A pact with a shattered self, disassembled by a violent reality and expressed in fragmented lines, is thoroughly investigated in Jennifer Militello’s fifth collection. It is a wasteland but the fragments do not shore up against the poet’s ruins, as in T.S. Eliot’s poems; instead, they expose the destruction which is irreversible and total. The individual is lost, a wreck; she is empty, a zombie ‘covered in soot’. There is no going back and ‘nothing can be done’ – the only possibility is describing this condition. Love and relationships are dissected in an accumulation of images that explore the topic from all sides, revealing a dark centre that is reduced to smithereens which are scattered around. ‘Love is all you need’, the dedication at the beginning of the book sings, echoing the Beatles’ song, but this remark is ironic and is denied in the narratives of the poems in the collection. Love as affection and a fulfilling relationship is unattainable, delusional and disappointing. It is often described as its opposite, that is, hate, and it causes anger and frustration as well as violent reactions.
Militello’s impeccable lines express this contradictory and multifaceted concept of love in fragmented verses in which frequent full stops break the pressing rhythm of the lines and repetitions that are produced using devices such as anaphora and epiphora that reiterate and develop her thoughts:
Hatred is the new love. Rage is right. Touch
is touch. The collars of the coat, turned down,
point up. The corners of our hearts are smoothed
with rough. Our glass breaks slick, our teeth
rip soft. The mollusc of me, shell-less.
Let us empty. Let us alone. Madness
is our happiness. Sadness is our home. (‘Oxymoronic Love’)
I brace: we hit the wall, we slam the brakes. You are
the maw, the clamp, the rake. Bootlace, foothold,
briefcase, bass. I claw the window, claw the grate.
You snap the whip and clasp the gate. I want it now,
the great escape. (‘&’)
The use of alliteration, enumeration and hyperbole is also frequent; these stylistic devices not only emphasise the skilfulness of the poet but also underline the profundity of her reasoning. She uses a plenitude of thought-provoking imageries that involve the reader in an oxymoronic and often contradictory reality in which opposites do not coexist in harmony but clash with one another. The use of the enjambments together with unusual line breaks reflect this sense of contradiction in the structure of her lyrics. It is a violent reality on the brink of a precipice, in constant evolution and always under investigation.
The adventure is daring and risky. The fragility of the self is shamelessly exposed with its losses and flaws in the apparently unconnected arguments and in the vulnerability of the edible body. Cannibalism seems to be part of our humanity; ‘we crave meat’, feast on others’ blood, ‘taste’ their bodies by biting and licking their flesh. The references to the Last Supper and to the Eucharist point to the sacrifice that is implied in love relations.
Love can therefore be described in different ways; it protects and heals but also has destructive qualities. The passage through sacrifice and death seems inevitable and is perhaps necessary, but there is no sense of transcendence, only temporary annihilation. This concept is symbolised in the figure of the Nkisi Nkondi, a traditional figure of the Congo. It is usually represented as a wooden sculpture into which people hammer nails or blades to release their anger and frustration, and it mediates against violent forces. It is similar to the figure depicting the martyrdom of St. Sebastian, who is pierced by the arrows of his Roman persecutors and is eventually celebrated as a healer. The saint accepts the wounds in an extreme act of love that is above all a sacrifice and violence perpetrated against an innocent. This violent death is also evoked in the stations of the cross in the poem ‘Idolatry’. In this poem, the confrontation between the two lovers hurts and they ‘bleed secretly, silently’. The relationship may bring a renewal, but it is hard to achieve. Eventually, love is considered a lie:
My collar is my lover’s death.
I wear it heavy. I wear it
hellish as a home or shell,
hollow as a wreck.
[…] I want him to live, but we do not
fit. I want him to live,
but I writhe and twist and
an animal in me lies down
on its side and withers to bone
through our time-lapsed lips. (‘Electric Fence’)
The nursery rhyme ‘Mary, Mary, Quite Contrary’ at the end of the poem ‘The Pact’ suggests tense and unsettling relationships with family members, such as siblings, and especially with her mother. These feelings are also expressed in the sibling series and in the poems ‘Dear Hiss’ and ‘My Mother is in Antarctica’. The lyrics are twisted; ‘pretty maids all in a row’ becomes ‘all the daughters caught in their rows’, pointing not only to contradictions but also to constrictions and maybe abuse.
The final poem, ‘Ode to Love’, seems to open up to a more hopeful vision. However, the scenario is still unsettling, with its ‘complexities or cries’. The final ‘Hush’ that ‘must be soothed. Has a snag. Has a bleed. A drape’ does not seem to bring reconciliation. The apparently reassuring image of the heron is turned upside down in the final line, ‘a wide bottom perfect with fish.’ Militello traces until the end of the collection her relentless exploration of love that is vital in human relations and part of our effort to survive. Irony and violence permeate the poems and are expressed in unexpected and compelling imageries that render her vision challenging and exceptional.
Carla Scarano D’Antonio 27th April 2022