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In Spar, the Laws of Poetry
Crash
Crash’s Law (Norton & Co., 80
pages) and Spar (University of Iowa Press, 57 pages) by Adam L. Dressler A certain general sadness attends the
existence of any bad art, but in the absence of demonstrated talent, this
sadness is mild. We know the writer tried their best; they just didn’t
have what it takes, and we applaud their efforts with our pity. But what are
we to feel toward those failures that are the product of a poet such as
Karen Volkman, a nimble, keen, musically gifted wunderkind whose first book,
Crash’s Law, was a National Poetry Series selection that stood as a
testament to her tremendous talent and control? For the poems of Spar,
her second effort, and the recipient of an Iowa Poetry Prize, are so clearly
inferior to those of her first book that one almost feels a sense of
betrayal, or at least deep-seated disappointment.
The poems of Crash’s Law are guided by a lyrical acuity and
accuracy whose soundplay is Eliotesque and whose confident, otherworldly
declarations are straight out of Plath. And yet Volkman’s own unique voice
is present throughout, fusing sound and sense with a metrical agility that
lifts us, entranced, from line to line, from powerfully effected objective
correlative to startling statement and back again. One of the strongest
poems of the book, “Casanova In Love,” showcases Volkman’s mastery of
this motion. Here is the poem in full:
My dainty delinquents Here, the power of the poem is fueled by its auditory arsenal, in
which we find alliteration—“dainty delinquents,” “blanched
blossoms,” “white worlds”; assonance—“twitch and
fidget...trellis,” “moon’s luminous suitors,”
“drowsing...tousled...pillow”; and full rhymes and
off-rhymes—“delinquents...white beds,”
“vine...sigh...sometimes...thighs,” “hand...band,” which, along with
the meter, become more regular as the poem enters the climax of its stunning
conclusion—“Your need / cannot seduce me: the body // is my heart. Loss
/ can only loose me. / My hunger is my art.” This kind of progression,
from the informal to the highly formal, is the modus operandi for the
majority of “Crash’s Law,” and is easily perceivable in its recurring
tendency to seek the resolution of an ending rhyme—“the nearness we weep
for // I stay close to the water, / you stay close to shore.”
(“Infernal”); “sternum...learn,” (“The Red Shoes”); “It will /
be still” (“The Case”), “in wide morning, leaving wing” (“Regret
Lyric”), and so on. This search for, and attainment of, resolution infuses
these poems with a strong emotional resonance that is ultimately inseparable
from their craft, which bespeaks a heightened intellectual and emotional
state of struggle, over which Voklman’s confident voice presides like a
spell over otherwise difficult elements.
But while interesting images and sedulous soundplay abound in the
poems of Spar as well, the emotional depth is nowhere to be found.
Spar clearly represents a deliberate departure from the much more
conventional—titled, stanzaic, strongly metrical—poems of its
predecessor. The vast majority of Spar consists of prose-poems of one
or two paragraphs, in which there is neither narrative nor visible
trajectory of thought. From sound to sound, the voice, subdued by the music
of its own musings, wanders aimlessly, like a phantom that has forgotten the
reason for its endless search. The untitled poem on page 17 is one such
ghost:
August
could ask for better, a hectored meadow, a dross of leaves. After the opening’s brief attempt at scene-setting, the project of
narrative, along with cohesion, is swiftly abandoned, sent reeling by the
phrase “we are speaking purple to the / plumes,” which banks on its
alliteration to carry it. But sound alone is not enough, especially when it
is so incongruously preceded by an opening that appears to concern itself
with at least some hint of narrative and/or emotional consequence. Whence
this “we”? Is it meant as an “I” and a “thou,” as the universal
we, or the royal we? More importantly, what purpose does the introduction of
the pronoun at this point serve? Is it an attempt at heightened intimacy, or
a narrowing or concentrating of emotional scope and force? And what exactly
does “speaking purple” denote? What the hell are these “plumes”?
Even if these were answerable questions, they certainly aren’t very
interesting ones, and yet these are precisely the concerns to which the
poem’s meanderings will lead any attentive reader. For despite the
fractured and distracted non-focus of the poem, we are forced to seek some
meaning out of it. If there is no meaning to be had, why bother reading it
at all?
Some might argue that no such need for meaning exists, that as
ascribers to the common faith of negative capability, we should be able to
wean ourselves from the crutch of cohesion, from the petty and pesky task of
comprehension on any level that might supercede or underlie the surface of
things. But how are we to turn our desire for the removal of doubt on and
off, like a switch? How can we be content to move from clear meaning to
nebulousness, and back again? How can we be satisfied with such a haphazard
path of coherence and incoherence? This dilemma was clearly a concern of the
author as well. For just as in “Crash’s Law,” time and again the poems
of “Spar” end in rhyme: “exile to in....me to him,” (p. 10);
“two-bit sermon—mis- / tress Sum,” (p. 16); “space you must fail
in...teach it dim,” (p. 50), etc.
But while these rhymes do serve to signal the consummation of the
soundplay, no deep sense of resolution can accompany them because there was
no perceivable struggle in their attainment. Unlike the powerful conclusions
of Crash’s Law, these endings feel tacked on, dispensable, because
there is no sense of anticipation preceding them—as we move disjointedly
from impenetrable image to near-narrative to highly elusive logic, all in no
particular order, we are constantly being warned against trying to garner
any greater sense than sound. Phrases such as “the no-time, the
nothing—which birds have swallowed like lucid beads of sight” (p. 19)
and “samewise was an infant, and an ingot, and a rend” (p. 46) painfully
punish us for any such effort. So, rendered punch-drunk, we are forced into
a half-conscious state of tedious non-thought, of taking in poems sound by
sound by sound, until they all feel the same, until we drown in the hazy
ether of their unstructured ramblings, and struggle hard to keep our eyes
and/or the book open.
So why? Is the fatal phenomenon of fame to blame? Has Volkman,
carried away by the much-deserved acclaim of Crash’s Law, lost that
most vital ability to see the good, and the bad, in her own work? Or,
seduced by the assurance that this book might effortlessly ride the tails of
her first, has she simply ceased to care about the quality of her work? Is
laziness or boredom responsible for this new project to subvert the
essential forces of heart and sense to the flimsy and fickle dominion of
soundplay? While one cannot be certain, I suspect that neither laziness, nor
fame, nor dissatisfaction with previous efforts is the primary reason behind
the existence and spectacular failure of Spar. It would seem that the
hard-to-define, ever-elusive, exasperatingly ostentatious school of
“language poetry” has lured yet another good writer into its feckless
fold with promises of unaccountability. A basic cowardice inheres to any
attempt at obliquity, and it would appear that Volkman has grown faint of
heart. We can only hope that this timidity is temporary, that this great
talent will survive her current unfortunate condition to once again produce
poems that dare to be understood.
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