Seashore scenarios, the fluidity of water and the hardness of ice are images that recur in Ian Seed’s second collection from Knives, Forks and Spoons Press, which is reminiscent of Montale’s ‘Arsenio’, who wanders around at the beach, where his thoughts and hopes are erased by the backwash after a storm. Arsenio’s ‘immoto andare’ (motionless motion) is a very good description of Seed’s uncertainties, his sense of displacement, the fragmentation of the self, his isolation and his loneliness as he engages in a heedless search for a meaning. These themes were already present in his first full collection, Anonymous Intruder (Shearsman Books, 2009), in which the protagonist’s ‘feeling of lostness’ cannot be resolved. Multiple encounters mark a meandering journey that does not reach a definite ending. While the first collection was composed of structured poems and prose poems, Operations of Water is more experimental in form; this emphasises a sense of letting go and an openness to even less defined perspectives. The themes are explored in a deeper way, revealing a profound sense of displacement and emptiness that nevertheless is always in process, like water that is flowing. Everything seems ever-changing, shifting, fluid; there are ‘fluctuating life stories to be shared’ in an ‘emptiness [that] is not nothing’. The estrangement from the body and the concept of authenticity are therefore even more challenged in this last collection. The poet is open to the mysteries of experience, which is unresolved, questioned and ultimately unknown.
The collection is divided into four parts that are mostly composed of sequences of poems that delve into the different concepts, mixing conversational language and abstract imageries. The dialogue is open and provisional, hinting at Baudelaire’s correspondence and the magical world of folk tales. The uncertainty of the human condition is acknowledged and so is the illusion of any faithfulness to firm theories. The protagonist ‘mix[es] a cocktail’, negotiating relationships in ‘a solitude that is not/in your control and cannot be sweetened’. Seed’s questioning is stringent in some poems, addressing existential concerns which remain unresolved and distant. The search for a home ends in desolation; it is ‘a vanishing place’ or ‘an abandoned house’ where the protagonist experiences his inadequacy: his body is ‘a stranger to itself’. Striking images confirm this idea, as in ‘Phantom Limbs’ after Maurice Merleau-Ponty, in which the body and the mind merge in a multifaceted view and the amputated limbs can be renewed in the imagination as a memory; they are entities that do not exist anymore.
The reference to Dante’s ‘donna gentile’ is again an illusion and does not give respite to the poet. The woman’s spiritual healing power is reversed in reference to the trapping frozen lake that is reminiscent of the Cocytus at the bottom of Dante’s Inferno where the traitors are punished.
This incompleteness not only causes uncertainty but also anxiety. It is a consistent state of lingering and may end in a fall. The final section, ‘Operations of Water’, is a long sequence of poems composed of nine parts but it actually reads as a continuum of unpunctuated double-spaced lines; they are fragments connected by enjambments, recalling in their form and in the tone the flowing of water. Openness, tenderness, the inside and the outside play infinite roles in these final compelling poems. Imageries follow one another, developing in ‘rippling promises’ and ‘unwinding paths’ and rising ‘in abyss and within depth’. The protagonist strolls around in this reality whose essence is unreal and surreal and has the dual symbology of water, that is, death and renewal. Seed engages the reader in the whirlpool of his imagination, conveying his ideas in deft lines that always surprise with their freshness and consistently affirm his ideas.
Carla Scarano D’Antonio 25th August 2021