(click on the image to check out the book)
Bullets & Orchids is a cryptic, yet highly relevant collection of contemporary poetry written by Rewa Zeinati, a Lebanese-American poet currently based in Dubai. It was published by corrupt press in 2013.
At first glance, Bullets & Orchids presents itself in a manner which is as surreal as it is intriguing, evident by Zeinati’s skilful manipulation of juxtaposing imagery in the title. This sets the tone for each of the 58 poems within, all titled with merely a number and rarely following a numerical chronology. Even this represents something stranger, something more hypnotic. Zeinati manages to create successfully a unique, gloomy atmosphere, piecing together fragments of glistening imagery from the depths of empathy and her own experience. Bullets & Orchids deploys themes which illuminate the darker perplexities of our times – prevalent themes such as war, famine, love, loss, corruption, greed, religion, death and trauma – are weaved from dissonance into an elegant poetic tapestry, alive with an essence of uncertainty.
Zeinati is not afraid to pull you into her psyche from the beginning, the collection jumping at and around the reader like a restless dream; an incessant thought which can neither be pinpointed nor grasped:
her body still//
Upon the bed…
Sometimes it hurts.”
Disparity is echoed throughout the work and as the pages are turned, Zeinati puts a spotlight on the perils of sleepless nights:
“The ceiling: so tired of leadership. It must come down in the morning.
No one to look down upon until dusk.”
Though many of the poetic ruminations in Bullets & Orchids show a level of philosophical pragmatism, Zeinati is not concerned with making her work palatable; defying the casual reader an easy route to the heart of what the collection is ultimately about: the Self and its relation to the human condition. Bullets & Orchids is filled with imagery sure to resonate in the psyche of the attentive reader, with segments likely to grip, such as, “And if memory fails / Then memory, / wins.”, “Nothing left but the glint of steel and bloodstained sand”, and, “Like weeds pulled from the earth. That’s how you get rid of the past”. However, there are times when this type of enigmatic writing becomes almost nonsensical, with parts of the poem becoming more memorable than the whole. Meaning is lost sometimes in the stuttering nature of the work, which can lose the message the poem seeks to convey.
Throughout Bullets & Orchids, repetitions and references to poems in various parts of the collection are found. This ties together the different themes. For example, one poem ends in, “I saw bullets though. Many were shaped like tongues”, and later on in the collection, the words, “did you ask me? The artery asked the bullet”, jumps out at the reader with an emotional realism, unique to Zeinati’s poetic voice.
Every now and then, complete poems (or, perhaps more aptly, fragments), come in the form of a single word, seeking relevance from the poems around it. This may come across as contrived, as the words; “nothing” and “today” form whole pieces, which can be frustrating. The disjointed nature of the shape of some poems disrupt the flow, distracting the reader from the full enjoyment of the work, as incomplete sentences read more like hiccups than a flowing voice.
Bullets & Orchids illuminates the absurdity of the world we live in, highlighted by the bluntness of the poem referencing the death of Colonel Gaddafi in 2011, “A 42 year dictatorship ends. Another one continues,” (42.) and this is the clearest indication of Zeinati’s frustrations with the world; that one regime terminating does not solve the complex, political and historical problem of oppression.
Bullets & Orchids presents itself as a collection for the enquiring mind, for it takes significant thought and effort to find roots of meaning within the poetry. This should not put off the avid reader, for one of the challenges of poetry is to break from tradition, regardless of whether or not it reads easily.
My favourite poem from the collection; the one which bore the most resonance with me, welds parts of Zeinati’s poetic expression to my own consciousness:
“London burns and Libya burns and Egypt is thrown behind bars. And the same old man wakes up in the morning like nothing ever happens and wears a suit and tie. The same suit and tie. The same morning. His beaten wife asleep in the next room.
Review by Nathan Hassall
Nathan Hassall was born in the United Kingdom to an American mother and a half-English, half-Greek father. He received a BA Hons in History at the University of Kent, with a Year Abroad studying at the University of Massachusetts. He is the author of three self-published poetry collections, Nascent Illusion (2009), A Conscious Void (2011), and Of Gods and Gallows (2015) and endeavors to study an MA in English and Creative Writing at a British University in 2016.