Tag Archives: Shehzar Doja

The Woman on the Other Side – A Review

To purchase the book from Doirepress, click on the image
To purchase the book from Doire Press, click on the image

 

TS Eliot once remarked:

“We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time” (Little Gidding)

Stephanie Conn’s debut collection “The Woman on the Other Side” is a book of exploration. The poetry invites the readers into a world of fragments, between physical and internal landscapes. The collection is set in various locations and timelines, beginning from the opening passages inspired by the Dutch countryside and drawing a subsequent inspiration from its’ historic painters. However, Conn manages to superimpose her own vision and interpretation onto the paintings and leaves her written version lingering distinctly, like a melodious mid note hanging unobtrusive, in some corner of the readers mind…”He painted the lands lies below -/led us through small windows, into narrow interiors,/half-lit rooms draped with silk and shadow”( Vermeer’s Nether Land). The use of half-rhymes is used masterfully throughout the book to accentuate the significant pause for the readers to appreciate the same vivid details which was emanating from her spurts of inspiration. This reinterpretation is also given to other prominent painters in other locations, such as Chagal who resided primarily in the village of St Paul De Vence in the south of France; “Tell me of the green fields mapped in your mind/and the winding paths that always lead you back,/how your father held a scythe in his dark hands,/” (The Village)

In a 2016 interview with the Irish Times, Stephanie stated:
“Consumed by grief after my mother died, I felt terribly isolated and poetry offered comfort. The fact others had experienced this pain and survived also gave me hope” and the residue of this haunting grief and the resolve of hope can be seen and felt in the simplicity of lines like “it is June/but the curtains are pulled/and the candles lit/ … in an empty room/a fourteen year old girl/pores over her mothers diary” (Her Diaries).

Desolation and Resolution, a constant tug of war between the senses, ephemeral and empirical, act as a constant motif throughout the book. Attempts to balance between allowing the audience to gaze into her psyche and creating barriers play off each other in a manner that is truly remarkable. In Eclipse for example; “They said it would happen,/warned not to observe the sun/directly. I had been indoors” and “June.Again/ There have been too many/ birthdays and deathdays” (Abacus). The lines mimic the motion of a heaving breath but upon its release, we are left to somehow simmer in its bittersweet resolution.

Stephanie Conn was the inaugural winner of the Seamus Heaney Award for New Writing, a prize awarded to her for the poem “Lavender Fields” .The line from the poem that could truly encapsulate the mesmerising quality of this book is summed up here;
“All this grew from a small bag of aromatic seeds”

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Review by Syed Shehzar M Doja

This review was published in the inaugural print edition of The Luxembourg Review.

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‘Parted’ by Justina Semetaite. A Review.

Parted                                 (Click on the image to check out the book)

From making intellectual observations to relaying the most sensitive and cherished emotions and thought, poetry encompasses an innate ability to express and reflect the most intimate of emotions. That inspiration can derive from the most tangible source or simply, a moments’ pensive surrender.

In our first Literary Review, we take a look at the chapbook “Parted” by Justina Semetaite, published by CorruptPress in November, 2011. Justina was born in Lithuania, in 1989 and currently resides in Vilnius. Both the author and the chapbook deal with the subject of parting from the most intimate perspective conceivable. The eight poems displayed in the chapbook are written in a touchingly poignant manner. From reflecting on the separation from a homeland to the departure of a lover, the chapbook covers a wide spectrum of emotions that are profoundly articulated through a gritty and raw arsenal of metaphors.

All the poems are imbued with a deep sense of separation. Each title hinges on this overarching theme, vindicated by the motif within each title with words like “‘goodbyes, postcards”, culminating in the final poem “‘When we parted, things started dying and the city grew even bigger.’” Every poem in this chapbook resonates with that despair. A sense of longing is brought into the forefront with simple and accessible imagery that refracts the complexities of dealing with the subject of parting in a surrealistic form of poetic catharsis.

The last poem in the chapbook is an exceptional poem that with each line; carries thematic imagery that continues to accumulate (beginning from the first poem) throughout the chapbook. However, this, in no means, detracts from the quality of the other poems. There are great lines sewn into each work, but, as a critic, it would be negligence on my part, not to discuss this
concluding poem in further details.

‘When we parted, things started dying and the city grew even bigger’ is a poem that reflects on a failed love. It follows the narrative exposition of a memoir, with the stylistic freedom of a post-modern piece. The poet expresses her anguish and raw emotions through using intricate, classical allusions, as well as creating an entirely new set to draw from in future works.

The poem is told as a memoir of golden days laced in an undercurrent of bitter foreshadowing. It is perhaps enduring because of its juxtaposition between a hopeful beginning on the surface and the carefully construed cynicism lying underneath (that proves justified as the failure of the love prevails).

“I will ask you to bury me in the basement of your laughter and I will promise to be a shy flower, translating itself into dust “(lines 55-57). The constant recurrence of the motifs in the poem are embedded systematically throughout, The words and phrases are repeated constantly to reinforce the readers with a sense of impending, provocative empathy (not sympathy however) for the narrator of this poem.

‘Dying, Remember, Forgotten’ repeatedly used, reinforces the thematic overture of ‘Parted’. It completes the chapbook in terms of definition and resolution, attributing the sentiment of ‘Parting’ to deep rooted separation beginning from the opening lines of the first poem “The jelly shadows of the birds, sitting on the fence, teach me to fly with my eye” (Lines 1-3, I’m talking to myself about the good-byes’).

The line ‘The streetlights are of no use at all’(lines 131-132)  mimics the candor of W.H Auden’s ‘Funeral Blues’ to further illustrate the dramatic extent of that void of separation in all forms..

All eight of the poems in the chapbook share with us, a little part of the poet’s soul. An attribute any poetry enthusiast can perhaps, connect with.

I would recommend this chapbook to buy and read.(The link to purchase the book is placed on the cover)

In conclusion, I will perhaps ‘remember the dying things’ as was pointed out and use both the poet and chapbook to vindicate and highlight the search of young poetic talents like Justina Semetaite for ‘The Luxembourg Review’.

 Syed Shehzar Mukkarrim Doja

Founder and Editor-in-Chief
The Luxembourg Review

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*Next week we will continue our review with an exclusive interview with the poet*

*If you have any questions for the poet, please leave it on the comment section, we will do our best to include some of them in the interview*