Poems
by James Tolan
Loveland,
Ohio
ISBN:
978-1-939929-79-2
69
Pages
Review
by Dennis Daly
Without
an intermediary, a thickly (or at least thinly) constructed persona to absorb
sentiment’s backwash, confessional poetry often erodes and collapses of its own
weight. Some of it can be downright dangerous. In his new book, Filched, James
Tolan avoids that pathetic destructiveness using tonal restraint, irony, and
damn good storytelling. Each poem Tolan breathes onto his pages burns with a
purloined joy, freed from time’s untoward tyranny.
In
his poem, The Big Sleep, Tolan summarizes his father’s last ambulance ride to
the crematorium in some detail. Since the poet had opted to stay in Brooklyn at
his teaching job during the funeral rites, he could not really know the
particulars first hand. His absence generates the ambiguous emotional power
that drives the poem. Like many who grieve by fixing their attention on a
seemingly random oddity, the poet remembers the book that he had been teaching
his class—Raymond Chandler’s The Big Sleep. He uses this book to order and give
meaning to the dysfunctional apathetic world surrounding him. Here is the
juxtaposition that conferred significance on Chandler’s book,
Some
hospital joe wheeled him down the long,
white hall,
While Santa Anas spilled desert across the town.
While I ducked the rain in Brooklyn,
my collar against the storm,
sodden strangers plunging with me to the train,
an ambulance drove him slowly to where the fires blaze,
hot enough to roast flesh and bone to scrap and ash.
While undertakers readied to fit him for the flames,
I taught the book
that I had plucked
From the rack beside his Lazy Boy.
He told me to take it, if I wanted.
He was done, tired of Chandler
anyway.
On a fall day in Vegas, strong winds
whipping in,
Tourists went on laying
down their bets
According
to Tolan the River Styx has nothing on Waukegan Harbor in Lake Michigan. The
harbor apparently has a great view of Zion nuclear plant (now decommissioned). His
cautionary piece, Tag, promises to a bunch of boys playing on the beach a
paradise to come on the opposite shore in the form of “loose-limbed girls.” But,
like all paradises promised, falls terribly short. One of their number claimed
to have travelled there and, disbelieved, is pelted with dead fish during a
game of tag. Deadly irony and unchildlike horror conclude the poem,
Allied
against his all too certain lies’
we
bore what arms were given us
and fired
the
rank corpses that fit so nicely
into
the empty pockets of our hands.
Bombarded,
he wailed and snarled,
Fish-stung from the beach.
Our
ammunition caked with sores,
we
wiped our hands off on the sand,
the sand off on our jeans,
and
went on, half hearts denying
all of us were It.
Filched,
the title poem of Tolan’s collection, works wonderfully, both tugging the
reader’s heart-strings and engaging his or her intellect with show-stopping
irony. The poet chose a perfect metaphor, his father’s old watch. Moments of
pathos seem to implode into great complexity. The poet craves love’s time, but
settles for a memento, a timekeeper. He fabricates his life as it should be,
using his father’s swiped watch as both anchor and proof. Tolan describes his
childhood crime this way,
I
found it among tie pins and cufflinks in his top drawer,
filched
it years before I knew the word,
knew only that I wanted something I
could take from him
who knew work and the bar better
than home,
something I would have never called
beautiful
and ruined.
Crystal
scratched, leather dry and stitching frayed.
He
never noticed it was gone
Boyhood,
as I remember it, sparked with adventure and marvel. Imagination could
transform the intimate into the epic. But there was a dangerous downside. Not
all of us made it through those years. These were the days before well-meaning
helicopter parents stifled the rough and tumble coming of age rituals of young
males. Perhaps saving some, but weakening the genetic trajectory of many more.
With this in mind, Tolan’s brave poem, A Wild Rumpus, after one of the boys
pours gasoline on the play-battlements, ends in an affecting parental prayer,
…
he doused
the
ungarded enemy fortifications
with
the contents of that quart
then
torched it with a Bic. My team
commenced
to hooting and high stepping.
Even
the losers joined in, two armies
circling
the flames. This the happiest
I’d
ever seen sober people be: boys disarmed
around
a fire lapping blankets and dry wood.
Angels
of infernos and safe distance,
be
as kind to my boy. Lead him to joy
and
sanctuary from joy burst into flame.
In
another meditation on boyhood entitled Junuh at Nine, Tolan considers his
evolving relationship with his son, Junuh. He balances his responsibilities
with Junuh’s need for independence and a sense of self. The poem has a good
feel about it. Despite the poet’s obvious closeness to his subject, he manages
a tonal objectivity that intellectually
affirms life and fate. I like this piece a lot. Tolan opens his argument
thoughtfully,
My
son has begun to set out on his own,
to
form allegiances with friends
whose
secrets he, by age-old code,
is compelled to keep.
His
world more and more his alone.
Already,
Jordan has broken a boy’s arm.
Daquan
was caught at recess with a blade.
Jesse
pummeled Andre. And Junnuh
has no idea how
his
fake leather coat was torn.
Uplifting
and victorious, Tolan’s poems transport the reader through the real world of sensitivity
and timelessness. Mortality holds no sway here. With each reading this gritty
collection offers solace as it draws one further into its whirlwind confrontation
of everyday humanity. Tolan, who unfortunately died this year, lives within his
books and deserves our profound prayerful gratitude.
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