It brings me indescribable joy as a Sri Lankan to witness the internationally acclaimed Vivimarie Vanderpooten’s two poems featured in the esteemed collection of poetry titled “Mogadored,” published by Sick Fly Publication in London this year. Seeing her name alongside renowned poets such as Salena Godden, Jenni Fagan, and Rebecca Gransden fills me with immense pride and satisfaction.
Gaza, 2023
Babies with gashes
Are dying on my screen
Their mouths are being sutured
There was an eclipse recently.
I heard that catastrophes happen between eclipses.
A woman I know with poetry in her soul
Died yesterday, because her heart decided
It had had enough.
There is a Hebrew word for enough.
I know because I checked.
There is a wall there, named “the place of weeping”
I pour my impersonal grief into a cup
And water the tiny plant he gave me.
It has patterns on its leaves that look like
gashes on babies’ tiny mouths
I will not let it perish.
In “The Gaza, 2023,” the poetess exhibits a profound sensitivity to human suffering in war through a combination of striking imagery, innovative poetic techniques, and introspective reflections.
The poetess juxtaposes images of innocent babies with gashes and mouths being sutured against the mundane act of watching them on a screen. This jarring contrast highlights the disconnect between the reality of war and the detached way it is often consumed through media, emphasizing the poet’s sensitivity to the dehumanizing effects of war.
The poetess’ exploration of language, particularly the Hebrew word for “enough” adds depth to the poem. By acknowledging ‘because I checked’ she researches into the word’s meaning, and reveals a desire to understand and communicate the ineffable experiences of suffering and loss, showcasing her sensitivity to the nuances of language and its ability to convey complex emotions.
The nurturing of a tiny plant amidst the backdrop of tragedy serves as a powerful metaphor for resilience and hope. By tending to the plant despite the overwhelming grief, the poet demonstrates an unwavering commitment to preserving life and beauty in the face of destruction, revealing her sensitivity to the innate human impulse for survival and renewal.
Vivimarie’s introspective reflections on the death of a woman with “poetry in her soul” and the fragility of life add a layer of depth to the poem. Through these personal anecdotes, the poetess highlights the universal experience of loss and the fleeting nature of existence, underscoring her sensitivity to the interconnectedness of human suffering across time and space.
The poetess employs a minimalist approach to language, using concise and evocative phrases to convey profound emotions. This economy of language allows the poem to resonate on a visceral level, eliciting a powerful emotional response from the reader while showcasing the poetess’ sensitivity to the potency of simplicity in conveying complex themes.
In the context of the poem “The Gaza, 2023,” the identity of “he” is not explicitly defined, leaving it open to interpretation. “He” could refer to a loved one, a friend, a partner, or even a symbolic figure representing hope, comfort, or support for the poetess amidst the turmoil of war and human suffering. The ambiguity allows readers to project their own meanings onto the character of “he,” enhancing the universality of the poem’s themes.
The phrase “my impersonal grief” suggests that while the poetess experiences deep sorrow and anguish over the tragedies unfolding in Gaza, her grief is also detached or removed in some way. This could imply a sense of overwhelm or desensitization to the constant barrage of distressing news and images, as well as a recognition of the limitations of individual sorrow in the face of large-scale humanitarian crises. By describing her grief as impersonal, the poetess acknowledges the collective nature of mourning and the need to find ways to cope and process emotions in the midst of overwhelming tragedy.
Perfect
It used to be
Before I die, I want
To have the perfect love.
But now I only want to
Write a perfect love poem.
Loving is hard and messy
Sticky
With guilt and
Smells of unanswerable questions.
A love poem only has
Messy syntax and
Questionable metaphors.
I want my perfect love poem
To make epic novels on war
Stand at attention when she walks by
And news stories on death and destruction
To envy her confidence and her defiance.
For everyone to say
“Oh, look at her face, her garments!
How they shine! How they rhyme!”
I used to want the perfect love
Now I only want the
Perfect love poem.
In ‘Perfect’, the speaker’s journey in verse is marked by a profound transformation in her perception of love. Initially, she yearned for the unattainable ideal of ‘perfect love’ before her life’s end. However, as she navigates the complex terrain of affection, wrestling with its intricacies and challenges, her yearning takes a new form. She no longer seeks love itself, but rather, she aspires to create a ‘perfect love poem ‘.
From a philosophical standpoint, the speaker meticulously examines love, acknowledging its inherent complexities and imperfections. They portray love as a rugged landscape fraught with obstacles, guilt, and unanswerable questions. This portrayal goes beyond the surface of romanticism, delving into the intricate realities of human connection.
The quest for the “perfect love poem” signifies the speaker’s endeavour to encapsulate love’s essence, embracing its disorder and imperfections. She concedes that akin to love, a love poem is not devoid of blemishes; it bears “messy syntax” and “questionable metaphors,” mirroring the tumultuous nature of real-world affection.
Despite its flaws, the envisioned love poem wields formidable influence. It transcends conventional expressions of love, commanding the attention of epic war sagas and compelling news stories of death and destruction to envy the fortitude and poise of the beloved.
Ultimately, the speaker’s yearning for the perfect love poem symbolizes a profound quest for comprehension and acceptance of love’s multifaceted nature. It serves as a philosophical odyssey, transcending idealized notions to embrace love in its raw, imperfect form while endeavouring to encapsulate its ineffable essence through the artistry of poetry.
These two poems themselves are the finest examples for us to witness the pinnacle Vivimarie has reached in writing English poetry.
