ZYZZYVA EventsOctober 18, 2018
Word for Word: Octavio Solis
Location: 7 p.m., Elbo Room, 647 Valencia St., San Francisco
Description: Word for Word Performing Arts Company stages an excerpt from Solis's book of fiction, "Retablos," followed by an interview of Solis and director Sheila Balter with Managing Editor Oscar Villalon. Co-presented by Litquake and City Lights Bookstore and Booksellers. For ticket info: http://sched.co/FQRmNovember 3, 2018
ZYZZYVA Creative Nonfiction Workshop with Caille Millner
Location: Mechanics's Institute Building and ZYZZYVA Offices, 57 Post St., San Francisco
Description: A one-day intensive workshop with Millner, author of the memoir "The Golden Road: Notes on My Gentrification" and a columnist at the San Francisco Chronicle. Applications are closed.November 6, 2018
Election Night with ZYZZYVA
Location: 6:30 p.m., City Lights Bookstore, 261 Columbus Ave., San Francisco
Description: Follow the election results from across California and the country, and enjoy short readings through the night by Nestor Gomez, Matthew Zapruder, Caille Millner, Dean Rader, Ismail Muhammad, Vanessa Hua, and D.A. Powell. Hosted by Managing Editor Oscar Villalon. For more info: https://bit.ly/2CRQXhe
ZYZZYVA e-mail updates
In this issue:
Of & About the Environment
Héctor Tobar on living in Los Angeles, before and after air quality regulations; Lauret Edith Savoy traces “the geology of us”; Juli Berwald on “the blob,” the mysterious oceanic phenomenon that left destruction in its wake; Obi Kaufmann on the importance of reframing the language of conservation.
Arundhati Roy discusses with John Freeman her work as an activist and a writer, and examines the great danger before us all.
Poems by Jane Hirshfield, John Sibley Williams, Rebecca Foust, Daniel Neff, Maggie Millner, Sophie Klahr, and Emily Pinkerton.
Fiction by Ben Lasman (ceding the field of work to the robots), Manuel Muñoz (the vulnerability of those who work our fields), and Louis B. Jones (the tea compost isn’t the only rancidness found living off the grid).
And More Fiction and Poetry:
Stories by Emma Copley Eisenberg, Elena Graceffa, and, marking his First-Time-in-Print, David Paul; poetry by Ruth Madievsky, Jennie Malboeuf, and Paul Wilner.
Art: Featuring Obi Kaufmann’s watercolors of California’s fauna and flora.
With Severance (304 pages; FSG), author Ling Ma delivers a fascinating coming-of-age novel, one full of millennial culture, post-apocalyptic adventures, and, perhaps most exciting of all, a zombie-like populace.
Severance opens in New York City, where protagonist Candace Chen works for a Bible manufacturer called Spectra. Throughout the novel, Candace finds plenty of reasons to leave her job, even as she clings to the city that feels so close to her. But after experiencing the strife of the Shen fever, a pandemic which reduces people to automatons who slowly waste away, she ends up traveling far away from an emptied New York with a group of survivors looking for safety.
Interestingly, consumerist culture is a big theme in the novel. The story makes constant references to specific skincare brands, products, stores, and other consumer-related items, giving in-the-know readers something to connect to. However, Ma seems to raise the question of whether even having this connection is a good thing. She presents us with characters of contrasting lifestyles, allowing us to reflect on our society’s sense of materialism and attachment. As the characters’ varying levels of consumption and wealth create barriers between them, it’s easy to ask ourselves to reevaluate how healthy our level of consumerism is, and to what extent dependency on the things we buy is permissible.
Throughout her first novel, Ma alternates between multiple perspectives. Candace narrates every other chapter (with one exception), with the timeline jumping between pre- and post-apocalypse, illustrating Candace’s development as a character. In juxtaposing her attitudes before and after the end of civilization as we know it, Ma emphasizes Candace’s diminishing attachment to the city and all it has to offer, and at the same time demonstrate her renewed growth as she takes on challenges with her fellow survivors.
Yet even as Candace becomes more independent, her past continues to haunt her at every turn. There seems to be the implication that nostalgia for what used to be might be putting Candace at risk, as she reminisces on times spent with her her mom, who immigrated to the U.S. from China, and others before the Shen fever destroyed their world. Toward the end of the novel, we wonder how this state of mind will affect Candace as she reaches her final, fateful decisions.
Severance wonderfully demonstrates how the lifestyles we lead now can have a great impact on our future, and not just in terms of what we buy. Ma also takes a unique and sometimes comedic look at the commonly superficial relationships we have with our acquaintances, especially in the workplace. She shows how this lack of depth in communication with others is reflected in our relation to consumerism and the capitalist system as a whole. But its all done with a pleasingly light touch, despite the story being heavy with death and addressing the pressing issues of our times.
In CoDex 1962: A Trilogy (515 pages; MCD/FSG), premier Icelandic novelist Sjón manages to transcend conventional genre expectations while still engraining himself within the rich tradition of fables and fairy tales. The trilogy of books, first released to great acclaim in Iceland in 2016, was written over the course of 25 years, with the story itself spanning from the early 20th century to modern day.
For the American release, the author has combined all three novels into one book, designating a genre to each section: Thine Eyes Did See My Substance (A Love Story), Iceland’s Thousand Years (A Crime Story), and I’m a Sleeping Door (A Science Fiction Story). Despite these labels, Sjón does not confine the writing within these respective genres. The prose, translated by Victoria Cribb, exhibits the timeless cadence of a Grimm Brothers’ tale, yet is suffused with a profound nuance and ambiguity that evokes the surreal quirkiness of Italo Calvino (especially his Cosmicomics) or George Saunders’ Lincoln in the Bardo.
The trilogy begins in a German inn, just after World War II. Marie Sophie, a maid, looks after an invalid, a Jewish refugee who had been interned at a concentration camp. After a gentle but troubling prelude, they produce a child formed from clay. He is Jósef Loewe, the narrator of their stories, from its nascence all the way to its conclusion in the present day, when we find Jósef the aging and mildly delusional CEO of a biotech company.
Over the course of the three sections, Sjón introduces a vast array of characters, including a curious little chickadee, a jealous lover, a stamp-collector, the Archangel Gabriel at his most vulnerable, and a genderless android. He deftly employs a close third-person perspective, allowing him to delve deep into the minds and lives of his characters. From time to time, the narrative will halt its ongoing plot to elucidate an incident from a character’s past, or a folk tale that is analogous to the one being composed.
One example arrives in Thine Eyes Did See my Substance, when the story is suspended so as to tell the tale of “The Old Woman and the Kaiser,” in which a young woman in a woodland cottage takes in a hunter later revealed to be the King. Of course, they fall in love, and legend has it she bore his only true heir but raised him in the woods, keeping him from assuming the throne. The book weaves similar stories throughout, adding even more complexity to an already complex plot.
It is difficult not to equate the narrator with the author. Both Jósef Loewe and Sjón were born on the same day in Reykjavik in 1962, and Loewe often discusses the act of storytelling. In this way, the trilogy proves of and about storytelling. Sjón hails from a rich background of traditional Icelandic stories, but he is not derivative –– he is wildly original in his reshaping and expansion of these stories.
Near the end of the novel he writes:
Storytellers are not content merely to have power over their audience’s minds but must also take control over their bodies at the very beginning of their tale by lowering their voices and leaning back, thus compelling their listeners to lean forwards—after all, they’ve come to hear what the story teller has to say. By means of this synchronized shift they establish who is the guide and who the travellers are on the coming journey.
CoDex 1962 makes the reader feel as though they are engaging with a master storyteller. By the end of the trilogy, one enters into a symbiotic relationship with its narrator (and its author)—we trust Sjón will provide fulfillment in synthesizing the countless elements of the story, and we will be rewarded for following along with his vertiginous adventure. Sjón compels us to lean in close to hear his tale—and the journey is more than worthwhile.
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When you buy a four-issue or eight-issue subscription and enter the code SIGNED in the Order Notes field at Check-Out, we’ll start you off with a copy of the Fall Issue signed by artist and author Obi Kaufmann, whose watercolors adorn the covers of Issue No. 113 and are featured in full color throughout the volume. Plus, we’ll send you a set of gorgeous notecards from Heyday Books based on the artwork from Kaufmann’s best-seller, The California Field Atlas.
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They Said: A Multi-Genre Anthology of Contemporary Collaborative Writing (535 pages; Black Lawrence Press), edited by Simone Muench and Dean Rader, is an ambitious, immersive collection that challenges readers and writers alike. Breaking out of traditional ideas of authorship, the book gathers hundreds of pieces of multi-author writing that span multiple genres and formats. At the end of each work is a blurb written by the authors that describes their unique writing process. In the spirit of the collection, we decided to collaboratively read and review the work in the form of a conversation.
Claire Ogilvie: What stood out most to me about this anthology was the conscious noting of the authors’ writing processes and unintentional similarities of those processes across genres. It was interesting to see that many of the works started off as passion projects, or as a joke between friends, and then morphed into something more meaningful that was later published or performed. Some of the contributors, following the styles of their work, described their writing process similarly, like Maureen Alsop and Hillary Gravendyk who poetically note of their piece “Ballast”: “A mirror shone a refused language, the last moon slipped. As to the dreaming craft lightened one moment then another left.” While I didn’t exactly grasp what this described of their process, it did help me better understand the authors’ thoughts and intentions.
Caleigh Stephens: All of the writing about process definitely adds this extra dimension. I found the writing, and the writing about the writing, to be conversational, which helped illuminate the relationship between the authors outside of the piece. Creative writing is often presented as this isolated and individual art, and They Said functions as a challenge to that. The nature of collaborative writing is that it allows the author, as John F. Buckley and Martin Ott note, to “get out of that ‘I’ voice, that sometimes dark, sometimes limiting well of ego.” There’s a focus on process that underlies the entire collection, and while there are many excellent pieces of writing here, the anthology fundamentally is a work for writers and people fascinated by the craft of writing.
CO: I agree that the informal, candid description of processes enhances the work since it gives more background about the authors themselves and their relationship, or the concept of what they set out to write originally, as well as the often unexpected results. The series of poems that features the “The Sea Witch” by Sarah Blake and Kimberly Quiogue Andrews has one of my favorite process notes because, while some of their poems about the Sea Witch are a little cheeky or even slightly humorous (“The Sea Witch Needs a Mortgage for The Land, If Not for The House of Bones”), the poems had an overall experimental nature that the authors explained as “…a bit like a very friendly tennis match wherein one of us starts by making the ball. One of us will write a draft of a poem, as complete as we can get it, and then we send it to the other, who has free reign to add, cut, rearrange, etc.” Blake and Andrews process was clearly one of friendship and trust, which is reflected in their work.
CS: I also found “The Sea Witch” poems to be interesting due to the range of style and tone. With such an intricate and individual art such as poetry, the meshing of two (or more) voices cultivates an atmosphere of exploration. Some authors choose to write back and forth while others merge into a singular voice, becoming indistinguishable. Some, like the cross-genre piece “The Wide Road” by past ZYZZYVA contributors Carla Harryman and Lyn Hejinian, include both –– writing that hovers between poetry and prose, followed by letters written by the authors that are “about our work-in-progress as a part of the work itself.” The collaboration is embedded into the text rather than being something the authors must work around. “The Wide Road” also stands as an example of the experimentation that pervades the collection. Even beyond those pieces labeled “cross-genre,” there’s an interplay of poetry and prose, fiction and nonfiction throughout that results in writing that flouts convention.
CO: It all sort of feels cross-genre to me, like some of the fiction could have just as easily fallen into another category. Like Tina Jenkins Bell, Janice Tuck Lively, and Felicia Madlock’s piece, “Looking for the Good Boy Yummy,” which takes the real events of Robert “Yummy” Sandifer’s life and final moments and then fictionalizes them through multiple perspectives and narratives. In their description of their process, they write, “We chose to tell Yummy’s story in the form of a hybrid comprised of fiction, non-fiction, and poetry because so much has been said about him and each form would reflect a different view. We believed the true Yummy was somewhere in the center of all the accounts.” The authors are intentional about mixing genres to better represent the realities of gang violence and poverty. The fictionalization of the story takes it to an interesting, murky, and political place. Which raises the question: when does a fictionalized account become cross-genre?
CS: The beauty of the collection is that although each section is labeled by genre, the works are able to move beyond those confines and tell their stories in the most authentic way possible. Thanks to the collaborative aspect, not in spite of it, the writers feel free to challenge themselves stylistically. Some pieces came out of literary games –– authors adding two sentences at a time or working in “antonymic translation.” On the whole, the stakes don’t feel very high in those examples, and often the works aren’t perfect, but this doesn’t lessen the anthology’s ultimate impact. As Cynthia Arrieu-King and Ariana-Sophia Kartsonis write, “We play and I still feel astonished by what happens when we do.” This is an inspiring collection precisely because it brings up more questions about the nature of writing than it answers.
CO: Yes, the most impressive aspect of this anthology is its commitment to collaboration –– from the editing, to the writing of the introduction, the collaborative reviews of the material inside, and the pieces themselves. It’s collaboration within collaboration, and even if a piece didn’t necessarily resonate with me I always respected the craft of the poem, or story, or genre-breaking-rule-defying piece in front of me. It’s all so thoughtful and intricate. You can tell from the effort shown by the contributors and the editors that it’s a labor of love, and as a writer and reader that’s what interests me.
Caleigh Stephens and Claire Ogilvie on their process: Claire and Caleigh originally (and quite candidly) had no idea how to go about writing a collaborative review of a collaborative anthology. The entire review-writing process was an extended conversation, as they picked out individual sentences and pieces to share with the other while reading.They came to appreciate the art of “collaborative writing” all the more after giving it an honest attempt one Sunday afternoon. Distracted by IKEA locations, yerba mate, and the current state of U.S. politics, they holed up in Claire’s living room and decided that they wanted their review to reflect the ongoing dialogue they had about the work. In short they would describe their own artistic collaborative process as “in cahoots.”
R.O. Kwon’s first novel, The Incendiaries, is published by Riverhead (U.S.) and Virago (U.K.). She is a National Endowment for the Arts Literature Fellow. Her writing has appeared in The Guardian, Vice, BuzzFeed, Noon, Time, Electric Literature, Playboy, San Francisco Chronicle, and elsewhere. She has received awards and fellowships from Yaddo, MacDowell, the Bread Loaf Writers’ Conference, and the Sewanee Writers’ Conference. Born in South Korea, she’s mostly lived in the United States.
Kwon recently spoke to ZYZZYVA Managing Editor Oscar Villalon about The Incendaries at City Lights Bookstore in San Francisco.
The Rape Guy approaches the podium,
with practiced confidence, Jimmy Stewart smiles.
He knows the ropes,
been through this drill before.
He lives around the corner from my brother-in-law,
who says he doesn’t know him but his wife is
“delightful.’’ I’m delighted. Aren’t you?
Who wouldn’t be? Just a drunken
grope and grab, lurch and lock,
his Irish Catholic pal
always ready to turn up the noise,
set the stage. Dominis vobiscum,
the Latin Mass is still the best.
Closeted libido, directed who knows where,
Three in the room.
Three’s a crowd, three’s company.
Company man. It’s all good.
Ask around, ask anybody.
Justice for all, stop the
witches. Burn the bridges,
burn the bras. Burn the
evidence, wipe the screens.
No one saw what they didn’t
see. The sea is calm tonight.
We all see what we want
to see, we all want what’s
best for the child. Baby,
let me be your loving Teddy Bear.
I don’t want to be a tiger,
tigers play too rough.
I don’t want to be a lion
‘Cause lions ain’t the kind
You love enough.
Look at that face.
Would I lie to you?
Were you lying
that night? Or upright
when we came
to save your very soul
and lose our own. Gladly.
American Journal: Fifty Poems for Our Time (120 pages; Graywolf) delivers on its promise of introducing readers to some of our most important contemporary American poets, both well-known and emerging. Moreover, the writers featured in it are a reflection of the diversity of the United States, which is what one would hope for in a collection curated by the current U. S. poet laureate, Tracy K. Smith. In addition to featuring a racially diverse group of writers, there are poems by old and young, female and male, and straight and gay poets (although queerness is not a theme that is really explored in it, except in Terrance Hayes’ “At Pegasus”). Clearly, there is a wealth of perspective in this book, making one wonder whether a collection that attempts to appeal to such a broad audience might read as too general or watered down. This isn’t the case.
The poems in American Journal both celebrate and critique the American “way of life.” There are poignant portrayals of small-town and rural America (not to be confused with white America) in poems like Oliver de la Paz’s “In Defense of Small Towns” and Vievee Francis’ “Sugar and Brine: Ella’s Understanding,” as well as nods to urban America, such as in Major Jackson’s “Mighty Pawns,” a witty poem about a tough and brilliant kid from Philadelphia who “could beat/any man or woman in ten moves playing white.” There are also honest appraisals of our frequent complacency in the face of injustices meted out by our government in Ilya Kaminsky’s “We Lived Happily During the War” and in Layli Long Soldier’s “38,” which is something of an anti-poem that recounts in a nonlinear fashion the Abraham Lincoln-sanctioned execution of thirty-eight men from the Dakota tribe. Near the beginning of the poem, Long Soldier alerts readers:
You may like to know, I do not consider this to be a ‘creative piece.’
I do not regard this as a poem of great imagination or a work of fiction.
Also, historical events will not be dramatized for an ‘interesting’ read.
Therefore, I feel most responsible to the orderly sentence; conveyor of thought.
That said, I will begin.
You may or may not have heard about the Dakota 38.
Other poems touch on other relevant social concerns: Tina Chang’s “Story of Girls” and Donika Kelly’s “Fourth Grade Autobiography” speak to our increasing societal awareness of the prevalence of sexual abuse—an awakening facilitated by the #Me Too movement. One of my favorite poems in the book, Eve L. Ewing’s “Requiem for Fifth Period and the Things That Went on Then,” is an intimate and recognizable portrayal of contemporary school life, but I can’t read it (especially its final lines) without thinking about recent school shootings. The poem characterizes several members of this school community, painting an especially vivid portrait of a student named Javonte Stevens:
Sing of Javonte’s new glasses,
their black frames and golden hinges that glint in the sun,
and his new haircut, with two notched arrows shorn above his temples.
Another of the strongest poems in the book, Danez Smith’s “From summer, somewhere,” is a must-read about the police killings of black boys that is written from the perspective(s) of the dead boys. It’s a compact poem packed with power. Here is a couplet from the poem: “history is what it is. it knows what it did./ bad dog. bad blood. bad day to be a boy.”
Elsewhere, universal themes such as familial strife, forgiveness, and death are addressed in poems, such as the highly memorable “Reverse Suicide” by Matt Rasmussen and “becoming a horse” by Ross Gay. In Gay’s poem, which manages to be both down to earth and spiritual—humbling, really—the speaker reflects:
But it was putting my heart to the horse’s that made me know
the sorrow of horses . . .
Feel the small song in my chest
swell and my coat glisten and twitch.
Diverse as they are, the poems in American Journal flow into one another, mirroring the melding of experiences that makes us who we are as a nation. This fusion is partly a result of the poems being grouped into thematic sections. Often, poems on opposite pages, such as Rasmussen’s “Reverse Suicide” and Charles Wright’s “Charlottesville Nocturne,” or Ada Limón’s “Downhearted” and Gay’s “becoming a horse,” address strikingly similar subject matter. It might also have been interesting to juxtapose poems that speak to each other in a different way—that also enact the tensions that are particular to a culture defined as much by similarity as by difference. For example, it might have created a pronounced tension to run Lia Purpura’s “Proximities,” which addresses police shootings, but from a perspective of privilege, next to Smith’s “From summer, somewhere.” As it is, they’re placed far from each other. While this may show the difference in the closeness to danger for each poem’s subject(s), this is a point that may be lost on readers.
Overall, American Journal serves as a strong overview of the poetry of our current moment. And in a time in which the only thing most of us seem to agree on is that we disagree—at a time when our nation is in what esteemed journalist Carl Bernstein has dubbed a “cold civil war”—it is refreshing to read a books that unifies our diverse perspectives.
Lydia Kiesling is the editor of The Millions, where she has been writing reviews, essays, and the semi-regular Modern Library Revue since 2009. Her writing has appeared at a variety of outlets including The New York Times Magazine, The New Yorker, The Guardian, and Slate, and was recognized in Best American Essays 2016. Her debut novel, The Golden State, was published in fall 2018 by Farrar, Straus, and Giroux’s MCD imprint.
Kiesling recently spoke to ZYZZYVA Contributing Editor Ismail Muhammad about The Golden State at Green Apple Books on the Park in San Francisco.
Her Mouth as Souvenir (88 pages; University of Utah Press), winner of the 2017 Agha Shahid Ali Prize in Poetry, is a breathtaking and lyrical debut collection from Heather June Gibbons. Gibbons’ voice is a strong one, as she leads the reader through well-crafted and captivatingly honest free verse.
Pressingly urgent and timely, Her Mouth as Souvenir is a study of action in the face of anxiety. The poems’ context includes larger societal trends, such as the technologizing world that presents “a strange kind of convenience, / to access at the tap of a fingertip / so much information without / the ability to understand it,” and more personal attempts to uncover the how and why of past events.
There are three sections in the book that serve to mark the passage of time. The first section is a recognition of the past, of the prophets and ancestors that walked before Gibbons and “whisper, you owe us.” It also serves as an explication of the frustration that runs through the work, frustration without a culprit.
The second section is an attempt at self-understanding, through memory and causality. (The speaker can “pinpoint the exact moment / I become boring, but only in retrospect.”) A number of the poems here are titled “Sore Song” (drawn from Gibbons’s chapbook of the same name), and a musical thread runs through many of them. References are made to musical terminology and the free verse—sonically descriptive and rhythmically careful—often has a musical quality of its own. In the onomatopoetic “Longest Song,” repetitions of shh and mutter-mutter lay beside lyrical descriptions of sound:
…how come broke
stereo breaks into mono
with the low amp hiss of
a house built of matchsticks
All sounds, even the boom of San Francisco’s Golden Gate foghorn, are treated as music.
The third and final section turns to elegy as Gibbons considers loss. There are requiems for the sudden deaths of acquaintances (“Knife Girl”), the state of society under capitalism, and even for a past self. The poems here are often longer and denser, with more narrative complexity. As the past is mourned, the poems also look toward a bleak and perhaps dystopian future. In “The Green Rose Up,” the issue of climate change is tackled, as the poem sets the scene of cities overtaken by algae and natural devastation, its inhabitants ignored by the institutions meant to protect them.
It didn’t matter that we wore our silver suits.
Cities welled up and were overwhelmed.
The green kept rising until we waded in algae
and at night a phosphorescent bloom
lit the pathways our limbs had traveled
and pocked the surface of the water with sparks.
There is a helplessness to the poem, of secretly wishing for “impossible futures,” but also longing to forget such desires in the face of their impossibility. Living in the moment is nothing more than wanting to live without the fear of what’s to come. The poem serves as a warning, showing us a glimpse of a possible future we are all but resigned to.
Throughout Her Mouth as Souvenir, perception and the failure thereof are explored. The idea that perception equals perfect reality is scoffed at. There is a constant awareness of parallax; one of the “Sore Song” poems leans into the warping of perception:
….How I’ve missed
scanning the horizon for you, wary of parallax–
decadent, the way it screws with the curves.
The collection emphasizes the inherent deception in how we see the world: “In a quick smear before full focus, the eye / misreads what it wants to see.”
The vivid imagery Gibbons employs is central to her book as a whole, as are her poems’ intricate yet simple moments— acupuncture visits and getting carded while buying cigarettes after a yoga session. These form a larger collage, a larger commentary on the nature of regret and the passage of time, capturing the anxiety, but also the beauty, of the world we inhabit.
A few days ago, I woke up half-dreaming in the made-up language of Jos Charles’s feeld (64 pages; Milkweed Editions), which is to say I landed softly. feeld –– which is currently longlisted for the 2018 National Book Award in poetry –– challenges the reader to engage with a singular, complex voice (“Chaucerian English [translated] into the digital twenty-first century,” as Fady Joudah notes on the book’s jacket), but one that is also accessible and refined. Throughout the book, which contains sixty short poems, it is evident Charles is a poet who values breath and space. Both aurally and visually, the white space enhances the content, giving the reader time to grasp the meaning of each poem, as well as nearly every line and word. It is a meticulous work; there is nothing rushed or careless in it.
This is not to say one can fully comprehend every layer of feeld: appropriately, Charles leaves plenty of room for interpretation as her wordplay produces a great deal of double entendre. What happens between the words, how words are fused or disjoined, and the sounds they produce—in short phrases, such as “where it tends” in the poem titled “V” and “re member” in “XXXIX”—are as important as the words themselves. In addition, as Stephanie Burt notes in a blurb, Charles’s latest work displays a predilection toward puns. Much of this is accomplished through words—such as “sirfase,” “queery,” and “dicke,” as well as “copse,” “cropse,” and “corpse”—that contain echoes of other words.
Yet the puns in feeld are more tragic than comic. feeld is earnest in the best sense. Since, as the speaker explains in “VII,” there are so many layers to being transgender (and to feeld), when the poems employ directness –– such as in “LIV,” when the speaker laments, “u who unforl me/ how many/ holes would blede/ befor/ u believ/ imma grl” –– it is to devastating effect and causes the reader to pay close attention.
In fact, one of the great pleasures of reading feeld is when we happen across these instances of candor. This occurs again in the final line of the poem “XI,” in which the speaker states, “thomas sayes trama lit is so hotte rite nowe.” At that moment, it is as though Charles had been stretching a rubber band until it was capable of singing a little, but then allows it to snap, producing a powerful resonance.
It’s clear feeld is a book about identity and trauma, but is Charles’s work political? And if she intends to achieve any political aims through feeld, does the prettiness of her writing style soften the impact too much?
The truth, perhaps, is that Charles is an astute poet who has mastered the restraint apparent in well-crafted books of poetry that might otherwise be dubbed (and therefore dismissed) as overly personal or “political”—or, as the speaker puts it in the final line of the poem “XI,” “trendy.”
There are references to political concerns like “masckulin econoymes,” “votes,” and “balots” sprinkled throughout the text, but feeld seems more of an appeal to change at the individual rather than policy level.
While all writers are concerned with language, feeld queers language in such a way that it raises questions about whether what we perceive someone to be is as important as what we call them—and, therefore, how we define their existence. feeld asks us to consider whether existence is in fact defined by naming—that is, by language.