BOOKS IN REVIEWanger are caught <strong>in</strong> poems which evadeself-pity. Lush's strength is <strong>in</strong> build<strong>in</strong>gpictures, <strong>in</strong> subtle and economical dramatisations<strong>of</strong> complex situations <strong>in</strong> nondramaticlanguage:This is a name day andsleet beg<strong>in</strong>s to tick at the w<strong>in</strong>dow.The kitchen woman whispers, "I'm sorry."Man and child leave. And there areno words for what has happened.The awareness that no words will reallydo causes Lush to be wary <strong>of</strong> their seductions,frugal <strong>in</strong> his choice. The resultis an eloquent pla<strong>in</strong>ness which issophisticated and very assured. Thistransforms vulnerability <strong>in</strong>to poignancy,<strong>in</strong> a poetry where glimpses reveal morethan acres <strong>of</strong> gaz<strong>in</strong>g.The poems <strong>of</strong> Richard Lush that If<strong>in</strong>d least satisfy<strong>in</strong>g are those explor<strong>in</strong>ga new love. It seems hard, today, towrite fully satisfy<strong>in</strong>g love lyrics. Perhapsit always was. Col<strong>in</strong> Morton does hisbest, but his efforts just go to prove howdifficult it is without the conventionsthat susta<strong>in</strong>ed earlier love poets. Hispoems seem superfluous: if the relationshipis as good as they suggest, then it isa lot better than the poems. It may beanother case <strong>of</strong> there be<strong>in</strong>g "no wordsfor what has happened." But Morton hasother strengths. "Wak<strong>in</strong>g up <strong>in</strong> the1960s" will chill the blood <strong>of</strong> anyone <strong>in</strong>their forties with its acute h<strong>in</strong>dsight; andhis playful way with language producesa hilarious variation on Hamlet's soliloquy:To be or not to be: that is the quickstep;whether 'tis nobler <strong>in</strong> the m<strong>in</strong>imum tosufferthe slip-ups and arsenic <strong>of</strong> outrageousfoundl<strong>in</strong>gsor to take armistice aga<strong>in</strong>st a seam <strong>of</strong>trout. . . ."Inventory" and "Poem without Shame"are among a number <strong>of</strong> other poemswhich show a lively and quirky talentwhose curiosity about language is also away <strong>of</strong> see<strong>in</strong>g th<strong>in</strong>gs freshly. Although itis an uneven book, its title This won'tlast forever, while true, is unnecessarilydeprecat<strong>in</strong>g.Patricia Young's Melancholy A<strong>in</strong>'t NoBaby ranges less widely. Like many otherwomen poets, she writes about what isclose up, so close to home that many mencannot even see it:The absolute terror<strong>of</strong> liv<strong>in</strong>g like this. With food on the table,w<strong>in</strong>e <strong>in</strong> the fridge, a good man <strong>in</strong> my bed.Her perspective illum<strong>in</strong>ates common experience,not only from a woman's po<strong>in</strong>t<strong>of</strong> view but also from a child's. Menwrite <strong>of</strong> their love with a gratitude thatsets it aside from the bus<strong>in</strong>ess <strong>of</strong> liv<strong>in</strong>g.But for Patricia Young love is someth<strong>in</strong>gwhich presents its own problems — children,purpose, identity — and has to becoped with daily. Moreover it is imbricatedwith the one language which hasto make do for all th<strong>in</strong>gs. Her poetry islively, unsettl<strong>in</strong>g, and very attractive.Dale Zieroth's When the Stones fly upis, from an outsider's po<strong>in</strong>t <strong>of</strong> view, themost obviously Canadian <strong>in</strong> sett<strong>in</strong>g andtopography. Yet for me it is the leastreward<strong>in</strong>g. Strangely, these poems aboutchildhood on the prairies are little differentfrom many others about childhood<strong>in</strong> small country towns <strong>in</strong> verydifferent parts <strong>of</strong> the world. "1956: Theold Lutheran pastor" — one <strong>of</strong> the best<strong>in</strong> this collection — could as readily havebeen written <strong>in</strong> South Australia, wherethere is a large German emigrant population.These poems del<strong>in</strong>eate the newtrans-national imag<strong>in</strong>ative territory —nostalgia, which is much the same everywhereand, by def<strong>in</strong>ition, <strong>of</strong>fer<strong>in</strong>g littlethat is new. Which goes to show that be<strong>in</strong>gfaithful to local detail is not enough,unless that faith is tempered by a radicalcuriosity. Zieroth is not untouched bythat, and some <strong>of</strong> his poems explore beh<strong>in</strong>dthe scenery <strong>of</strong> the scene. But Pa-198
BOOKS IN REVIEWtricia Young's view <strong>of</strong> domesticity is notonly closer to home, but also far lessfamiliar and more excit<strong>in</strong>g.OVER & OVERANDREW TAYLORBARBARA K. LATHAM & ROBERTA J. PAZDRO,eds., Not Just P<strong>in</strong> Money — Selected Essayson the History <strong>of</strong> Women's Work <strong>in</strong> <strong>British</strong>Columbia. Camosun College, $12.00.RICHARD THOMAS WRIGHT, Overlanders. WesternProducer Prairie Books, n.p.<strong>THE</strong>SE TWO BOOKS appear to have little<strong>in</strong> common and essentially this is true.P<strong>in</strong> Money is entirely about women'sexperiences <strong>in</strong> <strong>British</strong> Columbia; Overlandersis 99.99% about men's experiences<strong>in</strong> the Gold Rush days. Overlandersis more or less a cont<strong>in</strong>uous narrativebased on diaries, news items, and letters;P<strong>in</strong> Money is a collection <strong>of</strong> papers givenat the Women's History <strong>in</strong> <strong>British</strong> ColumbiaConference <strong>in</strong> 1984. Overlandersis more sure <strong>of</strong> its goal and for that reasonis more successful; P<strong>in</strong> Money editorsadmit that "its audience is neither homogeneousnor predictable." Still, s<strong>in</strong>ceboth deal with history, I found read<strong>in</strong>gthem together enlighten<strong>in</strong>g if only becausethe fact that history is largely amale account <strong>of</strong> the past is the raisond'être <strong>of</strong> P<strong>in</strong> Money and is self-consciouslyalluded to <strong>in</strong> Overlanders. Moreabout that later.I read P<strong>in</strong> Money first and wentthrough various stages <strong>of</strong> deep <strong>in</strong>terest,annoyance, and frustration. It is a veryuneven collection and it is far too long.I am beg<strong>in</strong>n<strong>in</strong>g to have doubts about theacademic habit <strong>of</strong> publish<strong>in</strong>g conferencepapers anyway. Orally presented papersthat anticipate audience participation aredifferent from articles or essays preparedfor journals. But perhaps the biggestproblem is that the editors, <strong>in</strong> this case,have <strong>in</strong>cluded materials that differgreatly <strong>in</strong> quality and k<strong>in</strong>d. The so-called"essay" on women MLA's, for <strong>in</strong>stance,is not an essay. It consists <strong>of</strong> brief biographieswith photos but lacks focus oranalysis; "Postscript: Women <strong>in</strong> WhoseHonour B.C. Schools Have BeenNamed," described as "tables" by theauthor and "prelim<strong>in</strong>ary results <strong>of</strong> aproject" (though I don't know how itcan be both pre- and post-), seems <strong>in</strong>appropriate<strong>in</strong> this collection because itis without context. Other essays sufferbecause they repeat the obvious. Perhapsthe authors would respond that what tosome is obvious is news to others, but(although my knowledge <strong>of</strong> women'sstudies is not pr<strong>of</strong>ound) I came acrosslittle that surprised or <strong>in</strong>formed me.What I kept hop<strong>in</strong>g for and all too <strong>of</strong>tendidn't f<strong>in</strong>d was <strong>in</strong>terpretation or analysisor any sort <strong>of</strong> theoretical approach to thematerial. A lot <strong>of</strong> groundwork has beendone (and must cont<strong>in</strong>ue) but where dothe historians go from there? What dothey make <strong>of</strong> their f<strong>in</strong>d<strong>in</strong>gs? Now thatthere is pro<strong>of</strong> that women have beenexploited, disenfranchised, abused, deniedfundamental rights, have most <strong>of</strong>tendone this or that depend<strong>in</strong>g on race andclass and era, what comes next? Dowomen just go on collect<strong>in</strong>g more andmore data?The essay "When You Don't Knowthe Language. . . ," on the history <strong>of</strong>Native Indian women, was one <strong>of</strong> theessays that for various reasons was worthpublish<strong>in</strong>g (which is not to say otherswere not worth present<strong>in</strong>g at a conference). Mitchell and Frankl<strong>in</strong> alert thereader to the importance <strong>of</strong> an analyticalapproach to historical <strong>in</strong>formation. "Criticalassessment" and "new directions"are announced as goals by the authors.The remark that "matriarchies were concoctedby males to provide justificationfor the way the world is and ought to be— truly patriarchial and male dom<strong>in</strong>ated"challenges assumptions and sugr99
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