High Lonesome by Patricia Lee Lewis
Hedgerow Books/Levellers Press, 2011
Reviewed by Claire Keyes
Spinning worlds
out of language, writers require us to attend, to read, to listen. The best writers are also those who listen,
whether it be to the speech of others or to the messages they hear in the
language of leaves or rocks or ocean.
Patricia Lee Lewis enters that rank of skilled listeners with
High Lonesome, her second book of poems. In this book, Patricia forefronts the art of
listening as a dynamic act of connection.
“Jazz,”an emotionally intense poem, enacts a
scenario where a 21-year-old musician-daughter asks her mother to “listen to
that” jazz. But, more importantly, to
listen to her say, “I am pregnant and I am not ready.” The mother is non-judgmental and
concerned. Desperate, the daughter asks
her mother’s help. “And you knew that I would,” the poet writes. They leave the jazz club and walk home,
“parts of one song, one knowing/ remembering, one telling, one listening.” The narrative of this poem is interlaced
with imagery from modern art (“Blues like Picasso’s blue figures”) and jazz
(“high notes on clarinet, shrieks of the horn”) which help weave the strong emotions
into a wider aesthetic tapestry.
In “The Reader,”
the poet again becomes audience, this time for a six year old girl. Attentive, she “listen(s) for the clues, how
she’ll write the story/ of her life.” The
poet knows that “it’s up to [the girl] to choose/ which words to love and which
to fear.” In one of my favorite poems,
“This Day of Being Born,” the poet writes of a woman who “speaks to herself” as
she cooks some potatoes. The poem
evolves into a meditation on a beloved son who “went out” one day but “did not
return.” In her first book, Patricia
Lewis also wrote about her son who committed suicide. In this poem, she admits that she may have
lost him, “but things/ he loved carried him to her as if he had asked them
to.” The poem then breaks into a lyrical
passage about the very potatoes she is preparing:
Lovely,
smooth, full of life, he is in you, she sings.
From
the ground we dig and hold, we wash and boil,
we
put you in a blue glazed bowl the color of his eyes,
we
thank you and we thank the ones who brought you here.
The simple, homely task of preparing a meal becomes a
sacramental act. Once the potatoes are
cooked, she puts butter on them, “lets [it] melt across smooth skins, watches
pepper/ float in light/ pours salt into her palm and sprinkles/ as her father
sprinkled holy water on her newborn’s head.” Reading Patricia Lee Lewis we
learn to appreciate the simplest daily tasks.
She makes such duties magical.
“Kayak” takes on
more adventurous material with the poet becoming separated from a loved one in
her kayak. In this poem she doesn’t
listen because she can not hear. She
rues this: “if your voice had carried from the pier/ as through the one remaing
seagull’s wings,/ perhaps you would have kept your place beside/ me in the
sudden storm.” Becoming separated from
the voice she wants to hear, she grows desperate: “drowning/ is the only sound, the cutting off
of air/around your face, the silencing of movement/ toward me now.” Clearly, she
has more adventure than she wants to deal with: “the kayak learns the river,/
and the heart the rushing cataract.”
Patricia Lee
Lewis structures this poem beautifully, employing the device of a series of
“Ifs” which function to build the necessary suspense. The narrative elements are kept to a
minimum, allowing the emotional material to take the primary position. She’s not a story-teller; she’s a priestess
of the heart’s passions. In “Standing By
Song,” she employs her voice to engage some standing stones, possibly in Wales
where she locates another poem. The
woman in her poem comes to a “kneeling place between/ two great stones,” Once there:
. . . she
sends her voice,
low
at first, the way she thinks a stone
might
sing. It reaches something original,
strong. She feels it more. The stones
begin
to rumble in response. She sings
louder,
at
the lowest frequency she has. How else
to
speak to them? Something pushes
from
within the standing stones; pushes
through
her spine to make her stand,
make her start again.
What’s remarkable about this passage is its depiction of the
power of the woman’s voice, so powerful that the stones listen. Their listening and responding reinvigorates
the woman. She takes some of their
strength into her own being: something “pushes/ through her spine.” She no longer kneels; she stands.
With this newly
acquired strength, she offers herself to others in “Leopard Frog.” Once again, she structures the poem around
possibility with a series of “What ifs”:
“What if you should find me/ on a windy day, my body curled/ around a
red oak trunk, my head/ at rest on granite, my hands in prayer.” She encourages the “you” to notice what she
looks like, to feel her cheek, to reach her hand inside her pocket and not to
be afraid: “do not pull back, but pull within yourself/ and listen.” Listening to Patricia Lee Lewis has its
benefits:
Perhaps you’ll hear the echo
of my voice, leopard frog, acorn,
panting of the bear, and you will rise
and walk to where the world
is waiting. You will say, I found
a woman in the woods.
I left her there.
The engagement the poet offers is magical, just as this book
is magical in its essence. Become a
good listener, she advocates, and the world will open to you. As it has opened to her in these artful,
compelling poems.
Claire Keyes is the author of The Question of Rapture, a
collection of poems. Professor Emerita at Salem State College, where
she taught English for thirty years, she has also written The Aesthetics of Power: The Poetry of Adrienne Rich, published in paperback in 2009 by the University of Georgia Press. Her poems and reviews have appeared in Calyx, The Valparaiso Review, and The Women’s Review of Books, among others.
