Woven from dreamlike and echoing images, After Image travels between life and death, between a living body and its absence. A house, an orchard, “a shudder of blossoms.” A fountain, a bed, a sudden spring snow. Carefully woven from a dreamlike set of images which echo and reconfigure throughout the collection, the poems in Jenny George’s After Image hug the cusp between life and death, between a living body and its absence. “And in the space / left behind—” Time slips. Eurydice muses on the gestures of the living, and we look out from inside the removed head of Orpheus. The laughing gods and the furies make appearances too, and the poet’s persona appears as its own character—the observing self, navigating the strangenesses of grief’s terrain. Unsentimental yet pulsing with love, each cutting and transcendent poem is relentless in its willingness to see, to hold both the impossibility and inevitability of transformation. In scenes that hover between the ordinary, the imagined, and the unknowable, and with George’s sly, meticulous simplicity, After Image asks what lingers in the face of death and what falls away.
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Jenny George is the author of The Dream of Reason (Copper Canyon Press, 2018). She is also a winner of the Discovery/Boston Review Poetry Prize and a recipient of fellowships from the Bread Loaf Writers’ Conference, the Lannan Foundation, the MacDowell Colony, and Yaddo. Her poems have appeared in The New York Times, Ploughshares, Narrative, and elsewhere. Jenny lives in Santa Fe, New Mexico, where she works in social justice philanthropy.
TIN BUCKET The world is not simple. Anyone will tell you. But have you ever washed a person’s hair over a tin bucket, gently twisting the rope of it to wring the water out? At the end of everything, dancers just use air as their material. A voice keeps singing even without an instrument. You make your fingers into a comb. ORPHEUS ASCENDING A crack appeared. Beyond it, snow was pouring through the spring sunlight. A bright, dry snow like particles of unearthly metal. I emerged. And the earth closed after me, keeping her inside, the way an instrument case will seal shut around its black music. Or was I the instrument? Or was it not music, but pain singing from the depths? ( ) Aboveground the peonies were smothered in snow, bent beyond their weight with ice-white. The bare-root apple couldn’t hold and snapped. I kept looking back to where the bed stood stripped like a table. ( ) Then came the smack of snowmelt off the eaves, the house weeping and shining under fresh sun. Every water bucket brimmed. The garden—rinsed, dismantled— breathed out a new green. And with all the windows open, through the space came the sound of—what were they? Meadowlarks? Days elapsed, years. ( ) I still live in our little house by the orchard, sited so the setting sun illuminates the garden, the bubbling fountain like a fountain of fire in the final moments before night draws across its lid. Then, absolute quiet. Even the wind resting in the trees. We on earth, how can we know how long the silences will be between the movements? I wait for song to grow in me across the dark interval.
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