Dance Review: Far by Wayne McGregor/Random Dance

Reviewed by Adrienne Totino

The Pittsburgh Dance Council concluded its 2013-2014 season with London company, Wayne McGregor/Random Dance. The international troupe featured ten performers from South Africa, Albania, Switzerland, and Poland, to name just a few places.

Far was an hour-long collaboration between McGregor, the dancers, and musician, Ben Frost. The set design was equally important, and included a large light board at the back of the stage, created by Random International.

During the group’s ten-week creative process, McGregor took inspiration from 20th century artist, Francis Bacon, and the Age of Enlightenment, a 17th century cultural movement of intellectuals that used rational thought to challenge religion and other traditions. Specifically, McGregor and the dancers analyzed the book Flesh in the Age of Reason and grotesque, figurative images by Bacon.

The paintings greatly influenced the movement, said Jamaican dancer, Michael-John Harper. He explained that Bacon’s work provoked them to “dig deep in their minds, and break habits to keep the choreography fresh and alive.”

Indeed, the piece had a freshness about it. The dancers clearly had a strong foundation in classical ballet. The first section, a prologue to the piece, resembled a modern pas de deux with long lines and seamless partnering. Interspersed, though, were snaky undulations of the spine and intricate gestures.

The light board gave its own show, at first faintly beaming like a starry sky, then erupting like a frenzied meteor shower. For much of the beginning, small sections of solos and duets occurred under that silvery glow. The sound was mostly dissonant, atmospheric; combined with the movement, the effect was somewhat animalistic.

During the middle of the piece, a group of women entered the stage under brighter light and to the accompaniment of a lilting female voice. The movement escalated in various solos, but retained the same liquid quality from earlier.

Eventually the men entered, partnering with the women. There were quick entrances and exits into the exposed wings as the sound turned eerie, almost frightening. The lighting became frantic, numbers flashing on the board as if counting down to something significant. Dancers huddled off to the side, watching and waiting for their turn.

As the piece progressed, moments of unison brought the performers together for brief interludes. The music became sinister, including sounds of animals screaming, and text sprinkled in but barely perceptible. The dancers seemed to be moved by an outside force, which gave the shape of the piece an otherworldly feel.

The movement slowed to a serene duet with effortless partnering, and light vocal accompaniment. To conclude the piece, one woman lay flat on her back as her partner walked off slowly. The light board flashed and fizzled. The sound faded and the curtains closed.

Dancer, Daniela Neugebauer, explained the work as a series of deaths, the end of an era. Far did have a dystopian quality. Perhaps our day and age is changing and a new time is upon us. For Wayne McGregor and his company, the future looks quite impressive.


 

Book Review: The Impossible Lives of Greta Wells by Andrew Sean Greer

 photo 7f980b7a-e276-4c33-8874-612ba6d3a1c0_zpse21c3dc3.jpg The Impossible Lives of Greta Wells
by Andrew Sean Greer
HarperCollins, 2013
Hardback: $26.99

 

Reviewed by Nicole Bartley

Many people have thought: What would my life be like if I were born in a different era? Andrew Sean Greer answers that question and takes it a step further in his recent novel, The Impossible Lives of Greta Wells. The piece itself is an exploration of possibility, covering not only the side effects of electroshock therapy, but also the repositioning of the main character’s entire life throughout time. It asks existential questions about a person’s place in life, the concepts of security and happiness, and presents an opportunity for readers to answer for themselves.

Greta Wells is a middle-aged woman from New York City in 1985 who experiences hardships in her life from which she wanted to flee or fix. Her brother, Felix, dies of AIDS and her longtime boyfriend, Nathan, leaves her for another woman. But she is also a woman from New York in 1918 and 1941. In those eras, her husband is off at war and she takes a younger lover, and her eccentric and beloved aunt dies in a car accident that causes Greta to suffer a broken arm. Because of her depression from these events, she tries electroshock therapy as a last resort, which results in travels through time and space.

The novel begins with a reminder about how magic works. Not the stage show kind that’s flashy and fake, but the quiet kind that slips through the cracks of everyday life. Greer writes:

“Who would ever guess? Behind the gates, the doors, the ivy. Where only a child would look. As you know: That is how magic works. It takes the least likely of us, without foreshadowing, at the hour of its own choosing. It makes a thimblerig of time. And this is exactly how, one Thursday morning, I woke up in another world.”

Greer’s novel doesn’t just take Greta and plop her in a different time. Everyone in her immediate life also exists, and she must relearn who they are and who they remain. The historical thread is the same in each world, though, and she follows events to the best of her memory. However, once she figures out how she’s traveling, most references to psychological breaks, sadness, or her procedure disappear. The whole reason for the novel disappears, and only its causes remain—causes that must be fixed. Her brother is in denial about his gay lifestyle in both earlier eras, she cannot reconcile her lover while she’s married in 1918, and her husband is cheating on her in 1941 before he must be deployed in WWII. Eventually, Greta desires treatments only to travel, rather than fixing her depression.

The problem with Greer’s novel is its incomplete exploration of Greta’s eras. Usually in stories about time travel, characters are warned not to change anything because it could massively affect the entire world and its future. But in Greer’s novel, there are no butterfly effects; her actions and the presence of her immediate family and friends do not change the overall outcome of historical events. Her personal world is small enough in the grand scheme of things to go unnoticed; which is normal for everyday people who are not important enough to change the world—only immediately surrounding lives. Thus, the book suggests that the only significance in someone’s life is the people included in it, and world events are only tools for setting.

But setting is still important. Setting is what drives the problems for Greta, her brother, and her husband. Setting is what introduces conflict that the characters must react to, and setting is what they all go into in the end. New York is a demanding and lively city that bother caters to “deviant” activity and condemns it. Greta finds herself exploring streets she once knew well, and finding treasures in each era that no one else realizes is there, like a key in an archway. Her apartment exists in each era as a focal point, and everything else radiates from there. Nathan is abroad in WWI as a medical officer and, upon his return, Greta doesn’t want to be married to him anymore; Felix experiences prejudice and incarceration because of his and Greta’s German descent; Felix is jailed because he’s caught at a homosexual sex party at a time when homosexuality was taboo, and Felix cannot reconcile his orientation with having a fiancé in 1918 and a wife and child in 1941. These troubles both occur in her home and return to it for sanctuary. Yet Greta cannot find any for herself. For example, in 1918, she struggles to find her place in life, as well as her 1918 self’s place. Greer writes:

“And what do I mean by free? … A shrew, a wife, or a whore. Those seemed to be my choices. I ask any man reading this, how could you decide whether to be a villain, a worker, a plaything? A man would refuse to choose; a man would have that right. But I had only three worlds to choose from, and which of them was happiness? … So tell me, gentlemen, tell me the time and place where it is easy to be a woman?”

This introduces a gap in storytelling. Greta is strong and independent, despite her current slump. She uses that independence to “fix” her other lives, without remembering the context of setting. In 1918, the women’s suffrage movement has yet to culminate. She doesn’t register this cultural importance, and there should have been consequences to her actions throughout the novel, conflicts that should have reminded her about a woman’s place back then. Readers only witness an example of this when 1918 Nathan, her husband, returns from the war with Post Traumatic Stress Disorder, though that is hidden beneath vague references of previous abuse. Her eventual punishment is indicative of PTSD mixed with abuse, but she never realizes where Nathan’s actions originate. Her mind is so fixated on traveling and “correcting” each life that she doesn’t consider why things are the way they are, only that they are “wrong.”

But this book isn’t just about women. Here Greer bypasses the storytelling gap and introduces a tangent path. He turns around Greta’s questions about security and self-assertion and applies them to more than just women. Felix, Greta’s gay twin brother, suffers similar moments of doubt. “When is it all going to be all right? For someone like me?” he asks. This question aligns him, and thus gay men, with Greta’s feminine plight of choices and placement. In the main character’s time of 1985, during the AIDS epidemic, the world isn’t yet “all right.” Although Greer reveals a generational relationship progression—what is deemed acceptable—between 1918, 1941, and 1985, he also makes readers think: What about our time? In 2014, people have greater rates of acceptance, but still haven’t reached a time “when it is going to be all right.”

This may be the novel’s main point: What is considered to be “all right”? Is a story with gaps still “all right,” though it suggests the need for more maturation before publication? If people could change situations by time traveling, would they be better off? And while Greer waxes poetic about love, death, and goodbyes, he also points readers’ gazes toward the future. In another thirty years, will it finally be “all right” for people to choose love, happiness, and placement without judgment? Greer doesn’t answer that question. But perhaps that’s all right.
______

Andrew Sean Greer is the author of The Impossible Lives of Greta Wells, The Story of a Marriage, and The Confessions of Max Tivoli. He studied writing as Brown University before moving to Missoula, Montana, to receive a master of fine arts degree from the University of Montana. He later wrote for Nintendo, taught at a community college, published in literary magazines, and then published a collection of stories before releasing his novels. He has taught at universities, has won a number of awards. He lives in San Francisco with his husband in a house adjoining that of his twin brother.


 

The Trouble With Numbers

by John Samuel Tieman

I recently read a scholarly article by the principal of a public high school in New York, which in part addressed “data dysentery”, the countless reams of data we educators collect for, well, for what? The collection of data for the sake of the collection of data?

I mentioned this at lunch to a friend, himself a middle school principal in a large eastern district. He told me of a reading program that was implemented in his district. “Teacher-Proof Education”. The district spent millions on lessons were entirely scripted. There was only one program. To the best of my friend’s knowledge, everyone, teachers and principals without exception, felt the program deleterious to the point of counter-productive. So no one implemented it. Not one school. Except when there was a survey, run by outsiders, measuring the program. On those days, everyone implemented it. At other times, analysis depended on self-reporting which, for obvious reasons, bordered on the self-congratulatory.

The program was deemed a success. “People were even promoted,” my friend added with a laugh. He became a bit more somber when he mentioned how a social scientist, one he deeply respected, based part of an article on this data.

First, the disclaimer. I am not a luddite. Nor am I a data hater. Statistical surveys, and other data instruments, can provide deeply meaningful analyses, analyses that can alter an entire society. “The Kinsey Reports” irrevocably changed America by simply informing the nation of our sexual practices.

Contemporary statistical analyses, however, mostly yield noise. Perhaps the greatest disservice is done to serious social scientists, whose work gets lost amid all the stats-trash.

There is, in a word, imbalance. It is time to honor those who do serious data collection by reminding ourselves of some of the fundamental limits of data analysis.

 Data tends to create more data. And this data, based upon that data, can often act like a platonic removal, a shadow based upon a shadow of the original thing.
 Data often obscures its own prejudices. As just one example, every statistical analysis starts with the presumption that the problem at hand is amenable to, and benefited by, data analysis.
 Data has trouble with innovation. Why? Because tomorrow’s innovation is measured by yesterday’s instrument.
 Data often has trouble with social context. Early I. Q. tests were first designed for, and administered to, relatively well educated whites. Blacks did terribly, and were deemed to be intellectually inferior.
 Many large scale studies depend heavily on self-reporting. But how does one report accurately, for example, in a school system? In a rigidly hierarchical system, like a school system, it merits one almost nothing to report accurately, to the next highest level, that which is negative. There are times when, as the report moves up the hierarchy, each level acts as a platonic removal, until the final report, let’s say a report to the state, is just a shadow of the classroom upon which it reports. As anecdotal evidence, I offer the fact that, of the thousands of reading programs implemented in public schools, I’ve not read one that reported itself a failure.
 Perhaps most importantly, our lives are subject to the ineffable, the intangible, the unconscious. How does one measure awe? Faith? Hope? Beauty? More importantly, why would anyone want to? It is not sufficient to say that the opening of Mozart’s “Haffner Symphony” is brilliant in its simplicity?

The best studies do address the problems listed above. Contemporary I. Q. tests, for instance, regularly compensate for social context On the other hand, many studies are simply stats-trash. Let us examine, for a moment, educational psychology. Almost all educational psychology these days is cognitive/behavioral. Such an orientation lends itself to vast amounts of data collection. There is much that can be learned from such measure, much that is great benefit. On the other hand, as any psychoanalyst will tell us, most of what motivates us toward any behavior is unconscious. That too can be known and measured. But such knowing, such measuring, runs the risk of obscuring understanding. It rationalizes the non-rational.

There are times when it feels like the sum of a person is behavior and data, that no one has a mind anymore.

Let me be absolutely clear. Many studies are invaluable in their contributions and robust in their data. I value their work so much that it pains me to read other papers based upon numbers that are just stats-trash.
_____

Book Review: Starlight Taxi by Roy Bentley

 photo 01454a03-d9f2-4180-a748-542dd1e34316_zps2440d756.jpg Starlight Taxi
Poems by Roy Bentley
Lynx House Press, 2013
$15.95

Reviewed by Jason Barry

“The hardest part is when someone tells you
about America and defines promise as hope,
and a love for the truth pushes you to give
the raised middle finger to what you hear.
The hardest part is living without hope.”

– Roy Bentley, from the poem “Converters”

It’s easy to see why Bentley’s work has gained such traction in contemporary poetry outlets: his poems are technically proficient but never pedantic; they are hard-hitting and serious, subtle and philosophical. As William Heyen has written in the jacket blurb, “I know of no other poet this percussive, this relentless, this unswerving . . . His [Bentley’s] dedication to even debilitating truth will not allow him to flinch.”

Like the recent work of Yusef Komunyakaa and Philip Levine, Roy Bentley’s Starlight Taxi moves the reader—by way of skilled metaphor and storytelling—to the grittier, more difficult aspects of American living: a career that didn’t work out as planned, the charcoal-filled lungs of coal miners, the seared fingertips of steel workers, various dropping offs and burning outs, alcoholism, and child abuse. Each of these themes and subjects in Bentley’s latest book could warrant pages of critical discussion, but I’d like to focus here on only three of them—the ones I take to be most pivotal to the core of his book, and indeed most central to getting at the heart of the author’s poetic story: memory, violence, and acceptance.

Memory is perhaps the most important recurrent theme in Starlight Taxi, and several of the poems are grounded explicitly in it. These are reflections of an earlier time: Dayton Ohio in 1960, for example, or Christmas in the late fifties. They tell of the author’s life in the Midwest (and in Florida and Appalachia) and they are concerned primarily with history, both personal and public, and how narrative shapes the course of what’s remembered and what’s forgotten.

In “Zombie Apocalypse,” Bentley describes a scene in a nursing home. His mother and her friend, Dorothy, are residents of the home. When Bentley gives his mother a box of chocolates during a visit, the following exchange occurs:

I hand her a box she opens with help. Chocolates.

When she finishes, she closes the box, hands it back.
asks, Why are you here, Billy? I’m not Billy. A nurse
says she’s been striking attendants. Kicking, hitting
other residents. Around every exhausted official word
a wheel of better times spins, though it’s slowing down.
I say, I’m sorry to hear that and take my mother’s arm.
And consider killing her—I carry a knife on my belt—

but movie-butchery is R-rated for a reason: the gore.
There’d be blood. I’d think of roses, Mother’s Day.
But then I’d have the memory of her fear as elegy.
Dorothy is beside us, telling my mother the world
is ending. For them, it is. And the three of us walk.
Dorothy loses interest in endings, and my mother
changes the subject. There is always that to do.

This poem is illuminating in its treatment of not only memory, but also violence and acceptance, the subjects we’ll turn to shortly. Let’s start with a focus on memory. Memory in “Zombie Apocalypse” is mostly a private matter—i.e. the inner workings of the author’s subjective mind (as opposed to group memory or public historical narrative), and yet the last lines of the poem hint at a question that extends above and beyond that of the individual.

When Bentley writes, “Dorothy loses interest in endings, and my mother / changes the subject. There is always that to do” he invites the reader to consider the connection between the questions we ask, the conversations we have, and the states of affairs in the world. How many events––wars, famines, the loss of family and loved ones—seem to disappear because we change the subject? How many arguments and heated discussions are ended with a plea to “drop it,” as if doing so would itself alleviate or solve the problem(s) at hand?

Bentley is not a poet who changes the subject from the pressing and difficult questions, and he tends to follow the thread of his poetic inquiry wherever it may go—even if it’s heading into dangerous or difficult terrain. Note the lines about the prospect of killing his mother:

And consider killing her—I carry a knife on my belt—

but movie-butchery is R-rated for a reason: the gore.
There’d be blood. I’d think of roses, Mother’s Day.
But then I’d have the memory of her fear as elegy.

Bentley does not offer us an inflated image of his mother, nor does he tell us why life is still beautiful when one is old, etc. He decides against the killing (presumably by way of stabbing) of his mother not for the sake of her life, but for his own wellbeing; it’s the thought of her fear in his memory that persuades him to reconsider. It would be awful to clean up all that blood and to think of Mother’s Day and roses for the rest of one’s life, wouldn’t it?

There is also a sense of acceptance here, an understanding that life isn’t always beautiful. Dementia and death are all around us. When faced with difficult questions and circumstances, we have four options: we can look away from or change the subject, we can argue or complain about things, we can accept reality as it is (or at least how we perceive it to be), or we can slip into the oblivion of apathy and stop acting/asking altogether.

For me, this poem not only accepts the horror of aging and forgetting, but it also dares to bring the subject up in a violent way— in a knife and blood sort of way. It’s a bold poem, and one that doesn’t shy away from the awful qualities of life or the motivations to end it should things get dirty.

But Bentley does not always reveal his hand so quickly or expresses violence with such explicit, “movie-butchery” type imagery. In perhaps my favorite of the batch in Starlight Taxi, the poem “My Father Dressing Me as Zorro,” Bentley addresses our themes of memory, violence, and acceptance:

Outside the store with the circling Lionel train,
he ties cape strings, loops twin black ends,
making a bow at the front of my throat.
Now he relaxes back, into the bucket seat
of his ‘63 T-Bird. Says he’s gotten remarried.
He tells me it was sudden, no guests. Says
he’s sorry, too, he wasn’t around on my birthday.
He fingers a shirt pocket for a pack of L & Ms.

Now I’ve lowered a mask over my face.
The eye-slits don’t fit, and I can’t see.
I scent the smoke of his cigarette. I tell him
they turned off the electricity, the gas and phone,
that neighbors fed us after he left. I’m feeling
in the gift box for a toy rapier, which I wave
between us. He tells me to stop horsing around:
this close, one of us is likely to get hurt.

This sophisticated poem about pain and protection has more nuance to it than we might think on first glance. First, the imagery of protection. Note the store with the “circling Lionel train,” the bucket seat that surrounds the father’s body (we feel relaxed when we’re safe, when we’re protected) inside of the car—itself a type of shelter from the world outside. Notice the mask and the hiding behind it, and the presumed notion of feeling safe and indestructible when wearing it. Observe, too, the cigarette smoke and the shield that it provides for the boy (he doesn’t address his father until the mask is on and the smoke is rising).

Violence is also at hand; the bow being tied at the front of the child’s throat calls to mind the image of a noose and the procedure of being hanged. There is the violence of living in a home where the basic necessities have not been met or provided for. And in the last few lines, the poem suggests an implicit or past violence: “I’m feeling / in the gift box for a toy rapier, which I wave / between us. He tells me to stop horsing around: / this close, one of us is likely to get hurt.”

Surely there has been a previous instance of someone getting hurt, and we wonder how many times the father has told his son to stop horsing around. We have a sense in these lines that violence is just around the corner, is just outside of the old T-Bird. The hard discussions between father and son need protection to get off the ground, and this protection (as mentioned above) is found in the Zorro mask, the car, the smoke, and the seats. The mask, of course, is the key physical and psychological barrier between the father and son. Note that the young Bentley cannot see from behind it, and presumably his father cannot see him either, or at least not see his eyes.

This fleeting exchange is the closest to vulnerability that these two get, and when the son reaches toward the rapier (a toy, no less!) we sense the barrier between the two— and their precarious emotional balance—is threatened. Although one might accuse the author of hiding behind his Zorro mask and thus avoiding danger, it’s clear that the poem does what it needs to do: it reveals a seesawed history of violence and abuse (of power and protection) though we must read carefully to discover it.

Yet some readers might feel that Bentley leaves them hanging; that things still need resolving, unpacking. But we are not offered an exit into the rosy or sentimental in this poem, nor are we given a quick resolution to a lifetime’s worth of problems. True, we will never be able to take the mask off the boy or glimpse his saber in its shiny, deadly glow, nor will we know the full conversation between father and son. But we know the score well enough, and the skilled withholding and covering-up in this piece is just what makes it successful.

Starlight Taxi is for those who want to journey with an unsettling companion on sketchy roads; for those who don’t mind a pinch of salt in their wounds, or the possibility of shaking their modus operandi with violence. Read Bentley if you can handle the songs of an experienced bluesman—a traveler of dark alleyways, a frequenter of factories and barrooms—and read him if you have guts enough to accept the facts on the ground, even if they’re ugly.
______

Starlight Taxi is Roy Bentley’s fourth book of poems, released in 2013 by Lynx House Press (a non-profit and independent publisher based in Spokane, Washington) and is the winner of the 2012 Blue Lynx Prize for poetry. Bentley, an Ohio based writer and poet, has received awards and fellowships from the National Endowment for the Arts, the Florida Division of Cultural Affairs, and the Ohio Council. His poems have appeared in prestigious literary magazines and journals, including the Southern Review, North America Review, Prairie Schooner, Pleiades, Shenandoah, and many others.
______

Elegy for Rudy

by John Samuel Tieman

This morning, as I left for work, after all these terrible storms we’ve had, I noticed the tiniest of my wife’s daffodils are starting to bloom. As cliched as it may sound, I felt like Rudy was saying, “It’s OK, John. Storms will pass. And, as always, life will continue.”
______

A Publisher’s Story

Retold by John Samuel Tieman

Tetsugen, a devotee of Zen in Japan, decided to publish the sutras, which at that time were available only in Chinese. The books were to be printed with wood blocks in an edition of seven thousand copies, a tremendous undertaking.

Tetsugen began by traveling and collecting donations for this purpose. A few sympathizers would give him a hundred pieces of gold, but most of the time he received only small coins. He thanked each donor with equal gratitude. After ten years Tetsugen had enough money to begin his task.

It happened that at that time the Uji River overflowed. Famine followed. Tetsugen took the funds he had collected for the books and spent them to save others from starvation. Then he began again his work of collecting.

Several years afterwards an epidemic spread over the country. Tetsugen again gave away what he had collected, to help his people. For a third time he started his work, and after twenty years his wish was fulfilled. The printing blocks which produced, and the first edition of sutras can be seen today in the Obaku monastery in Kyoto.

The Japanese tell their children that Tetsugen made three sets of sutras, and that the first two invisible sets surpass even the last.

_____

Meeting the First Dog and Other Adventures in the White House

By Karen Zhang

After a couple of hours waiting for a free ticket, I finally had a closer look at the White House. Along with the Statue of Liberty and the Golden Gate Bridge, the White House is one of the few American icons that Chinese people recognize, so I was excited to see it.

The garden of the White House is open to the public twice a year—once in spring, the other in the fall. Together with thousands of enthusiastic visitors coming for the spring garden tour at the White House, I was fortunate to queue in the early group and got the advantage to take photos with a smaller crowd. Because I was early enough to visit the president’s house, I even saw the famous “First Dog” Bo which is a furry black Portuguese Water Dog with white paws and chest. Bo was probably finishing his first romp and poop of the day. As soon as his handler saw more people walking in, he led the dog away from the lawn and soon disappeared out of sight. Anyway, this was the highlight of the tour—neither the blooming tulips nor the renowned cherry blossoms matched the morning greeting with the First Dog.

Normally, visitors can see the White House only through the iron fence surrounding the property. It’s nearly impossible for a visitor to take a snapshot of the White House except through the branches of the old trees or the fences. But on the day of the spring garden tour, I took as many photos of the White House as I could without obstruction, including photos of the Washington Monument beyond the south lawn. At zero distance, the White House didn’t look as stately as what it is shown on TV. It was like a snow-white club house with a friendly staff to guide visitors and answer their questions.

In China, you would never be allowed to visit the Chinese leaders’ offices—the notoriously secret Zhongnanhai in central Beijing – much less their homes. For the American public, everyone is informed about the everyday life of the president, from his basketball practice to his press conferences in the rose garden. With the convenience of social media, President Obama’s amiable images with the family and even with First Dog Bo can go viral instantly; whereas in China, the scandals of top officials only stimulate ordinary people’s imagination, simply because no one really knows what the Chinese leaders do after their public appearances. No way will the doors of Zhongnaihai be as welcomingly open to the public as that of the White House.

This is an amazing country.

____

Book Review: Talisman by Lisa C. Krueger

 photo talisman_zps46906e70.jpg
Talisman
Poems by Lisa C. Krueger
Red Hen Press, 2014
$17.95



Reviewed by Barrett Warner

A few summers ago, the Saratoga Racing Tip Sheet on Lisa Krueger noted: “Goes a few places. Moves away from the obvious. Sometimes needs to look back over her shoulder to make sure the reader is following.” Big bettors may wish to read Krueger’s newest volume, Talisman, and put this Golden State poet into their combinations. The new Krueger is sleeker, has a convertible soul and gets plenty of air into lungs. In Talisman, she writes to heal all of us, especially her grieving, implicated, rapturous self. Here, the flower child reminds us that landscape, and ocean, and sky—all of these elements occur in some wonderful dream when experience is sleeping.

Krueger’s poems are what happens when experience is suddenly woken by life. Although her Beat cousins liked to start with a car and a highway, Krueger begins with a crash in “What She Felt:”

In L.A. my sister’s car wrapped like foil
around a pole as the sun sank,

offering illusions of a softened world,
the other car careening, reversing,

screeching off into the almost dark.

That’s plenty of clarity, except for one huge detail—Krueger doesn’t have a sister. I mean, of course she does, but try to forget that right now. Krueger is writing about herself as her sister, having a secret self through her, a wilder one, a nearly dead one, a patched up self: “They lay her on pavement, / forced rods into her skull. / They called what they did a halo.”

Don’t many of us have a secret sharing soul like this one? A sister, or a brother—one who leaps from windows dressed like Superman? These secret selves become our heroic angels. Krueger’s poem nicely ends without ending: “What she felt, they said, / wasn’t what we felt. // My sister surfed every sunset. / Her hair was wet.”

Krueger keeps the reader close to her by making good use of internal logic and related images. The sun sank, wrapped like foil, surfing, metal clasping flesh, Jaws of Life, breathing machine…the logic keeps us focused without giving us tunnel vision while the poem’s energy goes upward, outward. It’s a call for each of us to wax our boards, jog into the tumult, make our hair wet, go where she’s going, risk our lives, risk our secrets.

In “Girl, I’ll House You” Krueger writes: “says my sister, / my only sister, my / best kept secret, // disabled sect of self.” The sisters—psychic twins—one a poet and one a muse, do all sorts of things: visit each other in asylums, bicker, go to Labyrinth parties where “we walk woodchip paths / that spiral in nautilus design…the universe listens to people / who wander in circles / then offers a response.”

Krueger’s “Pre-measured” differs from the other sister poems where the tension is between active and passive sides. Here, the two are just being together in the kitchen. The effects of an accident linger in one, but this visit is more about baking a pie. The crash survivor has lost her sense of nuance and the only world for her is a literal one. The speaker, however, seems to exist in a realm that is nuanced to the point of abstraction. Conflict produces an inevitable Lady Macbeth moment. The nurturing sister tells the victim sister that creation requires cleanliness, and the soap “turns around and / round in her hands:”

How pure is this? she says,
holding her hands above her head.

Sometimes the secret sister is an herbivore. In “Prodigal,” a deer who eats flowers and who mangles fences suggests the image of metal mangling limbs in “What She Felt.” The deer, like the wounded surfer, is also a swimmer, and begins to swim in the backyard pool:

I no longer feared she would drown.
I began to talk, not knowing if she heard.
Once I called her Mother.

She swam to me, animal face dispassionate,
fierce, a glint of silvery down
echoing the flash of my heart.

You are old I said to her.
I listened to the patterns of her breath,
the animal vowels, the voice.

Thank goodness Krueger loves a stanza break. The patterns of her breath, her vowels, and her voice make me think of Pilates, all that exhaling, and all that taking in of everything…it’s nice to have genuine pauses that a break offers just to wipe our foreheads. I could have used a couple in “Guest Farm Pardon,” a poem about caressing that urgently trucks eighteen lines. The caressing—tender, almost sexual—is between the speaker and a sleeping wild boar. The boar “assumes the possibilities of night” and has a “vigilant carnal scent.” Again, Krueger connects personal peril to evolving her spirit, but the connection isn’t rattlesnake Pentecostal, it’s more a process of connecting our frailty to the sweetly impossible. The poet also puts the ending of this poem in its middle as if to say, there’s no such thing as an ending when you’re rubbing a beast with tusks. Her lines “Most nights she yearns for sleep / but feels afraid, as though / she must fix her life” would ordinarily conclude a poem like this but Krueger goes on until she achieves an unguarded, feral complexity.

In section II of Talisman Krueger migrates from the duality themes of the first section to poems where we trust in the one-ness. Because of that trust, Krueger is now able to offer non sequitor images which might have given us trouble if she hadn’t already used the order of her poems to coach us how to read her. Unexpected pairings emerge, such as the lines “She notices the odor of ripeness from bananas / wondering why some people need to be kind” and “My daughter got ill the year / they tore out eucalyptus // along the 101.” There is a seamless ecological synthesis at work in poems such as “The Old Story Follows Us” (“I want to run my hand / across the ridge”) and “Opening to Light” where a husband’s birthday becomes claustrophobic; he feels trapped by time in the space of his marriage:

He wanted to open everything,
he wanted to rip off the roof.
Wildness would offer shelter.
That would be Heaven.

In order to deal with emotional trauma we must strengthen our spirit. In order to strengthen our spirit we must put ourselves in some sort of physical peril or risk. It helps to have a few magic powers to aid us. The marvel of Krueger’s poetry is how she shows us how to be one of Rilke’s mysterious heroic angels as if it were the only way to cope with human emotional catastrophes such as grief, abuse, or even love. It’s a wise and sustaining message, but Krueger’s elastic gift to us is her abstract confessional lyric. Personal experience is a metaphor first and foremost. Krueger lives her images just enough to help draw us to the essence. It’s the first step towards transcendence from lives of generally slight impressions to lives of vision.
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