Valentine to "Lilith"


Valentine to "Lilith"

( A Novel in Fragments : Jennifer K. Dick,  corrupt press)


photo of "Lilith," a poetic novel, next to photo of Jennifer K. Dick, author

By page 10, I think : This mind runs thrills through the neuromaze – thoughtswords escape from too-thrashing body-wrenches :  soma-hurts   ≈   textweb…… then I read on page 25, « …her barrage of items catalogued as sensations :     inked  ».

Reading Lilith is absorbing it. It’s like keeping in a bowl (‘of silkworm larvae ‘) all the bits of texted lifechunks. They will come back in a later re-configured guise. Shake them, stir them, zing them centripetally in your ears. Jennifer K. Dick ravishes the language’s syntax, splatters and slices it. Dissects. The violence projects somato-psychic remnants that are reassembled seemingly on the fly but deliberately reposited at precise loci. L (Jen) elucidates then melds, welds the whole piece together. Re-collects it.

Lilith’s progress is a daydream meander through life’s nerve-shot stains toward finding a sense of self.

Pg. 38 : ‘Train holler     plain dusting     alcove uncovered’  /  ‘Being lost is simply part of the expected’   For the reader too. Getting lost is required before getting one’s readerself found. Just go with it. To re-find  your way, skip upstream then plunge back in the current. And muse. Be sure to muse.

There are deft sleights per Jazz & Bernstein :  culling apt riffs and setting them anew, to the re-rendering tune of time-lapsing Lilith. Yet what this reviewer gloms onto most is the poet’s success at describing the neurosensate process in poetic real-time - sometimes mimicking a daydreaming drugged state wavering between input and output, stimulus and reaction, externally imposed events and internally charged emotions  ≈  voiced, unvoiced, bursting in silence. Dick effectively brings together her medical and scientific delvings to smudge over the classic mind/body duality.

Lilith’s fragmented narrative interrupts the habit of too-fluent flow : variable layout, visual agility, spaced word-triplets stop the reader from succumbing to onrushing  verve : as in all life/growth/change, the work stutters, feeds back, retro-capts, half-flounders and re-manifests anew.

It’s like wading around in a neuroshower of word-feels and feeling one’s wobbly way to a sensual, salutary textbath.

George Vance: long-time resident of  Paris, with passages in Brussels, Nouméa, Reims, and presently in Guadeloupe;  hybrid poet, mixed media; has read at various Paris venues (UAD, Poets Live, Ivy, Quadriphonics, Spoken Word); his work has appeared in UAD, Bastille, Pharos. Poetry volumes  A SHORT CIRCUIT and Xmas collage published with corrupt press. Currently working on text-transformation project based on Infinite Jest. Scribbles daily.