VOLUNTARY COMPLEXITY — Summary

To hell (and I don’t mean symbolically) with simplicity, austerity, clarity. I’m tired of minimalist, unadorned, stark, stripped-down, zen-garden bare. To hell with rooms without clutter, poetry without license, art without metaphor, body without magic (the heart a pump, the brain a computer–give me a break), stars without myth (the sun a nuclear reactor), love without mystery (it’s only hormones). I want life intricate, elaborate, rich, too heavy to hold in one hand, too sumptuous to digest in one sitting, life that sounds like a hundred choirs singing different music from a hundred balconies all at once, that looks like sedimentary rock stacked with the history of oceans, that tastes like salt and wine. smells like woods in spring– flowers pushing up through rotting wood, layer upon layer of mould, last year’s mat of leaf and fern; life like a church built on a Roman temple built on a Celtic shrine built on a Neolithic tomb; like my study with its dolls and scripture commentaries, ink pots, angels, rubber chickens; like a huge ancient house inhabited forever by the same clan–Grandma’s books and Great-grandpa’s chair and Great-great Aunt Sophy’s silver, somebody’s threadbare velvet curtains and Persian rugs, somebody’s empty laudanum bottles slipped between the walls, five hundred year old roses in the garden, the roots of trees cracking through the deepest dungeon, a thousand pairs of tattered slippers kicked under the bed.

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The speaker opens with a blunt rejection: to hell with simplicity, bareness and anything stripped down. She is tired of explanations that shrink the world, like the heart as a mere pump, the sun as a nuclear reactor, love as only hormones. In their place she wants a life that is crowded, layered and almost too much to take in.

Most of the poem is a list of images that show what she means. Voices sing from a hundred balconies, rock holds the history of oceans, and a church sits on top of older temples and tombs. She also brings in her own cluttered study, full of dolls, angels and rubber chickens, and a huge old family house packed with inherited objects, secrets and tattered slippers.

The mood is lively, funny and warm, with a stubborn edge at the start. The piling-up of details mirrors her argument: a good life, she suggests, is built up over time, messy and rich, and holds mystery as well as fact.

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