173 Book Notes Rimertown / an atlas, by Laura Walker University of California Press, 2008 reviewed by Sharon Lynn Osmond Walking this morning in the shaggy plenitude of my garden, I thought about Laura Walker’s poems. As on previous days during the past few months, phrases from her second collection, Rimertown / an atlas, filled my head. The poems in this book have become as palpable to me as the plants that lean into this path and in many ways as and troubling and unruly. Today, on my left I noticed a thickened clot of foliage and bent to examine it. Under a buoyant green spill of Geranium sylvaticum were layers of brittle, brown decay—an accrual of several seasons. Under these layers, on a jagged rock, was a forgotten pair of high-heeled sandals. Their green insoles were curled now and their green leather rotting. Perched there, the shoes seemed to punctuate a rift between disparities: an upright, rusty cylinder and a sprawling patch of wild pink geraniums. Seeing them, I remembered the staccato click of my mother’s high heels as she walked back and forth across our kitchen’s blue linoleum, slender and red-lipped, unaware that she had come to the edge of a landscape that would soon thicken with personal sorrow. Green Shoes. Memory. Decay. Resurrection. The “dark ground of cognition.” Buried layers of memory inform Laura Walker’s work of inquiry in Rimertown / an atlas. In poems titled “map” or “story ” and in untitled prose paragraphs, she excavates the site of her childhood in rural North Carolina, disturbing and finally destroying boundaries between geography and psyche. Her probing is intrusive and risky, pushing her again and again into a breach where consciousness is vertiginous and the retrieval of knowledge is dangerous. In “Map 42,” for example, Walker explores falling into what might be seen as an afterworld: . . . in falling off the edge sinewy and stiff, lines merging we come back to idea parchment CRSP09 nonfiction.indd 173 1/30/2009 12:55:49 PM colorado review 174 “Edge” marks a wilderness where landscape, thought, and written word bleed into each other. Falling is prelude to entering perplexity, necessary preparation for learning to live darkly underground among roots where plotted site-lines and the waking logic of narrative purpose have blurred and disappeared (“come down, oh come down”). Walker’s investigative poetics is careful, deliberate, lyrical. It is also ragged and paratactic, housing fragments of remembered conversations and shards of half-understood stories. The poems become an archive of vernacular echoes where the singularities of an inscribed landscape reside. This landscape, mapped and given, has sunk under layers of history and human experience. It is a place where sentences veer away from their teleological goal and wander instead off course and into a syntactic realm of illogic and uncertainty (“carried stairwise, back pasture / collated . collected, its leaves and thistles”). Like Thomas Hardy’s Egdon Heath, Rimertown broods and seems quasi-conscious. It is an entelechy that casts its dark presence over the lives of its inhabitants (“we are in its shadows”). Its world is field, and field is contained, not within boundaries mapped on parchment merely, but within lines of ephemeral , blue inflorescence as well: “bachelor buttons lining the field”; “cornflowers towing the field”; “morning glory buttons the fields”; “morning glories choke the field.” Place guards its own stasis (“fences radiating inertia”), and yet it is endemically haunted and disordered—a surreal tenement for the random and disorganized: “there were hundreds of brown dresses floating among crows”; “thrift spilling its banks, a chimney where nevermore.” And it preserves a troubling kind of “oneness” (atonement?) with its denizens (“we sat down and fed ourselves dirt”). Body ingests landscape; body inscribes upon itself the map of place (“added line to line, increments of flesh”). Within such oneness, fracture is violent. Dreaming gives way to waking , to “seeing,” painfully: hands held fervently against the face that in knotting. in knowing red sorrows and awake Tension between desire and act, rising and falling, death and CRSP09 nonfiction.indd 174 1/30/2009 12:55:49 PM 175 Book Notes resurrection articulates an informing duality, and associated with this duality is...
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