Reading Antjie Krog’s latest volume of poetry translated into English, Synapse (Mede-wete in Afrikaans), I was faced with an old personal dilemma: How much hard work is too much in order to reach that moment where meaning and aesthetic pleasure reveal themselves to you as a poetry reader? I don’t have an adequate answer. Perhaps everyone’s threshold is different anyway. In the end all you have is your very individual frame of reference.
In any poetry volume you will find poems which will immediately speak to you. Others will require a specific key to unlock a feeling of appreciation. Rereading, research, or exploration of context will eventually reward your effort. Some poems will forever remain inaccessible no matter the amount of goodwill you put in. And then there will be those which will simply leave you cold. The poems in Synapse fit into all these categories.
The volume is divided into two parts: The Yard and Four Efforts in Linguistic Synapse Tracing. The first part opens with a series of epigraphs which are followed by thirteen poems, all focused on the images of the yard and the farm. These I find the strongest and most captivating in the book. In the epigraphs we are introduced to spaces in which the land and its ownership take centre stage and gender roles are clearly defined. The poems speak of the death of a patriarch, familial roots which reach into a troubled past, grief, guilt, race relations, and the ancient questions of owning and belonging.
As the poem 11. fossilised tree trunk makes clear, everything is connected, embedded, echoed throughout history. And yet, everything changes: “after all the years we gurgle (the only outlasting ones) / burdened with the dying light and bloodsick with heritage / : the new ones prepare to enter the yard” (13. old yard). At the heart of one’s relationship with the land are beauty and language: “places that could always snap my skeleton into language / coil me into voices bore into my entrails / expose a certain wholeness of belonging as my deepest tongue / tear chorales and something like discord from my brain” (6. live the myth).
This is the kind of poetry that leaves one gasping for air, which opens up new spaces in one’s understanding and feeling about the past and everyday reality in this country.
The Yard continues with poems which grapple with morality and reconciliation.The idea of interconnectedness is challenged in hold your ear to the tear in the skin of my country where already the format of the poem signals separate spheres of understanding the concept of forgiveness. The words of the speaker of the first section, Cynthia Ngewu, who testified in front of the Truth and Reconciliation Commission about the murder of her son, one of the Gugulethu Seven, cascade onto the page like a waterfall. The neat couplets which follow represent an ordered attempt to understand the motives and worldviews of the officer who was involved in the killing. In the end, we are told, “it was futile to try to weave interconnectedness into / the concrete bunker that lives inside Mr Barnard’s whiteness”.
The bleakness of moving beyond such divisions is captured in miracle where South Africa’s relatively peaceful liberation is juxtaposed with present-day, all-consuming greed and violence: “we have become the prey of ourselves caught up / in ethnic avarice and total incapacity for vision”.
More intimate poems about ageing, memory, grand-motherhood, domesticity, or the I-you constellation of lovers reveal the wonders of the world along deeper philosophical questions about our capabilities and responsibilities. The tone ranges from sombre to light-hearted. Krog is one of the few poets out there who can smuggle Skype, wifi, the Internet and memory sticks into poetry and make them look as if they almost belonged. Also, when she swears, she makes it count.
The poem convivium astounds with its breadth: “what use my caress in the breath-earthed night if a centre- / less universe opens space in the nonexistent for dark / matter to overpower a few broken beads of light?” The poem, like the human body at the core of its universe, “tuneforks such abundance”.
Apart from a handful of exceptions, especially the Lament on the death of Mandela, the latter part of the volume, specifically the obfuscated Four Efforts in Linguistic Synapse Tracing left me baffled. The tightness and clarity of the preceding poems dissolved in musings where it became more and more difficult to follow the poet on her journey. The academic in me insisted I persevere and come to grips with the pieces, but the Sunday morning reader just wanted to return to the earlier poems in the collection or open another book.
- This review first appeared in the Cape Times in December 2014.