[REVIEW] Book of Levitations by Jenny Sadre-Orafai and Anne Champion

(Trembling Pillow Press, 2020)

REVIEW BY GABINO IGLESIAS

Jenny Sadre-Orafai and Anne Champion’s Book of Levitations is a rare book that delivers on the promises made in the title but also delivers much more. This is a book about spells, ghosts, curses, and even instructions on how to make a voodoo doll, how to resurrect a dissected animal, or how to become a she wolf (“Remember,/you were born howling/with blood on your jowls”).

There is a lot of significance in this collection and the atmosphere the poems create is at once absorbing, mysterious, and enjoyable. There is an enigmatic energy at play here, along with an underlying feminist discourse that jumps off the page from time to time (Praise the girl that learns sewing/to stitch herself back up”). However, the best element in Book of Levitations is that it’s easy to read and—and this is rare for poetry that deals with dark topics even in passing—it’s a lot of fun.  Here’s “Spell for New Homes”:

“Sage, holy water, black salt—

stack these in corners, smear

them in new rooms. Tie down

letters and spoons (from people

you can’t miss back)—they

levitate on full moons.

Tell all insides of cabinets

something good, bright.

Hang one plant in each room

to clean the air.

Don’t let in guests with mud

on their shadows.”

The poems in this book often read like rituals or invitations. They may or may not offer solutions, but at the core of each of them are words that deliver a strong message, once that’s loud and clear if you’re willing to listen. Sadre-Orafai and Champion have a knack for economy of language, and they ensure that they pack as much meaning as possible into each poem in Book of Levitations, none of which is longer than a page.

There are some elements of cohesions that give this collection a tremendous sense of unity. The titles are the first and most obvious one as many of them contain the word “spell.” However, as you read, things like water and death weave in and out of the collection. The same goes with you. Yes, there is a constant shattering of the fourth wall here. These poems are for readers; they’re for you. Some apply only to women, but others are clearly for everyone who reads them. Addressing the reader, adding that you to the poems, makes them much more personal. Yes, these poems are great and fun to read, but something about Sadre-Orafai and Champion talking directly to you makes them linger after turning the last page. In any case, don’t take my word for it; here’s “Spell to Stop Harassment”:

“When he tells you to smile, baby,?

do it, but make sure it cocks like a gun.

Make wind chimes of kitchen knives

and hang them in every doorway.

Find your sachet of baby teeth,

bury them in your cervix, and wait

for them to take root.

When you have a shiny row

of vagina fangs, fling your legs?

open like an umbrella in a thunderstorm.”

We all need a little magic in our lives, and Sadre-Orafai and Champion deliver plenty of it here. Read it.

Gabino Iglesias is a writer, editor, literary critic, and professor living in Austin, TX. He is the author of ZERO SAINTS and COYOTE SONGS. You can find him on Twitter at @Gabino_Iglesias.

[REVIEW] Paper, Cotton, Leather, by Jenny Sadre-Orafai

paper

Press 53

80 pages, $14.95

 

Review by Hannah Rodabaugh

 

Within this debut poetry collection, Paper, Cotton, Leather, Jenny Sadre-Orafai’s poems illustrate love and its byproducts within a ringing framework of grief. Grim or sentimental at times, this collection looks at how some people haunt our lives even after they are gone: a presence of absence that is ghostlike, yet strangely real. Following her disintegrating marriage and divorce, the poems in this collection run the gamut of images and/or conventions associated with a failing domestic partnership: wedding paraphernalia, ring fingers, in-laws, adultery, rebound relationships.

One of the things that interests me in this collection is the way that Sadre-Orafai fixates on ideas or moments or objects she finds herself thinking about over and over after her marriage ended. An example of this is how the name of the collection stems from the first three traditional wedding anniversary gifts. In “Record,” Sadre-Orafai writes:

It’s polite to record what we get each year.
Paper, cotton, leather.

The years measure, interpret
these gifts that do nothing but soak space.

The cake agreed to keep until we’re ready
to brave again. The gardenias that didn’t

faint, smashed into a book, the pages curled
tight, a grab at the stalks at last.

I look after its spine, expect it to tantrum,
heave to the floor, the year we’re waiting for.

Continue reading

The Lightning Room With Jenny Sadre-Orafai

Welcome  to the Lightning Room, where DeWitt Brinson & Simon Jacobs take turns asking PANK authors extremely difficult questions about their work.

Today, Simon talks with  Jenny Sadre-Orafai, who brought two poems to our February issue earlier this year, about burning young things.

 

1. “Biography of Teenagers” seems to explore, in part, the fumblings of adolescence as a substitute for later, averted maturity, a desire to concretize things before they happen. What do you think drives our desire for the past over the present?

Perhaps we spend so much time with the past because it’s what is known. We have been there. We know how it all happens. We lived it. We can’t know what will happen this second. There’s a sense of control, ironically, in the past.

2. Both “Biography of Teenagers” and “Treasure in Timber” explore burned-out or elided history, post-dated moments: can you share another moment of deleted history?

I visited Seattle and British Columbia when I was seventeen with my parents and sister. I remember feeling like we would never get back home. I was an anxious teenager who missed her boyfriend and listened to a cassette he made over and over again. Before leaving the Seattle Airport, the news reported that a body had been found in Kurt Cobain’s home. That’s what I remember most from the trip and not how much I was missing by just being there. I would go back to Seattle eighteen years later. I wore flat shoes and walked everywhere. I watched giant seagulls strut and the water shine around them. I didn’t waste it the second time. Continue reading