Same and Different: Ana Martins Marques’ “The Book of Similarities”



“O livro das semelhanças” by Ana Martins Martins

The Book of Similarities opens, as it surely should, by holding a mirror up to itself. It begins with six numbered couplets that are “Ideas for a Book” (not necessarily this one) before a sequence called “Book”, where each poem describes the cover, the title, the first poem, etcetera, the colophon, the back cover.

The book as a whole (published this year and called O livro das semelhanças in Portuguese) is Ana Martins Marques’ third and sometimes has the feeling of being a series of pamphlets: the first three, “Book”, “Cartographies” and “Visits to the Commonplace” are concept-based; the final one “The Book of Similarities” more open. On a superficial level, this is similar to her previous book On the Art of Traps (Da arte das armadilhas, 2011). And perhaps more than superficially: indeed, the book remains full of traps.

One of the most noticeable things about Marques’ poetry is its apparent simplicity. It’s nothing of the sort. The first section is full of winks and dead-ends. In “First Poem”, the speaker promises “at least here, dear reader / you won’t find / any dirty cups”, which may be true, but seems also to be a sly nod towards the Tender Buttons-esque first section of her previous book. With relief, “Second Poem” begins saying “Supposedly it’s easier from here / the worst is past”, but then turns out, contradictorily, to be a sonnet in hendecasyllables (a traditional Portuguese metre) and the most formal poem in the whole book. There is an alphabetical index of words found throughout the book that appears on page 30 but refers to the book’s 100 plus pages. And there is a poem called “Translation” that ends with an intricate mirroring of sound in its final lines. The translation is my own and includes a rough attempt to replicate the patterning—deep down, I feel the Portuguese is almost untranslatable: Read more of this post

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