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Is, Is Not
Is, Is Not
Is, Is Not
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Is, Is Not

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Tess Gallagher’s new poems are suspended between contradiction and beauty. Is, Is Not upends our notions of linear time, evokes the spirit and sanctity of place, and journeys toward discovering the full capacity of language. Gallagher’s poems reverberate with the inward clarity of a bell struck on a mountaintop and hover daringly at the threshold of what language can nearly deliver while offering alternative corollaries as gifts of its failures. Guided by humour, grace, and a deep inquiry into the natural world, every poem nudges us toward moments of awe. How else except by delight and velocity would we discover the miracle within the ordinary? Gallagher claims many Wests – the Northwest of America, the north-west of Ireland, and a West even further to the edge, beyond the physical. These landscapes are charged with invisible energies and inhabited by the people, living and dead, who shape Gallagher’s poems and life. Restorative in every sense, Is, Is Not is the kind of book that takes a lifetime to write – a book of the spirit made manifest by the poet’s unrelenting gaze and her intimate engagement with the mysteries that keep us reaching.
LanguageEnglish
Release dateMar 28, 2019
ISBN9781780374628
Is, Is Not
Author

Tess Gallagher

Tess Gallagher is a poet, essayist, fiction writer and playwright. She has published many books, including five poetry titles in Britain with Bloodaxe, most recently Midnight Lantern: New & Selected Poems (2012), and now her latest collection, Is Is Not (2019). She has published two collections of stories, The Lover of Horses (1986) and At the Owl Woman Saloon (1997), and two books of essays, A Concert of Tenses: Essays on Poetry (1986) and Soul Barnacles: Ten More Years with Ray (2000). She co-authored two screenplays with Raymond Carver, and later contributed to the making of the Robert Altman film Short Cuts, based on Carver’s work. She spends parts of each year in the West of Ireland, and her collection of oral stories from Ireland, Barnacle Soup, co-authored with Irish painter and storyteller Josie Gray, was published by Blackstaff Press in 2007.

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    Is, Is Not - Tess Gallagher

    i

    Am I real? Do I exist?

    And will I really die?

    OSIP MANDELSTAM

    IN THE COMPANY OF FLOWERS

    all day, coming away

    like an ordinary person who

    might have been at a till. Thinking

    as I dug into earth of my mother

    who, when my youngest brother

    died, was taken in

    by beauty, not as consolation

    but because she found him

    there as she made the garden.

    Each day she tended it

    he kept a little more

    of her. If ever I doubt

    the power of the dead, I walk

    her garden in May, rhododendrons

    so red, so white their clustered goblets

    spill translucent tongues of light at the rim

    of the sea. And it is ordinary

    to be so accompanied,

    so fused to the silence of all that,

    as it eludes me, as I am taken in.

    Surely my reappearance must wear

    the borrowed abundance she

    gave me that morning

    I was born.

    ALMOST LOST MOMENT

    coming back in an incidental way,

    claiming to be the most beautiful

    moment of my life: braiding

    her waist-length white hair by the Pacific

    at La Push. Hand over

    hand, the three-way crossings

    of apportioned strands, and quiet,

    her head braced against my gentle pull

    as she gazes out. Both in our sea-minds.

    And quiet.

    Quiet.

    for Georgia Morris Bond, my mother

    AMBITION

    We had our heads down

    baiting hooks—three wild salmon

    already turned back that morning

    for the in-season hatchery silvers

    now out there somewhere

    counting their luck—when

    under our small boat the sea

    gave a roll like a giant turning over

    in sleep, lifting us high so I thought

    an ocean liner or freighter had

    slipped up on us, the sudden heft

    of its bow-wave, our matchstick toss

    to depth we’d taken

    for granted in order to venture there

    at all. But when I looked up expecting

    collision, the quash of water from their

    blowholes pushed to air in unison,

    a pair of gray whales not two hundred

    yards away: Look up! I shouted so you

    didn’t miss the fear-banishing

    of their passage that made

    nothing of us. Not even death could touch

    any mind of us. It was all beauty and

    mystery, the kind that picks you up

    effortlessly and darts through you

    for just those moments

    you aren’t even there. Held that way

    and their tons-weight bodies plunged

    silently under again, I turned for proof

    to you, but the clarity was passing through

    as a swell under us again and the sky of the sea

    set us down like a toy.

    And that’s the way it was, and it wasn’t

    any other way—just looking at each other,

    helpless one thought and huge with power

    the next. We baited up,

    dropped our herring into slack water—two

    ghosts fishing for anything but whales.

    for my brother Tom

    YOUR DOG PLAYING WITH A COYOTE

    —a notion not out of place

    where bears hunch under apple

    trees at night like rocking chairs

    with volition. She’s lonely, your dog,

    and the young coyote waits for her at the edge

    of the forest. Not sinister that tongue

    laughing wildness when she

    dashes forward to feign attack, then glances

    away. If your dog chases too far,

    what then? Joining wilder kin to rove

    at borders suddenly treacherous? What does

    dusk have to do with their marauding?

    Some ancient tincture of permission

    allows the edge of night

    to blend where wild and tame

    exchange fur in one naked, human

    mind—my thinking toward them

    to grant wilderness its emissary.

    Coyote, whose very appearance takes

    whisper to its highest pitch—then breaks

    the play-form of invitation to withdraw,

    shedding with a guiltless, backward

    look, this unbidden fringe-work—to rejoin

    her serial moons, her black on black

    of night, our freshened

    immensity.

    ABILITY TO HOLD TERRITORY

    The chilla is the fox Charles Darwin

    killed by walking up and hitting it

    on the head with a hammer

    while it was "intently watching

    the activity" of the Beagle’s crew.

    Notoriously unwary of humans, "It

    doesn’t know to hide from hunters."

    In effect, it steps off the ladder

    of evolution where "ability to hold territory

    supersedes ability to adapt

    to environmental changes."

    The women huddle in the Men’s

    in the Turkish airport. Gun shots

    ring out, then massive explosions. Escaping

    down a stairwell, the talisman

    of a woman’s scarf, then a smeared

    footprint where blood outleaped

    its borders.

    It wasn’t the first time a wrongheaded

    freedom had taken the floor

    of our assembly. The surprise was

    that the head actually rolled down the aisle

    toward my bench where my foot

    took hold of me and kicked it

    mercilessly out the door.

    Now we are all tossed out

    into straw, or worse,

    a ditch. I study my watch as if

    a mistake in time would

    repeal what was inconceivable

    only days before. Hammer

    of the mind, come down

    on the glass of this hour, and

    spread alarm! Each choice

    does small or large harm, but

    to do nothing is to cease

    to exist and banish worlds.

    BLIND DOG/SEEING GIRL

    She travels by guess and by

    mistakes she corrects

    by going back the wrong

    way, bumping sometimes

    painfully into things with her

    whole face like houses and

    tree trunks and door

    jambs. She can’t get there

    except by correction, extending

    her chin against the stairs as if

    they were the stars, to caress

    each oncoming cement

    ledge. If she didn’t venture

    and get it wrong and eventually

    right, she’d be at a standstill, marooned

    out there under the apple trees or

    hemlock. Don’t

    carry her, says the girl to

    herself, you’ll mix her up

    in there in her dark-finding

    where she’s collecting

    mistakes and self-forgiveness,

    making good on excited passages

    where it seems each turnabout

    yields a fresh chance at getting back

    to the girl. And what is the

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