SkinNotes, North Hobart, Walleah Press, 2017, 116pp.
The Weight of Light, Parkville: Five Islands Press, 2017, 90pp.
Kristen Lang is an unusual poet in that her first two full-length books have appeared in the same year. For an outsider it’s difficult to know what the relationship between them is: it could be that SkinNotes contains poems that are earlier than those of The Weight of Light or it might be that a large group of existing poems of varying ages was simply subdivided into two manuscripts, perhaps along generally thematic lines. Whatever the case there are powerful continuities between the books just as there are significant differences.
The poems of SkinNotes are organised into clear thematic groups. “Blood Harmonies”, the first section, is made up of poems which all devote themselves to the issue of genetic connections within the family, a specific site for looking at the body/mind distinction that is so much a part of both books and which I’ll have something to say about later on. It’s opening poem, “The Knit”, is as clear as can be but is worth quoting because it introduces ideas, approaches and even words which will reappear throughout these two books:
How to unpack the fibres so entangled in each small knot of thought that falls between us that they belong, in the end, to none of us, webbed under words, across rooms, between years. You do not arrive in me. As I arrived. You have been here from the beginning, your hands in the measure of my own, your inflections in the muscle of my tongue. And much has changed. Time shifting the play as well as our bodies. But still, you can never be all the others. We are older now, and the days, stacked and skewed, merging with each other, carry us in their hold of what we know – stepping away we are still inside each other. Meaning only this. The knit and fray in the honeycomb of our cells. The touch we cannot choose to extinguish.
I think this is a fine poem though it is nowhere as ambitious as many of those in The Weight of Light. The material (our genetic debt to our parents) is quite conventional and a topos of contemporary poetry, and the language consistently at an elevated imaginative level (a kind of “upper-middle-style”). But we can detect beneath it a poetic mind which is rather different to the ones that usually produce this sort of poem in that it seems to operate under the pressure of thought – to be more “philosophical” to put it crudely. The emphasis is rather on the mind and its thoughts than on the body: there are no references to eye-colour or nose-shape here, no cosy affirmations of continuity. And in focussing on thought it is able to speak of something that belongs, in the end, “to none of us”, a kind of genetic version of cyberspace. This raises the issue – to be explored in other poems – of absence and leaving, and the way these might need to be redefined.
The second section of SkinNotes, transparently titled “The Fragile Mind”, deals with the mind by focussing on it at moments of vulnerability and extremis. Although some of the poems are clearly personal, enough of them seem to refer to the experiences of others to prevent this being a confessional zone. In fact the other unnamed men and women who form the cast make this more of an anatomy of disfunction rather than a harping on personal dis-ease. And not only are the characters varied, the metaphors are as well. The first poem, “Glass” uses drought as the correlative of a woman’s inner state but the poem’s end concentrates on the frustration of her friends at their inability to break this drought:
. . . . . We tell her none of us are angels, all of us moving stones to quench the need for water. . . . . And we wait. And we forget. In the vines of our own weather.
At other points the mind is a small house, the land of black dogs, a cliff face, and, in “Mild Amnesia” a set of cogwheels into which a spanner has been dropped. The failure of mind to connect “properly” to the outside world is put most schematically in the two towns of “Seasonal”:
The bridge between the blue, thrown-together, flood-prone city of the mind and the red city, somewhere outside the mind, is down . . .
This section is also noteworthy for “Fish”, a poem that introduces both a recurring symbol – the fish – and recurring themes – that of the interpenetration of different existences and the issue of visitations. The fish, swimming inside its element, appears twelve times out of the underwater shadows to the poet but has nothing to say despite her pleading. This poem, unlike others about fish, emphasises the pain of both the silence and the impossibility of any kind of interpenetration between mind and outer world – “And with this he has gone. / Filled with the river, and cold, / I am suddenly weeping” – accounting for its placement in the second rather than third section of SkinNotes.
The title of the third section, “Being Here” suggests that this might be a compendium of pieces about social, even political, life – commentaries on the everyday world. And, in the last few poems (which include “Five Justifications for Environmentalism”) there is some evidence for this; though even they are as far from commentary pieces as one could imagine. “Being Here” is taken in its rather richer, philosophical sense and it is no accident that the first poem is about whether or not angelic presences are “here”. Just as there were encounters with non-communicating but visiting fish, so here, in “Horse”, the yearning for intimations of the transcendent is butted up against the solid physicality of a horse in a field:
. . . . . The presence or absence of angels – how their songs dissipate in the slanting gaze of our search and we cannot guess what we would know of them. The horse pushes the softness of her nose into our hips and hands for the carrot we cannot offer and did not think to bring to her, then moves away . . .
This can be read in two rather different ways. Firstly, that those searching for visitations fail to communicate with the beings of the world (fish, cows, horses) who would, themselves, prove to be visitors if some kind of interpenetration of the species were possible. And secondly, that the horse represents the humans, dumbly seeking a gift (a carrot) that the visitors haven’t thought to provide.
Another poem, “On Being in the Ocean” – with a nicely ambiguous title whereby “being”, first read as a participle, can also be a noun – reminds us that being here is going, inevitably, to depend on the relationship between body and mind:
The sea’s blue rolls its rough-tongued abrasion through your hair, into your skin, floating you in its torn fringe of sky. Stay, says the mind, until the waves enter every cell and the body is wide, wide in the salt swell, drifting into the weather. But the eyes – reaching into the air – catch again on the shoreline. And the limbs say they remember, striding through the waves for their rope-heavy vision of the land – their chance: small paths uncurling in the gaps left between the dunes, the roadworks, and the houses.
Irrelevant as it probably is, this seems to me another poem deriving however tangentially from Slessor, affirming his place as a kind of progenitor of Australian poetry in the last hundred years. The number of poems recalling “The Night-ride” is enormous and this is one of many which, consciously or not, allude to “Out of Time” though I suspect that Tasmanian waters are a lot less conducive to underwater meditation than those of the Pacific near Sydney. It’s also important to register that the summons of the sea here isn’t towards an experience in a bubble out of time but a call to a kind of dissolution and expansion that will come from an element penetrating the body completely: perhaps, in the long run, it’s more Paul Dombey than Kenneth Slessor.
The final section, “The Heart” seems reserved for more personal poems and perhaps even traces the path of the end of one relationship and the beginning of another, more permanent one. But one wouldn’t want to imply that there is anything simply confessional about these. “Clowning the Trust” imagines a clown balancing “a small book on the art of living” on top of a pole while riding around the circus on a unicycle. On top of the book is a glass sphere holding the remote possibility that the relationship between two lovers might be successful. In other words it’s a fully developed, surreal scenario, as is the first poem of this group, “To Say I Believe in You”, and “Dylan and Picasso” where the music of Bob Dylan accompanies the discovery of three Picassos each of which describes a progressively deeper exploration of sex: a sea to sink into; a nude, simultaneously man and woman; and finally a set of cubist views of a landscape – “a dozen / ways through and the ways / revealing gaps, places / on the rumpled page / no-one has been to”. One poem, “Nathan and the Sparkle of Chains” stands out as being about people other than the poet but it is possible that the situation – lovers sharing a drug-induced high – may be nothing more than a symbol for sex generally.
I’ve worked through the four sections of SkinNotes descriptively and in the order in which they are arranged because it’s the kind of book whose organisation suggests to you that it wants to be read that way. The Weight of Light is a quite different sort of book and it’s possible to approach it rather more freely. There are stylistic developments that need to be registered and, since so much of the book is an exploration and extension of images that appear in SkinNotes, there is a lot that needs to be said about stones, paths, in- and ex-halation, ascents, fish, fibres and a whole lot else.
To begin with stylistic matters, The Weight of Light has poems which make the generally discursive manner of most of the poems in SkinNotes more pronounced so that they have a developed essayistic quality or a very formal narrative quality. “Twister” is an example of the former, imagining that Descartes’ ideas of vortices in ether-filled space is a more accurate rendition of the state of someone’s psychic state. It’s a poem about dissolution and expansion, the desire to have “star birth / at his fingers, quasars at his tongue, intergalactic tide marks / on his arms” while being harnessed to such quotidian items as the city and his dog. But I want to emphasise the essayistic tone which makes the poem as much a tour through the history of the science of cosmology as about the problem of an individual reconciling the expansion of the self with the ordinary. The first stanza will show what I mean:
The French after Newton found themselves still in the swirling sway of the night sky’s ether, where dear Descartes had placed them. This thing called gravity – an invisible tug – too absurd. Their giant, outer-space tornado sweeping the known planets through the constellations – this, they could feel. . .
We meet the narrative counterpart of this in “Snow After Fire (Parsons Track)”, a poem worth looking at in some detail as it contains many of the images that recur in both these books. It begins:
We arrive on the plateau, climbing from the walls of rock, the coloured gums, the mountain shrubs, to where the only thing not blackened by the long summer’s fires, perched in the Rorschach of receding snow, is the sign, the naming that compels us surviving through the heat’s choke and crackle. So we learn we have entered what our hearts have read since the beginning - the forest we have scaled, the hazy sky, the chill, the day itself – yet here it is, this boundary, the sign telling us all we have crossed into the Heritage of the World, the old planks looking new in this ransacked terrain. Every leaf has gone, each blackened branch windswept free of dust, smooth, almost polished – ink-drawn, weighing nothing. Stone after stone . . .
and so on in this stately way for two and a half pages. Ultimately the climb – one of many in these two books – has an allegorical point signalled by the phrase, deliberately surprising in its context, “the falling in love”. To put it crudely, the desolated landscape preceding an emergence out into unburned heights, is a symbol of life before love. It a bit obvious but it’s a subtler poem than that makes it sound. The burned landscape is an abstracted, black and white one which shows the shape of the underlying stone better. The descent finds the couple meeting the descendants of those who first cut the track, suggesting generations and the sense of life “spilling us forward” which in turn reminds us of the repeated image in these two books of the path which is erased behind (“the stillness of the path / once we have gone” as an earlier poem says) – there is only one way and that is forward.
These long-breathed, discursive poems are in complete contrast to a set of a dozen or so, spread throughout the book, which try to operate more allusively. At their most extreme they look like a series of haiku, loosely connected to a central subject. You can see that what is happening is an attempt to loosen the power of (prose) logical, discursive movement and allow some suggestion in. Perhaps it comes about from a dissatisfaction with the surreal scenarios of some of the poems of the first book. These stretch the imaginative possibilities but Lang may have felt that she had exhausted what they had to offer. At any rate, “Between Arrivals” will serve as an example:
in the forest over stones and roots – the way emerging behind us unknown until it lands – each footfall at the fence - breaking out / breaking in the light reaching us where we stand – we keep standing . . . the new light arriving arriving at the beach trace-lines – beetle, crab, petrel – the wind lifting the sand we run – by chance a dragonfly older than all of us drops into the sky beside us – the same air we are using we keep pace – not knowing where we are going mid-step - between arrivals
It’s a tricky form to carry off because it can look precious in contrast to the discursive poems which, at worst, always look important. But these poems in The Weight of Light are buttressed by the way in which their themes are present in other poems. “Arrivals”, for example, is clearly about life as a forward-moving process, as it is in “Snow After Fire (Parsons Track)” and those poems like “The Cloud Years” and “The Conductor Leaves Behind” which are about the progressive shaping of the self. “The way / emerging behind us” is the path that only becomes a path once the bodies have moved on and each step is one which is taken into the unknown. In a sense this aligns with the first poem of the book, “The Letter”, which is a poem about poetry in which the poem travels to an address that can’t be specified – it is posted “To Whom It May Concern” to “her neighbours – /across the road, across the country, // on the other side of the world” and is responded to in a similar way.
As I said initially, it isn’t possible for an outsider to be confident of the relationship between these two books which have appeared so unusually closely together. (By way of contrast the two books which I have reviewed previously on this site were each separated from their predecessors by ten years!) Each of Lang’s two books mentions in its biography a self-published chapbook of 2008 called Let Me Show You a Ripple but I haven’t had a chance to see it. It’s possible it might hold the key to understanding whether the poems of SkinNotes and The Weight of Light were written contemporaneously and then divided into two manuscripts or whether The Weight of Light contains poems written after the other. Based on the explorative quality of The Weight of Light when it comes to manner as well as the way its imagery is based on the poems of SkinNotes, my guess would be the latter. At any rate Kristen Lang is a terrific addition to the cast of Australian poets, someone in whose poems we can feel the pressure of complex thought and who is craft-sophisticated enough to explore the best ways of making poems out of embodying these ideas.