The Mysteries of Brutality: Review of听脡ireann Lorsung's听The Century听
by Tryphena Yeboah
Reviewed:听The Century听by 脡ireann Lorsung (Milkweed Editions, 2020).
An awakening, a desperate and urgent shake of the shoulders as if to disturb our numbness and, possibly, our comfort is what Eireann Lorsung offers in these poems.听The Century, Lorsung鈥檚 third poetry collection, couldn鈥檛 be any more relevant at a time of reckoning with where we are, at last, willing to look at violence and call it what it is, where white privilege and structures of oppression are understood and confronted for the threat that they are.
The book is divided into six parts and the writer threads through history, taking the reader back to 1918 when Bohemia disappeared from the map; to the voyage of St. Louis where passengers were killed in the Holocaust, 鈥淐entury at Lampedusa鈥�; to the 1991 uprisings in Iraq and the bombing of Nasiriyah where the speaker, in 鈥淩eport from Nasiriyah,鈥� looks closely at the contamination caused by the use of depleted uranium in the chemical warfare attack by U.S. military:
听 听 听 听 听 In hospital room, handed
听 听 听 听 听 to new parents: babies
听 听 听 听 听 Whose kidneys migrate inside chest cavities.听These are
听 听 听 听 听 facts. Never mind 鈥渘ever again鈥� (those irradiated cities),
听 听 听 听 听 Children run out of
听 听 听 听 听 their own skin here.
Lorsung creates an astonishing account, and it is one that is too compelling, too political to be impersonal. In choosing language that is raw, bold and perceptive for a subject that is difficult, of painful remembrance and with a horrifying discovery of its aftermath, she has written poems that are not only fittingly challenging to read, but also a work of fierce resistance. The speaker鈥檚 uncompromising, inward-looking voice is one that startles me, but in a good way because there鈥檚 a crucial responsibility to developing an honest speaker who is not detached from the world of turmoil and dehumanization that Lorsung interrogates. It is an internal assessment that is necessary, a prying operation of the self that shouldn鈥檛 be easy to perform but is not neglected, nonetheless.
In 鈥淭he book of splendor,鈥� we see such private probing when the speaker reflects on their upbringing in a system that carves out its own history by 鈥減utting together some impressions, some facts, some artifacts, some assumptions, in order to tell the kind of story that most suits you to tell鈥�:
听 听 听 听 听 My social education as a
听 听 听 听 听 little white girl might, therefore, be summed
听 听 听 听 听 up as lessons in the prevention of sensitivity. A
听 听 听 听 听 training in not knowing the world. S had
听 听 听 听 听 already, at nine, received an education about
听 听 听 听 听 her right to defense, her proper belongings
听 听 听 听 听 (body and soul), the danger of white people
听 听 听 听 听 (little white girls like me).
Again, in 鈥淣uclear geography,鈥� the speaker reiterates their identity and what it means for the world: 鈥淧eople who look like me, mainly, have made/ lives/nations/fortunes/ experimenting with that proposition.鈥� There is no shying away from the horror of what happened and even more, for what role their own people played in it. What we see then is an absence of performance and, I believe, a gesture towards acknowledging the past, what it means to bear witness to years of terror and its aftermath, and responding to them. For Lorsung, the response looks a lot like resistance. It is not surprising that听, she talks about a work of this kind grounded in ethical directness鈥斺�渁n admission without confession and without a demand for forgiveness or even attention; admission of involvement as one of the facts of the matter.鈥�
These poems, like a double-edged excavation, carry with them a zeal to uproot the mysteries of brutality, to show forth the extent of the ruins at our own hands, and insist on the need to question our very selves, our motives: too fearful to admit where we鈥檝e fallen short, where we鈥檝e chosen to look away as a modest witness, never a provoking unease into action. Reading听The Century,听I am reminded of Ilya Kaminsky鈥檚 question in听Deaf Republic, 鈥淎t the trial of God, we will ask: why did you allow all this? And the answer will be an echo: why did you allow all this?鈥� Lorsung leaves us with an unflinching command, a place to begin this healing, to pay attention, to undertake a needful reconstruction: Not to look away. That 鈥渢here is no excuse for not learning to see. No excuse for not learning to listen. No excuse not to work, even if the labor comes too late...鈥� With her own summoning, she summons us, too.听
听is the author of the chapbook听A Mouthful of Home, selected by the African Poetry Book Fund. Her stories have appeared in听Narrative Magazine听and听Commonwealth Writers, among others. She lives in Lincoln, Nebraska, where she鈥檚 teaching and pursuing a doctorate in English with a focus on creative writing.