Jacket 19 — October 2002 | # 19 Contents | Homepage | Catalog | |
Brett Lauer reviews
|
The title of Chris Wallace-Crabbe’s fifteenth volume of poetry, By and Large, reflects the broad spectrum of terrain that the collection traverses. It shifts between subjects such as the Beijing uprisings and the government of China (which ‘prevents the future from ever taking place’), to America and its intellectuals (‘in their gaily padded plastic jackets, / writing a serious dissertation, / eating muffins / with Unitarian deliberation’) and the geopolitical landscapes of Australia, where government officials strive to ‘unfuck the economy.’ Wallace-Crabbe’s new collection is an expansive cataloguing of our contemporary milieu, but it does not settle for quick, superficial glances across a spinning and blurred globe. Rather, Wallace-Crabbe examines various historical events and figures, political institutions and landscapes, illustrating that ‘Like plain morality or the universe / things grow more complicated and eccentric / the more you peer at them.’ Indeed, while observing such myriad subjects, his poems often self-consciously acknowledge the process of peering in order to produce meaning. What results is not disparate or a poetic globalization, but an eclectic philosophical investigation of the self in the modern world. Now its comfy ackers who’ve taken on
Yet many of the issues that underlie Wallace-Crabbe’s poems are indeed informed by postmodernity: where the ‘status of knowledge is altered’; where ‘History is here/ being unmade and renewed / among the straw-ricks’; where even the fluidity of language, the necessary medium for such discourse and experimentation, is beyond classification — and is indeed the necessary classifier: Yes, but language feels to me
Wallace-Crabbe’s poems utilize high and low art, blending the historical and the contemporary, with Coleridge appearing in the same poem as the humorous and poignant consumer-culture critique ‘REAL PUNKS CAN’T SPELL CAPPACINO.’ His poems, which are always pushed forward by an amazing and somewhat traditional ear, shift fluently among linguistic styles, philosophical diction, slang (‘what lies between gossip and metaphysics?’), and forms — including lyric, prose poems, a slightly comic light verse that never quite becomes trivial, and a sonnet sequence — as well as across continents and time periods. It is precisely this grab-bag of options, ready at Wallace-Crabbe’s disposal, that makes the collection successful: an effortless mixing that responds perfectly to contemporary politics, academia, meaning, and language, all of which the contemporary person must process simultaneously and attempt to make sense of — or, alternately, acknowledge the nonsense of it all, as Wallace-Crabbe often does. |
Jacket 19 — October 2002
Contents page This material is copyright © Brett Lauer
and Jacket magazine 2002 |