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review by Amelia Walker |
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Ecopoetry needs to be intense and unpredictable,
Lang has a gift for writing about animals, including human animals, and for reminding us how close, how interrelated and interdependent we are with other creatures and the spaces of this earth we share. That is to say, The Weight of Light aptly carries the ecopoetic project of presenting ‘the human experience as being part of the more-than-human world’ (Stuart 2017: 3). Take, for instance, Lang’s striking portrait of a squirrel, whose tail is:
and whose heart is:
Similarly, when Lang writes of ‘The wombat’, she shows us:
In these and other animal-focused poems, Lang deftly evokes the intelligence, the mysterious emotions of these creatures with whom we cannot speak, and yet have so much to communicate, if and when we can find ways. Likewise, studies of human figures – particularly ‘Portrait of a man dying’ – remind us, with raw energy, just how animal we humans after all are:
Equally striking are Lang’s depictions of landscapes and spaces. In ‘A sea of green’ she writes:
However, ecopoetics is not all – or even necessarily at all – nature poetry. Indeed, as Arigo notes, the traditional nature poetry trope of the human subject observing nature as object is, from the contemporary ecopoetic perspective, deeply problematic, and of greater importance is that the poetry ‘take place more in the realm of the innovative’ (2007: 3). Ecopoetic innovation is by Arigo’s terms paradoxically and appropriately about both interconnectedness and tension – about holding these things in a fine balance that challenges conventional notions about human subjects and subjectivity as individual and bounded. Stuart similarly identifies good ecopoems as ‘able to initiate a dispersal of ego-centred agency’ through which ‘permanence and unity can be eschewed in favour of encounter’ and ‘patterning is given attention and objectivity needs to be reoriented toward intersubjectivity’ (2017: 3). Such encounters resonate sonorously through The Weight of Light, thematically and formally. For instance, in ‘A monstrance of diamonds’ a never-named ‘she’ discovers bodily resonances in landscapes, and vice versa: arms contain air; the Earth has a hide; mouths become stones and water skin; the moon tremors and a rippling lake bears a pulse:
‘Electrocardiogram’, forges similar connections between biology and poetics:
Such lines hint at Lang’s passion for language and linguistic structure. Throughout the collection she engages masterfully in understated yet poignant formal play. Particularly notable is her clever engagement of and with enjambment. ‘The hum’ (10) is just one example: through five stanzas that progress, in turn, from three lines, to two, three, four, then back to three, the poem strikes a delicate balance of imbalance, a harmony dependent on its discords, its conflict; moreover, it achieves an offbeat regularity utterly appropriate to the poem’s subject matter – the heart. Overall, this collection must be commended. Quiet on the surface, each poem screams volumes. It is a perfect enactment of the well-made ‘house’ Arigo associates with strong ecopoetics – a poetic house in which ‘the poem itself is an ecology: a microcosm economy in which itself dwells’ (2007: 4). The Weight of Light matters to our world and in it. Without ever preaching to its readers, it reminds us of all we could be doing to live more gently, more sustainably. It is a book that needs to be read and re-read. I recommend it most especially for courses in creative writing and/or literary criticism, where it could serve as an illustrative example of how contemporary poets address crucial issues of our fragile, precious world.
Works cited
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Amelia Walker has been writing and performing poetry for twenty years. Having previously worked as a registered nurse, a group fitness instructor and a school workshop poet, she now teaches children’s literature and creative writing at the University of South Australia.
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TEXT Vol 22 No 1 April 2018 http://www.textjournal.com.au General Editor: Nigel Krauth. Editors: Julienne van Loon & Ross Watkins Reviews Editors: Pablo Muslera & Amelia Walker text@textjournal.com.au |