January 22, 2009

Alejandro Escudé

THE DRIVING RANGE

Now minutes scale the walls of the house like rodents.
The squeaks grow louder, and lights go out like the faces of disappointed women.
I heard it all before: nothing will be the same, your life is going to change,
each phrase uttered like an apology for not paying for drinks.
And I’m supposed to do all this without complaining?
Like the time my father took me along to work in his truck,
me nagging for having been roused from a summer slumber.
We pulled into an alley, heaved out the trash from the building site
—I didn’t know it was illegal until he hit the accelerator
and I felt the rush of escape, the thrill of leaving behind all that shit.
Today, he offers me praise in code, and when he gives advice
he mutters underneath his breath, as though it were against the law.
The neighborhood heaves with a thousand types of desire,
and when the doorbell rings, it’s Grandma with a pair of knit booties
for our newborn son, who eats his fingers and is really just a mouth.
When the screaming stops, I swallow huge gulps of love
and then I go to the driving range, where other men
swing metal clubs at balls that will never do what they wish.

from Rattle #29, Summer 2008

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November 20, 2008

Review by Alejandro Escudé

QUEEN OF A RAINY COUNTRY
By Linda Pastan

W.W. Norton & Company
500 Fifth Avenue
New York, N.Y. 10110
ISBN 0-393-06247-3
2006, 128 pp., $23.95
www.wwnorton.com

Is there one way to judge a book of poems? In the case of Linda Pastan’s new collection Queen of a Rain Country, I immediately knew she was going to be one of my favorite poets after reading only one poem in the collection. Pastan isn’t the type of poet you need to fiddle around with too long. Her work is accessible (in a good way), intriguing, and relevant. Her lines contain that wonderfully bittersweet immigrant essence, which I’m familiar with being the son of an immigrant family myself, and they also reveal a kind-hearted yet fiercely independent woman, as well as a loving, playfully cynical, passionate wife and mother.

And it’s the poems about matrimony which I like the best— deceptively simple poems such as “Marriage,” which begins, “He is always turning the radio on,/or the stereo, or the TV news,/and she is always shouting at him/through the noise to turn them off.” Forget that overwrought intellectualism which is so popular today in poetry; this is the real stuff. You wouldn’t know it from the quoted stanza, but this is a very positive poem about marriage, an interesting take on marital longevity and happiness. But the best poem in the collection on the subject is “I Married You”: “I married you/for all the wrong reasons,” Pastan writes, then concludes this short lyric with, “How wrong we both were/about each other, and how happy we have been.” This, in my opinion, is the essence of matrimony, and I enjoy the fact that it goes against the longstanding belief that you should be absolutely compatible with your mate if you are to be truly satisfied in a marriage. Pastan’s poem reveals a great truth: happy marriages are unions between people who often have clashing ideals, goals, beliefs, and personalities.

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