Lilies and Stars by Rebecca Law, Picaro Press 2013
It seems rare in modern verse to see a poet approach language traditionally, or at least follow the university-taught guidelines of how to construct a poem; be that through a refusal to use capitalisation or experimentation with form, it seems now the traditionalist might be the one breaking the mould.
Filled with a deep sense of romanticism, desire and longing, Rebecca Law’s second collection of poems achieves this in its evocation of a charming series of landscapes where the correlation of the imagined and ‘real’ world runs through the lines.
Law seems to be following a tradition of romantic poets, using sometimes familiar imagery but with a unique and expressive originality.
Constructed musically and always bearing an assured, clear grace, it is as if Law has crafted a unique theology, drawing on her own beliefs as a practicing catholic, and there is a kind of sacred atmosphere one inhabits when reading Lilies and Stars.
The collection opens with the question ‘what can one make with a bucket?’ (“The Shivering Song”), proceeding to reveal a love poem filled with stunning imagery of water and a subtle exploration of connection.
A great sense of longing underpins the lines and human relationships are dealt with carefully, constantly using the land and the elements to frame them.
The shorter love poems within this collection are by far the most effecting and employ a level of honesty often rare in much modern work. “Form of” simply and effectively recounts a former love, expressing longing and an aching desire:
I wanted not to love you
your distance and silence:
it was this howling
I wanted to love forever,
heaving my backbone
in my sleep.
Regardless of the content of the poem, the real strength of the work is its precise rhythm, like Yeats, where the personal and the natural exist as one and aren’t afraid to dream: ‘The world/is everything/within azure/reaching higher’ (“The Road”)
Although Law now resides in Sydney, these are poems that could be written about any environment and there is a timeless quality in the traditional approach of the verse. This lies in the fact that, although Australian, Law seems to write outside of any existing timeframe, combining the personal with an expert understanding of mythology. The presence of symbolists such as Baudelaire and Verlaine as influences contribute to what Law has described as an “[interest] in the surreal, the symbolic and the sublime as romantic concepts that displace and liberate the word from a human preoccupation with living and dying” (Overland, September 18 2012. ed. Peter Minter).
This careful use of imagery that comes as a result is both powerful and mesmerising. A beautiful example of is displayed in “Ocean, Sky & Wreath” in which the poet plays with images, creating an atmospheric music for the reader:
Where the whale sinks,
stars are a floor,
daylight an aura
Family is a constant source of light and dark shades and runs below the surface of much of the work, as the poet recalls people and times, asserting that ‘The flight away and back towards home [is] an exercise in learning grace’.
“Infusions of Shoreline Fauna” is a moving tribute to the poet’s mother and one of the finest examples of what Law manages so well in her approach to her subjects:
This lowly tree reminds me of mother,
white pebbles and sprouting grass….
Mother you are always old
for your years, my own growth
distanced more and more
A highly confessional and moving piece, the careful use of spare verse to describe the personal entwine with natural imagery to create a beautiful balance and resonance. Again a haunting longing seeds the lines as ‘lavender bouquets outlast/hours of any starry night/for whomsoever mutters a wish.’
A startling marriage of the earth, the sky and the imagination, with this collection Law’s touch is gentle and affecting, consistently displaying a polished sense of line and metre.
With such assured lyricism, perhaps the ultimate triumph of the work is the blending of personal experience with fantastic imagery.
It is as if Law is attempting to recapture the romantic notion of poetry so many fall in love with, however unfashionable this kind of writing may appear beside other contemporary work.
With its mystical imagery and passionate lyricism, Lilies and Stars is extremely effective in achieving what it intends to.
Robbie Coburn was born in June 1994 in Melbourne and grew up in the rural district of Woodstock, Victoria. He has published a collection, Rain Season (Picaro Press, 2013), as well as several chapbooks and pamphlets – Before Bone and Viscera (2014) is available from Rochford Street Press – https://rochfordstreetreview.com/2014/07/18/ rochford-st-press-is-proud-to-announce-the-publication-of-before-bone-and-viscera-by-robbie-coburn/. His latest chapbook is Mad Songs (Blank Rune Press, 2015). A new collection of poetry The Other Flesh and a novel Conversation with Skin, are forthcoming. He currently resides in Melbourne and can be found at www.robbiecoburn.com.au
Lilies and Stars is available through Rebecca Law’s website http://rbcclaw.wix.com/rebecca-kylie-law