She Considers the Dimensions of Her Soul
(Mrs. Morninghouse, after a Sermon Entitled,
“What the Spirit Teaches Us through Grief”)
The shape of her soul is a square.
She knows this to be the case
because she sometimes feels its corners
pressing sharp against the bone
just under her shoulder blades
and across the wings of her hips.
At one time, when she was younger,
she had hoped that it might be a cube,
but the years have worked to dispel
this illusion of space. So that now
she understands: it is a simple plane:
a shape with surface, but no volume—
a window without a building, an eye
without a mind.
Of course, this square
does not appear on x-rays, and often,
weeks may pass when she forgets
that it exists. When she does think
to consider its purpose in her life,
she can say only that it aches with
a single mystery for whose answer
she has long ago given up the search—
since that question is a name which can
never quite be asked. This yearning,
she has concluded, is the only function
of the square, repeated again and again
in each of its four matching angles,
until, with time, she is persuaded anew
to accept that what it frames has no
interest in ever making her happy.
The poet Young Smith is new to me. This poem, featured recently on Poetry Daily, captures an elusive but familiar state of mind. Some of these lines haunt: “a shape with surface, but no volume—/a window without a building, an eye/without a mind.”
This poem is included in Smith’s volume, In a City You Will Never Visit. Below are a few other poets’ responses to the book.
Young Smith has composed a subtle, intelligent, spare book with the cleanliness of good prose. “In a City You Will Never Visit” threads two long sequences (a suicide story, and a metaphysical meditation on light) among individual poems of tantalizing variety. With their moral syllogisms and gnomic tone, they might have come from Eastern Europe—an Eastern Europe we will never visit, a city of the mind.
Somewhere between the merciless ironies of Evan S. Connell’s Mrs Bridge and the aching metaphysical comedy of Zbigniew Herbert resides Young Smith, a student of the elusive nature of the real. “In a City You Will Never Visit” is an unexpected fusion of pleasures: a sequence of poems that accumulate with the weight of a novel, a lyric meditation on the behavior of light, and a study of the forms of longing—all of which Smith braids together into a fresh and striking debut.
There is an arrestingly ethereal quality to Young Smith’s poems as they navigate their numinous territory, where things that once seemed most familiar are revealed to be least controllable and comprehensible. Smith’s voices are troubled by tricks of light playing on objects that turn out to be merely the manifestations of our own witness, ‘made of notion’s fabric.’ I find myself drawn to these poems and their strategy of radiant patience in confronting what seems always to be almost just this side of unfathomable.
—J. Allyn Rosser