CHRIS MANSEL Reviews
Footnotes To
Algebra: Uncollected Poems 1995-2009 by Eileen R.Tabios
(BlazeVOX [books], Kenmore, N.Y., 2009)
This is a very deep book
and by that I mean it is a book that contains multitudes; with apologies to
Allen Ginsberg but perhaps not, it is large. If you were to review the
collected works of W. H. Auden would you say it was faint? Courageous?
Certainly you would say it was a great work. Eileen Tabios and BlazeVOX [books]
have put together an uncollected collection that covers many areas. In my mind
the most important and the most sympathetic is the section entitled “A Filipino
Accent.” But don’t let that sway you from thinking that the entire book doesn’t
have plenty to offer. For instance, in the poem, “Pygmalion‘s Embrace” are the
lines, “Poems make stones breathe. Within my eyes / poetry, nature, art and
wine // converge for a life beyond stone.” Does this mean these four things
enable a prolonging of the senses? An enabler of life? A life beyond stone
could perhaps mean breaking free, and if that’s the case you could look at it
in the words of Octavio Paz in his poem, “The River,” “The poem is deserted
esplanade, what’s said is not said, the unsaid is unsayable.”
There is a section
entitled, “Triptych For Philip,” Philip being Philip Lamantia, the legendary
poet. In this section is a poem, “Deflowering Memory With Philip Lamantia.” In
the third section of the poem, “III. Uncrumpled Violets,” Ms. Tabios writes,
“How many words are required to bear / the weight of witness / -ing you sing a
poem/ the room lavender everywhere.”
This is a fantastic poem about a poet who is so under-read. She goes on to say
later in the poem, “To meet you is to recognize: / I have spent 40 years moving
towards you / You, the angel Michelangelo sensed within veined stone / who
choose among a multitude of churches for Home.”
An endearing and charming
section of this book is the section entitled, “Chant For kari.” It consists of
three sections called “Author’s Note: A Poetics of Translation” where Ms. Tabios
explains the process she went through to translate a poem written by her friend
kari edwards into Ms. Tabios’ original language Ilokano. The next section
is called “Abstraction As Translation.” In this section she explains that she,
“reconstituted/ re-translated “Chant For kari” into “Fado for my Father” for a
reading with contemporary Asian American poets.” The final section is the
original translation Ms Tabios did in Ilokano. Now I must admit I didn’t
understand a word but I did read it aloud and enjoyed it immensely. (Ms. Tabios
suggests in the book that the poem is “best when chanted out loud.”)
The section I mentioned
earlier, “The Filipino Accent,” is important because it testifies, and as well begins,
with a poem entitled “Post-Autobiography”—“If language is impossible, then
certain people cannot speak / Or: certain people need not hear.” This is an
accurate primer for the poems in this section. In another poem entitled, “The
Rebel’s Son” (which is also her first poem nominated for the Pushcart Prize), Ms. Tabios closes with, “An eternity later, (still) Skinny
marvels still / at the definition of dictatorship—
/ people eating their fill only at funerals.” The way the U.S. treated the
Philippines is no secret, nor the war crimes. The poem “The General’s Report”
is a brief recitation about speaking truth to power. Overall, this is a must
have, a must read. If you have read this review here then you are interested in
good poetry. Well, here it is.
*****
Chris Mansel is a
writer, filmmaker, epileptic, musician, photographer and a permanent outsider
for some reason. Along with Jake Berry, he formed the band
Impermanence who have released one album, Arito. He releases
music under the name dilation Impromptu who have released four albums and have
just released a new Cd Indentions On The North Face of Everest. His
writing has been published in the Experioddi(cyber)cist, Apocryphal
Text, and the Atlantic Press among
others. He has made over 260 short films for other artists as well as his own
work.
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