‘Companion Grasses’ by Brian Teare
Author: Walter Holland
August 4, 2013
Brian Teare’s Companion Grasses (Omnidawn Publishing) is “both field guide and autobiography, containing details of place and season as well as the facts of my own life,” to use the author’s own words. It is a meditative work, which blends his observations of the landscape of the Northern California coastline and New Hampshire’s White Mountains. Again, according to the poet, the poems are the response to two concurrent experiences: “my first attempt to identify grasses and wildflowers with the aid of field guides, and a deep immersion in the central texts of 19th century Transcendentalism.”
The poems were written as “rough drafts” while on foot during long hikes, and later were revised. They draw from various sources and often contain quotations and texts from various poets and philosophers, naturalists, artists and Transcendentalist works. Robert Duncan, Margaret Fuller, Ralph Waldo Emerson, Charles Ives, Luce Irigaray, Michel de Certeau, Matsuo Bashõ, Emily Dickinson, Juliana Spahr, Henry David Thoreau, Carl Phillips, Reginald Shepherd, and Martin Heidegger are just a few examples of these sources. The formal range of the poems is from the sonnet to the verse essay in which verse is paralleled by citations for various source texts. The notes are extensive.
A post-modern work, bearing many hallmarks of language or elliptical poetry, these poems weave in and out of naturalistic description, interrupted by their own quick shifts into language play. In “Susurrus Stanzas” (Sutro Baths”) Teare writes:
& wants two grammars
one affable to ocean another
equal to its sheet of silver
surface shook by light &lifted
from blue rudiment one pattern
translucent at noon another
as crest to trough verb’s arc
from subject to dark scintillant
predicate “the sea’s hostility
to memory its passion
for erasure” wed to sun sets
a pivot between joy & terror
it is true it takes one
sentence two grammars to
marry the mutable to the fundament
Teare is sensitive to the idea of “landscape as aural, ambient trick/ to hear the ear’s eye.” And indeed his language has a wonderful sonic texture. In “Largo” he writes:
form steps forward wearing its suit of summer’s dust
A quietus
My ear on your chest where rest hems breath with thread
until being is everywhere an edge a cloth’s
periphery pinned with rocks & we under
In “Tall Flatsedge Notebook” Teare comes close to revealing his approach to form by stating:
I was making language
a stem to aspire to:durable flexible able
to register shift quickly
And in “Atlas Peak” which alternates between prose paragraph and short lyrics we are told:
& send logos to whim’s
irrepressible stretchy
syntax, the poem for a timeboth kinesis & mimesis, process
& scene, body & world, our
selves doubled, stationed between twopossibilities continuous
rather than discrete—
And later:
reading a lyric produces
a theory of lyric that thenproduces a reading of lyric,
as Virginia Jackson notes,
a “hermeneutic circlerarely open to dialectical
interruption, “ my mode isfundamentally standing
at the margin & lettingthings in.
Charles Ives’ “Concord Sonata” is evoked at several points in the poem in whose composition the poet finds similarities. These are complex poems with highly abstract diction that put forth a “language that which/”from a metaphysical-/aesthetic point of view/may at first appear to be a rhythm,”
. . . is to risk authoring
context as part of the lyric
only to fail at both, thoughIves swears “all melodious poets
shall be hoarse
when the penetrating keynoteof nature and spirit
is sounded,” or maybevirtuosity too much informs
my ideal, a design I’d playthe way Ives’ Sonata asks,
without time signatures,
without regular measuresjust notes & articulation—
slur, legato, staccato,
Sometimes Teare’s work becomes tied down by its clipped elliptical approach as in “Fail Better”:
—solstice brings the field
to its knees yarrow
flex vetch heavy
estival air a gall of pollen—& aren’t you novice again in lit Euclidean gilt
shadows to true each natural fact toward more
radical matter : a robe of rhetoric auric eulalia
Language poetry tends to focus on the gestural finding context a “terrible weight.” And in its play with form, context and rhythm sometimes becomes too conceptual in its methodology. The interior shifts in diction and in subject while becoming “ecstatic” and “sorrowing” also become perplexing and opaque.
The most erotic of the poems in this collection is “Quakinggrass” wherein a gay sexual encounter occurs in the woods:
as when I held his cock & his body
bodied forth there—
Tender force
rivering—
his need to enter me—
Teare does have a gift for pure natural description. As in “Atlas Peak” he writes:
Rocky, uneven, enclosed by chaparral then opening onto pasture, our sightline
belonged solely to path. Deer-track lent color, umber & ochre; rock, light-struck,
chips of scintilla; bark, lichen’s mimic signature.
To my mind, the more successful aspects of this collection is Teare’s turn toward the elegiac. His poem “Atlas Peak” which alludes to the death of his father and then his beautifully rendered “Star Thistle” which is written for the poet Reginald Shepherd (April 10, 1963 – September 10, 2008) are lyric masterpieces in their own right, finding just the right balance in tone.
often I climb up
& find myself thinkingof my father dead now a year,
how near I was to him
in my ambivalence; he wasthe thing I held away
& so held it closerfor how intently I examined it
thinking myself safefrom influence. I loved him
before I knew anything
about him—the way I lovedHeidegger, Ives, Duncan,
& the idea of California,
And of Shepherd Teare writes:
the day before Reginald died, we spoke on the phone
but morphine filled his speechso completely
it was terrible to listen to him, disappearingeven as he said I love you & echoed him, the last thing
I could bearbefore I had to say goodbye
filled with the certainty I’d failed to witness the death of a friend I loved.
This poem, “Star Thistle,” far surpasses Teare’s earlier compositions and is the most fully realized poem achieving a Transcendental quality.
if we die to become nothing but matter so that Being itself might continue
grounded by ground itself,“such a sweet thing out of such corruptions!”,
who wouldn’t wish to linger in the material worldthat won’t spare me or let me hold a living hand to him :
all spring I’ll returnto bring grief to the field, . . .
Companion Grasses
By Brian Teare
Omnidawn Publishing
Paperback, 9781890650797, 112 pp.
April 2013