A Map Towards Fluency: Lisa Kelly, Carcanet
Walter Benjamin said that âWork on a good piece of writing proceeds on three levels: a musical one, where it is composed; an architectural one, where it is constructed; and a textile one, where it is wovenâ and itâs that final word, âwovenâ, that I canât stop thinking about as I read Lisa Kellyâs work. Her debut collection is a fine fabric shop displaying the most wonderful array of fabric weight, pattern, design hue, intensity, transparency, degrees of brilliance and surface contour.
The book is divided into seven sections, with titles such as âScale and Accuracyâ, âCoordinatesâ, âNavigationâ, all of which build up and add to the sense that the book is a map of Kellyâs own life and life experiences thus far. A poem in the first of these sections, entitled âĂžâ, perhaps best sums up Kellyâs intentions for her project, dealing as it does with the fact that she is âhalf-Danish and half-deafâ:
Danish for island
a new word
new world
to explore
My tongue
tastes the sound of Ăž
touches its shores
its limits
A later section, titled âOrientationâ, deals explicitly with Kellyâs difficulty in hearing and speaking - the words âtongueâ and âearâ pop up all over the place and the poem after which the collection is named cleverly traces Kellyâs own struggle to learn British Sign Language.
But it is the sheer verve and poise of all of Kellyâs poems that really impresses. Above all, she is an inventive, playful poet, most of all with form. The first poem of hers that I ever came across was âAnd I Have Seenâ, which deals with the consequences of fracking and the gases that it releases, which can catch fire on rivers and kill fish species. The poem is written as a preacherâs warning of the oncoming apocalypse and plays with biblical images and primal colours - orange, black. Words are repeated, building a strong sense of prophecy and doom, and lines are put in a specular form, but the form isnât exact, which keeps it feeling organic rather than a dry exercise.
Another formal tour de force is âThis Is Not a Road Tripâ. The setting is a large bay in south Brittany, in which various things are happening at once - a boy is throwing a stone into the sea, a horse rider crosses the sand, a fisherman comes in with full nets. Overlooking the bay is a house, in which the Minaut family live. The son, Patrick, has just died and the poem begins with this statement. Kelly holds each event separately and then connects them all in the bay, rather like the separate elements in a MirĂł painting that inter-relate, or like Audenâs âMusĂ©e des Beaux Artsâ, in which tragedy goes unnoticed and life carries on. The form of the poem, with elements repeating, and lines gradually indented and then pulled back to the margin, create a wave-like motion which reflects its setting. This poem is remarkable for its symmetry, its inward tension and its balance.
There are several poems that are made up of parts, or sequences of poems, in the collection, including the extraordinary âApple Quartetâ - is there anything more gorgeous in the English language than a list of the names of the different kinds of apple? Another sequence of poems is âCoronas/Cutsâ, actually a crown of sonnets that deftly weaves lines and images from John Donneâs work into Kellyâs own moving meditation on the inevitability of sons leaving home and, startlingly, on knife crime.
Kelly also uses herself and her family as subjects for her poems. âSix Perspectives on Lilian KjĂŠrulffâ, for example, is a series of six views on the poetâs mother from different familial perspectives â âsecond daughter from a second marriageâ, âfirst husbandâ, etc. The result is a clever and intriguing Cubist portrait of a woman who nevertheless retains an air of mystery and elusivness. âClavical: snapsâ, ostensibly about a cycling accident Kelly was involved in, morphs into a wider discussion on mortality by referencing David Cronenbergâs Crash, the Japanese tradition of Kintsugi (the repairing of broken pots using gold) and the myth of Apollo and Daphne.
Other poems that deserve a special mention are the moving âLet Them Leave Language to Their Lonely Bettersâ, the deeply mysterious âSaltatoriumâ and the melancholy of âAubade for an Artistâ, but I could go on and on. For me, a great many debut collections tend to have a lot of filler in them, but not so with Kelly. The core strength of the work is impressively maintained from beginning to end. There are more ideas per page here than most collections of poetry could only dream of and it will be an absolute travesty if A Map Towards Fluency doesnât win a major prize in the coming year.
Lisa Kelly, A Map Towards Fluency, Carcanet, ÂŁ8.99
Richard Skinnerâs poetry first appeared in the Faber anthology First Pressings (1998) and since then in anthologies for William Blake, John Berger, CALM and MĂ©dicines Sans FrontiĂšres. He has published three books of poems with Smokestack: the light user scheme (2013), Terrace (2015) and The Malvern Aviator (2018). His next collection, Invisible Sun, will be published by Smokestack in 2021.