- Taschenbuch: 95 Seiten
- Verlag: Cleveland State Univ Poetry Center (15. Februar 2008)
- Sprache: Englisch
- ISBN-10: 1880834812
- ISBN-13: 978-1880834817
- Größe und/oder Gewicht: 20,3 x 13,7 x 1,3 cm
- Amazon Bestseller-Rang: Nr. 2.564.640 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Journeying Home
17. April 2008
Format:Taschenbuch
Not since Li Young Lee has a contemporary American poet (and Philip Metres' Lebanese ancestry is only marginally alluded to, his sense of displacement being, like Edward Jabés, both literal and figurative) written so beautifully about the sorrow of watching one's cultural identity bleed into indistinction or, worse, commercialization. To put it reductively, Metres' in many ways astounding debut collection To See the Earth, published in February by the Cleveland State University Poetry Center, marries the healthy skepticism of someone whose aesthetic isn't co-opted by a Western sensibility, with the loyalty of a blue-blooded American patriot.
The images in Bat Suite are of restlessness: a helpless vigil beside a baby monitor, driving in circles around Lake Erie to comfort his squalling daughter. The speaker recoils in horror, recalling the time his wife fell down the stairs holding their child: "There is no poetry in this:/ how once, addled by lack of sleep, my wife carrying our daughter down-/ stairs, tripped on a vacuum's/ umbilicus, and tumbled . . . " To define poetry by inscribing what it is not constitutes the path of apophatic theology, and in Bat Suite as well as other poems in To See the Earth, this technique allows the speaker to access, define and protect the ever-marginalized and constantly re- and misappropriated realm of the sacred, which is for the speaker of this poem, his family. In a logocentric culture such as the West, an understanding of the merits of via negativa (Latin for the "negative way," ostensibly to God) is rare, but Metres displays both an appreciation for and mastery of the noncircuitous: a road, or series of roads, through which we can journey home through language. The late Bob Creeley (1926-2005), Lorraine Niedecker, and, in his own fumbling way, William Carlos Williams, were honorable poetic practitioners of via negativa, a path that, taken seriously, draws us closer to creating what Wallace Stevens (who also haunts Metres' book) so memorably referred to as "the central poem(s)" of literary history.
I would buy this book for my scholarly friends interested in the fragmentation of the subject, barely literate members of Cleveland's immigrant community yearning for the dream of home, and my mother, imagist poet and practicing Catholic, who would fall instantly for a line like this (italics added): "Arches of eyebrows and aisles, stained glass/ gaze and minaret mind. Onyx-eyed. You take everyone in, and raise them . . ."
The images in Bat Suite are of restlessness: a helpless vigil beside a baby monitor, driving in circles around Lake Erie to comfort his squalling daughter. The speaker recoils in horror, recalling the time his wife fell down the stairs holding their child: "There is no poetry in this:/ how once, addled by lack of sleep, my wife carrying our daughter down-/ stairs, tripped on a vacuum's/ umbilicus, and tumbled . . . " To define poetry by inscribing what it is not constitutes the path of apophatic theology, and in Bat Suite as well as other poems in To See the Earth, this technique allows the speaker to access, define and protect the ever-marginalized and constantly re- and misappropriated realm of the sacred, which is for the speaker of this poem, his family. In a logocentric culture such as the West, an understanding of the merits of via negativa (Latin for the "negative way," ostensibly to God) is rare, but Metres displays both an appreciation for and mastery of the noncircuitous: a road, or series of roads, through which we can journey home through language. The late Bob Creeley (1926-2005), Lorraine Niedecker, and, in his own fumbling way, William Carlos Williams, were honorable poetic practitioners of via negativa, a path that, taken seriously, draws us closer to creating what Wallace Stevens (who also haunts Metres' book) so memorably referred to as "the central poem(s)" of literary history.
I would buy this book for my scholarly friends interested in the fragmentation of the subject, barely literate members of Cleveland's immigrant community yearning for the dream of home, and my mother, imagist poet and practicing Catholic, who would fall instantly for a line like this (italics added): "Arches of eyebrows and aisles, stained glass/ gaze and minaret mind. Onyx-eyed. You take everyone in, and raise them . . ."
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