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Pádraig Ó Tuama, KITCHEN HYMNS

KITCHEN HYMNS, Pádraig Ó Tuama, Copper Canyon Press, 2024.

I am going to cheat and just give you a few notes, then send you to other, smarter reviewers. You might begin with the first paragraph from Mary Grace Mangano’s review at Jesuit Media Lab, which elegantly makes Ó Tuama kin with Flannery O’Connor. Both raised Catholic. Both wrestling like Jacob with God.

Another bonus with this particular poet is that he and his Irish brogue host On Being’s Poetry Unbound.

If you search the Internet, you will find multiple recordings of Ó Tuama reading aloud from Kitchen Hymns. Another bonus.

Some of these poems are love poems, some are conversations. Some are blessings. As you settle into the collection, you find Persephone greeting Jesus in hell. Ó Tuama’s sexual poems are both blessings and rites of passage. I wonder if the tradition of metaphysical poet John Donne might be evoked here: “Batter my heart three-person’d God.”

What else can I say about a book that includes this line—

One way or another, shame
can teach you what nothing else can teach you.

(from “Rite of Baptism,” p. 82)

I spent a few hours reading and rereading Kitchen Hymns, but I have a feeling it’s a book that will have to be mulled over—for months or years.

Here is the final poem in the book, which, by the way, has lovely symmetry with the opening poem.

[untitled / missæ]

I bless myself in the name
of the deer and ox,
the heron and the hare,
evangelists of land and wood
and air. The fox as well, that red
predator of chickens, prey of cars.
And salmon and the trout
sleeping the reeds.
When the wren wakes, I’ll ask
her blessing, and if she comes out
she’ll bring it. The squirrel buries
when she thinks no one else can
see. I bless myself in her secrecy.
There’s a fieldmouse I’ve seen
scampering at dusk, picking up the seeds
dropped by the finches and the tits
throughout the day. Some nest of frenzy
waits her kindness and her pluck.
I go in the name of all of them,
their chaos and their industry,
their replacements, their population,
their forgettable ways, their untame natures,
their ignorance of why,
or how, or who.

Pádraig Ó Tuama

If you are new to Ó Tuama’s work, his mission, here’s a link to On Being, and Krista Tippett’s 2022 interview with him.

Jericho Brown’s “Duplex”

This morning I began reading a poetry book of 140 pages or so, and, about halfway through, decided to give myself two days. Reading all the poems is one thing, but rereading, thumbing back through, making notes, reflecting—those take a little more time.

Rather than skip a day, I’m offering an example of Jericho Brown’s invented form, “the duplex.” It’s been called a combination of sonnet (notice the 14 lines), ghazal, and the blues, but I see in it also the repetitive elements of pantoum and villanelle. Whatever it is, Brown includes several in The Tradition, and in journals I’ve come across other poets trying out the form.

Duplex

I begin with love, hoping to end there.
I don’t want to leave a messy corpse.

 I don’t want to leave a messy corpse
Full of medicines that turn in the sun.

Some of my medicines turn in the sun.
Some of us don’t need hell to be good.

Those who need most, need hell to be good.
What are the symptoms of your sickness?

Here is one symptom of my sickness:
Men who love me are men who miss me.

Men who leave me are men who miss me
In the dream where I am an island.

In the dream where I am an island,
I grow green with hope. I’d like to end there.

                                —Jericho Brown

Okay, I’m officially frustrated. I can’t get every other couplet to indent, the way they’re supposed to. Here’s a picture of a page:

While looking for a new photograph, I discovered that my favorite podcast, On Being, has several poems recorded by Jericho Brown.