Meg Pokrass’s Spinning to Mars is a kind of non-linear novella in flash that keeps circling back to romantic relationships that aren’t making it and clearly were never meant to be. Pokrass comes out of a tradition that includes Stewart Dybek, Pamela Painter, and Robert Olen Butler, each of whom are masters of flash fiction and who understand unsatisfying relationships. In Pokrass’s collection, we keep coming back to two people who don’t quite understand each other and don’t really seem to want to but would rather retreat into a world of books and cats.
Each flash story captures a moment in the life of two people who might or might not be the characters from the previous stories. It is never explicitly stated that this is the same woman often circling back to the same relationship, but we do see patterns repeating again and again. Throughout, it is familiar in that she captures what keeps us from satisfying relationships in our own lives, which is mostly the distance they intentionally keep from each other insuring that they will never understand the other’s life. Pokrass is a master of the novella in flash and uses it to its full purpose. Although each piece is well crafted, because they have been arranged as they are, the statement of the collection is that we ruin our lives in depressing patterns that we never break out of. She seems to be saying that if we had a little critical insight into those patterns, we would be able to find greater meaning in our loves and lives.
Running through the collection is also a discussion of the awkward ways that people express themselves physically as they move into middle age. In this collection, people let themselves go, stop caring that they are near other people. In “Separation,” a wife is leaving her husband. “After packing your third bag, you find yourself staring at his penis which pokes out the side of his shorts when he lies down” (40). This would seem to be a violation, but there is a friendliness built on this kind of physical intimacy. She is leaving him for a reason, but their bodies have become comfortable. Of his penis, she writes, “It has always been friendly. You’re going to miss it” (46). Awkward bodies and closeness because of that awkwardness flow through this collection. These people have lost their inhibitions as they have entered middle age, and it is comfortable and even nice. This emotion is captured best perhaps in “Classified,” where a woman meets “one of the saddest men on earth”:
A smile obscured his sadness. His belly poked out of his shirt and he pushed it back with his hand.
She knelt and smoothed the dog’s ears. The dog had rancid breath and she liked it. (51)
The belly, the rancid breath, and the hand are what matter here. They humanize these characters, make them relatable and likeable. She uses the awkwardness to make them attractive.
There is a reason that Meg Pokrass’s work is gaining in popularity right now and so many people are reading her. It is powerful and human. Through these flashes that are sometimes only a sentence long, she is able to get down to what is truly human in all of us.
John Brantingham 24th July 2021