The eponymous first part of mclennan's new book consists of fifty
"gifts" each centred around words, phrases, or "glyphs" of language
that initiate and replicate their own fractal transformations: some
remain simply found fragments about which other words and phrases
unfold, some lose themselves into pieces that we forget were once
found, some mirror themselves in other forms, others become simply
something other in language as it moves both with and away from
them, each creating a syntax of meaning that is specific to its own
occasion. All are addressed to the poet's intimates--two dozen are,
significantly, valentines--the rest admonitions, remembrances,
messages and homages made public by the readers' acts of witness.
In part two, "incomplete," we are invited to watch the poet robbed
of his intent as unexpected words interrupt his texts, turning
declaratives into interrogatives, questions into requests: "would
you leave (accidental) behind"--each poem an apparent loop of
closure, but one that signifies its "failure" or incompletion by
ending, or starting over again, with its first title] word. In part
three, "weightless," the poet frees the signifier from the weight
of the signified. He brackets and strikes through what we think of
as "known" in the "real world" that is always outside language,
because it is named].
What unifies or makes these four parts into a book are the personae
the poet assigns to the lover: in the first as an intimate; in the
second as an interruption of the determinative self--the other that
brings us back to the self; in the third as an undefinable and
thereby unattainable weightlessness; and finally as the
gravitational pull of the landscape itself--all of them
"unfinished" at the speaker's age, as the title of part four
implies: " sex at thirty-eight] unfinished shield notes: letters to
g."
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