The French-American artist Louise Bourgeois is widely known for her gigantic spider sculptures, like the one at the Tate Modern in London, but she is so much more than that. I had never seen much of her art in person before, and since the exhibition of her late work The Woven Child at the Hayward Gallery will be closing on the 15th May, I made it a point to go there last week to see it.
I am not necessarily a huge fan of installation art, but there is something so visceral and moving about Bourgeois’ work that you feel you want to immerse yourself in it. Certainly step into her cages or cells, touch those floating bits of gauze, lace and other silk, which feel so vulnerable.
It is impossible not to be struck by the symbolism of the work. Some of it was too disturbing, too powerful for me to want to take a picture to share with others: couples embracing where the woman had a maimed limb, bodies hanging in various stages of distress… I could feel the hairs on the back of my neck rising. But others were more benign and profoundly moving.
Then there were the fabric heads with gaping mouths and flattened features – like a zombie army. So many ways to interpret this!
There were ‘prettier’, less visceral works on display too, full of literary allusions or nostalgia for long-gone places.
LATE ADDITION: I’ve just been made aware that there is a video of someone much more eloquent than me who can talk you through this wonderful exhibition, namely Deborah Levy.
I have always enjoyed befriending and talking to older ladies (older gentlemen too, although the relationship was occasionally tinged by complicated dynamics and disappointments). I suppose this comes from the excellent (although in one case far too brief) relationship I had with my grandmothers and my father’s eldest sister (from a big family, with my father being the youngest child, so she was more like a second mother to him). It’s easy to say that I had a better relationship with them than with my own mother (perhaps because I only saw them once or twice a year) as I was growing up, but they always felt much less conventional, with a more modern outlook than my mother.
I could not get enough of hearing the stories of women of their generation – their lives spanned most of the 20th century, so they experienced so many political, social, economic and technological changes. I felt I wanted to preserve and honour their memories, but they were also funny, wise and reassuring, providing me with so much food for thought and guidance on my own life. Perhaps this is what drove me towards studying social anthropology!
I like to think that the ladies in question also got something out of their friendship with me, that they occasionally caught a glimpse of the genuine love, interest and desire to amuse them lurking beyond my gauche manners and ignorant remarks. Of course, the downside of such friendships is that they are sadly all too brief, and that they leave you with a sense of regret that you didn’t listen more, meet more frequently, appreciate them more at the time.
Here is a small tribute to the very special ladies that lit up my life:
In November/December 1983 I was in hospital with a very nearly ruptured appendix. I was underweight for my height and was given too much anaesthetic when they operated on me, so that complicated matters a little and I ended up having to spend roughly a week in hospital. During that time there were two other ladies on my ward, and we became a fun-loving trio, getting so rowdy with laughter at times, that the nurses would come in and shush us, for fear we might tear our stitches.
Margareta Steriade – poet and painter, born in 1897, she studied in Paris, as was fashionable at the time, and had her first public exhibitions in 1929. She was ver much involved in the artistic circles of the 1930s and, being of Jewish origin like Mihail Sebastian, became a great friend of his and designed the cover of his hugely controversial novel For Two Thousand Years (made even more controversial because he chose to publish it with the virulent anti-semitic preface signed by his hitherto mentor Nae Ionescu – an early example of naming and shaming with their own words). She was the one who told me about Lilith being Adam’s first wife, thereby introducing me both to feminism and to questioning of myths and traditions. I was very unhappy with my looks at the time, felt my nose was too ‘fat’, that I was too tall and gangly, but she made me feel beautiful, said I had the perfect oval face and asked me to model for her.
Mrs Angheliade – I don’t think I ever knew her first name, I just felt it was disrespectful to call her anything less than ‘Doamna’ (Mrs). She was a couple of years older than Mrs Steriade. Her husband was descended from a Greek family and was a highly regarded lawyer or judge in the 1930-40s. After the Communists came to power following the 1947 elections in Romania, her husband was perceived as a hated remnant of the old regime and was sent to a labour camp. She had been a lawyer herself, but was not allowed to practice in her profession after her husband’s arrest. Their home was nationalised, and for a while she had to do manual work on the factory assembly line, and was severely criticised at every weekly workers’ meeting because of her background. She was quite open in telling us about all this, as if she was past caring about what any Securitate might do to her.
2. Betty – this was my landlady when I moved to London and lived in Golders Green for the first year of my Ph.D. I’ve written about her before, how full of life, film knowledge and romantic notions she was. A big child with a booming laugh. I still miss her so much!
3. I met several inspiring ladies at the Geneva Writers Group in 2012 (by which point, I could no longer be described as Spring, by any stretch of the imagination, but these ladies were still way ahead of me in terms of lived experience and wisdom). Many of them were outstanding writers, and I always enjoyed listening to them share their work. Ginny, Sally, Kathy, Susan and Karen in particular stand out. Ginny was funny, lively, always one of the ringleaders when it came to organising Christmas parties, and her little dog was almost as much loved as she was. Sally was what I imagined Barbara Pym to have been: quiet, with a very English reserve at first glance, but a wicked sense of humour and a very observant eye. Kathy was such a true international that for a long time I thought she was from an entirely different country – she was so warm and caring that I’d have liked her to have been my mother. Susan Tiberghien I have talked about before (and reviewed): she was the founder of the Geneva Writers’ Group, a woman with formidable energy and generosity of spirit. And Karen was my wonderful mentor, artist, poet, in whose house in Provence I found so much creativity even at a very low point in my life.
Incidentally, I am only using the past tense because, sadly, my stay in Geneva ended five years ago. The ladies themselves are still delightful and active, and wonderful friends (even if I haven’t been great at keeping in touch).
4. Nordic walking group – As I get older, so the age gap between me and my older friends gets smaller. Nevertheless, I am the youngest of my Nordic walking group, even if some of them are only 10 years older than me. They have grown-up children, have been through all the worries engulfing me now, and have an endless reserve of anecdotes and good humour. They are also much fitter than me on the whole, it has to be said – so excellent role models on how to keep active and social in the years ahead.
Roughly two years ago, I saw a play at RADA which made for unforgettable viewing. I was so impressed by the young actors, but also by the script itself, that I bought it in book format. For my Plays in March personal reading goal, I read it and was once more bowled over, even though it was still so fresh in my mind.
The play was Linda by Penelope Skinner, who has been described as one of the leading young feminist playwrights in the UK, and has also been reviewed as feisty, gutsy, rageful. Interestingly, Penelope has a sister, Ginny Skinner, who writes mainly graphic novels. Together, they have been commissioned to write a thriller series for the BBC ‘The Following Events Are Based On A Pack Of Lies’, which I for one can’t wait to see.
Linda of the title is the main protagonist of the play, of the generation of dual-shift women (career and home), the women who supposedly had it all. She is, as she never ceases to remind us, an award-winning professional, a middle-aged career woman, wife and mother who sees everything she fought for all her life slipping through her fingers. Yet the play is full of women and girls of different ages – late twenties, early twenties, teens… who are even more confused about their place in the world. They see the cracks in Linda’s life all too clearly and are sure they don’t want that – but they are not sure what they want instead, or indeed what is possible for them.
Linda is being sidelined by her boss for a project on marketing cosmetics to middle-aged women in favour of a younger work rival who has caught the eye of her boss, just like she did when she was a young single mother. She’s not going to go quietly, but life on the home front is not helping either: her husband is having a very predictable midlife crisis and affair, her older daughter has abandoned her studies and not come out of the house and her onesie in years, her younger daughter feels neglected and resentful. Yet everybody leans on her, the quintessential strong woman. She is not allowed to have a moment’s weakness or failure, to acknowledge any vulnerability. And Linda at the outset of the play has certainly bought into the myth of her own strength and infallibility and sounds a bit like the Lean In Sheryl Sandberg woman:
An award-winning businesswoman and I didn’t even go to university. Mother of two. Gorgeous husband. I can change a tyre, I own my own home, dinner-party guests marvel at my home-made croquembouche and I still fit into the same size-ten dress suit I did fifteen years ago. I’ve washed brushed groomed plucked shaved painted injected dyed dieted oh God I’ve dieted. My whole life I’ve been watching what I eat and watching what I say and watching how I walk how I talk what I wear. Because that’s what you have to do when you’re a woman, girls… I’ve made it to the top and believe me if I can do it you can do it. If you’re prepared to do the work? You really can have it all.
Her daughter Alice remonstrates that maybe systemic racism or sexism might get in your way, but Linda at first just says you have to think positive. What follows is of course the dismantling of Linda’s optimism, proving that Alice was right all along, although the daughter is a passive observer rather than a fighter. The characters seem far less annoying in reading than in watching them onstage, which just goes to show how much life a director and an actor can bring to words on a page.
More than two years have passed since I saw the play and this time I’ve come to it with a very different attitude and experience, and it resonated with me differently. When I saw it performed, I was still going through the never-ending divorce, so of course the exchanges with Linda’s husband resonated most:
Every year I send you an email reminder that my birthday’s coming up. And the reason I do that is because I know deep down if I don’t do it you won’t remember and your not remembering will be so painful that I won’t be able to bear it… I do everything in this house and the reason I do everything is because I thought at the very least you were loyal. And reliable. And as it turns out you’re not. So now I look at you and I see you for what you are: you’re an ornament.
Reading it this time, in the week between International Women’s Day and Mothering Sunday, when there was so much vitriol being flung about women’s safety and bodies, the whole lack of progress made me very, very angry. Particularly that moving epilogue, showing a younger Linda holding a hopeful speech about the wider culture moving on in ten years and becoming a better place for women of all ages. A hopeful speech that we know ends in tragedy. A soap bubble of a dream that we seem to chase every generation or so, which bursts just as we are about to tighten our grasp on it.
I’m fully aware that I’ve had wonderfully supportive men in my professional and personal life as well, but at this particular point in my life, I am thirsting for that generous nurturing that can come from the women you aspire to become some day.
I have been fortunate to have great female role models encourage and inspire me at just the right inflection points in my life. The meetings were brief and I doubt that any of them will remember me, but for me they were life-changing. Naomi Shihab Nye encouraged me to start writing poetry (again). Laura Kasischke and Kathleen Jamie engaged with my poetry and made me feel I had something to say after all. Sarah Savitt (then at Faber, now at Virago) loved the beginning of my novel and encouraged me to finish it prestissimo – sorry, Sarah, life intervened, but I WILL finish! Michele Roberts gave me feminist support and solidarity when my marriage was breaking down. Karen Sullivan of Orenda Books is just the most caring and passionate individual I’ve ever met in publishing, she envelopes you like a warm hug and is an absolute tonic when you are down. My triad of charmed and charming women writers who organise the most wholesome, funny and productive writing retreat in the world, L’Atelier Writers (namely, Michelle Bailat Jones, Laura McCune-Poplin and Sara Johnson Allen)… and the participants I met there, who have become my creative sisters.
The three most recent examples are Nicola Barker and Ali Smith, as well as my poetry mentor Rebecca Goss. Here are some of their thoughts that particularly stuck with me.
I admire Nicola Barker’s commitment to remaining ‘ferociously innocent’ (instead of jaded or cynical) and her ability to find joy and playfulness in writing. She is aware that her writing has been described as difficult, and that not a lot of people read her, but she believes that experimental writers are ‘bottom feeders, virtually unseen in the depths of the ocean, but somehow something percolates up towards the top.
Meanwhile, Ali Smith is aware that her ‘Brexit novel series’ will be out of date in just a couple of years, but she feels compelled to witness the times in something other than journalism, and hopes it will give us a snapshot of what it felt like to be at this particular point in history. She described writing these books as ‘being in the middle of a powerful storm, trying to capture the roar’.
Last but not least, it is such a privilege to work with a mentor for poetry. Someone who reads your work very closely, who asks you about your intention and really listens, doesn’t impose her point of view but tries to work with you to make your poem as good as it can possibly be. I came home last night after a busy and difficult day at work, tired from the commute, doubled up in pain from yet another over-abundant period, mentally exhausted with all the back to school prep. Rebecca was generous with her time, praise and thoughts and I left the session with little wings attached Hermes-like to my swollen ankles…
Last night I went to my ‘local’ theatre and watched the final year students at RADA in Penelope Skinner’s play Linda. I had heard that it was a powerful exploration of a woman’s midlife crisis so I took a friend of roughly the same age as me along who has also recently divorced and is juggling full-time work, children and a useless ex. Turns out, the play was so accurate and relevant that we didn’t know whether to laugh or cry!
Linda is a senior brand manager at a cosmetics company who seems to have it all, albeit with the usual compromises. She has won awards for her work and is passionate about changing the world, but is being pushed aside for a younger, dumber, more ruthless version of herself. She has a lovely house and family, but her two daughters feel insufficiently loved by her and her husband is cheating. As the world comes crashing on her from all sides, she refuses to fall silent, to become invisible as women over 50 have been told to do. At times, Linda seems her own worst enemy, but the people around her are anything but understanding or appreciative. Yet the young women in her life (her daughters, her work rival) are trapped themselves in other people’s expectations of them.
It was very funny as well as bitter, with so many lines resonating (I may not be remembering them 100% accurately, so apologies, but here is the gist of them):
‘Now your beauty seems like an asset but when you grow older, you will find yourself wondering if your achievements were because of what you could do, or because of the way you looked.’
‘So what was I in this story between you and my husband? If you were the crazy girl and he was the hero, what was I?’ ‘You were nobody.’
‘My whole life I’ve been watching what I eat, what I I say, how I walk, how I talk, what I wear, because that’s what you’ve got to do when you’re a woman. We do whatever they do, but backwards and in heels. And all this while achieving, climbing, raising children. You feel guilty at work because you’re not with the kids, you feel guilty at home because you’re not at work…’
‘I used to send you reminders about my birthday every year, because I could not bear the thought of you forgetting about it. I put up with doing all the work at work and then all the work at home, because I thought you were loyal and reliable.’
The finale very nearly nosedived into melodrama, but then there was an epilogue: Linda’s prize acceptance speech from ten years ago. All the more devastating, because it is full of optimism, belief in self and others, and in a better future for women. And entirely deluded, as it turns out. Sadly, seeing the backlash about #MeToo, I think we may still have a few decades to go before optimism is justified…
Needless to say, the actors gave such polished performances it’s hard to believe they haven’t quite graduated yet. Queuing up in the ladies’ toilets after the show, we were all shell-shocked and muttering: ‘That was unbearably close to home!’ ‘God, they need to set up a women’s after-show session with stiff drinks to hand!’.
This is always going to make for uncomfortable viewing, especially if you are a man (although it is not deliberately man-bashing: the men in Linda’s life are thoughtless, while the other women are vicious). But if you would like to watch it, it’s on until the 1st of December at RADA in London.
Watching the TV adaptation of Margaret Atwood’s The Handmaid’s Tale is proving to be a very traumatic experience for me, and I’m not sure I’ll be able to watch it to the end. Let me share a little bit of the reason why, although it is far bigger than the examples I mention below.
It’s not surprising that when the book was published in 1985, it was banned in Romania. This, despite the fact that it was set in America (we liked showing the corruption and failure of capitalist society) and showed the pitfalls of a society heavily influenced by religion (religion is the opium of the people and us Communists were proudly atheist).
It’s obvious, however, that the Republic of Gilead symbolises any totalitarian state which imposes a single way of thinking, is harsh with anyone who dares to be different and brutally suppresses any form of dissent. Above all, it provided a striking parallel to Romania itself, that ‘paradise’ where everybody knew their place and worked for the greater good, and enjoyed the illusory safety of law and order (never mind how it was achieved). It was also one of the few countries of the world at the time where the state controlled women’s reproduction. The reason behind it was to produce enough citizens to lead the socialist revolution and build our glorious communist future.
I was a product of the law, one of the so-called ‘decreței’ (children born following Decree 770 introduced in 1967), banning any form of contraception and abortion. My mother suffered from heart disease and the doctors were not sure it was wise for her to have a child. She had me, but her health deteriorated sufficiently after that, that she was allowed to get away without having any more children. Other women were not so fortunate. There were only a few cases where you might be exempt from the rule:
if you were over the age of 45
if you already had 4 children (later raised to five)
if you had a life-threatening disease and would be unable to bear to term
if your pregnancy was the result of rape or incest (but see below about pregnancy tests for 14 year olds)
Contraceptives were not available at all and any doctors or nurses found giving them out (let alone performing abortions) were imprisoned.
Families continued to attempt to obtain black market contraceptives from abroad (there would be day trips to special markets for these in Yugoslavia), but many of them had expired or had potential side-effects, since they were given without any medical supervision. Plus you were always in danger of getting caught smuggling them in. Many women died or were permanently damaged having illegal abortions.
It was worse, of course, for those who could not afford children or smuggled contraceptives, since your extra bonus from the state for being a ‘heroine mother’ (additional benefits) only kicked in once you had eight or more children. Many women tried to disguise the pregnancies for as long as possible, wearing tight corsets or drinking strange concoctions to provoke a miscarriage. As a result, there was a high proportion of children born with malformations, health problems, general failure to thrive. Most of them ended up in orphanages, as did the children of women who had illicit affairs with foreign students (any physical contact with foreigners was punishable with imprisonment), especially when it was obvious that the child was mixed race.
From the age of 14 until 45, all women were required to go twice a year to have a gynaecological test. In fact, if you went to the doctor with any other ailment, you were sent to have a check for pregnancy anyway. Of course, if you were pregnant, you were then strictly monitored to make sure that you carried to term. If you suffered a natural miscarriage, you could be taken to court and had to prove your innocence.
So that is the general picture. We all knew someone who had suffered from this law. A family friend who was a nurse was constantly persecuted and questioned, although she had only once referred a woman who fitted the legal criteria for an abortion. The wife of another friend, who was a talented professional singer, died following an infection after an illegal abortion and left behind two young children. (The reason I mention her profession is because there was the mistaken belief that only the poor were subjected to these harsh conditions, but it affected everyone.) Two of my classmates were forced to marry in the final year of high school when she could no longer disguise her pregnancy, but their child was born with severe birth defects and died less than a year later. Their marriage only lasted two years.
So there was suffering by proxy and also the direct experience. I was 14 when I returned to Romania and had barely ever kissed a boy, let alone had sex. Yet there I was, obliged to go through the rough handling by (always male, as far as I can remember) doctors. I will never forget my first time there, which marked the end of any trusting relationship with my mother.
I had scoliosis, but before I could get a referral for physiotherapy, I had to undergo the obligatory gyno-examination. A whole generation of doctors had not used contraceptives for 20 years, so they were very ignorant about anything to do with birth control or even developments in female sanitary products. Sanitary pads and tampons were not available in Romania until after the fall of the Wall, so the brash middle-aged gynaecologist had no idea that I was using Tampax or what effect it might have on the female anatomy. Of course, he didn’t bother to ask any questions, although I was so young.
So, after much prodding and shaking of the head, he turned and said to my mother: ‘So… she’s been a bit of a naughty girl, hasn’t she? No longer a virgin, I can see…’
The most painful part about this is that, despite all my protests, despite all of the evidence to the contrary, my mother (who has an almost grovelling belief in the infallible god-like nature of doctors) believed him and lost faith in me that very day. Everything that followed, all the policing and monitoring, shaming and punishing, reading of diaries and interference in my private life even after I left home has come about as a direct consequence of that day.
It’s very difficult for me to talk about these things, even though I believe we should never forget the mistakes of the past if we want to build a more humane future. Alas, I don’t think I have many illusions left that personal stories give us an insight or change people’s minds. Even celebrity stories are just there for titillation and tut-tutting.
But fiction can. Especially when it is well-written. If the book and the TV series The Handmaid’s Tale can alert those who have not lived through this trauma to fight against such extremism, they will have done their job. Even if I cannot watch it to the end.
I’ve just been made aware there is a documentary about abortion policy in Romania, directed by Florin Iepan.
Little Deaths by Emma Flint is the kind of book which has been buzzing away on the horizon of my consciousness, with many excited tweets, some excellent reviews and then longlisted for the Bailey’s Prize. I finally read it last week but have been waiting to gather my thoughts about it, because it left me feeling rather spent.
It makes for a powerful reading experience, there is no doubt about that. I went into it not knowing much about the Alice Crimmins case upon which it is based. When I googled it afterwards, I was surprised just how many of the real-life details the author had incorporated into her fictionalised version. Another surprise is that the author has never been to that working-class neighbourhood in Queens in New York (and certainly not in the 1960s). She is in fact British and did most of her research of the setting on YouTube and Google Maps. Kudos to her for such an authentic recreation of time and place.
Ruth Malone is a glamorous red-head, separated from her husband, raising two children whom she loves but often finds hard going, working as a cocktail waitress and being overtly unrestrained in her sexual behaviour, too much so for the tastes of that 1960s neighbourhood (regardless of what people might have got up to behind closed doors). She is also in an acrimonious dispute over custody with her estranged husband Frankie. One morning in July she unlatches her children’s bedroom door to find her young children missing. Within days their bodies are found in a dump and a nearby woods, strangled, decomposed, and she becomes the prime suspect in their deaths.
It soon becomes clear that the police are far more interested in Ruth’s sex life than in proper detective work. They do not seriously search for any other suspects, fail to investigate all the clues and possible avenues, focus only on certain aspects of the evidence (the love letters Ruth has received from her admirers) while ignoring all others. Instead, they interrogate Ruth over and over again, in an attempt to ‘break’ her, which only makes her more angry. In her descriptions of the painfully lonely, eternally disappointed and perpetually defiant Ruth, the author brilliantly encapsulates the attitude of the original Alice Crimmins, who said: ‘They wanted me to grieve—not for the sake of my children, but for them—the police. I wasn’t going to give them the satisfaction. They were my kids. Nobody was out looking to see who killed my kids. They were interested in making me break.’
The trial was already prejudged by the time they went to court. While Ruth is hardly an angel, she is not too far removed from the frazzled working single mum of today. The gossipy atmosphere, neighbourly resentments, as well as judgemental attitudes towards what makes a good mother are perfectly captured. How dare she take considerable time to put on makeup before talking to detectives or go out to buy a new dress? Never mind that makeup is Ruth’s suit of armour, a defence against acne and possibly some psychological scars. Interestingly enough, many readers’ reviews on Goodreads claim that they cannot feel any grief from Ruth, that she is too emotionally detached, too blank. So she is being judged all over again.
There are some repetitive moments, especially regarding Ruth’s bodily self-loathing and her ‘yellow smell’ – and that lengthy opening scene of putting on her make-up before and after the event which changed her life. [I thought agents and editors warn us to never start with someone looking at themselves in a mirror.] But overall, those poignant moments of enforced gaiety, going out and picking almost any man to combat her loneliness, successfully convey the despair, temporary madness, strange passivity and feeling of futility which do come with immense grief. Every one of us grieves differently.
Of course, we are encouraged to view Ruth in a more positive light because of Pete Wonicke’s growing sympathy towards her. Pete is a rookie journalist who initially contributes to the anti-Ruth rhetoric in an attempt to sensationalise the story and sell newspapers, but increasingly tries to find out the real person behind the mask. Or so he tells himself, in an attempt to justify his obsessive, almost stalkerish fascination with the case. Marking a clever counterpoint to the story, he is a compromised narrator himself.
In this book, Emma Flint offers an alternative explanation for what happened that night, but the real case has never been solved. What made for more disturbing reading is knowing that this type of ‘trial by media and public opinion’ is still so common today. See for example Karen Matthews, often dubbed ‘Britain’s most despised Mum’, or Casey Anthony in the States. a.k.a. ‘America’s most hated’, who declared ‘People found me guilty long before I had my day in court.’ In an age of internet trolling, public reactions are even more frightening and extreme even in relatively mild cases, as in this example of a mother who took an innocent picture of her Down’s syndrome toddler hiding in a washing-machine.
Less of a suspense novel, more of a depiction of a particular era, so perhaps not one for readers who are looking for a true thriller. What it offers instead is both social commentary and an in-depth character study of two lonely misfits: one of whom tries to fit in by making compromises, the other furiously refusing to make any.
After recent events in America, I felt I needed the comfort of some thoughtful women poets, who can uplift and inspire us with their words and their lives.
Maxine Kumin: Jack and Other New Poems
Maxine Kumin has been one of my heroines from way back, when I wrote poetry the first time round, in high school. Her trademark close observation of nature life is often humorous, with just a tinge of fear and wonder at the power of nature, its bounty but also its indifference. She has sometimes been described as a ‘regional pastoral poet’, but her themes seem universal to me, although they often start from personal experiences of farming life. The poem ‘7 Caveats in May’, for instance, describes her dog chasing a bear up a tree and no patrol car being available to help, so she has to ask her neighbour to poke the bear to come down (without tearing apart the dog). The cheeky redpoll birds are described as ‘highwaymen’, intimidating ‘your year-round faithfuls away from the feeder’, yet Kumin notes with tenderness how charming they are ‘in their little red yarmulkas’.
Of course, nature always leads humans to awareness of their own mortality, especially when beloved animals (horses and dogs) die, yet leave their ghostly imprint upon us. The almost unbearable pain of farewell from her beloved old mare Broody, who had a good life, yet the indignity which follows death is always present, no matter how quiet and gentle the passing away itself is.
If only death could be
like going to the movies.
You get up afterward
and go out
saying, how was it?
Tell me, tell me, how was it?
Kumin must have been a delightful person to know, her poems often feel like a personal conversation, with brilliant moments of insight, yet always elegant, restrained, making you work to understand what lies below the carefully constructed and balanced surface. Yet there are personal touches too, like this charming reference to her fellow poet Stanley Kunitz:
Luck of the alphabet,
since 1961 we’ve leaned
against each other, spine
on spine, positioned thus.
Upright or slant, long may we stand
on shelves dusted or not
to be taken up by hands
that cherish us.
Of course, this being Kumin, firebrand and feminist, the poems are not just inward-looking, but expertly mix the lyrical with the political. Particularly striking is the poem ‘Women and Horses’, which asks how poetry and beauty is still possible after the experiences of Auschwitz, Vietnam, Korea, Somalia, Haiti, Afghanistan, after the Towers’ (you can imagine which twin towers this refers to). It is an exhortation that the only way forward is to allow freedom and beauty rather than seek to constrain life, even if the result is messy.
Let there be fat old ladies in flowery tent dresses at bridge tables. Howling babies in dirty diapers and babies serenely at rest. War and détente will go on, détente and renewed tearings asunder, we can never break free from the dark and degrading past. Let us see life again, nevertheless, in the words of Isaac Babel as a meadow over which women and horses wander.
Cecilia Woloch: Carpathia
I’d never heard of Cecilia Woloch before but the title of this collection appealed to me, since a good part of the Carpathian mountains are in Romania. However, it turns out that the poet is referring to the Polish portion of the Carpathians, which is where her family originally came from. She instantly appealed to me, with her nomadic lifestyle and her poetry outreach work in prisons and schools, as well as collaborations with visual artists and theatres.
Growing up in rural Kentucky as one of seven children, she pens a beautifully tender ode to her parents, the love they have for each other and their family, entitled ‘Why I Believed, as a Child, That People Had Sex in Bathrooms’. Here she is on You Tube performing it.
Poets always seem to find it easier to write about sad things and troubled times, but Woloch has the knack of happiness. She captures perfectly the dizzying moments of falling in love, with the breathless listing of key moments, the repetitions, the simplicity of language:
And hadn’t you kissed the rain from my mouth?
And weren’t we gentle and awed and afraid,
knowing we’d stepped from the room of desire
into the further room of love?…
And were we not lovely, then, were we not
as lovely as thunder, and damp grass, and flame?
Her poems evoke a special kind of tenderness, a profound understanding of the less than perfect situations or humans. In the tour de force of a poem which is the pantoum Le Jardin d’Isabelle, she describes a woman being invited to the home of her lover and his wife. This is a love triangle without rancour or bitterness, although it addresses the shattering of illusions. But the language conveys so much richness, flowing, shimmering brightness, that it feels ultimately uplifting.
Sharon Olds: The Wellspring
I’ve admired Sharon Olds since I discovered her when she won the TS Eliot Prize (the first American to do so) for her collection ‘Stag’s Leap’, which described her abandonment and the breakdown of her marriage. There is nothing she does not address fearlessly and in a very feminine way (strong, feisty feminine way) in her poetry – family, politics, inner life, but I’d never read a whole collection by her. As the name indicates, ‘The Wellspring’ is about the female experience in its entirety: from the mother’s womb, to childhood and sexual awakening, to motherhood and learning to let go, to mature love. It’s full on instantly recognisable moments too, yet always with a surprise twist: a father smiling triumphantly at a daughter who comes last in a swimming race ‘almost without meanness’; the bonding between brother and sister both wearing braces, like a tribe sharing a sibilant language with its ‘orthodontial lisp’; love-making in narrow beds in college.
It’s a very sensual description of the body and emotions – fully-charged eroticism counterpointed with tenderness, humour and wonder at the miracle of giving birth to something so profoundly other. This is poetry which speaks directly to the emotions rather than being a tricky intellectual puzzle, which is exactly what the poet intended. I particularly liked the bittersweet feeling of no longer being needed, so eloquently described in the poem about the smashing (mercy killing) of the cow butter-dish, marking the end of motherhood.
Some critics have complained that her poetry is too accessible (while others usually complain that poetry has become too difficult and unappealing), but I think she is popular without becoming populist, and has the perfect balance between the personal and the universal. Many of her poems start off with a funny moment and then rapidly change into something far more serious and poignant, with a real wind of loneliness blowing through it, as in her poem ‘Forty-One, Alone, No Gerbil’. I’ll have to share it with you in its entirety, as it would be a shame to cut off any part of it.
In the strange quiet, I realize
there’s no on else in the house. No bucktooth
mouth pulls at stainless-steel teat, no
hairy mammal runs on a treadmill–
Charlie is dead, the last of our children’s half-children.
When our daughter found him lying in the shavings, trans-
mogrified backwards from a living body
into a bolt of rodent bread
she turned her back on early motherhood
and went on single, with nothing. Crackers,
Fluffy, Pretzel, Biscuit, Charlie,
buried on the old farm we bought
where she could know nature. Well, now she knows it
and it sucks. Creatures she loved, mobile and
needy, have gone down stiff and indifferent,
she will not adopt again though she cannot
have children yet, her body like a blueprint
of the understructure for a woman’s body,
so now everything stops for a while,
now I must wait many years
to hear in this house again the faint
powerful calls of a young animal.
Sharon Olds seems to be getting more and more honest and uncompromising in her examination of the female body and ageing, according to the critics, in her latest book ‘Odes’. I feel myself attracted to it already…