“I learned to use a camera to see what I could be.”
Mary Jo Bang’s A Doll for Throwing is, among other things, a book about photography, but it is also about photographs stolen and appropriated through, shall we say, the arrogance of gender and fame. But first, about the title. It comes from a soft type of doll designed in the 1920s by the Bauhaus artist Alma Siedhoff-Buscher. (Examples of the doll can be seen at the Bauhaus website.) The doll (or wurfpuppe in German) has a fiber body and wooden head and was meant to be safely tossed between children, but in Bang’s book it takes on an entirely different meaning.
The poems in A Doll for Throwing adopt the voice of Lucia Moholy (1894-1989), the Austrian photographer who met the Hungarian artist László Moholy-Nagy in Berlin in 1920, during the fraught early years of the Weimar Republic. They married and two years later he became one of the legendary professors at the Bauhaus. To an extent that is not fully known, she taught him about photography and collaborated with him on works for which credit is often given only to him (including the four images reproduced on the book’s cover). They divorced in 1929 and in 1933 Lucia had to hastily flee Germany when her new lover, a prominent Communist, was arrested in their apartment. She did, however, manage to leave her negatives in the care of Moholy-Nagy. When he himself became an emigre, he turned the negatives over for safekeeping to the famous German architect and founder of the Bauhaus, Walter Gropius, who proceeded to use some of Lucia’s photographs for decades without crediting her. Once she was established in England, Lucia began a long correspondence to try to regain her negatives from Gropius. In the 1960s, she finally managed to get a limited number of them back, but by then her work had become submerged beneath the reputations of two famous men and she was nearly forgotten to history. Read more
Make Yourself Happy is the fifth book of poetry by Eleni Sikelianos issued since 2001 by the fine Coffee House Press, just north of me in Minneapolis. I’ve been reading and rereading this compelling book for the past two weeks. Kudos to Coffee House Press for turning out a beautifully designed and produced book that is visually elegant and wonderful to hold.
As a poet, Sikelianos like to think big. Her books deal with topics like science, mythology, history, ecology, extinction, and even, as she writes in one poem sequence in this new book, “the history of man.” Previous books have included a nearly 190-page poem dedicated to California (The California Poem) and a book-length biography in poems (You Animal Machine (The Golden Greek)). Sikelianos is also one of a handful of poets who regularly uses photographs in her books, with four of her Coffee House Press books having imagery of one kind or another.
Make Yourself Happy consists of three long poem sequences, followed by two short stand-alone poems. “Make Yourself Happy” is comprised of 39 individual poems. Superficially, one might say that the sequence explores the many meanings of “happiness,” whether it’s eating croissants in Paris or simply being alive. But Sikelianos is after something far deeper and more complex than that. Slowly but surely, as this nearly 60-page poem sequence evolves, Sikelianos unravels the whole notion of happiness. Yes, there is a true, indomitable form of happiness that “baffles what’s trying to get in” to destroy it, but there are also false states of happiness that are driven by things as simple as the consumption of sugar-filled snacks or the indulgence in drugs like heroin. Heroin, violence, misery, and other decidedly unhappy themes are always lurking in these poems. In one poem, we see happiness used with decidedly Orwellian intent:
In the United Arab Emirates there is now a Ministry of Happiness
“You can be happy as long as you keep your mouth shut.
Uwe Schütte is a Reader in German at Aston University, where he has taught since 1999. He has a PhD. from the University of East Anglia, where he studied under W.G. Sebald. His new book about the poetry of W.G. Sebald has just been published by Edition Isele in Eggingen, Germany, at the very affordable price of 16 Euros.
Vertigo: Your new book Figurationen is a study of Sebald’s poetical writings. Why did you decide to write about this aspect of Sebald’s work?
Schütte: The book actually came about by chance. For a long while I meant to write an essay on Über das Land und das Wasser (2008), the collection of Sebald’s poetry edited by Sven Meyer, but I never really got round to doing it. Then the opportunity arose to present a paper on Sebald’s poetry at a conference in Cardiff, Wales. I actually couldn’t attend due to illness but nevertheless wrote the essay for inclusion in the conference proceedings volume.
Taking a closer look at the poems, which I had so far only considered to be appendixes to the prose texts, I discovered that they have considerable merits independent of the prose books. In connection with my research, I came across some articles by the Swedish scholar Axel Englund which contained incisive close readings of several poems that stimulated my interest further. Another factor were the often eye-opening explanatory notes provided by Iain Galbraith, the translator and editor of Across the Water and The Land (2011), the English version of the poetry collection. Read more