August 25, 2015 1 Comment
Myths are our most basic stories. They attract us in, reach far back in time. For JL Williams, New-Jersey-born, but living in Edinburgh for over a decade, they are a key part of her work. Indeed, many of the poems in her first collection, Condition of Fire (2011) are drawn from that great history-of-the-world-through-myth that is Ovid’s Metamorphoses. Her second collection, Locust and Marlin (2014) is similar and different from her first book: it feels like a deepening, a development and a moving forward from that book.
Like Ovid, like Condition of Fire, Locust and Marlin is full of animals. Most obviously, this is in the title, and indeed on the cover. The marlin recurs in a poem about the poet’s father; the locust—and it’s worth remembering that the grasshopper metamorphoses into the locust, echoing her first book—in an epigraph from the Book of Revelation, in that same father-poem and in the strange apocalyptic sonnet, “Locust King”, which may, or may not, also be a love song. There are others, like the mysterious and striking heron that opens and closes the book. The first poem, “Heron”, in particular, is a seven-line tour-de-force that begins:
Imagine a great silence
whose wings touch no branches.
Imagine a space demarcated
by lack of sound.
The word “imagine” opens the book as a liminal space and from the start, it tries to do the impossible, to describe something beyond the powers of description. After all, silence is not physical, it cannot literally have wings; and space cannot be practicably demarcated by the absence of sound. But the metaphor works so well: this paradoxical description creates a ghost-like figure of the heron that is present, unobserved, undetectable, an object of meditation, in its liminal habitat between water, earth and sky. And like so much in the book, it hints at, does not directly describe, implies.
This in-between space, these things in flux is similar territory to Condition of Fire. There are poems of transformation, like “Flutter”, that begins “They broke upon her ribcage / to let out the birds.” But this isn’t a retreading of Ovid: there is a “they” behind the evident violence that occurs in a number of the poems—this calls to mind fables, stories of witches. And the same poem contains multiple, cyclical transformations.