man and raising men (“my son pinning the future against the wall”), Schlegel adds white space, concision, and the uncomfortable, imperfect elegance of a careful craftsman sharing a rough draft in the knowledge that making it smoother will ruin it. Those spaces are his self-divisions, his irresolvable quarrels with himself: “I’m two people— / One not speaking to the other.” Like the Bon Iver album he namechecks, Schlegel adds an explicit sense of multiple generations, but where Justin Vernon imagines “I am my mother on the wall,” Schlegel frames his own worries in response: “I’m angry at my father for aging.” His clipped lines suggest he feels the rebuke that sensitive adults get when we remember how privileged we remain: privileged just to have enough to eat, let alone to take care of our kids, to find time to read, to be alive: “I tuck my son into bed. / I wish I had better parents, he says.” Schlegel, and I, hold such wishes for our children too, wishes the poems work hard—and sparely—to name. All of our kids deserve better than we can give them, but they get, at best, you and me.

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An Eye in Each Square

Lauren Camp
River River Books ($18)

by Richard Oyama

The artist Agnes Martin slips in and out of Lauren Camp’s An Eye in Each Square like a wraith, an invisible companion. “Must Learn Neither” introduces the book’s tripartite structure and its obsessions: “What I want / is nothing. No meaning, no matter, no more.” Like Martin’s art, Camp’s is private and oblique, not confessional. The poet observes how the artist’s work “made / sacred an emptiness,” and if the poems are ekphrastic, they are also an invocation, a conversation, and the suture of “A line, a line: it never leaves you.” The book’s title is itself drawn from Martin’s description of a family potato farm in Michigan, “an eye in each square of a chequerboard field, all by hand.”

Camp’s poetry admits a stony absence: “the moon rising in the bone-field is more hole than stoic presence.” It can break into an unpunctuated sentence, syntax awry—not unlike Gertrude Stein, whom Martin admired. In “Line Break,” the artist’s “line . . . lets the artist unfinish weariness.” It isn’t difficult from the title to see how the poet’s process parallels the artist’s; Martin’s marks on canvas don’t yield meaning or consolation so much as the desire for an emotional response, but her repetitions were a way of “moving grief to the side.” Camp writes in an end note that Martin and her work remained an enigma, which was precisely what was needed: After having been diagnosed as schizophrenic, she was submitted to shock treatment and became both explorer and interrogator of the psyche.

“Trusting Space” is the longest poem in the book. It opens with the question of “How to ask for joy,” then follows the speaker through the quotidian and mystical events of her day—a cemetery’s “glances,” low water, the sky filled with apparitions: “It is imperative / to see how this is substantial.” Martin figures as both oracle and prophet who has “drawn hurt” and practices erasure—like a poet. Thus the speaker of these poems, who “had plundered past nervous,” is enlaced with the artist, who at last stops burning paintings she judges flawed.

In “Lecture on Nothing,” the speaker is caught in the “antique gaze of Agnes’ / eyes” while Martin “frames the room and the room where she sits is built reliable / around her.” Martin disappeared from an artists’ cooperative in lower Manhattan for New Mexico, building an adobe brick house and a log-cabin studio, a move alluded to in “Tremolo”: “When she quit the city / to break from her constant hysteria, Agnes promised herself the apology // of firmness.” In “Lecture on Nothing,” then, the poet is empowered as the artist inhabits the “reliable” world of her own making. It is, as another poem suggests, a “Self-Portrait with Agnes Martin,” both self-reflective and joined.

The last poem in the book, “White Flower,” observes birds rehearsing scales as “their voices wing out / abundant. /. . . / I unthink.” Martin was profoundly influenced by Zen Buddhism and Taoism, practicing no-thought through meditation. Camp deftly captures the reason why: not to deny the world’s peril but to calmly experience “pasture and idle. / . . . / To grow solace is to measure light / as a purpose.”

After his conversion to Christianity, W. H. Auden famously rewrote the closing of “September 1, 1939”: “We must love one another or die” to “love and die,” seeing it as no choice. Camp is less era-specific, but these are poems of our catastrophic time—of smoke and schism, love and abyss, vigil and disquiet. How one accommodates dread and the beauty of a world going on despite it may be unanswerable, but through her veers of thought and bracing opacity, Camp offers poems that attempt to articulate a response.

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Fire-Rimmed Eden

Selected Poems

Lynn Lonidier
Edited by Julie R. Enszer
Sinister Wisdom ($25.95)

by Patrick James Dunagan

A prolific poet of the San Francisco small press scene from the 1960s onwards, Lynn Lonidier (1937-1993) is virtually unknown today. No doubt this is due in part to the fact that she didn’t belong to any particular coterie. Even among lesbian poets, the crowd with whom she might most generally be associated, she always went her own way. As Fire-Rimmed Eden: Selected Poems testifies, her work is invariably unique, and all the more valuable for it, as it realizes an idiosyncratic sensibility.

Take the opening of “Sailorjig to Seapatchwoman” from A Lesbian Estate (Manroot Press, 1979):   

            Down the briny paths of rime,
            I join hands with an encrusted lion.

   Transpose a lion on a whale and have upheaval to the last
   tumescence of seadrop (water-holding speck of life) I am

Mid-Forty Woman    Deep tonnage tensor of wisdom    Weedpatch woman
with brio-bulge crop       mat       carpet island       Thicket       fishhooks
monster bites      Slew of parasites hang loose in the gold lion’s
mane      Hoar nest     Primeval catch    SeaROAR cRest sWell Woeforth
/PROMISE:       Green land grows on your bullback    wending invisible
harpoons R     uddy mantle of rush in Green Sea Contest

The jamming together of words here, along with the erratic spacing, spelling, and capitalization, achieve a dizzying yet effective presentation. There’s a clear sense that Lonidier writes the lines as she feels them arising within her, inflecting them with distinct emotive force; indeed, it reads irresistably like a performance script. While she may have had precursors from Dada to punk influencing her, her experimentation feels rooted in her own impulses.

Lonidier’s initial artistic inclination was musical in nature; she studied the cello before breaking away to poetry. Upon moving to the Bay Area, she became an early romantic partner of the experimental composer Pauline Oliveros, and the pair moved to San Diego in the ’60s before splitting up. They were immersed in the local arts scene, collaborating on several musical and art projects both together and with friends. Lonidier’s brother, the feted photographic artist Fred Lonidier, lived locally as well at the time (there are several terrific photos included in Fire-Rimmed Eden).

Lonidier lived elsewhere for periods of time, but she always returned to San Francisco. She was a founding member of the Women’s Building in the Mission District, where she also lived and worked as a public-school teacher, and the city’s environs continually triggered her imagination, as they have countless others over the years—as can be seen in this passage from “Bernal Hill,” originally contained in The Rhyme of the Ag-ed Mariness (Station Hill Press, 2001):

A tree-laced road leads to radar
screens overlying the Mission,
Morning sun timbres the bay—
Oakland— Berkeley— Mt. Tam—
in by breathtaking eye.

Fire-Rimmed Eden contains the vast majority of Lonidier’s poetry. There are selections from her earliest collections, Po Tree and The Female Freeway, and the substantial A Lesbian Estate is presented in full—as is the last collection she assembled in her lifetime, Clitoris Lost, along with excerpts from her Mayan travelogue Woman Explorer. Selections from the posthumous The Rhyme Of The Ag-Ed Mariness, assembled by her friend Janine Canan, round out the rest.

Lonidier’s earliest work features an insistence upon freely, and often wildly, wielding language in an unexpected, eyebrow raising manner. Her first collection, Po Tree (Berkeley Free Press, 1967), is more artist-zine than poetry book; between saddle-stapled covers, Lonider’s poems appear intermixed and superimposed among collages and drawings by sisters Betty and Shirley Wong (while the artwork is not reproduced here, notes at the bottom of relevant pages offer descriptions); the poems themselves are Dada-like in their playful stridency. Several are list-poems of unusual word-matches given in full capitals: “CONFETTI NIPPLE / HISHERS / MIND BLINDER / VENETIAN TUBE ROOM / GONDOLA GONADS / AUTOBLOMB / POOM /MOM HARASS HEROOT / GERMAN VICTROLA HOAR CAUSE / CHARTREUSE COMB JUICE.”

Among the central concerns of Lonidier’s poetry are gender, sexuality, and power. She avoids being overtly political or banner waving, however, keeping the focus on her direct experience. She writes what she knows:

In drive-ins movie foyers men’s magazines    they comment on my body
as though they owned me    are as familiar with my buttbreastthighs
as they are with    rings on their fingers    It’s not rape that they
heighten their bodies by removing mind earsmindfeelings    tossing
away the body they’ve mass-raped Because    I’m their perogrative
to imagine their penises are    rolled-up dollar bills in my
penny vagina

(from “The Boys At The Beach”)   

In short, Lonidier doesn’t hold back. Her work has rough edges and non sequitur ruptures, which can leave readers hanging as to where she was headed; nevertheless, with every poem the impression remains that she has managed somehow to achieve her exact desired result. These are the poems as she would have them—no regrets and nothing vital left unsaid.

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Rain Taxi Online Edition Winter 2023-2024 | © Rain Taxi, Inc. 2024

The Unreal City

Mike Lala
Tupelo Press ($21.95)

by Peter Myers

“I want a holophrase,” declares Hope Mirrlees—a single word to denote a whole complex of ideas. Thus begins Paris: A Poem, a six-hundred-line eruption of avant-gardism now regarded as a modernist classic. Her holophrase could well be the title itself: “Paris,” in 1920, signified both a classicism on its deathbed and a frenetic, whiplash present, a free-fall into a future as garish and unassimilable as the city’s boulevards, street vendors, and neon lights. Mirrlees’s poem of urban flânerie was an attempt to capture centuries of history and culture (read: barbarism) piled atop each other, chaotically signifying the arrival of a new era and a new relation to time.

The Unreal City, Mike Lala’s second poetry collection, reprises Mirrlees’s method but swaps 1920’s Paris for present-day New York City. While The Unreal City remains entangled with the modernist era—the title alludes to The Waste Land, a poem published, it’s worth noting, three years after Paris—its preoccupations are decidedly contemporary. For Lala, the city is ground zero for both the violence of history’s erasure and the deluge of its return; it’s where social antagonisms stare each other down in “the maculate, moth-riddled / sodium-vapor street-lamp light.”

Lala’s poetic method is primarily one of depiction. The collection’s opening poem, “My Nudes,” is ekphrastic, a montage of art-historical bodies. But Lala tweaks the formula by adjoining multiple subjects to a single first-person pronoun; the boundaries between the nudes, and between art and audience, are blurred from the start. Thus we’re introduced to one of the book’s central preoccupations: the challenge of separating our own outlines from the historical forces that shape them.

In subsequent poems, the speaker adopts a posture akin to Mirrlees’s urban flaneur, bearing witness to a world-destroying appetite for wealth as they wander a maze of asphalt and blue-grey glass. “Elizabeth Street” is a catalogue of storefronts that doubles as lifestyle porn, a litany of all that’s found “on Liz / street of my patron-funded dreams.” A sampling: “Unis, Café Habana, Kit 228 and Steven Alan / Le Labo, Aesop, Clare V, Shott NYC, Me&Ro, / Albanese Rudolph, Emmett / McCarthy, Thomas Sires, then Todd Snyder.” Here Lala deftly navigates a tricky tonal strait. The fact that his speaker simultaneously craves everything his “patron-funded dreams” would grant him—the $50 soap, the $400 shirts—and finds those same “patrons” despicable registers not as a contradiction so much as a necessary resentment; the would-be patrons, after all, are the ones who made the world this way, engineered it to contort our desires into such monstrous shapes. Many of the storefronts Lala’s flaneur strolls past have long been closed, a testament to how these high-end stores and boutiques—a living index of the city’s transformation from a place where people live to a publicly-subsidized warehouse for excess capital—are no less safe from the market’s predations than the people who can barely afford to window-shop.

“Work,” a long poem of urban wandering and rumination, takes up the majority of The Unreal City’s pages. The poem pays explicit homage to Paris: Lala borrows Mirrlees’s opening line and recycles many of her formal experiments, including typographical jump cuts, unconventional text alignment, and the incorporation of found text. But whereas Mirrlees generally restricts her scavenging to her poem’s urban environs—storefronts and advertisements, overheard gossip—Lala quotes and interpolates from a litany of written sources, documented in the book’s copious endnotes. The poem’s most prominent source text, other than Paris, is Vergil’s Georgics, the Roman poet’s treatise on farm work and apiculture. Lala thus turns our attention toward a different relation to work, one which, from the approximate hell of our present, seems prudent, even virtuous. Here, the word work functions as Lala’s own holophrase, referring not just to labor, but to what comes of it—the work of art, say, shaped no less by the hands of the artist than by the forces which act on those hands.

Like The Unreal City’s shorter poems, the opening gesture of “Work” is to strafe the urban environment. Our flaneur-speaker notes rooftop cops, overhead jets, and, like Prufrock, his own footfalls on “certain half- / deserted streets.” But unlike Prufrock (or Eliot, for that matter), Lala’s speaker has a decidedly historical-materialist sensibility: “View down Wycoff; mist over spires. / The workmanship of these, of everything, is empire— / bodies, labor, and theft—a way of making money / in the blue alarm clock light, a holophrase.” Later, “Work” swerves from the metropole to the periphery, copping to the predatory extraction of land and labor that keeps the urban enterprise running:

You KNOW how it STARTS.

MONEY taught

human beings

to wrench up the SOIL with iron,

            to hunt, fund, kill, till, drill, develop, and steal land from others.

NOW in resources EARTH is DEFICIENT

SWEAT & GREED

became

products
BREATH
of HISTORY.

“Work,” however, is far more than agitprop that pays mind to prosody (not that that would be so unwelcome). The elements of its composition—the formal debt to Mirrlees’s Paris; the interpolations of Eliot, Vergil, and others—become, as the poem unfolds, an elaboration of its argument. Lala takes as his epigraph a quote from Andreas Malm, noting that our current climate crisis isn’t the revenge of nature so much as “the revenge of historicity dressed in nature.” We are helpless against the past’s irruption into the present, even if the unreal city’s burnished surfaces, visual metaphors for the frictionless flow of capital, would lead us to think otherwise. Our present world cannot be disentangled from the regimes of violence and dispossession that built and sustain it. “Work,” in its own way, drags the past into plain sight; it’s the revenge of historicity dressed in language.

Cities, like poems, are at once bastions of unreality and a means to survive it; in its final pages, The Unreal City takes the shape of a directive to tip the balance of urban life toward the latter. It’s didactic, but in a way that rings true, animated by the conviction that it would be worthless to say it otherwise: “Death to the god of our owners. / Death of the shares of our holders. Death / to the futures that lead us toward death.” For Lala, our new futures must be built where it is we stand, “beneath the shade / of monoliths.”

Rain Taxi Online Edition Winter 2023-2024 | © Rain Taxi, Inc. 2024

One Bent Twig

Tricia Knoll
FutureCycle Press ($15.95)

by George Longenecker

Tricia Knoll’s newest collection One Bent Twig is all about trees, the natural world, regrowth, and contemplation. Images fall one after the other like leaves in autumn. These are skillfully crafted poems, interwoven so each one speaks to the others. 

Knoll has connected with trees since she was a child: “I was a baby who grew up next to an elm tree / my father planted to shade my bedroom window.” In “Funeral in the Forest,” she eulogizes ancient maples “with tapping scars, stumps of lost limbs, and brown ridges”:

You stood here through Abenaki’s land claims,
cholera epidemics, Jim Crow, Hurricane Irene.
World wars. Women and the vote. Sap flowed . . .

Knoll writes with the best of poet-naturalists. Her personification of trees is reminiscent of Robert Frost’s “Tree at my Window.”  Her poems use various voices; in “You Never Forget the First Trees You Love,” she speaks to her younger self: “You used branches to climb higher / than authorities said you could / for the silence of the ash confessional.” And many poems are rich in metaphor: “At their feet, cast-off blouses, skirts and veils—crumpled / summer, last landings of a headband of leaves // . . . // turbans of snow under a horned moon.”

In “Faith,” Knoll speaks of a deeply rooted spirituality with humor and irony:

I am not the rib-bone
of an apple-chomping Adam.

The smell of apple blossom
promises pies and peels

I do not fear snakes.
I wear no sackcloth

bindings, white robes,
or a cross on a bronze chain.

One Bent Twig is a worthy addition to the poetry of trees. Not only does Knoll sow words; she also plants actual seeds: “I have planted forty-five trees, with hope / that each wears its crown in a grace.”

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Rain Taxi Online Edition Fall 2023 | © Rain Taxi, Inc. 2023

The Dog Years of Reeducation

Jianqing Zheng
Madville Publishing ($19.95)

by Michael Antonucci

To mark the hundredth anniversary of the Paris Commune in the People’s Republic of China, writers from People’s Daily, Red Flag, and Liberation Army Daily collaborated to produce a thirty-two-page pamphlet entitled Long Live the Victory of the Dictatorship of the Proletariat! In Commemoration of the Centenary of the Paris Commune (1971). Their slim volume celebrates the working-class revolutionaries who briefly seized power at the conclusion of the Franco-Prussian War. Published during the fifth year of the Cultural Revolution, the study discusses the Paris Commune in terms of social and political experiments conducted in China between 1966 and 1976. In the pamphlet’s final chapter, for example, the writers proclaim, “In China’s Great Proletarian Cultural Revolution, Mao Tsetung (sic) Thought and Chairman Mao’s revolutionary line are being integrated more and more deeply with revolutionary practice of the people in the hundreds of millions to become the greatest force in consolidating the dictatorship of the proletariat.”

Shortly after this commemorative work appeared, poet Jianqing Zheng became a participant in this process. Having completed his high school level course in foreign language studies, Zheng was dispatched to the Chinese countryside to become a “zhinquing” or “educated youth.” In the introduction to his new volume of verse, The Dog Years of Reeducation, Zheng discusses his poetic reflections on the Cultural Revolution. Recognizing that his situation was by no means unique, he writes, “millions of middle school and high school graduates . . . were sent to the mountains and the countryside to receive reeducation from poor peasants.” Zheng explains that he arrived in his village with “a deep conviction that the zhiquing [he and other educated youth] would play some role in the transformation of rural China.” He continues, declaring that “this collection of poetry relives those reeducation years in the fields.”

To fulfill the poet’s project, Dog Years delivers a firsthand account of the Cultural Revolution’s later stages. Reflecting on this charged moment in twentieth-century Chinese history, Zheng’s verse animates expectant uncertainties that accompanied its varied and profound personal and political transitions. Throughout the volume, the poet assembles collective and individual events imprinting and informing his reeducation process. History and memory swirl and converge as Zheng’s poems trace these moments and movements; this dynamic becomes evident, for example, in “Star Watching,” a poem in the opening section. Illustrating Zheng’s ability to layer and combine his terse prose poetry with short, imagistic three-line bursts, “Star Watching” identifies the undercurrent of “static change” that informs the poet’s time in the provinces:

After graduating from a foreign language school in the Cultural Revolution, we have no choice but to go to the countryside . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

            roosters crowing
            another day of life
            in the village

At night, our life is as flat as our farm work, tasteless as rice and pickled turnips we eat each day. No books to read, no chess to play . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
           
            autumn night
            lying on rice stacks
            counting stars

As the poet comes to terms with the monotonous simplicity that he faced along with the other zhinquing, “Star Watching” offers readers a perspective on everyday life in rural China during the mid-1970s. Like other poems from the opening section of Dog Years, such as “Lunchtime,” “Transplanting Seedlings,” and “Cutting,” the poet uses “Star Watching” to stare down the stern conditions that informed what he calls “my farm life.”

This cycle of back-breaking labor—punctuated with heat, dust, sweat, cold, rain, insects, and animals—shapes Zheng’s verse; Dog Years thereby constructs a collage of memory that charts the poet’s pathway along his journey of return. Some points of return are embraced; others are not. Yet, these returns—even those that are distasteful and unwelcoming—provide both the poet and his readers with a measure of perspective on events relating to the Cultural Revolution. Ultimately, this past and its enduring imprint allows Zheng to consider his circumstances in full measure. For example, reflecting on village life in the poem “Life in the Fields,” he writes, “Those years are like /a yellowed book,” before going on to deepen the metaphor:

Turning each page
is like unwrapping
an unearthed mummy,
dried but well preserved.

Through lines such as these, the known, the predictable, and the inevitable coalesce, forming the foundation of Zheng’s reeducation process. By doing so, the poet situates himself and other members of his zhinquing cohort—Pigsy, Yi, Pearl—among the farmers, fields, and fixed chore lists that inform the certainties of daybreak and sunset, planting and harvest. Similarly, in “The Lesson Learned,” the poet extends his exploration of these binary constants:

When day and night
revolve like the duality
of yin and yang
way and no way
exertion and relaxation
positivity and negativity
earth and heaven
man and woman
dream and daydream

we begin to see
reeducation as a coat
altered to wear,
a fate to face and
a life to live.

Across four sections, Dog Years of Reeducation collects and arranges Zheng’s “lessons learned.” Unfolding with the measured successions of seasons, his poetry grapples with the idea of return, tracing its halting, bounded limits. This pattern is made fully evident in the volume’s third section; after opening with the three-line epigraph, “homesick / a seesaw creeks / up and down,” Zheng continues his poetic meditations on space, time, distance, and the reeducation process in the verse that follows. For example, in “The Gradation of Our Being,” he proclaims, “We no longer look like a group / of urban youths,” and in “Question,” he asks:

Is this expansive flatland
where the flower drum song

roots deep and spreads wide,
where the sunset

promises a new dawn,
where cotton is handpicked

and rice is hand planted,
where rain is the source of life

also a dreamland studded
with starry wishes?

At the same time, throughout the third section of Dog Years, Zheng’s poetic examination of personal experience intersects with conversations relating to Chinese history and politics. These connections emerge most significantly through the course of poems that explore the death of Mao Zedong.

Mao died while Zheng was working in the fields, late in the summer of 1976. The poet recalls the moment he learned of Mao’s passing: “we were picking cotton when a farmer // came over announcing, ‘Mao died.’ / His voice was a cool autumn breeze.” Zheng redoubles his reflections on his life and Mao’s death in “Maostalgia,” the second part of this loosely constructed tryptic; its opening line reads, “I lost my voice in the Cultural Revolution.” He continues: “I answered Mao’s call and went to the countryside to rebuild my body for strong bones and muscles.” In the second stanza, he writes: “I heard of Mao’s death while picking cotton. I was hungry that afternoon; I cursed the sun for not sinking faster.” The poem concludes as Zheng balances these two prose blocks on three imagistic lines that project both poet and reader into a future moment:

Great Wall tour—
each souvenir stall sells
Chairman Mao badges

The Mao study concludes with “Shouting”; identifying the waning energies of the Cultural Revolution, this poem recalls the “village chief” leading a meeting “in October 1976, a month after / Chairman Mao’s death.” Having gathered the villagers and zhiquing “on the threshing floor,” the chief delivers “a long editorial that / endorsed the new leader.” The poet writes that his uninspiring words “sounded as flat / as an unsalted dish,” leading the villagers “to chat,” with their voices “buzzing // like a swarm of mosquitos.” The chief, in turn, is desperate to regain the villagers’ attention:

                                    . . . he thundered

“Long Live Chairman Mao!”
            into the microphone. As if

awakened, we all stretched our arms
            to yawn the slogan after him.

Throughout the volume’s fourth and closing section, Zheng delivers a set of equivocal summary reflections on his time in the Chinese countryside. However, it is in “Looking Back” that the poet—who has lived in Mississippi since 1991, teaching in the English Department of Mississippi Valley State University—provides his audience with some of his deepest insights into his reeducation process. After making use of variations on the phrase “If I / never” in four of the poem’s five stanzas, “Looking Back” concludes with a proclamation:

if all this
never was a part of reeducation, I could
never relate grains to drops of sweat and           
never imagine the oil lamp as the light of hope.

Five decades have long gone.
My body has become a rusty plow.
Some nights I dream of tilling at sunrise or
reading in the deep night with a desire
to turn to a new page of life.

In this way, having arrived at a point of deep reflection, the poet speaks back to his “dog years”—an era that is, at once, lost and found— with images and “memories tempered / hard and sharp with pains.”

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Emerald Wounds

Selected Poems

Joyce Mansour
Translated by Emilie Moorhouse
City Lights ($22.95)

emeraldwounds

by Allan Graubard

Erotic, subversive, sensual, vivacious, defiant, fragile, satirical, ironic, lyrical, eruptive, heretical, anguished, sexy, and buoyant are just some of the words that come to mind when considering the poetry of Joyce Mansour. Certainly there are other words that readers will conjure. Have I left out odorous and sweaty, given Mansour’s embrace of the body as a ground her poems take root in and burst from? And what about her body, the female body, in a world run by men? Add in the complexities of passion, love, marriage, family, and exile, and readers will find that Mansour creates a rich and spicy gumbo in these Selected Poems.

From her first book, 1953’s Cris/Screams, to her last, Trous Noirs/Black Holes, published in France in 1986, the year of her death, Mansour will delight those with her, or those willing to be touched by her, while scandalizing others for whom custom and behavior are sacrosanct. Throughout her body of work, Mansour’s titular “emerald wounds” blossom and ensnare, even as they live and die, because they sing—this is a world ripe with magic, the kind that exalts and transforms by the power of words.

Long associated with the Paris surrealist group, Mansour in this new translation lives with a currency that is as striking as it is needed, especially when women’s free expression of desire, sex, and autonomy still militate against the enduring pivots of misogyny, whether intimate or institutionalized. Indeed, the fifteen-year lapse between this, Emile Moorhouse’s effort, and a similarly configured translation of Mansour’s writings by Serge Gavronsky (Black Widow Press, 2008) has, it seems, done little to eviscerate men’s desire to control women, so embedded in the social fabric it is, with deadly consequence all too often.   

But a brief history.  Born in England in 1928 as Joyce Patricia Adès to a wealthy family of Jewish-Syrian descent, she is raised in Cairo; her language English. Later, with her second husband who speaks only French, she will change, adopting French as her Rosetta Stone. Her poems, as she describes them, originate as screams or cries, the aforementioned title to her first book. They rise through her as the traditional mourning wails of Egyptian women do, sibilant, yearning, and sharp. Do her poems then function as a form of “exorcism,” as Moorhouse notes, of the dual traumas Mansour suffered when young: the death of her mother when she was fifteen and the sudden death of her first husband six months after their honeymoon, both from cancer? Perhaps. But it does not end there. If exorcism is a therapeutic medium born from trauma, the metamorphic and liberating charge of Mansour’s poetry leads.

By the early 1950s she circulates among Cairo’s avant-garde where, oddly enough, French, a colonial appendage, is the literary tongue. Political change, though, forces their move to Paris where her first book, Cris/Screams, draws the praise of André Breton, who identifies Mansour as one of the three most significant poets to emerge after World War II. From then on Mansour participates in the activities of the surrealist group, publishing in their journals and collaborating with some of their major and allied artists: Wilfredo Lam, Roberto Matta, Hans Bellmer, Pierre Alechinsky, and others.   

Emerald Wounds, with its 100-plus poems across ten of Mansour’s books, gives readers generous access into her world, emotional, vulnerable, and (as Alfred Jarry would say) umorous. A detailed introduction sets the stage while pointing out that, despite the potency Mansour commands, she is more often overlooked in the larger literary landscape. As for these translations, they perform well enough, beyond some awkward phrasings and word choices.

The first poem in Cris/Screams startles. From the sensitive opening, perhaps referring to the death of and funeral for her young husband—“I lift you in my arms / For the last time”—the corpse in its coffin “moving in your narrow world”—comes this implacable image that not only avoids cheap sentiment but also heightens the emotional stakes. For this corpse has its “head removed from your slit throat.” A concluding riposte to it all resonates with the bitterness of aborted passion: “It is the beginning of eternity.”

When it comes to sex, a convulsionary paradise, Mansour is ever explicit; the theme enriches throughout her work, as in the final poem from Cris/Screams:

May my breasts provoke you
I want your rage.
I want to see your eyes thicken
Your cheeks turn white as they sink.
I want your shudders.
I want you to burst between my thighs
That my desires be satiated on the fertile soil
Of your shameless body.

In her second book, Déschirures/Shreds, from 1955, the poems gain broader social reach and read as if written today in response to the oppressive cabal of racism and class:

Cry little man
Your boat is for sale
Your wife is sold
And the fresh milk of your cow
Red with the blood of blacks
Makes your children piss
Their hate

And then just a few pages on, pivoting to the sexual shivers that inspire her, is one of her most poignant poems. It begins this way:

I want to sleep with you elbow to elbow
Hair entwined
Genitals enlaced
With your mouth as a pillow

And ends in raked diminuendo:

Consumed by the wild inertia of bliss
Splayed on your shadow
Pounded by your tongue
And to die between the rotted teeth of a rabbit
Contented.

The third section includes twelve prose pieces and poems that Mansour published in Bief: Jonction Surrealiste, a modest Parisian journal, from 1958-1960. Satire plays deftly with an opening salvo: a comedic critique of heterosexuality that deforms the traditional meaning of its title. “The Missal of the Missus (Good Nights)” evolves in three parts, each translating the rules and rituals of the Catholic mass into something else; something they would never otherwise have been used for. The subtext of the first part, “Advice for Running on Four Wheels,” reveals the poet’s body as a car cruising at night hot with desire, and what a woman can do during sex to ensure her lover’s satisfaction. The second part, “Cold Out? A Dress Is Essential,” refers to fabric spun from flayed “moorish” skin, “two tea towels” worth, and how to appear beautiful when wearing it. Savagery is just beside the point. The third section, “Lines Around a Circle,” is a pastiche of fashion magazine dictates where you must “Straighten the silhouette without crushing the organs.”

Included as well is Mansour’s take on gossipy female advice columns with some “Practical Advice While You Wait”; that is, for your man—when in a train station, a restaurant, a city hall, or at home. No matter being worried or jealous, the commandment is clear: The woman must stay “pretty, relaxed, sharp . . .” But don’t “wait in the streets” and always wait for the heart of the conflict steaming up “amongst the reddened leaves and the caramel fumes of your discriminations.”

Husband neglecting you? “Dowsing” has a cure: “Invite his mother to sleep in your room.” Want something more? Okay: “Piss in his soup when he lies down happily next to you.” And then, “Be gentle but skillful stuffing the fat goose / With octopus messages / And mandrake roots.” In the end, however, the wife needs what she doesn’t get from him:

Motionless like a mollusk flatulent with music
Clings to the telephone
And cries
In spite of myself my carrion fanatacizes over your ousted old cock
That sleeps

These poems give a sense of the breadth of Mansour’s writing, which can shift, implicitly or explicitly, from personal to social, cultural, and political contexts with ease, and from brief to magnetic longer poems in her later collections, such as “Endlessly Midnight,” “Pandemonium,” and, the finale, “Black Holes.” Although seduction and orgasm fuel her poems, there is a parallel motif of disgust and pain that illuminates a depth of embodiment and humanity. If we are wounded by the repressions and oppressions that stalk us, Mansour indeed turns those hurts into dark and precious jewels.

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Rain Taxi Online Edition Fall 2023 | © Rain Taxi, Inc. 2023