McHugh is aware of that eccentricity could make for nice storytelling — higher even when it’s infused with irony. Take, for instance, “Stick,” a poem about Jean-Baptiste Lully, the 17th-century inventor of the conductor’s baton. Lully stabbed himself within the toe together with his personal invention whereas conducting the “Te Deum” and consequently died of gangrene: “High-handedness is what / The mass holds dear, but poets love / Your sacrificial foot.” This is a poem from the gathering (there are a number of) during which an obscure anecdote is used for didactic functions. The “conducted sacrifice” turns into an allegory about obsession and its prices. The conductor is so immersed in what he’s doing that he hits upon one thing unintended: his toe. The wound opens, the purpose of ache spreads and, in flip, overtakes the physique. One of the teachings (“We owe you extra-dearly for the pointer”) is that the injuries we ignore, each bodily and emotional, are those that may flip lethal.
Bringing her off-kilter sensibility to environmental disaster, she recounts yet one more story of ironic sacrifice. Scientists dredging for clams off the coast of Iceland have been researching how local weather change was affecting them. The shell rings of one of many clams they dissected revealed that it might need been 700 years outdated. “In other words,” McHugh writes, “they learned they’d killed / the oldest animal on earth.” In one other poem, one metropolis breaks up with one other as a result of it “became / A cleanup site,” which is to say, a dump. Only on this e-book will you discover a palindrome (“dog-god”) asking one other palindrome an existential query: “Do geese see god?”
McHugh has earned a number of awards for her work, together with the MacArthur fellowship, which she received in 2009. She used the grant to arrange a nonprofit group referred to as Caregifted, which supplies time and house to caregivers of the severely disabled. Her experiences with incapacity, dying and illness turn out to be frequent topics within the e-book. With titles like “Shape Up, Says Doctor Death” and “Everybody Has a Fatal Disease,” to not point out the darkly comical portmanteau phrase “cremaindered,” she reveals gallows humor. Puns overflow (“life/death: / are you insured? / It’s mutual”) in an try to seize life’s dwindling. Sometimes the excess can really feel distracting, however she additionally approaches these points with mordant, feminist wit and shifting sentiment. In a poem a few buddy with most cancers she writes, “once my friend had been informed / her tumors would be Terminal, / her husband up and took / a trip to Paris, with a pal.” One terminal (the tumor) results in one other (the airport). During the buddy’s final chemo remedy, proper earlier than she dies, she tells McHugh, “Now I’ve felt everything feelable.”
What I like most about this assortment is that McHugh demonstrates her genius with language in a non-elitist approach. She is relatable, by no means writing from the lofty heights of the mountain, however strolling alongside us, inviting us to play, to puzzle out the strangeness of language together with her. “Marriages of words,” McHugh says, encompass “Remarking something measureless.” Words each touch upon (comment) and revise (re-mark) our understanding of the world. In making a form of phrase turbulence, trembles within the cloth of language, she shakes us into a brand new zone of consideration. Unwilling to supply up clichéd concepts about something (“my calling’s / doubt; my idea of a curse / is certainty”), McHugh invitations us to query what we expect we all know; her poems train us to look once more and beckon us to search out the enigmatic knowledge within the messy highs and lows of dwelling. “Seeing isn’t believing,” she mentioned in a 2005 interview with Matthea Harvey, “seeing is registering the unbelievable — which is everywhere. And so words fail us; just exactly how and when and where they do is dazzling evidence.”