STEEP TEA: Diana Bridge
















I have made two visits to China so far, in 2010 and 2012. On both trips, I was chaperoning a group of students on their travel-study program. As a chaperone, I was supposed to be the responsible adult when what I wished to be was the irresponsible student. We saw a lot of temples, the most impressive, to me, being the Temple of Heaven in Beijing. I did not know how to write about what I saw, until I read ALOE AND OTHER POEMS by the New Zealand poet Diana Bridge. I bought the book after reading her lovely poems on trees in PN Review.

After reading ALOE, I wrote this response in my blog:

"Bridge is a poet of seeing. A scholar of Chinese culture and Indian art, she writes her finest and most ambitious poems by viewing and reflecting on ancient artifacts. Her poems are about Chinese vases, Japanese prints and Indian temples. Her descriptive powers are considerable, and her meditations never uninteresting. "Sequence, Sarnath" in the early part of the book is even stronger than the concluding sequence "Temple," perhaps because the earlier poem focuses on a specific temple instead of allegorizing explicitly a ritual of worship.

In the Sarnath sequence, Bridge first sees the statue of a seated Buddha by turning a corner, then measures the real distance to the base of the statue. In the second section, she contrasts her companion who likes to theorize and herself, who is "simply addicted to looking." Looking at Gupta sculpture, the third section considers the postmodernist dictum that "to look is never/ neutral" and then observes that the circle of stone closest to the head of the sculpture is completely free of ornamentation, "a plainness which stands in for silence." The final section is transformative. Changed herself, the speaker takes the sky for the stupa and grasps, without grasping, that all is changing: 

You think you're getting closer to it, to what is real--the re-
arrangements of your mind like leaves adjusting to the light.

If some poems in this book follow a predictable order of description first, reflection next, at her best Bridge fuses observation and meaning into a whole of looking and thinking."

The way she measures the real distance to the base of the statue speaks of the respectful restraint in her poetry. In my poem "Temple Art" I turned that restraint into something quite different, the inability to consummate an overpowering desire. By comparing a scorpion tattoo on a muscled back to the stone lions guarding a temple, I tried to give voice to a strong but delicate sense of sexual frustration.

The poem is dedicated to Katherine H. who was my co-chaperone on the first China trip, and who taught me to relish China's many delights.

Comments

Post a Comment

Popular posts from this blog

Goh Chok Tong's Visit to FCBC

Image
I am surprised by how much this incident is affecting me. I thought I have moved past my former religious life, left it behind in Singapore, but like tin cans tied to a dog it has followed me and is rattling me. I am posting the incident, and my response to it, here on this blog, because I want to remember that the past is not yet past. When Emeritus Senior Minister of Singapore Goh Chok Tong visited Faith Community Baptist Church on 13 January during a Sunday service, Senior Pastor Lawrence Khong took the opportunity to deliver a hateful anti-gay message . Among other things, he said: We affirm that the family unit comprises a man as Father, a woman as Mother, and Children. This is the basic building block of society, a value foundational for a secure future, a premise fundamental to nation-building. and warned ominously that We see a looming threat to this basic building block by homosexual activists seeking to repeal Section 377A of the Penal Code.   Examples from ar
Read more

Wallace Stevens' "The Noble Rider and the Sound of Words"

Just read three essays from the "Poetics" section at the back of Volume One of The Norton Anthology of Modern and Contemporary Poetry : "The Poetry and the Present" by D.H. Lawrence (1919); "The Negro Artist and the Racial Mountain" by Langston Hughes (1926); and "The Noble Rider and the Sound of Words" by Wallace Stevens (1942). The first is an artful polemic for free verse in contact with the "insurgent naked throb of the instant moment." The second is a spirited rejoinder to a young Negro poet who wanted to "write like a poet--not a Negro poet." The third, my favorite, is a wide-ranging meditation on the nature of poetry and the role of the poet. So many grand things said but I will only quote a few passages: I am interested in the nature of poetry and I have stated its nature, from one of many points of view from which it is possible to state it. It is an interdependence of the imagination and reality as equals. This is
Read more

Steven Cantor's "What Remains: the Life and Work of Sally Mann"

Image
Sally Mann, The Perfect Tomato , 199 0 Since it is moving pictures, a film necessarily captures--produces--a process. It turns photographs into the making of photographs. It joins moments ("spots of time") into a Life. This I expected watching Cantor's documentary on Sally Mann's creation of the exhibit "What Remains." So photographs of a long-dead beloved greyhound "lead" to photographs of the Civil War battlefield of Antietam, to photographs of Mann's Virginian farm bloodied by the police killing of a runaway convict, to photographs of decomposing bodies in a forensic study site, as if each group of pictures forms an independent yet preparatory stage in the creative process. What I did not expect to see is the influence of the film-making on the photography itself. Mann begins to think of her exhibit as a "narrative," and wants the narrative of death to end on a more uplifting note. With such an idea in mind, she takes close-up pic
Read more