Mai Ivfjäll’s poetry shares the quality of symbolic elusiveness with that of William Blake whose motifs are significant in Weep Hole. Tantalising hints throughout the pamphlet invite the reader to explore a world of mysticism and ancient magic as well as the retro future of a fifth element and a divine language.
‘Suspended Not Suspended’ is written from the perspective of Blake’s ‘Sick Rose’ where the secret, invisible worm is its own self-destructive love. Time, in Mai Ivfjäll’s poem, unravels self like the thread of a hem. Here there is ‘no health’ but ‘only living my sick sick rose’. There are sonnets in Weep Hole, part of a sequence called ‘Sick Sonnets’ which the author has described in an interview with Paul Cunningham of Action Books, as a ‘kind of love letter to the obliteration of self (and attunement to the present moment) that happens in the throes of chronic sickness.’
Sickness, certainly, and pain ‘is a psalm that sings your body is a bivouac’. (‘Glossolalia’). The poems begin with the line ‘the bees are dying – can you feel it?’ and the end of the collection is insistent: ‘the bees are dying the bees are dying’. The book itself is titled Weep Hole – an opening at the bottom of a structure which allows water to drain away. A small opening, a small weeping where ‘healing is an endless emptying’. (Poembody). In the same poem the author poses the question ‘who wrote the list of the saddest words in the English language/on dictionary.com?’
But it is these words, this focus on the joy of language that most interests me in Weep Hole. In the same interview mentioned earlier Mai Ivfjäll describes how her sonnets may look traditional but inside are a mess ‘gorging on language’. Her poems overflow with sonic richness. ‘I liked the way the sounds tasted in my mouth,’ she says, ‘and wanted others to experience that pleasure.’
‘Make Me An Instrument’ offers fine examples of this gorging. One line plays with the sound of words: ‘I am lamb bait a baited lamb a lamented/bam’ while this word chain is perfect in its assonance: ‘noon moon moan koan loan lean/ mean meal meat met wet/let lit i’. What could be a better example of the joy to be found in linguistics than ‘Keening’?
slime gifs
are prayer psalms of goo
asmr
devotional gulp oozing
holiness as collapse
The first poem in the book is titled ‘Glossolalia’ and this intriguing word seems to me to be a central motif with its definitions that suggest fluid echoes of speech-like syllables that lack any readily understandable meaning, sounds that predate and supersede human speech, a sense of something transcendent and pentecostal, a language that is divine and mystical. References to books and films enhance ancient mysteries – the narrator slips ‘in and out of time’, one moment as Billy Pilgrim from Kurt Vonnegut’s anti-war sci-fi book ‘Slaughterhouse-Five’, the next as Leelo from Luc Besson’s ‘The Fifth Element’ – Leelo who by ‘googling a new vocabulary’ and by injecting herself with the quintessence of ether becomes the element itself that alone can defeat a cosmic evil force, can save the planet Earth.
Are we ‘empty vessels or/cosmic bodies’ asks Mai Ivfjäll in ‘S(ub)lime’.In ‘Everywhere Disappeared’ she gives herself a possible answer, disclosing ‘strange fruit of a strange fire/my secret alphabet’. In ‘Preliminary (Im)materials’ she may ‘caw and claw/and coo I am dead’ but then, in the remarkable poem ‘A Slow Rapture’ she gives us this:
wet
magnolia trees
drip
memory haunted
after-rain baptismal’.
Mandy Pannett 12th July 2021
Tears in the Fence 