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ABVV. --- 2000 - 2000.
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Emanuel's version of a "new and selected poems" turns convention on its head. She ignores chronology, placing new poems beside old, mixing middle and early poems with recent work, and liberating all her poems from the restraints of their particular histories, both aesthetic and autobiographical. Whether writing in the comedic drag of the cartoon strip, or investigating the Mobius strip relationship between reader and writer, or exposing the humor and hurt that accompany visitations from Frank O'Hara and Gertrude Stein, The Nerve of It both stings and pleases with its intelligence, wit and vivacity. It breaks through, in ways that are bold, sexy, haunting and wry, the die-hard opposition of new and old, personal narrative and linguistic play, sincerity and irony, misery and hilarity. Open the book. Something new is happening here.
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Logbook written by a drifter, is a cycle of interlinked poems that deal with life, spirituality, language, philosophy, love and relationships. A main theme are relationships which have changed the character. Those which the character doesn't know how to deal with; which have make the character into a wreck, emotionally, psychologically, or spiritually: he is in a small space. This collection encourages us to keep those spaces, spaces of the drift, until we have faced our challenges, afterall sometimes drifting is all we can do!
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The poems in Showtime at the Ministry of Lost Causes are survival songs, the tunes you whistle while walking through the Valley of Shadows, to keep your fears at bay and your spirit awake. The shadows here are many--cancer, poverty, a lost love, famine, suicide, war, an ever-encroaching existential angst. But so are the saving graces--a drag queen waitress whose "painted-on eyebrows arched like a bridge / toward starlight," "strawberries / grown fat around dimpled gold seeds," Pink Floyd's "'On the Turning Away' sent through my car / radio like the ghost voice of a beloved long dead," black phoebes rattling "winter / thistles, swollen throats percussing: / this is this is this is... " Showtime at the Ministry of Lost Causes reminds us that where there is shadow there must, necessarily, also be light.
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In his third poetry collection, Primer, Aaron Smith grapples with the ugly realities of the private self, in which desire feels more like a trap than fulfillment. What is the face we prepare in our public lives to distract others from our private grief? Smith's poetry explores that inexplicable tension between what we say and how we actually feel, exposing the complications of intimacy and the limitations of language to bridge those distances between friends, family members, and lovers. What we deny, in the end, may be just what we actually survive. Mortality in Smith's work remains the uncomfortable foundation at the center of our relationship with others, to faith, to art, to love as we grow older, and ultimately, to our own sense of who we are in our bodies in the world. The struggle of this book, finally, is in naming whether just what we say we want is enough to satisfy our primal needs, or are the choices we make to stay alive the same choices we make to help us, in so many small ways, to die.
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