{"id":12302,"date":"2022-10-17T13:50:27","date_gmt":"2022-10-17T12:50:27","guid":{"rendered":"http:\/\/www.themanchesterreview.co.uk\/?p=12302"},"modified":"2022-10-17T13:57:12","modified_gmt":"2022-10-17T12:57:12","slug":"jemma-borg-wilder-reviewed-by-jack-mckenna","status":"publish","type":"post","link":"https:\/\/www.themanchesterreview.co.uk\/?p=12302","title":{"rendered":"Jemma Borg | <em><strong> Wilder<\/em><\/strong> | reviewed by Jack McKenna"},"content":{"rendered":"<p><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/i.ibb.co\/8KYWszh\/download.jpg\" alt=\"\" width=\"150\" height=\"150\" class=\"alignnone size-thumbnail wp-image-12314\" \/><\/p>\n<p><strong>Jemma Borg | <em>Wilder<\/em> | Pavillion Poetry: \u00a39.99<\/strong><\/p>\n<p>In <em>Wilder<\/em>, Jemma Borg tackles existential pressures with a series of subtle and flexible eco-poetic experiments that display a range of impressive results.<\/p>\n<p>The opening poem is devoted to the sharp, spiny \u2018Marsh thistle\u2019. In asking \u2018What part of a human soul is this thistle?\u2019, the collection roots itself in the thicket of \u2018purple clusters\u2019, \u2018green swords\u2019, and a \u2018nectar-rich candelabra rampant with bees\u2019. There is little room for the \u2018human soul\u2019 when diving into this \u2018unpalatable\u2019 flora, instead, the poem uncovers the plant\u2019s \u2018deep rooting \/ and thistle-intent\u2019. The downward motion of scanning the earth excludes any metaphysical questions to assert, as a line break powerfully highlights, \u2018This is\u2019. From this simple recognition and appreciation, \u2018upwardness begins again\u2019.<\/p>\n<p>Nature\u2019s wildness reframes our perception. The sea \u2018erases borders \/ between sea and sky\u2019 in \u2018Shadows and warriors\u2019 and the \u2018roar\u2019 of burning sage leaves makes \u2018you want to follow its roar \u2026 to the old, dead stars\u2019 in \u2018A song of hunger\u2019. Borg is challenging the rigid boundaries of a man\u00ad-nature dynamic. With a background in genetics, she demonstrates how evolution is not just gaining features but losing those no longer essential: in stepping into the sea, \u2018the tyranny of the self \/ is shed\u2019. Long sentences filled with clauses cascade ideas like scientific prose. Borg uses poems like \u2018Shadows and warriors\u2019 to join the mythical, lyrical, and natural into an open series of questions and reflections. These poems are sharp:<\/p>\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Tell me, do you also think<\/p>\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;when you hear the goats crying like children,<br \/>\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;that mind is not ours alone,<br \/>\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;but belongs to everything?<\/p>\n<p>In \u2018Peacock butterfly, late\u2019, the insect is \u2018busy \/ and overdue\u2019, and eventually \u2018Necessity sets her to her task\u2019. Though the title defines the butterfly by its lateness in the season, the fragile beauty of its flight grabs attention, imploring you to:<\/p>\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;see<br \/>\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;the articulate lightness and, little more<br \/>\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;than the weight of a dance, the soundless doors<br \/>\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;of her wings breathing &#8211;<\/p>\n<p>Carried by assonance and careful line breaks, the pressure to act before change highlights the subtlety of flapping wings. Like the marsh thistle\u2019s upwards-downwards movement, the wings work between \u2018two states\u2019 that \u2018flicker in thesis and antithesis\u2019.<\/p>\n<p>This dialectic is one way of understanding what Borg means by \u2018wilder\u2019. If to \u2018bewilder\u2019 is to confuse and to \u2018wilder\u2019 is to \u2018lose one\u2019s way\u2019, then one method to fulfil those verbs is to \u2018flicker\u2019 in contradiction. This uncertain and dynamic state suggests a Keatsian Negative Capability, to accept and embrace truths beyond reason. Exhibiting this is the trees in \u2018Broadwater warren\u2019 that were \u2018not wild in their birth\u2019, meaning planted by humans for profit, and have been \u2018left to their own company\u2019. Over time, \u2018didn\u2019t they sway beyond the force of intention?\u2019. Created for a brief economic purpose, they have continued to grow from an essential life force. As a result, \u2018this is what they were: themselves, and self-willed\u2019. Wildness is a process and a way of being. Despite the contradictions of the tree\u2019s existence or the butterfly\u2019s movements, they live.<\/p>\n<p>Gradually the collection includes more humans as its subjects. For these poems, the adjustment is awkward and the imagery less precise. \u2018An anecdote for September\u2019 depicts a fragmentary conversation that moves through various allusions and the speaker\u2019s desires towards life-defining decisions of \u2018raising twins\u2019 or \u2018moving house\u2019. Anxious in its frantic movements, it perhaps embodies what an earlier poem concluded: \u2018To be alive was absurd\u2019. The \u2018he\u2019 of the poem curbs the questioning by suggesting \u2018let\u2019s drink some wine\u2019; the short, punchy sentences relax into one long, final acceptance of \u2018each other\u2019. It was, after all, a \u2018positive unravelling\u2019. The turn from anxious questioning to soothing wine is to accept bewilderment and stop resisting the absurdity.<\/p>\n<p>\u2018Ultrasound\u2019 recontextualises all the preceding poems with a maternal aspect. The butterfly\u2019s lateness, for example, takes on a new definition when the speaker finds \u2018you \/ are barely more than a sound \u2026 a two-valved butterfly-engine\u2019. Converting the earlier poem\u2019s insect into a symbol of motherhood and continuity, it enables the speaker to reflect that \u2018motion is life \/ and nothing grows if it cannot move\u2019. This is empowering, then, when they \u2018hear the river rushing\u2019 on the ultrasound, because it is \u2018the river of all our bloods\u2019.<\/p>\n<p>This re-contextualisation points to how rewarding re-reading the collection is. Certain poems can shift your focus into new approaches, such as how the ekphrastic \u2018<em>Les Pyramids de Port-Coton, <\/em>Rough Sea\u2019 uses Monet and points towards the collection\u2019s numerous translations and allusions, how \u2018The engineer\u2019 dramatises Chernobyl to hint at the latent sense of climate crisis, and how \u2018Aphids\u2019 reflects on nouns and what is inherited through language. You get lost in the wilderness of this collection. Following different turns rewards you with new paths.<\/p>\n<p>Wildness ties such wanderings together with a perspective that connects and comforts. \u2018Verticality\u2019 and \u2018The tall, gaping mouth of the redwood\u2019 use trees as models for being. The first \u2018follows light, not time\u2019 and its \u2018standing life \u2026 is a long becoming\u2019. Meanwhile, the second stands tall as a forest fire is \u2018animating\u2019 its \u2018seeds\u2019. The fire creates an opportunity for \u2018rekindling\u2019. Destruction, in nature\u2019s dialectics, can mean creation. These later poems unify the collection\u2019s experiments in adopting nature\u2019s contradictory perspective as a response to the existential challenge pregnancy causes. The death of an old self makes way for the birth of a new life.<\/p>\n<p>\u2018Wilder\u2019 and \u2018San Pedro and the bee\u2019 are the collection\u2019s finest. By making you turn the book on its side, \u2018Wilder\u2019 uses long lines and wide gaps to formally embrace this new approach. It is a neat summary of the collection\u2019s impulse to:<\/p>\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<em>get lost<\/em><br \/>\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 in the woods, be wilder<\/em><\/p>\n<p>\u2018San Pedro\u2019 depicts a psychedelic ritual as a final experiment in immersing the self in wildness. Ultimately, it is an excavation into what is essential \u2018below the decorative order of our lives\u2019. The less said on these poems the better, they are satisfying conclusions to a fulfilling collection.<\/p>\n<p><em>Wilder<\/em> experiments with nature to find a better perspective. Like any scientific enterprise, not all of them are successful. The successes, however, outweigh any failures and offer open reflections on climate-anxious selfhood in sharp verse.<\/p>\n<p>&nbsp;<\/p>\n<p>by Jack McKenna<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jemma Borg | Wilder | Pavillion Poetry: \u00a39.99 In Wilder, Jemma Borg tackles existential pressures with a series of subtle and flexible eco-poetic experiments that display a range of impressive results. The opening poem is devoted to the sharp, spiny \u2018Marsh thistle\u2019. In asking \u2018What part of a human soul is this thistle?\u2019, the collection [&hellip;]<\/p>\n","protected":false},"author":45,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":[]},"categories":[13,283],"tags":[],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.2.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Jemma Borg |  Wilder | reviewed by Jack McKenna - The Manchester Review<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.themanchesterreview.co.uk\/?p=12302\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jemma Borg |  Wilder | reviewed by Jack McKenna - The Manchester Review\" \/>\n<meta property=\"og:description\" content=\"Jemma Borg | Wilder | Pavillion Poetry: \u00a39.99 In Wilder, Jemma Borg tackles existential pressures with a series of subtle and flexible eco-poetic experiments that display a range of impressive results. 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