Thursday, September 18, 2008

Blind Chatelaine's Keys

Just got our copies of Blind Chatelaine's Keys. You just have to get a copy for yourself, plus get the special value deal over at The Blind Chatelaine herself where you will get 3 books for the price of 1.

I know, the math, is weird, usually you have to buy 2 books to get one free, but in this case you buy 1 book and get 2 free. But so goes the mathematical theories along with the economic theories of poetry, it's like the parallel opposite universe where up is down and down is up. Poetry always has a way of flipping thing upside on its head.

Yet if you're into the sci-fi/fantasy type realms, feel free to peruse the pages of the Blind Chatelaine's Keys because you will feel like you're in some other universe. As with people without sight, it is not the words on the page, but feeling the space in between. Reminds me of 2nd grade when the teacher pointed to a row of trees and asked us not to draw the trees, but the sky above it, which forced us to see the space between leaves and branches and how the sky permeated into the ground. Somewhere between the otherness the biography of someone appears, of someone there and not there, fiction and real.

It is also a rather interesting view of biography, from the vantage point of the Other and what one inspires. And the mirror is not necessarily the prettiest thing as it also reflects a harshness at times, but the Blind Chatelaine is not afraid of this reflection because it is still an honest one. It is often the critic artists are most fearful of, but their reactions to the Chatelaine's work is a collaborative effort of inspiration and reaction. This exchange that runs from pure and sublime to downright harsh.

The harshness can be found in part IV, "To bring a poem into the world, is to bring the world into the poem" a juxtaposition of poems involving a young boy with an ongoing narrative of a letter that begins, "Dear GOVERNMENT AGENCY IN CHARGE OF CHILDREN," a plea for someone to save M. It does not sugarcoat nor make assumptions. There is a melancholy in wanting to love a boy whose life experiences in ten short years may become the ingredients to an adult sociopath, that even in the adults we see as monsters had at one point an innocence to them. That even love may not enough for someone who does not know how to receive it. That even a child understands the veneer we hold up to the world, makes the reader question the views of others in creating biography which brings us back to the secrets beyond the page which are both secret yet apparent.

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