In “Calligraphy,” the first poem in Panicle by Gillian Sze, we are led into the art of writing which begins: “even before the brush touches the paper.” Sounds and the act of writing—of listening, witnessing, experiencing, reaching essence at the core—permeate Panicle. This is a collection about poetry itself.
In a prose poem, “Sound No2,” she writes:
There are things I want to show you, like the empty pause that encircles desire. Or how Klimt knew that a woman bends her neck that far for a kiss only if she really wants it. I want to show you how quiet it gets when you’re in the company of someone who no longer loves you.
Sze pushes beyond sound and sight, beyond even behavior, in order to explain poetry, as she does in “Bona Fide: or, Setting the Seine on Fire.” She begins by drawing us into “impressionist modes” (do you see the shimmering light?) and note how black differs in Paris where “even the chestnut trees never cast black shadows.” This thrusting of opposites applies to ideas about poetry as much as it does to the words within a poem. After creating the Parisian scene, she notes:
A modernist tells me
he’s searching for genuine tones
something authentic, not fugitive…
Something, he repeats, in good faith.
And I tell him
I’m search for natural light.
She brings us back to experience and away from the theoretical voice of the critic.
In “Aubade,” Gillian Sze introduces a hospital room in which she sees “A raised cup / and behind my eyes / a rush of wings;” perhaps a reference to the Eucharist before she turns to nature as “each leaf lifts an eyebrow / and regards the day,” returning us to hope and light. (“Aubade translates from French roughly as auba=dawn + albus=light.) Her play on allusion and sound throughout the collection pares the subject down to its essence.
It seems to me that Sze breaks rules with “Staging Paris: Tableaux Vivants,” ten scenes that she outlines for us, each creating a situation, unresolved. She plays with light and sound. She leaves it to readers to resolve each situation.
My favourite section is the long poem that concludes the collection: “III Guillemets,” although she does not use the chevrons ‹ and › (single or double) in the poem. What is included are sketches by Jessica Hiemstra (please see the previous blog: Apologetic for Joy for Hiemstra-van der Horst’s poetry). The poem is a creative interpretation of Pouvoir du noir by Roland Giguère in which is contrasts black and white and much more in a clear, accessible way. I recommend Panicle for the clarity, contrasts, sound, and skill of Gillian Sze’s poems.
For the writers among us:
- Think about the place of sound in your poems;
- Think about creating tension through opposites;
- Think about leaving the door open for interpretation, allowing readers to draw their own conclusions, as Gillian Sze does in the “Tableaux.”
Available through your local bookstore or online: Panicle