Marthe Reed Engages
Anemal Uter Meck by Mg Roberts
(Black Radish Books, February 2017)
A love letter for Mg Roberts’ Anemal Uter Meck
Mg Roberts’ Anemal
Uter Meck (Black Radish 2017) draws from Oakland graffiti art and artists
for its title, re-contextualizing the poet’s art and language within the
transgressive, urban, and public temper of graffiti. This richly folded, felted
text takes complexity, multiplicity, profusion as its genetic code, a textual
mirror for the world(s) Roberts invokes and celebrates, realms of being and
knowing by which she, and her readers with her, are rapt and riven.
Composed in three sections, the first, “Scar Mosaic,” meditates
on monsters, hybrids, a colloquy of fissioning form, language itself – an
extravagant complex of skin-beak-feather-placenta…words. Robert’s slippages – body to drought to house to
child drawing at a table – assert
“Images are so easy
they presuppose fact.” Though what facts? In the pleasure of these permutations, the
birth of the child, the shaping of text, the sky like a mouth yawning, Roberts
maps each to each, weaving wonder: “Through the stitches of incident, so
lax & passive / What sings to: folds from?” Making and unmaking, she
assembles a glorious ‘object of astonishment’.[1]
1.
Memory is like when the light leaks out
and the desire to stop reproduction and the
desire to procreate become the same
thing. A diagnosis is a moment of inexplicit
clarity, blurred identifications hemmed
in by bones, bones resembling anything but
beauty produced on film. How can I make
things any clearer here? Can I say the
making of important things is like an
axis, the study of tectonics? The making: make.
2.
I want to define elegance I want to
examine the arrangement of all its letters, its violence
before you. Are tulips elegant? I mean
redemptive. Transferable. Are red tulips elegant?
a. The thought spills out, everything
spills out of it, everything
spills.
In second section, “Notes from the gyre,” the poet renders
language beyond daily news or her own page, the language of the Great Pacific
Gyre. Here the sky drops its pages to earth, dispatches scrawled by ocean,
litter, wind, tectonics —the material from which the Gyre is formed. At the
edge of the bay beside which the poet writes,
We lift our arms gulf
horizon: billboards, more stoplights, graffiti, sun.
Look down at the Bay, a wide margin of blue fabric stretches,
Points repeatedly at my mouth and yours.
Somewhere
below us: a palm tree grows despite
Concrete, it writes in
brown and deep red.
It
writes:
Don’t eat the fish.
The language of the gyre, the sea, of the palm tree muzzled
in concrete chatter against the noise of Twitter, Tumblr, and politics. Mg
Roberts pulls us down into the seeming silence of animal and planetary
suffering, re-binding us to the shared endocrine, lymphatic, embodied being in which we are embedded and
so peculiarly ignorant. Blind even to that distress of our own kind, kin: “There
are no grocery stores in this part of this part of the city. / Your sign of the
cross / Your gold face
oppression.” This silence is illusory: the “vowels sprawled out” of the
shifting lithosphere beneath our feet cut through the cotton in our ears. We’re
unprepared for the news coming at us. The poet satirically asks, “Where are
your earthquake supplies? / Where are your jugs of water?”
In the final section
“Meck”, Roberts binds reproduction and language to the violence of othering.
2. Movement is like riding a bike; limbs
fold and recombine. If language is an extension
of identity, please identify the
symptoms of cultural norms?
a. Your eyes are so round.
b. Where is the bridge of your nose?
Slicing open language, Roberts fluently slips from form to
form to form: the looping of chromosomes or the movement of the fetus in utero,
the movement of light or of immigrants across borders or seas: “Are you visiting or invading?” Roberts’
looping, recursive lines refuse stability, isolation, “purity.” Where a little
girl in a yellow dress innocently plays among her toys—unicorn, stuffed owl, “An
inverted flag/ Seated toy soldiers”—our narrative inevitably slips elseward: “The
yellow dress loops surfaces of a thing that is everything / And then
becomes less & less.” Less and less transparent, more and more intricate,
tangled, ominous. As the child pats each toy’s head, she polices the hard line
against which there will be no argument nor latitude:
) not for you
(not for you
(not for
(you not for
Outsiders, outliers, others. Roberts—woman, mother, child,
daughter, Filipina—adamantly refuses their/her erasure, demanding our
unwavering attention:
2.
My head is too small you say, I ask you
to measure my vagina instead. I’ve given birth to
three children and aborted just as many
if not more. To reperform time breathe through
fused concepts of childhood etched in
the activity of belonging to peruse at a later date:
human, chimpanzee, bonobo, mouse. Here
sign and object separate, how to differentiate
between color, hue, proportion and the
coveting of color, hue, proportion in a succession
of human forms?
b. Am I like you?
3.
Red blood cells distend and burst.
Bones press against adjectival arrangement. I want to
birth into your status update and take
your pulse. Are you more human, multi sensory—
soft, pink, & fleshy? Am I
offensive? I run my fingers inward, across scalp, toward base
of skull:
Mg Roberts’ Anemal
Uter Meck is a fierce sgraffito,
gorgeously scratched through looping narratives of memory, embodiment,
language, fetal development and birth, geology, water, and environmental
collapse. The slippages between compose the codes of the poetry’s genome, give
rise to its astonishing power. Anemal
Uter Meck will be published by Black Radish Books in February 2017 and I
could not be more excited! Many, many thanks to Metta Sáma for bringing Mg’s work to our
attention, to Mg for sharing her work with us, and to Eileen for the invitation
to write this love letter to Mg.
[1]
Wonder, from Proto-Germanic *wundran: a miracle, a marvelous thing,
an object of astonishment.
*****
Marthe Reed is the author of five books: Nights Reading (Lavender Ink 2014), Pleth, a collaboration with j hastain (Unlikely Books 2013), (em)bodied bliss (Moria Books 2013), Gaze (Black Radish Books 2010) and Tender Box, A Wunderkammer (Lavender Ink 2007). She has published chapbooks as part of the Dusie Kollektiv, as well as with above/ground press and Shirt Pocket Press. Her collaborative chapbook thrown, text by j hastain with Reed's collages, won the 2013 Smoking Glue Gun contest. She is co-publisher and managing editor for Black Radish Books and publisher of Nous-zōt Press chapbooks.
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