DRINK by Laura Madeline Wiseman Book Preview
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DRINK LAURA MADELINE WISEMAN B L A Z E V O X [ B O O K S ] Buffalo, New York
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There are mermaids in our midst. They couple with sailors. They regard great cities from their floating vantage points in the water. They are “concerned about the female body.” And through their eyes, we rediscover our own losses, how we’ve been damaged, how anxious we are for myths and other narratives, so that our lives won’t seem “written in water, already gone.” Part fairytale, part intimate meditation on a California girlhood, Laura Madeline Wiseman’s Drink transforms messages into massages; language is made physical, a letter stoppered in a bottle, insisting—despite every storm and shipwreck—in the possibility of speech.—Jehanne DubrowWitty, sad, tragic, and magical, the poems in Drink both rewrite myths of the sea and present a harrowing vision of a childhood fraught with abuse, alcoholism, and poverty. The result is a collection of poems that shimmer with revelatory beauty, longing, and honesty. Clearly Wiseman is one of the more unique and inspired new voices on the American poetry scene today.—Nin Andrews In her beautiful new collection, Drink, Laura Madeline Wiseman guides us to the bottom of the ocean, where mermaids collect stones among crashed planes and sunken ships. As the book progresses, bottles and bodies become vessels for the persistent memory of trauma. In poems that converse with everything from Homer’s Odyssey to Peter Pan, Wiseman stunningly depicts the instability of home, navigating issues of poverty, gendered violence, and “manmade” disasters in strikingly intimate lines that throw us headfirst into the high school gym pool with her mermaids. “Note how the roads refuse the grid,” Wiseman writes. “Note how the ocean is taking back the coast. Note how every path ends in drink.” Wiseman’s raw and elegant Drink plunges the depths of the ocean, of love, and of memory to search the wreckage of all that is lost, and the life that brims beneath it. “The problem with memory is fact,” Wiseman reminds us, but through these poems, we can search “for some other place, some magic code to save us.”—Alyse KnorrMarcel had his madeleine; Laura Madeline Wiseman, her mermaids. A child's toy, a tattoo on an ankle, and the past floods back like messages in bottles: a devastating childhood told with honesty and clear-eyed bravery. I am reminded how poetry can save us, how, in the hands of such a talented writer as Wiseman, it can raise us from the depths to a cove of still water where, perhaps, who knows, the mermaids are.—Alice FrimanWiseman deftly handles both free verse and prose poems in this engaging collection. She weaves together a tight fabric of related motifs—drinking and a bottle collection, writing and tattoos, mermaids and human sisters, a negligent mother and unreliable men. Her gaze goes wide as she covers history and myth. Then she zooms in on family and a personal love story. Contraries abound in this richly complex and memorable tapestry of poems.—Diane LockwardLaura Madeline Wiseman is the author of more than a dozen books and chapbooks and the editor of Women Write Resistance: Poets Resist Gender Violence (Hyacinth Girl Press, 2013). Her books are Wake (Aldrich Press, 2015), American Galactic (Martian Lit Books, 2014), Some Fatal Effects of Curiosity and Disobedience (Lavender Ink, 2014), Queen of the Platform (Anaphora Literary Press, 2013), and Sprung (San Francisco Bay Press, 2012). Her newest collaborative book is The Hunger of the Cheeky Sisters: Ten Tales (Les Femmes Folles Books, 2015) with artist Lauren Rinaldi. She holds a doctorate from the University of Nebraska-Lincoln and has received an Academy of American Poets Award, a Mari Sandoz/Prairie Schooner Award, and the Wurlitzer Foundation Fellowship. Her work has appeared in Prairie Schooner, Margie, Mid-American Review, Arts & Letters, and Feminist Studies. Currently, she teaches English and Women’s and Gender Studies at the University of Nebraska. www.lauramadelinewiseman.com
Transcript of DRINK by Laura Madeline Wiseman Book Preview
DRINK
LAURA MADELINE WISEMAN
B L A Z E V O X [ B O O K S ] Buffalo, New York
DRINK By Laura Madeline Wiseman Copyright © 2015 Published by BlazeVOX [books] All rights reserved. No part of this book may be reproduced without the publisher’s written permission, except for brief quotations in reviews. Printed in the United States of America Interior design and typesetting by Geoffrey Gatza Cover Art by Breanne Holden titled, Cordelia First Edition ISBN: 978-1-60964-205-1 Library of Congress Control Number: 2015931279 BlazeVOX [books] 131 Euclid Ave Kenmore, NY 14217 [email protected]
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Disaster It’s possible to lose keys or to set the phone in one room and beg a sister to call you so you can follow the noise to where it fell into the nest of bottles behind your desk. A bird can be lost, smashed into the windows behind the feeders and if not lost, stunned by a disabused belief of more places to fly. So many lost a house, doubling-up with extended family, extending their stay. The credit always accrues and we’re all hungry for lunch. Japan lost itself, cities full of homes, coastal waters, only the ticking left to live among garbage, glass, and monsters. Elizabeth lost two rivers, a continent, even you. Why not lose something small to the drink, like a plane to water?
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Discover Losing Most didn’t watch the news. Few sat in airport lounges where crystal screens offered a more interesting light than departures, a place where time waits on benches and Starbucks is always serving. Fewer took up chairs after supper with the paper folded to today’s crossword or a new baby’s quilt nearly-stitched on mermaid lore. Enough caught Comedy Central’s spin, John Stewart’s soft lines and grey curls, tapping blue sheets of paper. Others watched social media, the posts with typos, punctuation, emoticons, a generation’s way to convey thoughts. The majority heard as anyone hears a jet’s approach through a still morning, a sound that breaks the barrier of sky, a neighborhood in the lowlands above the water, an hour’s task set aside to look.
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On Vanishing They are lost, that much is clear. CNN can’t find them, can’t find the black box, can’t locate a plane once rolling 70 mph on blacktop before lifting off to nowhere. Tweets scroll the news. Some ask Bermuda Triangle, black hole, ransom, Lost? Someone says, Mermaids. Another says, This is about lack of security, welfare moms. There’s no such thing as mermaids. Newsmen in suits tap blank papers, swipe empty hands across desks. Newswomen wear long snug skirts, coral hued blouses, makeup done as if startled, say, I’m going to wish them well, offer a toast, a drink. Maybe they wanted to be lost. The news people shrug at the sea, the agriculture of land, the golden red sky, a loss all seem to agree is uncanny, a plane gone, soft waving arms of water.
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First Story The mermaids breathe water. From their eyes something salty they blink. They sleep in the current, bed down on coral, swim among the shadows of the great oceanic divide. They listen to the laughter of sailors, fishermen, and boats of pleasure. They follow the lost as their planes sink. They drag bodies to shore. They scribble wishes, promises, and prayers in sand. The mermaids paint their lips with crushed anemones, their eyes with the inky night of squids. Their midriffs sparkle with the algae that glow in the dark. They are mythical and mercurial. They change with the stories that change us, twining like dancers, like silver schools of fish, they come in as the tide rises.
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Shadows The mermaids chase the shadows, billows of black under the pink rim of coral, the dark bellies of barges, the meandering hands of kelp called Cat Gut, called Mermaid Tresses, called Dead Men’s Ropes. They call the shadow, Desire for the one in ripped jeans. They call it, Our dead sister. They call it, What is killing you. They roll through the shadows that print the waves. They lay in shadows of shark, krill, shrimp. They let shadows follow them through eddies, torrents, washouts across the shallow coastal sands. They watch the shadows fall from freighters, planes, passenger fish, garbage descending from above. They feel the thrum of impact as shadows hit rock, feel the hairs on their neck rise. Every day there are shadows of letters, bottles, crew, every week black barrels sealed and labeled WARNING in every language but theirs. They don’t call the shadow Suicide Pact, Half-lives, or The Last Words You Wrote. They let the shadows fall through the water and watch them drown. They fear nothing. The only thing to fear is mermaids.
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Unfathomable View Note how many rectangles and squares, the mermaids murmur from Boston Harbor as they examine the city from the vantage of full tide spills and swells. Note how bricks climb, windows square, roofs rise at a slant even in the enclaves of Beacon Hill. Note how the world in that world is ordered, contained by iron fences, divided by doors closed to foot traffic, secured like boot scrapers to cement. The mermaids listen to the fast talk of Southies, to the cordial calm of transit drivers, to the tourists’ tongues that squawk, gush photos, and follow the freedom line rush of teens on a senior high school trip from the east side of Des Moines. The mermaids worry over women in red dresses who tinker on pianos set with music without notes and the men who read blank newspapers and drink from empty bottles. They rub their face when they see the men who shudder unshaven, sleeping in city parks, or when they see the girls alone on corners in the red of glooming. Sometimes they invite them to water. They almost always drown. Note how the roads refuse the grid. Note how the ocean is taking back the coast. Note how every path ends in drink.
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Water Wars The mermaids are concerned about the female body, their breasts, the uteri. If wombs aren’t clocks, if hands are in boxes, must we all be watercolor, washing off? Must we ride in your cart, driver? What does a mere maid do about gender roles, hunger, the dark blues? It’s everywhere. The mermaids breathe it. It presses in—jets of heat from the coasts, rivers of cold that stroke from currents and undertows. It’s more dense than ice, why heavy things float—icebergs, ships, but not planes or messages, no SOS, no hope. No true color, more like the wings of jays. But out there, no storks deliver bundles. No babies arrive with white cardboard signs from the city hospital to tape to apartment windows and tie to the railing of apartment porches, It’s a pink! It’s a blue! Out there, below the fathoms, we listen to echoes of warship cannons, watching what falls—hulls, engines, trash, the young. We learn from the WWII broadcasts still rolling on the combers, the sea people still whispering on breakers, the land-bound of surge: female ships are American, male ships are Allied, and all the enemies are it.
