A Mountain City of Toad Splendor, poems and prose by Megan McShea. Baltimore: Publishing Genius Press, 2012.
Reviewed by C.L. Bedsoe
When I read collections like this, I’m frequently reminded of the excellent poem (and song) “It’s Saturday” by John S. Hall which contains one of my favorite lines: “Sense cannot be made. It must be sensed.” Hall is getting at the core of art. There’s something in it that doesn’t have to be explained, perhaps shouldn’t be explained. McShea’s collection, similarly, doesn’t jump out and fish-slap the reader with obvious meaning. Rather, it gambols around meaning like an impromptu interpretive dance. Poems range from the building blocks of “Table Saw,” each line of which begins with “Table” and adds another word which changes the meaning of each successive line: “Table/Table saw/Table saw bird” etc. to surreal stories like “The Appointment,” whose imagery shifts like a stream-of-conscious fill-in-the-blank. Here’s an excerpt from near the middle of the flash piece, in which McShea describes a mother and son’s outing. They go to a building which immediately doesn’t impress. It is “flatter than we had imagined it” and has a confusing intercom: “It sounded like the ocean, but in a very high resolution, with cries of bird and shouts tossed by waves and even sand under our feet.” They undress and wait in a room:
“This is nothing like I expected,” said my mother, who had persuaded me to join her in coming here. “Well, what did you expect?” I asked. “I thought it would be rosy, like a womb,” she said. She sounded sad.
“Change your rabbits!” came a shout from up the stairs, and then again, descending closer, “change your rabbits immediately!” A man in coveralls appeared with wide black eyes. “Oh, pardom me,” he said when he saw us there. “You’re not the people I thought you were.”
But it was too late, for mother and I had already changed our rabbits.
McShea is quite playful. She’s included poems with titles such as “Four Unrelated Sentences with Unrelated Elements,” “Conditional Clauses,” and “Pledge of Allegiance,” which is a deconstruction of the titular pledge, but also an homage to the idea of the thing. “Three Large Swollen Things” is a triptych in which each line section is an acrostic spelling out “Large Swollen Things.” From section 1:
Lingering amidst our
rigged up with fancy
glows a bride
entirely made of cotton
sticks to sin talk
when it wants fed
options evaporate quickly then
like it never lost anything
not without a certain inky grace
to be hewn from
in their suckling linens
nesting there like a
gull out of
“11 Irritations that Morning” is a more straightforward poem. It begins, “I want things and beautiful/light, a perfectly soft don’t.” It’s a beautiful ode to being. “On the street, that recently-cleaned texture/of things. To be alone daily makes/everyone seem interesting.” And isn’t that what poetry’s all about?
McShea is a mistress of sound and mood. “Baltimore Prayer” is a wonderful example:
Precisely this fogged window, which prevails in the cold, wet night, blinks out onto an uninhabited land of Other People’s houses and in sight of all that forgotten real estate, along with all the amiable conversations on phones across America and evenings shared in movie houses, around the corner from a recent homicide, down the block from wild lots and weeds, great unknowns, colossal, all evolving along with Darwin and his species. One’s life, assumed to be finite, ticking away. Night covers things up but you can still hear the rain.
Pressure comes from a thousand enemies buried in your heart. You practice fighting them, and then one day, it seems like they’re gone. One day, allowing for silences, it breaks. You can prepare. It’s like preaching. Ready yourself.