Jacket 18 — August 2002 | # 18 Contents | Homepage | Catalog | |
Rachel Loden reviewsWorld, by Maxine ChernoffSalt Publishing, 2001, 103 pp.; $12.95 |
A dentist on the sitcom Seinfeld was said to have converted to Judaism ‘for the jokes.’ What he didn’t understand, of course, was that he was entering a wide-open oral force field of much more resonant (and droll) complexities. In their very different aesthetic sphere, Maxine Chernoff’s poems can be read and relished for their brilliant comic timing, but that timing is always indivisible from her extraordinary lyrical and metaphysical gifts. World, her first full-length book of poetry since 1990’s Leap Year Day (a new and selected), shows the writer in full command of her powers, lighting out for unmapped and radiant territory. ‘God is in the high notes,’ (‘God’)
Sometimes Chernoff’s sudden asides are startlingly reminiscent of a comic player’s whispered confidences to an audience, breaking the surface of the piece in order to bring it back together at another level: From the captain’s window (‘A Relief Map Glows ‘)
Other comic twists are more like jazz riffs, emanating logically out of a string of images: ‘A very sick child / in the Victorian sense. / Nothing specific about his case. / A vague / longing to seize / his friends / and arrange them / like wooden / fruit’ (‘Nature Morte’). Skeletal (blur) nor riper (‘World’ 2)
The radical excisions in these texts, their lacunae, give them a stark and floating quality against white space: ‘Herself (through armor) // itself like maps // ledger’s sleeping // she not knowing // moonlit feather // stellar smaller ‘i’ // patient limitless // nature // learned to purr // kabuki workhouse // love // to silk a sorry // landscape together // weathered droll // and wings of letters // rumored as singing’ (‘World’ 11). ‘Grief too will make us idealists.’ (‘Experience’)
There’s something about the impressionistic structures of these poems, their hops and skips across a rippling surface that suggests the freedoms and pleasures of hypertext: ‘‘Language is fossil poetry.’ // To hear // conventional life // and those // who see— // star // lily // rag— // mystics // making // things whole // Niagara’s // dull march // air-lord // and universal // hours’ (‘The Poet’). — So what should we do? One of the speakers in ‘The Sound’ is unhappy with the ‘brutal’ noise apparently made by the other at the point of orgasm. They run up and down the scales of possibility, finally exhausting their delirium in a moment of delicious triumph: — Maybe you should gag me. It’s tempting to think that this is the sort of record (Seinfeld cohort) George Costanza might leave, if he had a mate (or a straight man) to feed him lines and take his manic testimony. But in fact these dialogues seem an inevitable progression for Chernoff. In a comment on her prose poem ‘The Fan’ in Poetics Journal (1985), she writes that rather than ‘commenting about the nature of one character’s reaction to experience,’ she is ‘suggesting that a linguistic event has been observed by a witness. This witnessing verifies that something has been made of language. . . . Thus, “character” in many of my prose poems exists so that language can occur.’ |
Jacket 18 — August 2002
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