Mathew 7:29 states that Jesus of Nazareth “taught them as one having authority, and not as the scribes.” The description has stayed with me despite my agnosticism, and I take it to mean that he had original thoughts and was not just copying what others had said. Over the years, I’ve taken to using the description for gifted poets, so, after reading Cathoel Jorss’ comb the sky with satellites it’s still a wilderness, I want to say at the outset that she has authority and does not sound the least like a scribe.
The title of her book is a typical example of what I mean. If you stop and think, the statement in the title is not particularly profound – something like “despite everything, the wild still exists.” However, what would be an ordinary thought sounds fresh when expressed in her words, making you notice what you might otherwise ignore.. The same is true of an almost throwaway statement like “silence is snorkelling in God’s own pond,” which also has a flippancy that calls renewed attention to it, as does Jorss’ description of what is evidently a trip to England as “Nasty, British, and short.”
A major part of Jorss’ expression is an aptness for metaphor. In one poem, she describes the sea simply as “the largest wilderness.” Another poem that compares men and women includes the comment that men “improvise, like actors / making up their lines.” Still another describes removing cobwebs from her face as “you may kiss the bride / over and over again,” and talks about “my favorite mole, a blarney stone for silence.” Some of these metaphors may be obscure at first glance, but their originality encourages you to slow down and consider them – and, with one or two exceptions, in context they are not hard to figure out.
Jorss’ tone has a formality about it most of the time, so much so that at times you might wish for a change of pace. However, when Jorss provides one, it can be arresting. Sometimes, it is just the use of “fuck” or “pee” that brings you up short, a sudden reference to Star Trek or a brief descent into the simplest of word choices. At other times, it is unexpected humor or flippancy, or a Sylvia Plath-like bluntness, or all three at once, as when she comments, “I was born old and it’s only gotten worse.” In some of her most arresting poems, she veers back and forth between these extremes so rapidly that the shifts can dizzy you:
so if I choose to believe in love
as a verb (in which a noun can dwell)
I am the last remaining member
of an ancient guild eroded
as polar shelves peel back to reveal the shanks of bone
for I have looked into the darkness so long
it seems to be streaming with light
I whistle while I work and never examine the other side
of the glass, for love is extinct, they say
it is being rebred in captivity
Jorss is not afraid to take chances with language, and if you start by half-expecting her to fall flat on her face, she never takes a serious stumble, and succeeds so frequently that much of the pleasure of her collection is seeing her carry off her audacity.
All these comments are not to say that comb the skies…. is flawless. In a few places, Jorss focuses on language so intensely that her narrative structure is weakened. Personally, too, I would like to see how her generally formal tone fares in structured traditional verse. But free verse relies on diction, tone, and metaphor, and these are all elements of writing in which Jorss shows originality and skill,
I have only read this collection twice, so at this point, all I can say is that Jorss’ work lingers with me. However, I have the strong suspicion that in time it will also pass the ultimate test of standing up to many more readings over the year.