The River is Rising -- Patricia Jabbeh Wesley

One reason that Patricia Jabbeh Wesley’s The River is Rising is interesting is that she is both African (Liberian) and African-American, and she can stand with a foot on each continent.  Her poetry can thus bring together insights and observations from both worlds, and we can see a church service or a landscape in ways that might be alternately familiar or unfamiliar to us, depending on our background.

The thing that captures me about her poetry is the rhythm and pulse created by her repetition and arrangement of phrases.  She does not write verse, but her words are ebullient, and seem to bubble over the edges of the poem.  Simply to say that she uses many resumptive modifiers and absolute phrases makes it sounds like she is just using grammatical tricks, but when seen in action one can understand how she uses these to build energy and flow:

[...]She weeps when she teaches King Lear and his

good-for-nothing daughters.  King Lear, weeping

in the storm, King Lear giving away his fortune

before his death.  My professor wipes her large,

blue eyes when she remembers King Lear. 

I pity my professor who weeps for King Lear,

my professor loves the storm and the rain

and King Lear, caught in the rain [...]

or:

[...] Yes, all the bones below the Mesurado or the St. Paul

or Sinoe or the Loffa River will be brought up

to land so all the overwhelming questions

can once more overwhelm us.

But they are bringing in our lost sister

on a high stool, and there she stands, waiving at those

who in refusing to die, simply refused to die [...]

A number of Wesley’s poems concern her awful experiences in Liberia’s civil strife under the dictator Charles Taylor.   She stands then as a witness to history, even though most of her poetry is made of personal emotion and observation.  Hers is an important role, yet I have to say that I liked much of her other poetry—also made of personal emotion and observation—better.  Poems such as “When My Daughter Tells Me She Has a Boyfriend” (there is tension over whether the boyfriend is black, and whether a mother has a right to ask) and “After the Memorial” (about a student’s death) touch me more.  I’m curious as to why.  Possibly I simply can relate better to things closer to my experience, and civil war is simply too far away; possibly it is just very difficult to memorialize the details of history and not sound like a news report.

Nevertheless, because of her broad range of experience and deft ability with imagery and words, “The River is Rising” offers something for everyone, written with sincerity and passion.

Poem Written From a Single Snapshot

On the beach in Monrovia

my children and I are building sandcastles.

You can see the Atlantic’s waves in the distance,

fighting for a place to roll their way onto shore.

Waves are flapping in the wind

as the tide rises up and down.

Before we know it, we are in the middle of water.

Besie is two years old.  MT, who is only

six months, clings a short arm around my knee.

He’s staring at Besie and the sandcastle

she’s erecting with her right foot.

This is how my mother taught me

to build a sandcastle.

You put your foot down and build mounds around it until

the castle becomes stable.

This is how we search for home.

You put your foot down in a place long enough

that new place becomes home.

Phantom Noise -- Brian Turner

Brian Turner’s poetry can’t help bring to mind the poets of the First World War: Wilfred Owen, Siegfried Sassoon, Rupert Brooke.  It’s not just that Turner writes about “war, and the pity of war” like Owen, but that no other major poets have done so since the Great War.  Where did the poetry of WWII and the Korean War go?  I have read one poem written about the Vietnam War—an unpublished poem by my father.  So Turner’s poetry is at once novel and grounded in tradition—the tradition of bypassing the temptation towards the lugubrious or the nationalistic when dealing with war, and confronting the horror and pain with unflinching resolve.

The title poem of the volume is a good example:

Phantom Noise

There is this ringing hum   this

bullet-borne language   ringing

shell-fall and static   this late-night

ringing of threadwork and carpet   ringing

hiss and steam   this wing-beat

of rotors and tanks   broken

bodies ringing in steel   humming these

voices of dust   these years ringing

rifles in Babylon   rifles in Sumer

ringing these children their gravestones

and candy   their limbs gone missing   their

static-borne television   their ringing

this eardrum   this rifled symphonic   this

ringing of midnight oil   this

brake pad gone useless   this muzzle-flash singing   this

threading of bullets in muscle and bone   this ringing

hum   this ringing hum   this

ringing

I like how the thread of tinnitus unites a series of impressions and memories to the point where the unceasing roar stands in metaphorically for the strife and pain.

Specific connections to First World War poets arise poem by poem, connected by particular subjects and concerns.  But whereas Sassoon observes post-traumatic stress disorder (he would have called it “shell shock”) in general terms, Turner focuses on the fractured first-person impressions of a returned soldier.

Survivors

S. S.

No doubt they'll soon get well; the shock and strain

Have caused their stammering, disconnected talk.

Of course they're "longing to go out again,"—

These boys with old, scared faces, learning to walk,

They'll soon forget their haunted nights; their cowed

Subjection to the ghosts of friends who died,—

Their dreams that drip with murder; and they'll be proud

Of glorious war that shatter'd all their pride…

Men who went out to battle, grim and glad;

Children, with eyes that hate you, broken and mad.

Perimeter Watch

B. T.

I lock the door tonight, check the bolts twice

just to make sure.  Turn off all the lights.

Only the fan blades rotate above, slow as helicopters

winding down their oily gears.

                                                Water buffalo

chew the front lawn, snorting.  When the sprinklers

switch on, white cowbirds lift up from the grass

with heavy wing-beats, a column of feathers

rising over my rooftop, their wing-tips

backlit by the moon.

                                    Through Venetian blinds

I see the Iraqi prisoners in that dank cell at Firebase Eagle

staring back at me.  They say nothing, just as they did

in the winter of 2004, shivering in the piss-cold dark,

on scraps of cardboard, staring.

[…]

Brian Turner, like Sassoon and Owen, excels at personalizing experience and alluding to generalities through specifics.  In Phantom Noise we get a wide slice of this experience, ranging from guarding prisoners to a panicked stampede at al-A'imma Bridge, from a VA hospital to childhood memories.

Turner clearly has respect for both valor and mercy; he treats the people and cultures involved in the Iraq War with understanding and insight.  One poem, “Stopping the American Infantry Patrol Near the Prophet Yunus Mosque in Mosul, Abu Ali Shows Them the Cloth in his Pocket” is no war poem—simply a poem borne of the tensions and misunderstandings between cultures alien to each other.

Through it all, Turner remains reserved.  He shows but does not tell, so that while he speaks in the voice of a soldier, a father, a lover and a passing observer, he only alludes to any grand statement or unambiguous opinion.  He never writes, as Sassoon does,

You smug-faced crowds with kindling eye

Who cheer when soldier lads march by,

Sneak home and pray you'll never know

The hell where youth and laughter go.

Part of me wishes he would.  Part of me is glad that he doesn’t.

American Internal

Down in the hole, down in the clay and mud,

we dig. The noon sun hot on our backs

as we bend to the task, as if digging

down into our own shadows

with the stained shovels of our hands,

digging until someone gasps—another,

they have discovered another; with pale eyes

the dead faces are rooted among worms and stone,

the brassy shells of bullets in their mouths.

We raise each one carefully out of the earth,

men dressed in sandals and thawbs,

wet cotton robes dyed by clay,

and women, like the one I lift now,

how her hair unravels in a sheen

of copper, cold as water in my palms.