On the Spectrum of Possible Deaths
Written by Lucia Perillo
Copper Canyon Press, 2012
follows up her 2009 Copper Canyon Press
collection, Inseminating the Elephant
, a Finalist for the Pulitzer Prize and Bobbitt Prize Winner, with another skein of tightly braided magical acts of mesmerizing creative force, beautifully bound. Critics never fail to mention this kaleidoscopic ability Perillo has to raddle the sacred and profane, the deeply personal and mythic universal, the Kotex and the ayahuasca. Raddling, in case you don’t know the word, is the art of weaving. The raddleman was the guy who went ‘round the English villages making those charming wicker fences as seen in Room With a View, although the word also references the quaint practice of tupping, having to do with marking the back end of a ewe after the ram’s done his duty. Perillo doesn’t neglect any reference. She raddles ‘riding the wacky noodles’ (those foam floats ‘old ladies’ use in swim class) with stark renderings of how many of them are shy about their mastectomies in the changing room. And then titles it Proximity of Meaningful Spectacle. She ruminates on her love-hate relationship with death while describing dahlias hit by a killing frost by way of a man looking up from his electric chair mid-execution to announce ‘This isn’t working.’ Raddling.
In forms exact, iambic here, indented there, slant rhymed, eye rhymed, she interrupts classical proportions with a perfectly placed ‘huh, you know’ and a ‘doesn’t that feel a little ostentatious?’ Only Perillo could have written “Freak-Out” – a three-pager in sectioned couplets, and trump the hefty line ‘what passes through the distillery of anguish…’ with ‘not the monster potion but the H Two…oh, forget it…’ She can wax lyrical with the best of the best, then suddenly grab you by the lapels and get in your face. Or in her own face.
In short, Perillo knows just where to go when and how to get back, like Odysseus, or Homer writing the Odyssey
. In fact, he’s in here, or rather, his dog, as is Achilles, Carlos Casteneda and Perillo’s father. His shirt label, which she ‘sees is a haiku […]Traditionalist / one hundred percent cotton / made in Mauritius
,’ inspires a raddle of Bashō, scungilli and her father’s ‘death poem,’ Soon I must cross / the icy sidewalk. / Help. There goes my shoe
This is a book to own, to touch, to treasure, to marvel at, to peek under the dust cover and appreciate how the juxtaposition of the cover art (Giotto’sThe Last Judgement), the plain brown woven hard cover and the red end papers accurately mirrors the virtuosic braiding of Lucia Perillo. A poet who knows her raddle
Review by Susan Lynch
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