The Egg Mistress
Written by Jessica Poli
Gold Line Press, 2013
Jessica Poli’s The Egg Mistress
(Gold Line Press, 2013) brims with delight, sensuality, and devastation, muted and estranged in poems and prose poems grappling with the various stages and eventual end of a romantic relationship. The chapbook cycles through a tight economy of symbols, including a barn, eggs, corn, a kitchen, salt, and cotton. These images, through their reappearance and repetition, work to create a pervading, unified rural-domestic sense of place. Much of the emotion of the chapbook—held at arms’ length (at times buckling, allowing it to take over even in the coolest of lines)—passes through this conspicuous frame. Rather than confining, these poems derive a wonderful, quick energy from Poli’s enigmatic, matter-of-fact wit. For example, the prose poem “The Naming of Things Kept Us Busy” notes with dry, bitter, disenchanted wit an exchange of vows:
landlocked / deadbolt / dust bowl / house in the middle. We read the entire list at the ceremony. After all, we were so careful about getting everything right, stuck on the word love for a day—love, like the failure of the word lung, like mineral. A grassy kiss against teeth. Grinning badly by a cactus. The blood dog’s bite against your thigh. Finally we settled: a hand in a room full of hands.
The speaker relates the content of the vows in barren, claustrophobic terms in the first sentence. The poem then proceeds to convey a gentle yet disengaged (grassy) kiss and the obsession with the word “love,” which fails to adequately name what actually passes between the speaker and her addressee, just as “lung” and “mineral” fail. The nature of these words’ shortcomings is unclear; perhaps this is true for the speaker, attempting to articulate and define the intangible. The final sentence simultaneously evokes mundaneness and eroticism.
Another poem, particular in its dryness and absurd humor, is the eponymous “The Egg Mistress,” in which the speaker declares herself as existing as two selves:
In the morning, I fill the counter with crab legs.
Large white pots boil on the stovetop
ready for an afternoon feast.
I keep my hands full.
Pass your name with salt over burners.
In the kitchen, there are two of myself–
one cooking, stirring, sautéing,
one lying dead on the slick tile,
crabs crawling and tangling in her hair.
I step over her and fry an egg.
The image of crabs “crawling and tangling” in the hair of the dead self while the living self moves about, keeping her hands full, expresses a paradox: to balance the numb, assertive, and pragmatic self, there must necessarily be something dead and plain in sight. One cannot have it a single or solitary way. In order to work through grief (to do what must be done in the everyday), there must be a sort of active separation or detachment. In fact, this separation, resonating throughout the chapbook, lays bare pain and regret in a stark clarity. The matter of fact line, “I step over her and fry an egg,” shows the speaker both ignoring and accepting the lying form as part of her environment. There’s triumph in these lines, as well as dejection.
Aside from Poli’s effective use of a consistent system of symbols and place, The Egg Mistress contains multiple examples of deep, vivid imagery. The poem “I Hide the Core Heap Under the Bed” begins by describing traces of apple-flesh and peel: “Balsa hands and / red sugar on hot fingers: / you used to have a hold on me.” The third line reads like a line from a love song, transplanted and equated to the vestiges of the apple. The traces of the hold are still apparent. The speaker recalls making love “under black lights” with a sense of violence and shame; she recalls the tenderness in her lover’s brushing lint away from her mouth—no more. Finally, the poem ends with the speaker recalling an intimate line, “Let me melt, I always said. / You fed me apples in the morning. / You told me not to cry and fed me apples.” The inclusion of these lines, reminiscent of cliché, ring sincere in the face of the speaker’s bereaved state and Poli’s thorough depiction of gestures and images contained within the poem.
The Egg Mistress can be taken as a layered sequence; each poem and prose poem feels a fragment, part of the whole. The speaker’s consistent tone also unifies the chapbook (we assume these poems have a common speaker). Through several rereads, one gains an even clearer sense of Poli’s intent—to tell the complex story of a relationship, or relationships, through several complex poems, able to stand on their own while complementing one another. There’s also a renewing joy of discovery, of surprise, inherent in this collection, despite the despair and strangeness woven into this book. And part of this joy comes from poems that defy easy explanation or expectation—handled with a level of dexterity and intelligence and care, evident of Poli’s poetic maturity.
Review by Tristan Beach
© 2013, All Rights Reserved
Black Birds : Blue Horse, An Elegy
Written by Natalie Peeterse
Gold Line Press, 2012
Natalie Peeterse’s first chapbook, Black Birds : Blue Horse, is a poetic sequence, an elegy, dedicated to Nicole Dial, who was gunned down, with three others, in Kabul, Afghanistan, by Taliban fighters. Dial had dedicated her life to helping children, opening schools in Afghanistan as a member of the International Rescue Committee. It is thus proper to commemorate this chapbook to Dial, and to invoke, in two epigraphs, the spirit of Lorca (shamelessly and brutally stolen from us in the beginning of the Spanish Civil War) and of Czeslaw Milosz, that recently late, great poet of witness. Peeterse’s Black Birds : Blue Horse, features the dense surrealist imagery of Lorca and the urgent, intimate sense of purpose of Milosz—however, she also channels the emotional and poetic dexterity of Muriel Rukeyser and June Jordan. The ample spacings mid-line and sudden line-breaks are in keeping with these latter two poets’ similar verse styles. (They, too, are poets of witness). Peeterse’s chapbook is thus historical, raw, context-heavy, and incisive. Her subject is multifold: not just Dial, not just the ongoing conflicts in the Middle East, but also the conflicts at home, in Washington, D.C., which partly comprises this sequence in several brief, but intimate (and world-weary) fragments of the speaker’s journey through that city.
The poem opens with Peeterse’s speaker being informed of a young woman’s sudden death. We can assume that the speaker is the poet, her addressee—the dead girl—is Dial. The poet-speaker wakes to gunfire:
One two : three four: then two more :
gunshots. I wake to some kind of tactical
counter-terrorism exercise, or some kind
of national emergency or
the dead body of a girl on the glittering road.
Either way, wind outside. In waves.
The heat blasts on and
off. I roll over and answer the phone : hello?
Dial initiates us into a steady beat of gunshots—which are not unusual for the setting—“tactical / counter-terrorism exercise . . . national emergency”. The familiarity of the sounds, eventually linked to the hot winds outside, indicating summertime, deflates any sense of danger or fear begotten from these “gunshots”. The confusion of the source of sounds—the “gunshots” are not really gunshots—emphasizes the speaker’s disorientation, having just woken from sleep to gunfire-wind-the phone ringing . . . “hello?”
Peeterse, through these opening lines and throughout the rest of the sequence, achieves the feat of incorporating sensory experience into commentary—the dead girl on “the glittering road,” for example, alludes to the nature of the phone call, and the nature of this elegy. This command of sensory presence and commentary (as woven together intimately) extends and culminates at certain points, such as the poem midway through this sequence:
At the equinox of a stranger and the self
day and night are everywhere of equal length, it seems–
and so things are possible
and so precarious the ghetto doors
blown open in the running wind.
Plywood thumps and booms all day here
and all these baby girls–
their voices like swallows. The tiny hinges
of a thousand shoes and precious ankles
move forward : to the windows of our fear.
Press your face to the glass like a girl does
when she can’t sleep : the clap of so many wings.
The first line, “At the equinox . . .”, sounds so much like a line out of Lorca. Things are possible. And is not that the entire statement of this elegy? That things are happening, and can happen, at any moment. In keeping with Rukeyser’s influence (assuming, and hoping, Peeterse has read her), the elegy resembles somewhat one of Rukeyser’s masterworks, Waterlily Fire, about the fiery destruction of one of Monet’s waterlily panels: “Who will not believe a waterlily fire. / Whatever can happen in a city of stone, / What can come to a wall can come to this wall.” As if answering this earlier work, Peeterse’s command, “move forward : to the windows of our fear. . . . when she can’t sleep : the clap of so many wings,” brims with fright and possibility—the voices of swallows, the children (Dial’s purpose in life), the refusal to look away at the window of fear, all call us to look with eyes leveled at the impossible, at our fears, those palpable “thumps and booms.”
Black Birds : Blue Horse is an intimate sequence, that takes great leaps and firmly centers the reader in the immediate experience—Dial’s presence in Afghanistan, the speaker-poet’s mundane walks through D.C. (“Tonight, though, the streets are shiny and unencumbered by your eyes— / slicked over with doubt : that cruel biology of the spirit.”) Peeterse calls us to (peaceful) arms against alienation, against our fears, against turning away, and against silence. “At the equinox of a stranger and the self,” any thing is possible.
Review by Tristan Beach
© 2012, All Rights Reserved