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Vow

  • Image: Image
  • Book Type: Poetry
  • by: Kristina Marie Darling
  • Date Published: October 2013
  • ISBN-13: 978-1-60964-160-3
  • Format: Paperback
  • Pages: 56pp
  • Price: $16.00
  • Review by: H. V. Cramond

Kristina Marie Darling’s Vow is simultaneously familiar and strange. The title itself evokes Anne Waldman’s Vow to Poetry, but one look at the small, spare book tells you that this is a different thing. It is, like Waldman’s book, a text about text, but not just in content:

4. Desiccate
            †1. To render something dull, lifeless or dry
            ††2. To preserve
5. The film follows its heroine as she photographs the scorched altar, and later catalogues these images within the sprawling university archives.

Darling uses appendices, footnotes, and other forms usually reserved for academic writing to create a book as an object of desire, which as Anne Carson explains in Eros: The Bittersweet, is desirable because of, not in spite of, its elusiveness. One footnote reads: “I respect most the men who’ve refused me: the bridegroom, with his corridor of locked rooms; you, the light descending on a burned house; Saint Jude of the Lost Causes, despite the roses I leave at his scorched altar.”

Vow witnesses a wedding and the marriage that follows: before us is a white dress, a dark-haired man, an altar, a locked door. Each successive image builds on the last while resisting any readerly impulse to ground it in allusion. Is the pale-dressed woman wandering a hallway of locked doors Bluebeard’s wife? Is this Bertha Mason, dreaming of fire, or is it Jane Eyre? “I dream another me exists in the burning house, reading aloud from what I have written. Broken glass. A sad film. The awkward silence.”

But, dear Reader, Darling does not want you getting lost in a good story and forgetting, briefly, that you have a book in your hands. Vow constantly reminds the reader of his or her role as watcher, as translator, as participant in a “version of this story.” But the reader, finding the mirror of literature shattered, still finds herself “unmade”:

                                                                        The
empty frame. He stares at the glittering pieces, trying to
distinguish between self and other.

By the time Vow reaches appendix C, the house’s “flawless architecture” burning around us, words are overtaken with white space: the silence after a fight, the chill after a flame has gone out. In this space, union takes place and analysis fails. Unable to separate one perspective from another, the reader is left to feel the vibration that occurs when music ceases.

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Review Posted on May 01, 2014
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