As you may or may not know, I use Goodreads to keep track of the books I read, and to rate and review them when I have the inclination. I recently read a book of poetry that completely blew me away, and my reaction to it turned out more like a blog entry than a review. So I thought I would cross-post it here.
The First Risk by Charles Jensen
My rating: 5 of 5 stars
I don’t remember finding out about Matthew Shepard’s slaying. I was seventeen when it happened, a self-hating closeted gay Mormon, halfway through my first semester at Brigham Young University. Did I think he deserved it, the way I thought gays deserved to die of AIDS for their sins? I hope not, but I’m afraid to remember too well.
I am the failure of the body to remain a boy,
I am the remains of a boy, the body of his failure. (“I Am the Boy Who Is Tied Down”, p. 7)
The first section—”Safe”—interweaves various viewpoints on Matthew Shepard’s last moments with three poems describing Venus’s grief at the death of Adonis. The language is brutal, visceral, and the tone moves from cold and dissociated to immediate and passionate. Reading this section, it was like I was hearing about the killing for the first time. And this time, at least, I know I didn’t think he deserved it.
* * *
When I finally came out to myself as a gay man, and began to accept myself and to stop blaming myself for who and what I was, I took an entire summer to watch what I saw as the “gay canon,” films I had been too afraid to watch until that point. One of the first of these was Almodóvar’s masterpiece, All About My Mother.
I tell you, chica,
If you want something done,
Do it with a knife. (“La Agrado Explains Plastic Surgery”, p. 25)
The second section—”City of the Sad Divas”—is a collection of poems associated with All About My Mother and its characters: Manuela, who has lost her son; La Agrado and the other transsexual hookers; Huma Rojo and her heroin-addicted lover, Nina; and the city of Barcelona itself, where much of the action takes place. In these poems, the reader does not relive the film; rather, the violence and passion and filth of the film are held at arms length, looked over with a dark and dubious eye, considered, and then let go.
* * *
I’ve always hated Alfred Hitchcock’s Vertigo, although it is often gorgeous to watch, because I never believed for a minute that any of it was happening. All of the characters annoy me, the plot annoys me, and Scottie’s obsession and eventual unraveling annoy me.
To be golden-haired means
you are destined to be idolized;
brunettes have less fun
but keep better secrets. (“Hair and Make-Up Notes, Scene 92″, p. 50)
The fourth section—”The Double Bind: A Critical Text”—presents a critical analysis of Vertigo, and includes all kind of tantalizing details about the cast, director and the narrative and directorial choices in the film. I have no idea if any of these details are true; that is not the point: they are simply too delicious to resist. Each snippet, naturally, is accompanied by an associated poem. One thing that must be said in Vertigo’s favor is that it is beautifully shot, composed and scored. Unlike the previous collection, these silky little poems do much more to evoke the actual feel of parts of the film.One result of reading this section is that I have the sudden desire to see Vera Miles play the Kim Novak role (and, really, anyone else play the Jimmy Stewart role).
* * *
I’ve already reviewed the fourth section, “The Strange Case of Maribel Dixon,” on Goodreads. I have nothing to add to that review except this:
This is good poetry.
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