(3.5) “In a time of apathy, / hope is a revolutionary act”. I knew Godden from her hybrid novel Mrs Death Misses Death, but this was my first taste of(3.5) “In a time of apathy, / hope is a revolutionary act”. I knew Godden from her hybrid novel Mrs Death Misses Death, but this was my first taste of the poetry for which she is better known. The title gives a flavour of the variety in tone. Poems arise from environmental anxiety; feminist outrage at discrimination and violence towards women; and personal experience of bisexuality, being childfree (“Book Mother” and “Egg and Spoon Race”), and entering perimenopause (“Evergreen Tea”). Solidarity and protest are strategies for dispelling ignorance about all of the above. Godden also marks the rhythms of everyday life for a single artist, and advises taking delight in life’s small pleasures.
The social justice angle made it a perfect book for me to read portions of on the Restore Nature Now march through London in June and while volunteering as an election teller at a polling station last week. It contains 81 poems (many of them overlong prose ones), making for a much lengthier collection than I would usually pick up. The repetition, wordplay and run-on sentences are really meant more for performance than for reading on the page, but if you’re a fan of Hollie McNish or Kae Tempest, you’re likely to enjoy this, too.
(2.5) Rothfeld, the Washington Post’s nonfiction book reviewer, is on hiatus from a philosophy PhD at Harvard. Her academic background is clear from h(2.5) Rothfeld, the Washington Post’s nonfiction book reviewer, is on hiatus from a philosophy PhD at Harvard. Her academic background is clear from her vocabulary. The more accessible essays tend to be ones that were previously published in periodicals. Although the topics range widely – decluttering, true crime, consent, binge eating, online stalking – she’s assembled them under a dichotomy of parsimony versus indulgence. And you know from the title that she errs on the side of the latter. Luxuriate in lust, wallow in words, stick two fingers up to minimalism and mindfulness and be your own messy self. You might boil the message down to: Love what you love, because that’s what makes you an individual. And happy individuals – well, ideally, in an equal society that gives everyone the same access to self-fulfillment and art – make for a thriving culture. That, with some Barthes and Kant quotes.
The writing has verve, from the alliterative word choice to the forcefulness of Rothfeld’s opinions. But in places her points of reference (from classic cinema, especially) are so obscure that I had no way in and the pieces felt like they would never end. My two favourites were “More Is More,” in which she’s as down on fragmentary autofiction (Jenny Offill et al.) as she is on Marie Kondo; and “Normal Novels,” about how she finds Sally Rooney’s self-deprecation and communism problematic. I knew the subject matter well enough to follow the arguments here, even if I ultimately disagreed with them.
Rothfeld is worth reading as a cultural critic, at least in small doses. She is clearly not interested in being a personal essayist, however, as the intimacy she keeps discussing in theory is almost completely absent. A piece on mental health, “Wherever You Go, You Could Leave,” opens with one tantalizing autobiographical line – “My first year of college, I attempted suicide and was promptly hastened home by an ominously smiling administrator” – then proceeds to poke fun at meditation for most of its 40 pages. It was interesting to see her fan-girl over her favourite novel, which I would even try if it wasn’t 480 pages: “I want to be reading Mating [by Norman Rush] constantly; I want to have been reading Mating forever, but always for the first time; I want everything in my life to be Mating and nothing but Mating”. Keep an eye out for the sequel: Actually, Moderation Is Cool: How I Learned to Temper My Expectations.
(The U.S. cover featuring a Bosch painting is so much better!)
Morag Anderson was the 2023 Makar of the Federation of Writers in Scotland. She won the Aryamati Pamphlet Prize for this second chapbook of 25 poems. Morag Anderson was the 2023 Makar of the Federation of Writers in Scotland. She won the Aryamati Pamphlet Prize for this second chapbook of 25 poems. Her subjects are ordinary people: abandoned children, a young woman on a council estate, construction workers, and a shoplifter who can’t afford period products. The verse is rich with alliteration, internal rhymes and neologisms. Although sub/urban settings predominate, there are also poems dedicated to birds and to tracking the seasons’ march along a river. There is much sibilance to “Little Wren,” while “Cormorant Speaks” enchants with its fresh compound words: “Barefoot in mudslick streambeds I pathpick over rotsoft limbs, wade neckdeep in suncold loch”. “No Ordinary Tuesday, 2001” is about 9/11 and “None of the Nine Were There” expresses feminist indignation at the repeal of Roe v. Wade: “all nine were busy / stitching rules into the seams / of bleeding wombs.” A trio of poems depicts the transformation of matrescence: “Long after my shelterbody shucks / her reluctant skull / from my shell, // her foetal cells— / rosefoamed in my core— / migrate to mend my flensed heart.” Impassioned and superbly articulated stuff. This is a confident poet whose work I was glad to discover.
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