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Edited with
commentary by David Chorlton
As a genre, feline
poetry is generally both overlooked and underrated by humans. How many
four-legged poets among us have suffered the indignity of being ignored? How
many of their contributions to our planet’s poetic soul have been lost? We’ll
never possess the answer to these grave questions—but, fortunately, some atonement
is now available in this slim volume.
Gilded Snow: The Poems of Raissa Parnok
purports to be this snow-white kitty’s complete oeuvre. Through the astute
commentary of David Chorlton, we learn what there is to be known about her life
and times, as well as her influences and interpretations of her enigmatic work.
Like sensitive souls
of every species, Raissa’s turn towards poetry may have had its roots in
trauma: a 13-day disappearance that remains shrouded in mystery. Over a year
later, she turned to writing—Chorlton observes, “we must conclude that she
channels her innermost feelings only into this small but intense output.”
With access to a
computer keyboard upon which her paws could roam freely, Raissa began her
poetic career with this haiku-like foray:
=-
32wwwwwwwww
Chorlton writes,
“Significant here is the use of punctuation at the beginning of the line to
point forward…Numerology adds to the mystery. The poet has chosen not to speak
on this in public.”
She proceeds to let
her imagination run wild, as in this elegant example which “shows Raissa at her
best and most contemporary”:
/.
cv .c
]
xdc
Yet the poet did not
restrict herself to brief forms. She also experimented with Whitman-esque long
forms before returning to word-play seemingly influenced by Robert Creeley or
Gertrude Stein. In a section titled “Poetry at the Watershed of Meaning,” we find:
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
Chorlton offers, “The
speechless quality of this work is beyond dispute. We face a barrier across a border,
indicating that New World Order or not, we still live with boundaries of
physical and spiritual dimensions and only the international language that has
no alphabet is adequate to communicate across them.”
As a bonus, there are
many photos of Raissa among these pages—including a rare poster from her
reading at the Cool Cats Book Shoppe in Phoenix—plus watercolors of Raissa by
Chorlton. There is also a sample poem from a kitty named Cleveland, one of
Raissa’s followers who carried on her legacy of C=A=T poetry.
Perhaps more than
most human poets, Raissa understood that “each work is a new beginning.” Her creative
output and Chorlton’s wry interludes make for an enjoyable read.
About the
Commentator/Editor:
David Chorlton came to
Phoenix from Europe in 1978 with his wife Roberta, an Arizona native. He
quickly became comfortable with the climate while adjusting to the New World
took longer. Writing and reading poetry have helped in that respect, as has
exposure to the American small presses. He and Roberta have shared their living
space with many cats over the years, each one distinguished in his or her own
way while Raissa stands out for her cultural leanings.
Reading T. S. Eliot to a
Bird (Hoot 'n Waddle, 2018)
Bird on a Wire (Presa
Press, 2017)
A Field Guide to Fire
(FutureCycle Press, 2015)
Selected Poems (FutureCycle
Press, 2014)
The Devil's Sonata
(FutureCycle Press, 2012)
About the Reviewer:
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