Balance

Mud

 

 

The strange thing isn’t the mud—it’s the formal pose, her neutral, detached expression in this obviously abnormal situation. Her composure is the anomaly, and I have to admit I admire her strength, her ability to transcend the situation, her power over physical discomfort. If I ponder the idea of her long enough I can almost forget about the mud, until I look at the image again and then the central conflict of the photograph pulls me back in, makes me uncomfortable—the tension between my expectations of what a portrait should look like and the messy reality of this photo at odds with each other, as stark as the dark mud, her damp hair and white hoody. Her eyes open wide, unflinching.

 

And yet flinching is what this woman did most of the time: flinched at her boyfriend’s moods, flinched at the judgment of a community that expected everything and nothing from its members. They were trying to live well at a hot- springs resort in a small valley, where it rained almost every day in the winter. The dampness seeped into everything. So, one day, when the rains became Biblical, the river crested the walls of the bathhouse; when the waters receded, a foot of mud covered the walkway, filled the claw foot tubs.

 

She pitched in, like everyone else—wielding a shovel, grunting at the weight of the mud. Her boyfriend took out his camera.  To show her team spirit, her upbeat attitude, she smeared the muck across her face, though they found out later it contained poison ivy. She dared not smile or the mask would crack. It’s the only photo where she looks the photographer straight in the face without grinning a self-conscious, lopsided smile. The earth highlighted her eyes, made of her a figure that simply exists in the world without apology.

 

Balance

 

 

Did you ever really see her in person? The woman in her sequined leotard leading the bedazzled horse into the ring? Did you hear the muffled roar of spectators, smell popcorn and dirt and elephants, feel the dusty light spear in through gaps in the tent flaps?

 

Probably not, but you feel as though you perched ringside as this woman stepped toe-first along the perimeter, one arm unfurled in a gesture that said, look here, prepare to be amazed! At first she simply vaulted in one smooth motion onto the horse’s bare back, rode the creature into a loping gallop, then, quick as a blink, stood up and balanced on the horse’s spine. Smiling, always smiling, the ta da! of her arms and the crowd roaring in approval. She cartwheeled into a handstand and then dismounted, running alongside the horse, both of them barely breaking a sweat.

At home you balanced on anything you could find: the sidewalk curb, tiptoeing one foot in front of the other, swaying first to one side then another, or the retaining wall of the eucalyptus bed, or even the back of the couch. You pretended to defy the laws of gravity. You reflected the light of many suns. Your skirt billowed in the wind of your flight.

 

Did you ever think to be afraid? The time you climbed over the crib railing and down the hall to your parents, dragging your leg braces behind you. Scrambling up the bookcase or the oxidized poles of that second-hand swing set just because you could. Your tricycle became a vehicle for daring—perched on your bare feet or careening around the corner on one wheel.

 

Years later, when your life tilted off-balance, you climbed the chalky limestone cliffs high above Lake Travis and gripped the edges with your toes before plunging into the lake far below—only to climb up and jump again, no crowd roaring in approval, no horses, or popcorn, or elephants. But the water did sparkle like sequins, like flint.

 

Schoolhouse

 

 

We loved school. We loved being with each other. We loved the chalkboard, the eraser, the scent of dust rising from old books. When we were young, we loved our pencil cases: the way everything aligned there, each sharpened point facing in the same direction. It zipped closed easily, opened easily, was clear enough to see what was what. Everything a person could need fit inside that pouch. We loved naptime. We loved the sound of other bodies near ours, breathing, all of us pointing in the same direction.

 

We loved snack. And lunch. And modeling clay. We watched the older kids on the playground: kids who pretended disdain, who called us babies and flounced away. We were babies, but felt so big, every day something new within our grasp: letters, numbers, maps, history. All of it lay waiting in cupboards, innate within the chalkboard, waiting to be revealed.

 

The most important lessons weren’t from maps or books or parent-teacher conferences, or even from every kid’s favorite subjects: lunch and recess. We learned our limits, how to push ourselves, how to find interests, then articulate them, then stick to them, and ourselves, when you find out they aren’t “cool.” How to bounce back—like when I started a new school in sixth grade and sat alone for two whole weeks with no one even coming over to say hi because everyone thought I was a student teacher. Or when I chose to hang out in Mrs. Collier’s room during lunch, the two of us eating in silence while reading together. It never bothered me because I grew up knowing the importance of an education, my family story one of escape from poverty and subsistence farming only because of school, my Grandma Ruth’s first job as a teacher in a one-room, sod schoolhouse her ticket out, the world within her grasp.

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Interview: Brenda Miller

         

 

Brenda Miller is the author of five collections of essays: An Earlier Life (Ovenbird Books, 2016), Who You Will Become (Shebooks Press, 2015), Listening Against the Stone: Selected Essays (Skinner House Books, 2011), and Blessing of the Animals (Eastern Washington University Press, 2009), and Season of the Body (Sarabande Books, 2002). She has also co-authored two craft books—The Pen and the Bell: Mindful Writing in a Busy World (Skinner House Books, 2012), with Holly J. Hughes, and the wildly popular Tell It Slant: Creating, Refining, and Publishing Creative Nonfiction (2nd ed., McGraw-Hill, 2012), with Suzanne Paola.

 

An Earlier Life received the 2017 Washington State Book Award in Memoir, and Miller has received numerous other awards for her writing, including six Pushcart Prizes. Her short work has been published in numerous journals and literary magazines. She is on the faculty of Western Washington University.

 

Please see “Balance,” new collaborative work by Brenda Miller and Lee Gulyas, as well as our review of An Earlier Life, also in Aquifer.

 

Lisa Roney for The Florida Review:
One of the things that was so much fun about reading An Earlier Life was re-seeing some of the pieces that had been published before in literary magazines and how now they hold together so tightly as a book.

 

Brenda Miller:
I’ve worked so hard on that part.

 

TFR:
How did you make that happen?

 

Miller:
As with many of my books of essays I’m never really writing my individual pieces with a book in mind. Every time I have tried to do that I get very inhibited and I start censoring myself and I go blank, so I’ve learned over the years to just write my stuff, and then when I’ve reached a critical mass I start putting it together and seeing what organically is arising that holds these essays together. This is something I tell my students all the time—you have what I call your perennial questions, perennial issues that will come up naturally on their own, so you don’t need to deliberately be trying to write a particular story. So in this one I had a lot of shorter pieces—especially the middle section of the book is about a particular time as a young adult that was very difficult for me (I have tried to write an entire memoir about it, but it didn’t work)—so then I had all these little snatches that to me seemed to be making a story, but I wasn’t sure, so I started putting those together and just playing with that, and they ended up being the exact center of the book and creating their own little narrative in there.

 

The first part of the book had what I call more of a spiral chronology where it’s pretty much going even from pre-birth, with the prologue, which is called “An Earlier Life” and is kind of a fantasy imagining of what an earlier life for me might have been. And then going through childhood, but always referencing the future and what’s going to happen in the future. Then we have that second section about the time in my early twenties when I was living in the desert. Then the third section is more about being an adult and aging and watching my parents age. Then—I really didn’t do this deliberately—but the last real piece of the book is about the afterlife. It really came together.

 

TFR:
It’s amazing. Not that many collections of essays work so strongly as a whole.

 

Miller:
Even though I was doing a lot of hard work trying to put it together, a lot of these things were very fluid as I was doing it. It was only after I had that last draft I thought, Okay now this works.

But I still have that epilogue. [Laughs.]

 

The epilogue is that piece called “We Regret to Inform You,” which is in the form of rejection notes, and I love the piece, and many people love the piece, and I kept trying to put it in different places in the book and it just didn’t work because it’s such an odd voice. I finally just stuck it on the end just to see, and it actually works, I think, because it kind of goes from the beginning to the end in one piece. It’s almost like a review of all we have gone through, but in a very different voice. It’s kind of fun, but it’s also very serious and it ends on a positive note so I was pretty pleased with it. You never really know until the book’s in production and you see it as a book-book. Then you say, Is this really going to work? I’m very pleased that it does.

 

TFR:
It really does. In your recent Rumpus interview with Julie Marie Wade, you commented that you thought at some point your early life would run dry as a subject matter, but you have approached it this time with a sense of forgiveness for yourself, something you said was new for you. How do you think that writing about the same events or subjects changes over time and what’s the relationship between revisiting our histories and writing and deepening our understanding of them?

 

Miller:
That’s a great question because we do kind of tell our same stories. The beauty of it for both the writer and the reader is this coming at it from different perspectives, different angles. I think it was Virginia Woolf who wrote about how the present is a platform for viewing the past [“I can only note that the past is beautiful because one never realizes an emotion at the time. It expands later, and thus we don’t have complete emotions about the present, only about the past.” 18 March 1925 entry, The Diary of Virginia Woolf, v. 3, ed. Anne Olivier Bell. Harcourt, Brace, Jovanovich, 1980.] That present moment keeps shifting every minute as you get older and have different perspectives on things. Even just content-wise or point-of-view-wise as you get older—I hope—you do see those early selves with a bit more compassion or understanding of what went on. You have a bit more distance in order to explore it.

 

I really didn’t think I would go back to that early young adulthood life in my writing again because a lot of my first book was about that. It comes up occasionally, but this time what’s been going on for me is that as a writer as I progress or evolve—and I hope I keep evolving for the rest of my life—otherwise I’m gonna get pretty bored—I’ve been trying new forms. That form of the rejection note, for instance, is what I call a hermit crab essay, which is a term I use in Tell It Slant, where you appropriate a whole different form or voice to tell your story. In this case, rejection notes. When you’re using a form like that you’re starting with the form to suggest the content rather than the other way around, different from how we traditionally approach it—I have an idea, what form am I going to put it in? When you do it the other way, it opens up the door for unexpected writing. I’d say [I can find new ideas in the same material because of] trying new forms, trying different things. When you do that the essay itself, the writing itself will show you a different perspective.

 

Another example in this book is the one called “Pantoum for 1979,” and that’s the most recent essay. It got put in at the very last minute because when I wrote it, I thought, This one has to go in! It was part of a project I’ve been doing for years now, which is appropriating the poetic forms like a sonnet or a villanelle in order to explore how tell a story in prose without it being just a poem without line breaks. It’s been fun, and anytime you can engage that more technical part of your mind for writing that gives your brain something to do and then your subconscious comes forward. In the case of the “Pantoum for 1979,” it gets at that time frame using the very specific repetitive pattern of a pantoum. The pantoum tends to be perfect for topics that are rather obsessive, and I’m like Okay this is good. I’m always thinking about this time [of my life], but never quite get at it. I realized too that in that section comprised of the shorter works, there was never a real explanation about who this person was, how I got to know him, what was going on. The pantoum, even though it’s such a restrictive form, allowed for all this narrative. Every one of my [pre-publication] readers said, “Yes, this is what we were missing.” I’d say really experimenting with form and having fun is the way to keep your writing evolving.

 

TFR:
It must be great that you demonstrate that so clearly in your own work for your students. You know, students sometimes are very resistant—”I just want to write what I want to write.” But if you show them the excellence that can come out of that, it must be very inspirational for them.

 

Miller:
It is interesting that one of the biggest challenges of writing is getting students (or anyone) to loosen up and have some fun. This year, I’m teaching an 8:00 a.m. class, and I think because they’re so tired their guard is down, so they’ve been willing to try a lot of things. At least up until this moment actually—as soon as it’s final projects time then suddenly it’s very serious and they don’t want to use anything that they’ve tried. With graduate students, they’re understandably so focused on their thesis projects, and everything they write has to go in their thesis. It was only when I brought in a collage artist, and we cut up magazines and created this huge mess in the classroom—magazines torn up and glue sticks out and coloring pens—and they were having so much fun. We created these things, and they weren’t for the purpose of doing anything with them. I ignited that little playful spirit, and ever since then they’ve been very game to just try stuff and see what’s gonna happen.

 

TFR:
In last couple years in a graduate literature course I’ve taught, we read a book every week and wrote pastiches of some kind or another, and they were the greatest thing. We had so much fun, writing satires and a whole variety of stuff. Some of their best work came out of it. One student said she’d always wanted to write about her experiences going to music festivals but she never felt like the stakes were low enough to try it out, and she ended up changing her entire thesis and wrote an entirely new thesis in about six months that was just terrific.

 

Miller:
Nice. I find that kind of thing happens all the time with thesis students that if I get them onto a new form, then all of a sudden they just switch gears and the writing’s fresh and original.

 

TFR:
One of the other things that’s striking about An Earlier Life is your use of not just the first person but the collective “we.” You do that quite frequently, and I just wanted to ask why you’re drawn to that unusual point of view in your work. Do you think it’s related to the collaborative writing projects that I know you’re also participating in, or is it something different?

 

Miller:
I had never thought of it that way, but it could be. Right now, I do a lot of my work in writing groups, either with my students or with my own writing group, where it’s generative writing. We have certain timed writing exercises and rules and all that stuff, and so sometimes it just comes out in the “we” voice. I think when I’m writing in that mode it comes naturally. I never set out to say, Okay, now I’m going to write a piece in the “we” voice. I think that happens when I feel like I’m not just talking about my experience but the experience of my cohort growing up in Southern California. I’m trying to think of exactly which pieces use the “we”—I know there’s the one about the lifeguard [“Dark Angel”].

 

TFR:
There’s “Dark Angel,” but also “L’Chaim,” “Change,” “Sweat Lodge,” and maybe a couple of others where the “we” is your family [“In Orbit”].

 

Miller:
I just love it when people see stuff in my work that I had no idea about. [Laughs.]

 

With those pieces, I’m not talking about a particular experience of mine, but about a particular experience of a generation of people. “Dark Angel” is this piece about the lifeguard and just going to the beach in Santa Monica and just us girls and how we were in those awkward teenage bodies and connecting to our bodies. That particular piece was supposed to be three separate essays, but they weren’t really saying anything on their own, so I put them together and saw this theme of distress and that kind of growing-up angst and undiagnosed depression—all things that a lot of girls go through. That piece uses three different points of view—the first section is in the “I,” the second in the “you,” and the third in the “we.” They show different phases or aspects of growing up.

 

TFR:
It’s a strategy that can work to make readers feel included, and I certainly felt very much that way, but I think writing with the “we” is tricky because sometimes people can say, Oh why are you speaking for me? I felt like you handled it in a very gentle way, so it never got overwhelming or bossy. It never became a royal “we.”

 

Miller:
You find it in fiction, too, and it is tricky because, for one thing, it doesn’t have a gendered pronoun, and sometimes it just doesn’t work. Yet when it works, it works. Oftentimes, I’m organically writing in a particular form like a “you” or “we” point of view and it’s actually not working, but it is getting the material out. So I always look at that in revision and often change the point of view. I really want to encourage people, like I encourage my students, to just try it. If you don’t like it, you don’t have to keep it in that form, but you probably will get to some lines and material that you wouldn’t get to any other way.

 

TFR:
Would you speak about the ways in which genre boundaries seem to be in flux these days?

 

Miller:
They are totally in flux. I love it. I love it so much.

 

TFR:
We used to get that advice—there was that sort of classic advice—that you should choose one genre and stick to that. Obviously, we make something else of that advice now. [Laughs.]

 

Miller:
People are doing such amazing work out there. This particular book is probably the book of mine that does that more than my other books. I’m using poetic forms. I’m using a lot of
hermit crab–type things. Even the use of the “we” voice is a fictionalization of experience. I feel like this book is really in flux between poetry and nonfiction and fiction and other
things, too. [Laughs.]

 

I think it’s very exciting not to be couched in these very distinctive genre boxes. When I was editor of Bellingham Review, I kept seeing more and more that people are really trying to break those boundaries. I’m all for it.

 

The collaborative work really does that because, like, What is this? There’s no one speaker, a lot of them are in short sections, and some of them were responding to art, some were responding to a particular topic. It’s a very exciting back and forth that doesn’t really fit anywhere, which makes it hard to find a place for them. We get rejected a lot because people just don’t know what to do with them.

 

TFR:
Send one to me. One thing about The Florida Review is that there’s a history of engaging with new forms or forms being newly accepted as of artistic merit. The previous two editors did this over the years with creative nonfiction and then graphic narrative, and I’m looking to stay in that tradition. We’re starting to accept some digital storytelling, to recognize that as an art form, and we’re open to all kinds of things.

 

One more major question—your writing is characterized by an intense interiority and often somberness, but you also sometimes exhibit what I might characterize as insouciance. “Swerve,” in particular. And you’ve already talked about “We Regret to Inform You.” It’s not a light humor, but it’s funny. How does humor work for you and your writing, and how do you decide when it’s right to be funny?

 

Miller:
I never set out to be humorous because once you do then you’re not. [Laughs.] I mean, some writers are. Some writers are very good at that, but I find if I’m not having a good time then I might get bored with it. It comes out of playing with form. Often the hermit crab pieces have what I’d call an inadvertent humor to them because you’re usually taking a very objective form like the rejection note—in this book I also have a dress code piece, and that kind of thing is usually pretty authoritarian and rigid—then combining that with really intense personal stories and confessions. The humor arises naturally [from the contrast] and then the key is whether it gets gimmicky. In the revision process, I have to find out what this piece is really about.

 

In the case of the rejection notes, I had probably twice as many as ended up in the final piece because once you start writing about rejection you have so much material on your hands. I was having a grand old time just writing them. I gave a first draft to some readers, and they said, “Yeah, it’s good but it gets a little repetitive and gimmicky,” so I had to think about what this piece was really about. I heard in several of the letters this idea of finding the role that suits you, so I cut out all the letters that didn’t have that and highlighted that theme in the others. Then it started to take on more of a cohesiveness and a sense of being a complete piece. Then it takes that turn in the middle—it’s kind of humorous at the very beginning with being rejected in my art class—not having my drawing displayed—or being rejected as a tenth-grader—not going to the dance. You know, normal things that people can relate to. Once you start working in that way, people let their guards down. They’re laughing and saying, “I can relate to that,” and then it gets more intensely personal as it goes along until I get a letter about my miscarriage as a young woman, and it’s actually from the miscarried baby, which is not something I was expecting to happen, but again it was like the form demanded it. I was just going along chronologically and I’m like,  Okay what happened next in college?Oh yeah, and I said, Do I skip that? Well, no. So, I wrote it and then just went on. I didn’t spend a lot of time with it, but in the revision process I found, Oh there’s that real turning point in the essay. Whenever I read that piece aloud—and I love to read it because it’s an audience-pleaser—they’re laughing and laughing, then I get to that turn. There’s like the “Ohhhh,” and then people get subdued. Then there’s laughter again, but with a different feeling.

 

Though it happens a lot in more traditional essay forms, it’s more difficult. By using these other forms you automatically create what I call a shared space between the reader and the writer using a form people relate to—especially, in this case, if you’re reading to writers who are all familiar with the standard rejection note, so they’re already with you. That’s one way I go about thinking about humor.

 

TFR:
What else would you like readers to know about An Earlier Life? And where you going next?

 

Miller:
I’d like them to know that these essays were written over a period of time—probably five or six years—and that I did spend a lot of time getting them into the order that they are. Sometimes
readers of essays will pick it up and just read at random, and I’m thinking, I spent so much time putting it in this order, so read it in order! [Laughs.]

 

I’d say that the collaborative work is really intriguing to me. I also have been doing some writing challenges over the summer. I wrote from a prompt a day with a writing group—me and two other writers—and we did the prompts in different ways. The first month was from a literary magazine that had it as a part of their way of getting people to their website, but they put out a prompt a day, and my two friends and I wrote to that. We’d send each other work and we liked it so much we continued in July and made our own prompts and just rotated who gave the prompt. Then in August there was a photography blog doing a prompt a day so we would take a photograph a day and then write to that. By the end of the summer I had probably more than 220 pages of new work.

 

This was also while my father was dying, and I thought there’s no way I can write, but it’s the summer and I need to write. By having the community and by having the external prompts, I was able to record everything that was happening that summer as well as memories that were coming in. I have not looked at work yet, but I plan to next month and to see what’s there. That
might turn into its own little book, but would never have been written without community. The type of community we need changes as we develop as writers, and I don’t need a feedback community so much as I need a generative writing community now. But I still need community. I guess that would be the last word—I think we all need our communities.

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The Boy

Two down. Two Greyhound days down, and Texas by morning, so Billy figured. Dallas by noon, and then, who could say? Across the bus’s wide aisle from him, Sam slept, her boy tucked into the crook of her back, the both of them curled against the upholstered plastic of two cruddy seats. Sam cropped her hair high and tight, like a boy’s, like her boy’s, but it had grown out of late, pressing up from her scalp in ragged shoots. Messy. Ugly. Billy sprawled himself over two seats of his own, one sneakered leg thrown sideways from his hip into the empty aisle seat, a single sentence writ across his face: “I dare you to sit with me, motherfucker.” Dallas by noon, and then, a new life to last him for good. Girl and girl’s bastard in tow, but a life of unknown newness nonetheless.

 

Boy and mother turned in dream. The boy woke for a moment and scrambled to his mother’s lap. Lodged against her breasts, the boy folded his feet into the seam of Sam’s legs. Thomas. Small for four, already blessed by thick glasses with brown, gawky frames, the only ones available to the state Medicaid patients. The boy wore a button-up shirt beneath a natty pullover vest, though the temperature had topped eighty the long way across Indiana. Thomas’s wrists were thin. Thin wrists meant a boy would always be small, even when he grew. Like with feet on a kitten, the forever smallness of things betrayed by wrists and feet.

 

Billy held up his own hands. His wrists were solid, comfortingly so.

 

Outside, the last, drab Hoosier fields passed by, Michigan long gone. Corn melded on the pane with the boy’s mirrored, blond head.

 

Billy knew that Thomas would grow up to be an outcast, too weak for sports, too gangly for girls. He pitied the boy, saw how much a problem the boy already was and, from the look of his bones, would always be. High school, where Billy had shined, would be awful for the boy, and there was Billy in that satin-framed future, around to see the whole damn pageant. Unless Thomas someday found the thin-wrested gumption to run away in the steep of night.

 

Billy bent to Sam, to kiss her, but the smell of her made him stop. She’d not had a good wash, anything more than a splashdown from a tepid faucet in a truck stop restroom outside LaPorte in more than a day. He hated Sam’s smell when she hadn’t washed. She didn’t smell like a woman, so he thought, but more like old milk left out on a counter. And he’d done that once, in a Southfield apartment, gone and left a gallon of milk out behind a pile of dirty dishes after he was done eating a bowl of Corn Flakes. Days passed before he remembered, tracked down the faint hissing sound which had plagued his space for days, the sussurations of the sour milk’s vapors in escape from around the cap. The bottle, swollen fat and pregnant, he’d thrown carefully away.

 

Billy fancied himself an expert on scent. Scent was the hook, not looks or money, that really attracted one of a pair to another, nothing but scent. Pheromones, the odors a body produced by the natural order of being a body and which really did it for some other poor sack of blind and groping meat. A part of Billy supposed, maybe, that he should love Sam even when dirty, when awake or asleep, but he could only smell what he smelled, only the scents brought to his waiting nose, what came.

 

Billy also knew that the boy, Thomas, was the real problem between them. Not bad scent. Without Thomas, he and Sam could’ve left D-Town years ago, escaped to warmer nights and better jobs, because Sam wouldn’t have needed her mother for day care and diaper cash. If he’d met Sam before whoever-was-Dad had done, they’d already be gone, years hence, a few short but happy lifetimes ago.

 

Billy thought of Mary Saunders from his twelfth-grade homeroom. Near on five years had passed since he’d sat next to that crazy Mary. Mary Carrie they’d called her, after the movie. While he waited for the first-period bell, she’d make eyes on the pages of her notebook, scores of them, like laden plates of fish-egg bait. He’d never been close enough to smell her to tell if she had good pheromones, but he’d bet not. Sour for certain, full of salt and old cold cream.

 

Sam stirred, pushing against the child on her lap.

 

“My leg’s asleep,” she said, before turning her head to the window.

 

She revolved her body as far away from Billy as she could, and Thomas’s right leg slipped off her knee. The high-top sneaker hit the underside of the seat in front of them with a metallic ping, bounced off a heater grate, and so many miles rolled by, Billy’s head flushed awash in visions. He became lost among visionaries. He was lost already.

Dallas was hot that June. The temperature reads they passed in the taxi, going from the bus station to the motel, blared 104, 105 in gaudy florescence, like advertisements for the pleasanter coast of Hell. People outside walked briskly with their shoulders squared and their backs erect, moving as though proud that they were here, swarming in the heat and taking it well.

 

“This is awful,” Sam said. “A hundred and five? Give me a fucking break.”

 

“Dry heat,” Billy said. “You can feel the difference. Ninety’ll break a back in Michigan because of the humidity. Humidity’s what makes heat rough.”

 

“We shouldn’t have done this,” she said.

 

“My great-grandfather,” he said. “You know what he wanted? He wanted to marry a Dutch girl before he came to America. He tried to find the right woman for weeks. Couldn’t do it, but he looked, right up until they loaded his bags on the boat. Still, he wanted a girl from home, so you know what he did?”

 

“Gave up?” she asked. “Got on the boat by himself like a grown-up?”

 

“He went to a brothel, right there in Amsterdam, asked if any of the girls would marry him. ‘Somebody wanna marry me?’ he asked. ‘Get up right now and I’ll pay your way to America.’ So my great-gramma, she stood up and said she’d do it. She came with him.”

 

“Great,” Sam said. “I’m thrilled. It’s still too hot.”

 

“They were married fifty-seven years,” Billy said, nodding. “We could be like that, you and me, if you got a better attitude.”

 

“So if I get a better attitude,” Sam said, “I can be a whore. Bought and borne for your stupid ass.”

 

Though Billy searched her for intent—jest or wrath—he saw only the long lines of her face gaping back at him. Her eyes were closed, her mouth thin-lipped, her arms held close to her chest. Her body braced, all of her an oracle of nothing, a fount of excommunication.

They bought a room for the night, one with a single bed, wood paneling, and no AC. Sam cracked the lone window as far as it would go, three or four inches, before the painted-clogged jamb stopped its slide dead. She craned her neck askance and put her face into the crevice. She grimaced, scrunching her features shut and strained. Billy could swear her face pinched and shrunk, as though trying to slide out between the frames.

 

Thomas sat on the corner of the bed, rummaging through his tiny, hard plastic suitcase. The contents were limited, only a shirt or two and a pair of swimming trunks. Sam had wanted him to have something to carry, to train him a little with some responsibility, but he had nothing that couldn’t be replaced if he left the bag behind in a gas station bathroom. From somewhere deep within the case, a pocket that Billy couldn’t even see, the boy pulled out a stuffed animal he’d ferreted away on his own, a toy ghost come all the way from Detroit.

 

Billy frowned. “What the hell is that?”

 

“Super Banana,” Thomas answered.

 

“Oh, leave him alone, will you,” Sam said from her window. She lay flat on the sill, fanning her face with a Mexican take-out menu someone had left on the peeling Formica countertop in the ‘kitchen,’ just a nook on the far side of the room that couched a sink and a battered, broken stove.

 

“He is a boy, isn’t he?” Billy asked.

 

“He’s four.”

 

“So he can still be a four-year-old with some balls.”

 

Thomas ignored them, flying his stuffed, man-shaped banana around the room. The toy had arms and legs made of rainbow shoestrings. Machined, white leather hands and sneakers. As he dragged the toy across the end table beside the bed, which held nothing but a single lamp and an ashtray, one of the toy’s legs caught in the ashtray’s cigarette rest, and, as he flew it by, the boy pulled the ashtray off the table and across the bed, still attached to the banana. Leftover, metal-gray ashes spilled out onto the ivory sheet. Billy stared at the pile, on his side of the bed. He let out a long sigh and stood immobile.

 

Thomas stopped playing and tried to tug the toy loose, but the leg was wedged in good. A minute and the boy whimpered, then softly cried.

 

Vacating the window, Sam came to him. She cradled his shoulders and removed the toy from his hands. Gently, she pulled the leg free of the ashtray.

 

“Maybe I should cry, too,” Billy said. “Until somebody helps me. It’s my money for this palace. My job quit. My ass in the ashpile.”

 

“Don’t,” Sam said, hugging her boy.

 

“A place like this won’t change the sheets twice. You know that as good as me.”

 

“Please,” she said.

 

“Lucky they were clean in the first place.”

 

Billy could feel the ashes already. They pasted themselves, cold and slippery, against his back. His night would be a sleep on shoreline dirt, the absent tide gone and not coming back.

 

He slumped into a tattered armchair in the corner and tried to rub himself free of the slick mess he swore was on him, but he couldn’t.

 

This was a mistake. His life was a mistake, everything that had followed the doctor’s slap and his first heaving breath.

 

Even if he brushed the ashes away, they’d have worked their shitty fingers into the cloth, buried themselves in the fibers. They were waiting for him, and him alone, and once they hopped aboard his skin, he would never be rid of them, not of a single mote, and he’d wake up in the morning as dirty as a mule, every morning, ever after.

By Wednesday night, when the travel money was gone, Sam started in on a nonstop cry, one lugged up from a bottomless well in a broken pail, one that slaked the room’s thirst with nothing wetter than a woman’s constant regret. Her eyes were inflamed, the lids pinkeye swollen, the whites tarnished with windshield cracks of red.

 

Billy pulled off his shirt and tossed it on top of the pile they’d grown in the corner beside the chair, because they hadn’t yet found a laundromat close enough for walking.

 

Sam gripped the Mexican menu in one hand, fanning herself. Eight in the evening, the temp ninety, more than ninety. She was pallid; she looked boiled. In her other hand, she held a rolled-up Vogue, stained by irregular shapes on its back cover, an ad for a fancy perfume.

 

“Cockroaches, now, too” she sniffled. “I’ve been after them all day.”

 

Billy looked closer. Carcasses speckled the wall behind her.

 

“I would’ve cleaned,” she said. “But, you know. If you turn your back.”

 

Her skin looked blue with dirt, her hair like a helmet of grease. Billy wondered if she’d been in the shower since they’d arrived.

 

Thomas dangled off the edge of the bed, at practice in the tying of his shoes, pulling one loop around the other with repeated circles of motion. Billy sat down beside the boy and showed him the right way, once again. Billy’s fingers moved quick and sure, and maybe just a little too angry, so when he pulled too hard as he unknotted the left shoe, Thomas looked ready to tear up again himself.

 

Billy refused to comfort him. The world was hard. The boy was so different, different like someone else’s child.

 

“There’s a kitty outside,” Thomas said, watching Billy’s hands as he started on the right shoe. “He eats everything, even pretzels.” The boy giggled, indelibly amused.

 

Billy nodded, remembering the animal from when he’d gone job hunting that morning, a scrawny stray with orange tiger coloring and two torn, Tom’s ears. The cat looked mangy, and had an unnatural lump on its back the size of a golf ball.

 

Billy double-knotted the sneaker. “You can’t have pets here,” he said.

 

“Someone should report us to management, then,” Sam said. “Got us a number of violations racked up.”

 

She whacked the wall, loud enough to make the neighbor next door pound back and yell in his familiar, throaty Spanish. When she pulled the magazine back, a new squash appeared beneath it on the wall, gleaming brownly in the light of the table lamp.

 

No comprendo,” she yelled. “No comprendo, la cucaracha.”

 

“Fine, then,” Billy said. “Five damn days before you gave up.”

 

He rose from the bed, leaving Thomas with one shoe still untied, and threw open the screen door. A horde of moths flew up towards the square-domed light above the room number—14, with the four hanging upside down.

 

Billy stood in the doorway, feeling the heat on his chest like the press of stones beneath an unmade plea. The fight was already long over, the field long deserted, the battle lost. Nothing left out here but the maimed and the dead.

 

He came back in, but left the door open. He fell backwards onto the bed, let himself go limp as he fell so that his weight bounced Thomas off onto the floor. The boy landed somewhere out of sight in a tangle of elbows and knees. Billy could feel the old, flattened ashes beneath him, cool and oily against his skin. He ground hard against them.

 

Sam unrolled the magazine and pretended to read, sniffling again. They all ignored the open door as though a cloud of mosquitoes wasn’t drifting in, and a crush of heat, and after a minute, the scraggly cat, which appeared in the jamb. It stepped across the threshold. Thomas ran to it and pulled it into his arms. The animal allowed him the expression of love without reservation.

 

Thomas took the cat to the chintzy corner chair and sat with it crushed against his lap. He petted the cat with a furious hand, petted as a man might sand a board. The lump on its back was a different color than the rest of its back, pinkish and lighter, where soft fur from underneath showed through. A tumor, then, of some sort, but Thomas didn’t care, rubbing the cat’s back and shoulders, squeezing its angry and tolerant face.

 

Billy got off the bed and brushed at his back. He made the motion a second time, rubbing and scratching and trying so desperately to remove the ashes, but they simply wouldn’t let go. He could feel them, tarnishing the skein of his innermost wants. He walked across to Thomas and swatted the cat out of his arms, stamped his foot once to frighten it, and the animal bounded, jangling claws on the linoleum by the door, absenting itself off into the nightdark.

 

Billy slung his arm behind his back, felt the sharp blade of his protruding shoulder, and scratched, dug, churned. He could feel the ashes, surely. Surely. He marveled as his arm came back out into the vacuum of space before his eyes. He watched the slow-motion arc of the arm of another man, another man with less patience, another man with less hope left alive inside, with less weight in his pants and his heart. This other man’s arm came flying off from his own dirty back, and the hand, that bad, that bad, that so bad hand, it slapped the boy, once, just a single time, backhanded him across the face.

 

No one moved in all the room, or spoke, or took in a needed breath, and the all of them remained frozen for minutes that were really hours, hours that presented time enough for thought, and reflection, and the sheer thrill of wonderment.

In the morning, the door still hung open, Sam and Thomas long gone into its sunborne frame.

 

Billy, woken alone upon the bed, regretted his loss with a vagueness more appropriate to a missing set of keys, and in truth, he couldn’t properly identify the source of all his grief, wasn’t sure, was it the slap, or the dirt, or Dallas itself which had burned away all his possibilities, all those supposedly first-class and everlasting years which his mother had once told him lay ahead of all good boys.

 

Across the room, the cat slept on the floor beneath the armchair. Beside the cat, a pile of old potato chip crumbs drained oil into the shag carpet at the chair’s foot. Bites, from fleas or mosquitoes he couldn’t say, dotted Billy’s arms and chest. They itched, and he tried not to touch them because he knew that if he let go on them, then the wounds would really want.

 

The bites stared up at him like myriad eyes, and he thought of Mary Carrie Saunders for the second time in a week, creating an audience in homeroom. Sometimes, she began the eyes with a series of dots, pinpricks of her ballpoint, and she’d come back later and circle them. She always drew them quick, was resolute in moving on, as if she knew that completing an eye gave it the power of true sight. Other times, the circles first, and then the dots, slammed home with vaccination stabs.

 

Sam had left him the magazine, para las cucarachas.

 

Billy got up, then sat in the chair where he’d hit the boy. Three cockroaches scurried across the far wall, bold now, running sprints. The cat woke, found Billy, and crawled into his lap. So, then. He was forgiven.

 

Billy looked down at the cat, a precarious bird perched on his legs, each of its scraggly paws made into a pinpoint of balance. The cat lapped at his arm hair with a long, coarse tongue, a pink fire, living and alive. After finishing with his arms, the cat stayed in his lap, settled and kneading, and then spreading out flat across his thighs. A chorus of fleas squirmed in its fur. The animal cleaned its face, tonguing a front paw and passing the wet limb over the lids of its eyes. He could picture Sam in Southfield, leaning back on a green plaid sofa and telling her mother what a bastard he was, how awful a summer in Texas could be. But that was okay. He knew better. If it weren’t for her boy, she would be with him still, be here, be contented, pulling down a beer from the 7-11. Laughing. If it weren’t for her boy.

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From Knowing to Unknowing

An Earlier Life, by Brenda Miller
Ovenbird Press, 2016
174 pages, paper, $14.95

Winner, 2017 Washington State Book Award in Memoir

 

 

In her most recent collection of essays, An Earlier Life, Brenda Miller examines the rich assortment of previous lives she has come through on her way to the life she currently inhabits. “In an earlier life,” she begins, “I was a baker in a bakery on a cobblestoned street. I woke early, in the dark, to do my work . . . In the quiet, I brought something to life.” The image of Miller kneading dough in the quiet hours of morning bringing something new into being is reminiscent of her work as a writer, and she delivers a breathing work of art between the pages of this book.

 

In “Who You Will Become,” Miller reflects on a sign which always hung in the front hallway of her childhood home, the Hebrew letters for Shalom with its multiple meanings—hello, goodbye, welcome, good and peace. She explains, “In Hebrew, the word for God means, “I am what I am becoming.” This presence is always imminent, always evolving. When we say Shalom, we are in the midst of this transition: hello, goodbye, turning to face the past and future at once.”

 

With that, she begins a candid examination of her life beginning in childhood and adolescence, through her early adult years and into a time of reconciliation and healing. The theme that one thing—a word, an object, an event—can carry more than one meaning, echoes throughout the book.

 

Miller’s close observations illuminate the remarkable contained within the commonplace, making the scenes dance on the page, and readers can’t help but pay closer attention to their own surroundings. “In Alaska, you understand how light is now a substance of its own making—tactile, with particles and waves and something else. You understand how light finds the least pinhole and expands.” With these opening lines of “Understand,” readers are suddenly more aware of the light that plays around them. Miller’s vivid account of her physical world brings the geography of the readers’ own into sharper contrast.

 

Later, in the essay “How to Get Ready for Bed,” she renders the mundane task of shopping for a new mattress into a work of art, a study of all the mattress represents: sleep partners past and future from boyfriends to pets, sanctuary and isolation, and the best description of insomnia I’ve read. “It’s as if you’re afraid of something, but you don’t know what. Maybe you’re afraid of that moment you slip from knowing to unknowing—the moment you’re with your unpartnered self alone.”

 

Yet not afraid to be vulnerable, Miller allows us to enter the places she stalled, consider decisions that led to trouble or heartache, and experience the consequences of missteps. Even so, she doesn’t neglect to shine a light on the beauty contained in even the darkest places. In “Beloved,” an essay tense with the possibility of violence, Miller describes a day boating on a desert lake with her boyfriend. He’s drinking and flaunting the fact that he could do her harm, that she’s defenseless. The stakes rise when he steers the boat into a secluded cove, “A place,” she writes, “that in any other time, with any other person would be a romantic picnic spot.” Juxtaposed against the visceral sense of mounting danger is this description of her surroundings: “This cool air in the desert, over the water. It’s a land of contradiction, the light bright and subdued at once. You can motor along the wide expanse of the lake, find a small canyon to enter and look for the hanging gardens: plants growing high above the waterline, gaining foothold and flourishing on bare rock, while beneath you—far beneath—a ghost garden mirrors the one above.”

 

By age eighteen Miller writes in “L’Chaim,” she no longer attends synagogue, but there is a thread running through these essays that suggests a search for spiritual meaning—a desire to understand how each of her ‘earlier lives’ contributed to the full spectrum of her life as a whole. Miller carefully considers each remembrance as if she’s turning them over and over in her hands to consider every plane, seeking the places where light shines through.

 

As co-author of the craft book Tell It Slant: Writing and Shaping Creative Nonfiction, it’s no surprise that Brenda Miller’s writing is exceptional. Many of her essays are written in second person. Speaking directly to readers in this manner, she calls them to walk alongside her, to share in each choice that moves her to the next experience. A life unfolds full of music and grit and danger. The beauty, and the pain, and the wonder on her journey toward wholeness becomes their own, a life shared.

 

In the epilogue, “We Regret to Inform You,” readers are treated with an outstanding example of a hermit crab essay—a term coined by Miller and co-author Susan Paola in Tell It Slant. In the form of rejection letters, she highlights a string of her ‘failures’ at various roles and relationships—with her elementary art teacher to the babies she lost in miscarriages to her grad school boyfriend, and finally, an acceptance letter from a pet adoption organization. The letters are bittersweet, sometimes funny, and always insightful.

 

Miller’s ability to turn angst into art, to interpret the ordinary with extraordinary clarity is unmatched. Her work wakes up the senses—external and internal—and will resonate with readers of poetry, as well as prose. An Earlier Life sings to readers, and they can’t help but hum its tune while going about their own tasks. Like bite-sized treats, readers can consume these essays one taste at a time, or in a decadent cover-to-cover feast—the perfect balance of savory and sweet.

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Love Itself Can Be Dangerous

Further Problems with Pleasure by Sandra Simonds
University of Akron Press, 2017
72 pages, hardcover $49.95, paper $14.95, epub $9.99

 

 

Further Problems with Pleasure, Sandra Simonds’ latest book of poetry, addresses similar themes found in her other collections. All of her work addresses important, timely subjects, yet she has proven with each volume that she is not afraid of leaving her audience uncomfortable. Her poems require her reader to work hard in order to come to a blended understanding of both content and syntax. The payoff is well worth it. To me, the most interesting of her subjects are her explorations of violence against women, the dangers of love, the complexity of living in the South, and the potential of suicide.

 

She opens this collection with a five-page poem provocatively titled, “Poetry Is Stupid and I Want to Die,” updating Marianne Moore’s sentiment for the 21st century. As the title suggests, her lines are manic, almost desperate. By linking her syntax in nontraditional ways and by ending and beginning new sentiments without regard for punctuation, she establishes the manic voice, which emerges from her Lego-like constructions of grammar and yet ends up being hauntingly beautiful. The poem opens as the female speaker, alone in a room with a man, considers how she might escape “unharmed / the way a woman has to manipulate both mind and body.” As many readers know too well, women find themselves in situations that can turn dangerous in an instant. Here, we are reminded to always consider an escape route.

 

For Simonds, love itself can be dangerous. Such a forceful theme is apparent in much of this collection. In “Spring Dirge,” she states, “Some people call it self-destructiveness / but I call it love.” Even more explicitly, she writes about the violent repercussions against women in “A Lover’s Discourse”:

 

Every so many seconds a woman is hit by a man
 with direct tectonic rage. Geology
 is some rough sadism I know
 not what. Agony is property
 but it is also agony. Vow to me, agony!
 Declare your allegiance! (Or buy me a house.)

 

Simonds’ manic voice mirrors the complexity of these lines and the familiar, cultural position of the powerlessness of women. Here, the speaker considers the payoff of an abusive relationship, one defined by agony and rage, to that of material wealth. In poem after poem, Simonds positions her speaker in these places of opposition.

 

For example, another favorite poem of mine from this collection, “Our Lady of Perpetual Help,” juxtaposes ideas of the feminine. The poem, set in Mississippi, describes a group of nuns who are not who “they pretend to be / One is pregnant under her habit / One thinks she ought not to touch that / One buys a Diet Dr. Pepper and Twizzlers.” Because this poem is set in the South, I can’t help but wonder about the sins and terrors of this geography. Is God dead? Has he been false (like these nuns) all along? The poem digresses into a word and sound play on “nun” and “none”:

 

This is a place of weeping things
 where the world has wept
 and wept and no one has come

No Father None     No Mother None
No Baby None Comes     No Sister
None Comes No Brother None Comes
No One     like None
It’s that kind of place
 You’ve seen it before
 It’s blind to everything, everyone

 

Although they are not officially marked, I would say that Further Problems with Pleasure is separated into three sections. The middle section, titled “The Baudelaire Variations,” is broken into sixteen smaller poems. Simonds translates several Baudelaire poems, mostly maintaining a close reading of the original, yet modernizing them in order to bring them into the contemporary world. Most of the translations follow the path other translators have taken, but a poem like “I Love Wine!” is acutely different:

 

Today, omg, I’m just so spaced out and splendid
 as I walk this earth without death, without an apron
without being a wife and so my queer heart transforms into the nostrils of a
 winter
 workhorse whose exhalation breaks through the iced tulip sky.

 

A large majority of the poems throughout her book are in the form of an address, and here too, Simonds ends with an address—this time to someone named Felix, requesting a trip to the “Oregon coast / [to] relax inside the boxed wine paradise of our dreams.” Historically, Baudelaire and photographer Felix Nadar were very close friends. Baudelaire claimed that Nadar was the “most amazing manifestation of vitality.” Perhaps Simonds is playing with this historical relationship and a present-day character to whom most of the poems in this section are addressed. Felix changes gender and appears to be a muse or imaginary partner. Remarkably, the name Felix is derived from the Latin for “happy.” Felix, for Simonds, is the “manifestation of vitality” that often, poem to poem, seems elusive.

 

The first and third sections of her book include both poems that reveal the hectic, intense inclinations of the speaker’s tone as well as poems that are tight, clear, and adhere to grammatical order. In both the first and third sections, the word “suicide” frequently occurs. It is a conceit that makes sense considering the desperateness of a suicidal mind. Mania and suicide go hand and hand. Simonds’ opening poems make the claim “I can’t imagine why anyone / would feel the desire to hurt a woman / who thinks about suicide every day.” Occasionally, the speaker of a poem declares that they don’t want to kill themselves, or they implode grammar into one important conviction in lines like “This is my life / I don’t want it I do.” Poems like “Ode to Suicide, Delirium, and Early REM” advertise from the beginning the difficulty the speaker has with life. Always keeping in the contemporary world, Simonds’ brilliantly contrasts a Twitter or Facebook posting about the shape of a women’s eyes to those of Mary as an icon:

 

mine are not almond-shaped, like my sister’s, my tips are “downturned,”
 something medieval and sad, something fenced-in the manuscript or
 economic,
 the way they paint the little strawberries are a technological advance,
and deep green vines up the gold-vermillion boxes to keep the text in, to keep
the lion in, to keep the flow
 of the blue flow robes in,
 Mine point down (Almond eye surgery for downturned eyes? please help,
 photos)
 the way Mary’s tips point down, the hue, a libidinous blue,
a corruption, wave, metal star work of mournful
 space —

 

I so admire how Simonds takes what to many of us might seem trivial social media moments and reminds us of the bombardment of criticism and difficulty that comes with simply surviving in the modern world. And, unfortunately for many, it becomes too much:

 

I follow these downward tips
 my eye sockets
that are not beautiful after all
 but eternally plain
as coffins.

 

In “Elysian Fields” the speaker asserts “Life is evil / That is all / I want to live because I’m stubborn.” The poem takes its title from classical mythology as the final resting place for the blessed. It also references a place or state of perfect happiness, paradise. As it is situated as one of her final poems in the collection, might Simonds be addressing the one thing her speaker searches for poem after poem? Further Problems with Pleasure, as the title suggests, is the elusiveness of that pleasure and all the obstacles that get in its way. Readers must endure the mind of one who toys with suicide and addresses difficult themes stemming from social to geographical limits and confines, but on the other end lies something real and rewarding and magical.

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Interview: Sandra Simonds

         

 

Sandra Simonds is a prolific poet, critic, mother, and professor. She is the author of five poetry collections: Orlando (Wave Books, forthcoming), Further Problems with Pleasure (University of Akron, 2016, and winner of the 2015 Akron Poetry Prize), Steal It Back (Saturnalia Books, 2015), The Sonnets (Bloof Books, 2014), Mother Was a Tragic Girl (Cleveland State University Poetry Center, 2012), and Warsaw Bikini (Bloof Books, 2009). She is also author of a free electronic PDF collection,  Untitled Collage Poems (Bloof Books, 2016). A sixth print volume, Orlando (Wave Books), is forthcoming in 2018, and Simonds is working on another collection, Atopia. Please see five poems from Atopia and a review of Further Problems with Pleasure elsewhere in Aquifer.

 

Reading Simonds’ work is not unlike plugging into high-voltage poetica, fused with the hard metal of keen intellect, unmistakable humor, the reality of ourselves as sexual beings, and charged with political and social thematic waves. Nothing is at rest in these poems; they shout and taunt, but mostly they invite an engagement to language throbbing with 21st-century life.

 

Judith Roney for The Florida Review:
I’m thinking I was first introduced to your poetry when I received my May/June [2017] issue of The American Poetry Review, and was intrigued by your poem, “Dear Chris,” which is the first of three poems featured in the issue. It’s a hardworking poem, “long,” and of an eclectic construction that gives it restless energy.

 

Contemporary epic, or “long” poems, are my latest poetry-drug, so when I read an excerpt from Orlando in The Brooklyn Rail’s e-journal, I was smitten with its forty-eight flowing tercets, where the speaker seems to address the city of Orlando, but soon we’re accompanying the speaker in a kind of kinetic stream-of-consciousness journey, passing through the land of the body as if were a fantasy theme park like Disney World, which is referred to several times in the poem.

 

The form works fabulously against the energy, creating marvelous tension. Thoughts echo in my reader’s mind of Virginia Woolf’s Orlando, yet I sense you, the poet, clearly enter at multiple points. For example, we see the speaker at their desk, trying to compose on a laptop, but they are interrupted, first by the action of another, then technology fails, and the work is lost. A hard-copy diary is remembered: “. . . and that is precisely the moment you fell out of love with me, / abandoning me to the very diaries and bookshelves of my consciousness, both as a teenage/girl and now as a middle aged woman, so I tried to figure out what I could have done back then, / what confession, what moment of weakness, what apology had driven you out of my life, / so abruptly . . .”

 

You have a collection soon to be published (2018) from Wave Books called Orlando. I’m excited about this as both a poet, and as a university instructor in Orlando; is the entire collection an epic poem, or is Orlando a long poem contained therein? Where did this spring forth from?

 

Sandra Simonds:
First, thank you for this question because I’m really excited to talk about Orlando, which I think of as an epic feminist poem that reads like fiction or memoir. In terms of structure, Orlando is composed of two sections. The first section is forty pages and each page is four very long-lined tercets; the second part of the epic is written in a kind of spiraling open form. The second part of the book, in fact, was initially forty or so discreet poems with titles that I, upon revision, transformed into one long second section called “Demon Spring.”

 

I chose the long poem form because I wanted to work in the tradition of the epic which is historically so heavily inflected with masculine energy. The “epic” has been coded “male” and I was interested in the challenges of writing an epic poem given the gender history. Who is allowed to write our history? Of course, I’m not the first woman to do this. Several feminist long poems that influenced me in this project come to mind including Alice Notely’s The Descent of Alette, Annie Allen by Gwendolyn Brooks, Lyn Hejinian’s My Life, Rachel Blau DuPlessis’s Drafts, and Loba by Diane di Prima.

 

You are right to note that “Orlando” in the poem is an unstable character—sometimes Orlando is a city, other times, Orlando is a lover, and other times Orlando is an idea or set of ideas. When I wrote the book, this instability wasn’t intentional but it turned out to be an effective way that I could talk about both love and relationships using this figure as well as broader cultural concerns, like materialism, entertainment, the surface and what lies beneath the surface and so on. So the instability of the figure creates a kind of creative and philosophical opening that worked for me and relates to the traditional concerns of epic poetry—telling a historical, social and political story about our times but through a distinctly feminist voice.

 

TFR:
As a poet, and poetry reader for The Florida Review, I find it increasingly rare that a poem both challenges and dazzles me. I find the poems of Further Problems with Pleasure just brilliant. How did you become involved with the subject or theme of your book?

 

Simonds:
I wanted to explore a number of themes at the same time: sexuality, sexual violence, sexual liberation, gender shame, the body, perversity, fantasy and how these things are constructed and defined in late-capitalist society. What are the norms? What is taboo? Lacan says, “Do not give up on your desire,” and I think that’s a sort of jumping off point of this book. Okay, well what does that mean for a single working mother living in the Deep South at this particular point in history? What part of our desire is “ours” and what part of it is manufactured?

 

TFR:
In this collection, is there one poem that worked as the spark for the rest of the pieces? If not, which poem do you feel best anchors the collection for you?

 

Simonds:
I think the “Further Problems with Pleasure” poems that are positioned throughout the book anchor it because these poems bring the book back to the central questions surrounding the nature of desire and, when the book veers away a little bit from these questions, they are brought back to the forefront of the reader’s mind. I also have a lot of affection for the last poem in the book, “Dear Chris,” which I wrote in response to a poem sent to me by the poet Chris Nealon. I was thinking about all of the leftists who stand up in society against hatred and violence against the oppressed. I wanted to both acknowledge the struggles that we have encountered both personally and more broadly as leftists, what we are up against, what we will be up against, but also to say that what we do every day, our actions matter. That what we did here, right now, matters, to each other and to our children and that even though we all come from different backgrounds, my hope for the future, is that our children will not have to face what we have faced and if they do, that they will be comrades, that they will be on the right side of history fighting for the same things.

 

TFR:
I’m always curious what literary fields a poet mines; what are you reading now?

 

Simonds:
I just finished Matthew Rohrer’s The Others, which I thought was great. His storytelling and the way he works with narrative is fascinating. I also just finished Rapture by Sjohnna McCray. I had the pleasure of reading with Sjohnna a few months ago and he gave me the reading copy of his book with all of his notes and directions to himself (Thank you, Sjohnna!). I love the way Rapture tells the complicated story of his relationship to his mother.

 

TFR:
I think I’d go as far as calling your poetry “combustible” and timely for what’s occurring in the both the political and social arena right now. It’s like the lines are “plugged in” and feel energized, so I must ask, any writing rituals you’d like to share? That is, where do you write best, what time of day, tea, coffee, wine or a bag of chips?

 

Simonds:
My only trick is to write when you are so desperate that you can’t not write what you need to write—when you read things in the news, write, when you feel a sense of justice, write. That usually puts a bit of urgency into the writing and makes the poems more resonant, so that when you’re drinking a cup of tea, revising those passionate poems, you don’t take out the passion, but you have some passion to work with and frame. I guess that Wordsworth covered this area long before I did, though.

 

TFR:
As a parent and an academic, a working professor, how do you find or make time to write? Is it easy for you or always a struggle, as in some sort of “compromise”?

 

Simonds:
It’s always a struggle to find time for me because I’m just a very busy person with two young children, but I think because I’ve been writing since I was a child, it’s like second nature to me. I think I’m probably a person who would write in any circumstances—in a jail or in a castle, in a factory or in an office. I can’t imagine not being a writer and writers write.

 

TFR:
Who (or what) acts as your muse? Or, perhaps there’s a particular subject you find you keep coming back to again and again?

 

Simonds:
The dead, the people who have struggled before us for social justice, the unborn, the people who will need our writing when we are dead. My themes usually center around the political—I want to make poems that are both political and creative, that are political but not obvious rants or propaganda, that touch people, that make people think.

 

TFR:
In your writing process, would you say you write more by logic (doing research, creating notes, etc.) or intuition, or some combination of the two?

 

Simonds:
I go on intuition and sound always. I have an idea or an impulse and I just follow my gut. Sometimes it’s wrong but more often than not it isn’t. I think that this kind of leap of faith is what you have to really develop and nurture.

 

TFR:
Anything that people THINK they know about your poetry, that isn’t so?

 

Simonds:
I don’t spend a lot of time thinking about what people think about my poetry so, honestly, I have no idea.

 

TFR:
What projects are you working on at the present, and what subjects do you feel are calling you for future projects?

 

Simonds:
I’m working on an epic political poem called “Atopia.”

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Five Poems from Atopia

I like to photograph old signs 
when I drive along the Emerald Coast.
“Florida Hotel: American Owned” and
“Rachel’s Restaurant” I dreamed 
a beautiful poem up by the sea but
forgot it by morning; Make America 
Great Again vs Occupy Wall Street.
We talked about extreme weather 
and the stock market in the Gulf,
the water fluctuating around the sun
and pelicans, text message alerts
for tornados and when I got home 
I googled sinkholes and clicked on
the interactive map—14 by 12 foot,
8 by 6, 1 by 1, and read the warning 
signs, maybe the doors to your house
don’t close, maybe there are cracks
in the walls, maybe there are depressions
in your lawn, now imagine a bed
and furniture instantly falling into
the lawmaker’s hand holding up a piece
of limestone talking about an amendment
which will outlaw fracking in Florida forever 
“I’ve changed positions,” she says, “Look
at this limestone. It’s fragile. It’s porous”
and wishing I remembered my dream
of the sea by the sea, the dream enclosed
in the bulb of the sun, my body
covered by seawater, “It was almost
like there were colored rings around
the sun” your dad, the archaeologist, said
and driving home, the eye-level pelicans
and their prehistoric flight, seemed
calm, the bridge both flowing into
and forged by the metallic clouds

Philomel, lost cause, not quite, operatic as doves
 the oatmeal is cooking this morning and it will be a long
hurricane season from June
 to October, that season of hell as we approach
 an apocalypse, as showers fill the heart unable

 to process what is happening.
 Alone in your cabin, the outside world
 has a tongue, has words, scrolled
 and scrawled along the ridges of the bleak sky. 

 Oh Philomel, I have no pictures to post, no landscapes
 to paint, my song is sung in vain, and it is composed 
 of rubble. Fear not, Philomel.
			
Now the oatmeal burns inside its weeping pot
 and revenge is its own constellation of anguish,
 its own pattern of swallows moving across
 the luxuriant atmosphere.

 Personal history? What can we really
 make of it after so many years? 

 The metal bends, the apartment saturated with ash.

Our masters shift; this is the definition 
of domination
Still, Esmerelda, if you would like to take 
a dip in the filthy lake, I’m game 
and if you still have the impulse to be mesmerized by love,
I’m down for that too

I can even transform into a nude before your very eyes 
I promise
I can become just like a painting of paradise from the olden days

We could do this for a little while
before we have to go back to work again

inside the impenetrable flesh factory
where the meat screams

even though it is already dead
I’ve never known why this is 

Why does it scream night and day?
Maybe because it has no identity 

Esmerelda, they want our blood because 
they must know how sunny it is

how, long ago, we fed the horses and wept and sang 
by the fireplace; they must know

that we had such intense passions, 
that we thought the grasshoppers

eating the yellow fields were beautiful

and we looked at both the creatures
and the fields with a kind of awe

Our masters did not like this and our passions 
had to be held down
by a corresponding cruelty

the formal laws of the state
O the networks
of subjection are infinite

Read of an ICE raid: men, women and children sent to a detention center in Crawfordville, Florida Turn the page Bought erasers, pencils and summer workbooks for my children This is a cell All living things are made of cells This is the earth The earth is always changing If lyric poetry is cruel, I am forlorn at the loss of our wilderness There really is an “anti-parks” congressional caucus whose aim is to shovel the plants and rocks and trees into black plastic bags and throw those bags into the sea It is important to stay safe in Science How do we stay safe? Follow the rules and use the right tools The goddesses of Sunday welcome you We bring you this bowl of peaches and serve you with our porcelain fingers Here is a napkin Here is a knife Your wife and children are welcome too
Glandular fever punctuated by tropical storm Cindy which was a dud; many weeks of rain, the lymph nodes swollen, many weeks of wind while my children play inside the supernova-like sinkhole, Green tea and raw honey even though bees struggle for survival, Alex searching for climate-controlled storage spaces, I yelled at everyone, the black diamond and rattlesnake rattle fell upon me, I could tell you were trying to communicate, I suspected it was your fault, seizure like substance of air turned to current, maybe I blamed you for my illness, I knew you were the one taking me down through this amber realm, this dream space, fragile, filled with neurons, jammed with signals signals from the dead, then the realm spilled into the black hole of the summer solstice and out of the storm; O Angel, you were born.
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The Most Beautiful Dialect

Chemistry by Weike Wang
Knopf, 2017
211 pages, paper, $24.95

 

 

Early in Chemistry, the unnamed protagonist describes how an atom is mostly empty space: “If you remove the empty space from every atom, the entire world’s human population could fit inside a sugar cube.” In a way, this brief comment on empty spaces applies to the brilliance of Weike Wang’s debut novel itself. The novel’s narrative suggests more than is stated plainly on the page. It is a book as much about what goes unsaid as it is about what is said. In this way, Weike Wang tells a story full of ambition, loneliness, humor, heart, and naiveté.

 

I hesitate to describe the plot because of its familiarity. A twenty-something-year-old struggles to complete her PhD, commit to her long-term boyfriend, and withstand the great deal of pressure on her academic success placed on her by her immigrant parents. The protagonist procrastinates, meets with her shrink regularly, and drinks a lot of wine—bottles and bottles of wine. However, the surprise of Chemistry is not in a riveting plot that charts new territory; it is in everything else.

 

There is something about the protagonist of Chemistry that makes her aimlessness charming. Perhaps it is her subtle intelligence. The novel is written in vignettes, none longer than a handful of pages, most under a page in length. These scenes rarely linger, and a gesture in Chemistry does all the work that another novel might have needed pages of interiority to explain. The precise language at times more closely resembles prose poetry or a braided lyric essay than it does conventional fiction prose. The closest example on the sentence level that comes to mind is Jenny Offill’s Dept. of Speculation, although at times I felt like I could deduce influences from Amy Hempel and Annie Dillard.

 

Interspersed between scenes, the protagonist ruminates on the visible light spectrum, refraction, the scientific method, the history of scientific breakthroughs, and plenty of other scientific observations. These passages are always approachable and never felt overwhelmingly technical. Sometimes these facts are interspersed while in the midst of a scene, which shows the character’s wandering mind and helps the reader better understand the rationale behind her actions. For example, after the protagonist reveals that her mother knows the Shanghai dialect, which the protagonist doesn’t understand yet also considers the most beautiful dialect, Wang writes:

 

When I am born she does not speak (the dialect) with me.

Studies have shown that the brain feels exclusion not like a broken heart but like a broken bone. It is physical pain that the brain feels. (55)

 

This braiding of scientific data with narrative allows access to the particular way that the protagonist sees the world and interprets her own thoughts. The intelligence and external pressure put on the character to succeed make her refusal to complete her PhD and accept her boyfriend’s proposal acts of defiance. In a way, the protagonist is rebelling in the only way she knows how—via stagnation.

 

Stable relationships are few and far between in Chemistry. Yet these strained relationships don’t erupt into emotional outbursts. The conflict is impossible to separate from the protagonist’s identity as a first-generation immigrant who moved from China to America as a child. Her boyfriend needs more than she can give. She can’t even appreciate him fully because “it is the Chinese way to not explain any of that, to keep your deepest feelings inside and then build a wall that can be seen from the moon” (192). If her romantic relationship is strained from her Chinese qualities, her familial relationships are strained because she has become too Americanized. Unlike her parents, the protagonist has forgotten most of her birth language and doesn’t have much of a relationship with her relatives back in China. At times she is embarrassed by her mother’s accent and pronunciation, a common thread in immigrant literature. In an interesting reversal, however, both narratives also encourage the protagonist along both continuums. Her boyfriend begins learning Chinese in order to better relate. Meanwhile the protagonist has tremendous pressure to be successful in a conventional sense—a prestigious degree and job—placed upon her by her parents. In this way, the parents are pushing the protagonist further into the American dream narrative. This clash in both sets of relationships traps the protagonist between two worlds, making it impossible for her to fully inhabit one or the other.

 

Chemistry manages to capture a sense of knowing in the unknown. Scientific facts are approachable in a way that makes you consider whether you always knew the processes of meiosis and that lonsdaleite is a mineral that is “58% harder than diamond.” The whole book feels familiar in the same way, like running into a friendly acquaintance that you can’t quite remember where you met. After saying goodbye, you may find yourself hoping that you stumble across paths again soon, that the atomic empty space isn’t quite so vast.

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the crossing

we are building a viaduct

because we decided

this time,

we will not  travel

underground, live in the great dismal,

drag our bodies through the marsh,

hide in the cattails.

in the plain view of daylight

above the gorge,

as high as millau in france,

our railway.

 

once we perfect the art of brick making,

you can decide how many are needed.

that woman over there, maybe she can

decide how many tons

our spillway can hold.

this old one with the braids

like a hive,

i hope she’ll teach us about

about steel.

she knows how to reduce

sulfur from iron to keep it strong.

look at her hands.

look at her crafted shoulders,

but do not touch unless you

are invited.

 

darlings, there is a job

for us too.

ours might be the gathering kind.

talkers sing like brave birds.

poets plow the top soil

dancers paint with perennials.

 

we will call all hands.

hurting hands are beautiful.

photographers shoot

for our annual day of remembrance.

we can alternate hosts.  I’ll sign up for that.

we have all agreed, no borders.  no borders.  no borders.

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