About Me

About Me
I am a writer, editor and gardener living in the Calder Valley, West Yorkshire. I have a degree and masters in Literature and Philosophy undertaken while living in London. I obtained a PGCE in English and History and taught for two years in a secondary school in England (age range: 11-18). My writing credits can be viewed here. I have had two poetry books published and am co-translator of Alain-Fournier:Poems (Carcanet, 2016). I am an editor and associate publisher at The High Window Press.

(See:thehighwindowpress.com)

12.5.15

Gertrude's Attic by Jaimie Gusman


Review by Anthony Costello 

A necessarily bijou review for Gertrude's Attic, a bijou chapbook, beautifully designed by Chris Edwards at Vagabond Press. In a novel and ambitious undertaking Jaimie Gusman, author of One Petal Row and The Anyjar interweaves the poetry (and poetics) of Gertrude Stein into the fabric of her own poetic outlook. The three sections to this book - Heirlooms, Scraps of Lace, Drawings - draw on Stein's collected works, including her essays and her novel Ida. However, these borrowings are never onerous or misapplied, but placed at pivotal points in Gusman's own poetic endeavour.

While 'Gertrude's Attic', the eponymous poem in part two, is like peering into a doll's house where clothes are folded "into triangles", and closets are opened and "everything is stored up above one finished breath", elsewhere the poems read like a story pieced together from a mosaic or tapestry where tassels, sofas, dresses, dolls and costumes sit alongside surreal (the sky as an empty fruit basket!) and modern motifs you would expect in a book referencing Gertrude Stein.

Despite Gusman's immersion in Stein's oeuvre this is not purely a homage. Gusman riffs off Stein and her 'notes on the text' dutifully credit the influence, but the influence is often light: Stein's "What is the use of a violent kind of delightfulness" in her 'A Substance in Cushion' becomes "the generous interest in a violent appearance" in Gusman's 'Ghazal', for example. Gusman tenderly rearranges and softly utilises text fron the same Stein poem in 'Villanelle' and 'Vegetable' to make this book very much her own. (Elsewhere, Gusman acknowledges Stein in quotations and in italics when the referencing is more concrete.)

There is an interesting mix of form and style in Gertrude's Attic from the storytelling technique of 'Baby' to the poetic prose of 'Candelabra', from the experimental 'A page Ever Coming' to the modernist 'Hair' and 'Drawers'. The language use is varied too, from the imagistic in 'Some Reactions To Being Alice'

"the arctic cookbook, your
Ice cakes, cold cream hands
up and down the spine like a fork"

to the narrative and lyrical in 'Tomato Seedlings'

"I ask our Ida when she'll go back
to Washington because I am reading the book
on how to escape Ohio without ever leaving

Washington is a bitter spring,
white tulips scatter like frozen teeth.
I meet our Ida there at a bar called Al's"

There is much to admire in Gertrude's Attic. The writing is sweetly pitched and poised. I can't always be sure if the poet's experience in Gertrude's attic is metaphoric or real, but this balance between walking literally in Stein's shoes ("we try them on and walk through her house") and the figurative is sustained throughout. It is definitely a richer reading experience for knowing Stein's work, or re-descovering her work, but this fact should not deter the would-be reader as the book can work independently of the Gertrude Stein connection. This is a book of more than one room, despite the potency of the title sometimes dominating. Gusman is able to move from attic rooms to flghts of fancy like this in the introduction:

"I had you by the tip of my genius
 and you had me slumped over
a boxspring and a Riviera bedspread."

Other examples of virtuosic writing abound (..."her shadow prepares an oven/hot, a callous here and there, she sighs/that her nail beds are flimsy steroid-moons" and "Where are the glistening waistlines/that so briskly walked down/aisles before me?" in 'Some Reactions To Being Alice' and 'Birdsong', respectively). Gertrude's Attic is worth reading for the successful villanelle alone (no mean feat), and for the lively and engaging poetic questions it raises. I particularly liked the nuanced and sometimes complex use of 'we' in 'A Page Ever Coming'. I will finish with one of the stanzas in this four-page poem and with a general overall recommendation. I look forward to reading what the poet writes next.

"With all the birds eating the lint eating the atmosphere
I sat in the nothingness looking at the ink on my tiny thumb
and my tiny thumb on the white walls of a singular cell
built by We-men that make up a whole body of cells
and all I could think of was which We was hungry and which
We was full of ink." 

No comments:

Post a Comment