With this long poem’s title being ‘Plan B Audio’ one might be prompted to wonder what was Plan A and I recall referring to the painterly sense to be discovered in the selections from the 2007 volume Aquiline when I reviewed Joritz-Nakagawa’s previous Isobar Press publication, New & Selected Poems. In his Foreword to that 2018 publication Eric Selland had pointed out that for Joritz-Nakagawa the poem never ends:
‘It is an infinitely open system, always searching for that which is unexplainable, and unattainable: the poem is constantly in search of itself.’
The blurb on the back cover of this new remarkable poem asserts that it was written during, and in response to, ‘a life-threatening encounter with illness, and in the aftermath of the radical surgery that saved the author’s life.’ In its ‘dissolving into / beams of frenzied impossible / yearning’ it brings to my mind the figure of Mahood, armless and legless in a jar situated opposite a restaurant with its menu fixed to it, in Samuel Beckett’s 1952 novel L’Innommable (translated as The Unnamable in the John Calder edition of 1959):
‘There I am in any case equipped with eyes, which I open and shut, two, perhaps blue, knowing it avails nothing, for I have a head now too, where all manner of things are known, can it be of me I’m speaking, is it possible, of course not, that’s another thing I know, I’ll speak of me when I speak no more.’
It was Beckett’s earlier fictional creation, Moran, who had suggested that all language was an excess of language but in Joritz-Nakagawa’s poem we are presented with a sinuous winding and weaving of words that seem both to keep the reader at a distance whilst at the same time drawing that same reader into a dystopia:
‘edge of a sinister forest
dissolving into darkness
missing on the clothesline
a delicate smile
near a wandering brook
children’s fantasies fall silent
a deserted door
opening onto a freeway
to collapse the dystopia
i ate the data
scars that itch
failure of languages’
This canvas of language goes beyond the ‘depths of my nest’ to a ‘mute soliloquy’ from the ‘dunghill of which’ the song wanders intricately across the page prompting us to wonder ‘about the sound of doors and walls’. And of course Plan B is sound but it is there as what, on the back cover, Nancy Gaffield calls ‘a contingency’:
‘…an event the occurrence of which could not have been foreseen, but also a conjunction of events occurring without design’.
These poems dissolve into ‘beams of frenzied impossible / yearning’ and they move through ‘wickets / of doldrum and bureaucratic / spoils’.
The last lines of Beckett’s novel which is unnameable leave us on an edge of movement concluding with the possibility that words
‘…have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don’t know, I’ll never know, in the silence you don’t know, you must go on, I can’t go on, I’ll go on.’
As ‘Plan B Audio’ reaches a conclusion it is ‘sound’ that is missed from beyond the door and the stiffness of doctors in white uniforms are on one side whilst on the other the poet sobs in the bathroom:
‘by accident
my hand brushes my stoma
how stiff it is
sadly
i touch my waist
swollen with plastic
cherry blossoms
students laughing at their desks
how i miss that sound
grey sky
buildings too
what is this world’
This long poem is perhaps one answer to that last question and the reader remains haunted by the vivid individuality of self and other, of sight and its photographic records offered to us by Susan Laura Sullivan, and of coloured sound from which ‘my sorrow spills / in all directions.’
Ian Brinton 15th June 2020
Tears in the Fence 