In this visceral, utterly essential poetry pamphlet, described as ‘part memoir, part fiction’, Cameron gives voice to what is arguably one of society’s most unheard groups: women working in the sex trade. Significantly, here is a woman’s voice in marked contrast to the male gaze of poets such as Charles Bukowski or Charles Baudelaire.
The collection’s harrowing title immediately gives a flavour of the bitter irony that characterises this poetry. There is a formidable, compelling honesty here which, combined with a deft and well-judged use of subtext, draws the reader into the poem’s world. Note the first poem, ‘128 Farleigh Road’, in which the speaker candidly observes a man lying dead at the bottom of the stairs, ‘Body Marks’, in which Caprice, Eve, Grace and Morgan speak flash in the pan images of the scars on their bodies. A palpable thread of dissociation runs throughout the book; love is ‘a forewarning of attack’, and the pamphlet’s characters ‘try to disarm you with laughter’. In ‘Cartoons’, the speaker tells of having ‘a near miss’, and of coping with this trauma by remembering her childhood spent watching The Flintstones.
Reading this pamphlet following the murder of Sarah Everard intensified the emotions stirred by the pamphlet’s narrative arc. Poems such as ‘The Green’ were all the more terrifying. Its ominous second stanza – ‘It was a dark winter evening. / Ellen still had a twenty-minute walk home’ – paves the way for the bleak declarative description of Ellen’s fate in the third stanza: ‘It took three days to discover the body, / reporters said it was hard to identify // – devoured mostly’. Ellen’s italicised thoughts surge out of the night – ‘That rustling crack closing in / must be animal.’ This line conveys what women have always known – that many monsters we encounter in life are not animal: rather, they are human.
Of all the book’s affecting voices, Crystal’s is both enduring and particularly moving. It is rare to come across such a convincing character conveyed entirely through lines and stanzas. In ‘Switchblades’, when the pamphlet introduces Crystal, she is on the defensive. In her italicised lines, she boasts that she ‘carries switchblades’, and taunts the speaker: ‘I’ve heard you with the punters – / you’re no escort, you’re a whore’. However, several encounters in a King’s Cross Café show Crystal in various states of vulnerability. In one such encounter, she refers to her body as ‘bought and sold’. In another, she delivers a dramatic monologue in prose poem form, where she examines abortion: ‘It’s not that hard to flush a foetus down the loo, unless you listen to that claptrap from the pro-life lot…how could you flush a little beating heart down the toilet and not commit suicide when you can’t live with the flashbacks?’ One cannot help but hope that, whether her character is based on a real person to any extent, as several of these characters are, or whether she is purely a fictional character, her story ends with her, as she says in ‘King’s Cross Café (III)’, ‘getting out of this’.
The pamphlet ends with a hauntingly beautiful image, ‘It’s busy on the Thames; / Canary Wharf, I hear it sing’. This final couplet is left ringing in the air, a fleck of heartbreaking beauty among the ‘eerie’ grit of the speaker and subject’s world – ‘it’s extra cold tonight’ – and nightly rituals – inserting tampons and assuring themselves that ‘the cramps will ease with Valium’. In the pamphlet’s title poem, the speaker says of Crystal, ‘she understood erasure, turned it into artforms’, and Cameron’s poetry accomplishes exactly this. There is something remarkably compelling about not only the sparing use of language, but also the use of white space throughout the course of the pamphlet. These words emerge from a blankness onto the page, starkly, bluntly, and irrevocably said.
Olivia Tuck 19th April 2021
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