In his new volume of poetry, A Mural by the Sea, Dawad Philip’s poetic genius is reflected not only in word choice and visualisation, but also in the precise rendering of experience at once unabashedly parochial and infinitely complex. His unravelling stemming from where he recognises himself most viscerally, which appears to be his native island country of T&T and New York City, the poet is unerring.
The collection opens with the title poem, the first stanza foretelling a musicality throughout:
“The last train of the old calypso rots in the round by the convent.
Band passing:
the woman with fogged glasses is fanning
the woman with the crooked wig is fanning
the woman in grey kicked off her shoes
the woman in white kicked off her shoes
the woman in brown kicked off her shoes.”
The opening stanza is remarkable, a tribute to women and to Carnival, rendered in deceptively mundane language and signaling matters which are in fact both exceedingly complex and inexhaustible.
Thus begins a book length odyssey, the recitation by a contemporary bard with the keenest sight imaginable. Philip writes about what he deems significant, intuited through a sophistication and a worldliness kept in tow. His mastery is apparent throughout:
“We meet at the steel margin of the soul between hill and sea, at the edge of memory, on an old map of the world...”
Philip’s language is descriptive, but not Whitmanesque. Rather, it reveals a kinetic topography and a variegated material culture, a complexity spawned by cultural admixture and, to a lesser extent, genetic diversity.
The poet is on an intimate basis with all of his actors and is able to “recite these full biographies.” His diligent observation of the life particulars of the tribe, coupled with a narcotic annotation of island topography achieves the sublime and is well beyond the parameters of what is generally attempted in geographic description in the Post-Modern Period of poetry in English.
Reading this volume, one notes a stubbornness, an unyielding insistence on accuracy, on minutiae, on the aberrant and the sorrowful juxtaposed with the familial, he tribal, the ceremonial, the aesthetic, ritualistic, the magical, the spiritual, the traditional. Life’s transience resurfaces throughout, demonstrating a remarkable capacity to relate unrelated phenomena. This is perhaps partially due to the fluidity of islanders commuting regularly between the Caribbean and settlements in the United States, notably in Brooklyn, New York, where Philip raised his children.
Tonight is a heart-stopping poem, subtitled: On a theme from Pete Hamill. Philip reiterates a discussion by the renowned NYC journalist thusly:
“The youth who will die
tonight woke like anyone else
this morning drank tea ate doubles
laughed to hide the truth,
watched the rain and clouds
cloak the sky with the long
darkness of the season.
Philip’s depth of humanity, is on stark display here, his profound linguistic sense depicting a rare insight.”
• Ruth-Miriam Garnett is a poet and novelist based in St Louis, Missouri
BOOK INFO
A Mural By The Sea
Dawad Philip
Anaphora Press
76 pgs 2017
A REVIEW BY RUTH MIRIAM GARNETT
