Frequently while reading Miriam Sagan’s latest poetry collection, Seven Places in America, I was struck with waves of jealousy. The book is constructed around her journeys and residencies at what, at least through her writing, must be some of the most wonderful places in the country for a poet to meditate on things great and small. This is especially true for a poet like Sagan, who has an affinity for the more rustic or natural places.
Some of these places were official writers’ retreats, while others were just places that accommodated her, and she accommodated them. Either way, she made the most of these visits, as good writers can, by using the foregrounds and backdrops as gateways for her poems to pass through or stretch out within. Her poems ride “the boat of the mind/that floats on air” tacking through waterways looking for purchase. When they land on hard ground, you know it, as in “10,000 Islands,” part of a series titled Ever/Glade (which, incidentally, made me think of Karen Russell’s novel Swamplandia.
I longed for departure
As if it were love
As if it would take me out
Of myself, of my accustomed way—
Sandbar of white pelicans
Lifts off, wheels into the sun
Silver flash of fish before the prow
Maze of low islands, one after the other,
to open water.
Do you see what she did there? The very quiet leap from the silent meditation of longing for departure to the dramatic scene of birds rising and a boat rushing among islands. For me, these poems are at their strongest when she uses her environment as the A in an ongoing Q & A with themselves.
While I found poems to relish throughout the book, I think my favorites are in part V, which were written at Stone Quarry Hill Art Park in Cazenovia, New York. Maybe being a Pennsylvanian drew me to these poems as they describe scenery very like my own home.
In the first poem in that section, Sagan uses, with dramatic effect, the refrain “body of” in a chant-like list of things you might find in any eastern woodland.
body of liberties
body of knowledge
body of research
body of principals
That’s fun, as are a lot of the poems in this book. You can feel the author’s delight coming off the page. At the same time, there are also haunting moments, such as in “Tree House,” where the speaker reflects in attendant language (“The creaks and meows of night,/Shadows of the copper beeches.”) on the material landscape of a childhood while simultaneously acknowledging the psychological landscape.
There were moments I thought the poet may have fallen into her own traps—pushed a metaphor a little too far, took the readers’ trust for granted, but then come moments of wonderful self-awareness, as if she knows where she’s taking us and is grinning a little inside, like here, in the poem “Stone Quarry Hill”:
If this poem were Chinese
I’d say my hair is gray (which it is)
And that I haven’t heard
News of you in a long time.
If I’m being played, I’m OK with it. Even when she asks “Why must inspiration be a vista?” you know she knows the answer is more complicated than that. “An inner self/that also shifts shape” is the visita we’re really meant to contemplate: “how what we ignored or couldn’t explain/remained in plain view.”