2nd Review of Pennine Hillsongs by M; Margo (by Clara B. Jones)

M; Margo

Pennine Hillsongs

(The Haunted Mask II)

2018

Ghost City Press

Unpaginated, 15 poems

PDF free or with donation

Reviewed by Clara B. Jones*

M; Margo [Margo Emm] and I are acquaintances. They are Editor of Zoomoozophone Review, an online journal of innovative poetry in which I have published several times. In my opinion, they are among the best avant garde poets of their generation—fearless and difficult to pigeon-hole. Reviewing their two previous books, I have labeled Margo a poet of “angst,” often focusing on disturbing personal themes to the exclusion of social or political ones. In Pennine Hillsongs, the poet continues to write about interior experiences; however, this collection delivers so much more. To my knowledge, it is the first published volume dedicated exclusively to “gender dysphoria”—discomfort or distress caused by incongruence between a person's sex assigned at birth and their gender identity.

The author, Managing Editor of Gold Wake Live and Publicity Director for Gold Wake Press, describes themselves as “a person who writes and resides in Cleveland, Ohio.” Pennine Hillsongs, a title in Ghost City Press' 2018 Summer Series, is heavily coded, and the puzzles begin on the cover page. The Pennine Hills are a range of mountains in England, and an online search yielded more than one musical group referring to these formations. The image on the title page, however, makes it clear that M; Margo intends to refer to The Pennines, a band comprised of four young men who, based on YouTube recordings, sing somewhat monotonal, mostly, instrumental, songs. The four individuals on the cover of Pennine Hillsongs presumably depict the band's members—their faces covered by masks, distortions of human faces. The book's parenthetical subtitle refers to a fictional children's horror book, The Haunted Mask II, whose main character is a meek little girl who purchases a Halloween mask that will not come off. M; Margo, thus, introduces the reader to their conflicted, uncomfortable, and, possibly, scary world.

The first poem, “song for xan,” refers to a character in a role-playing game who, according to information available online, has a “broken” mind, causing them to be institutionalized. Barring the poem's title, the page contains no words, only a depiction of concentric semi-circles appearing throughout the volume and unifying, even, stabilizing, the book from page to page. These semi-circles seem to represent the author's broken, or, incomplete, Self, preparing the reader for what will come. All of the poems in Pennine Hillsongs are hybrid, combining art and text, and the second poem, “the mirror,” continues our introduction to their dysphoria, depicting a distorted ghost with the sentence, “this is what my ghost will look like,” placed beneath the figure in semi-circular design. The ghost provides a stark image of what their disorder may feel like—including, disruption, sadness, vulnerability, exhaustion, and defeat. Repetition of words and phrases, a hallmark of this collection, is characteristic of other avant garde poets, most notably, Gertrude Stein.

Readers of traditional poetry may ask whether M; Margo's pieces are poetry at all. However, the works contain many conventional elements, in addition to, visual and pictorial images and appropriation of words of songs. Among the conventional characteristics are strong narrative statements. In “no dispute,” for example, they provide a brief manifesto with the words: “there can be no dispute that trans women are women//gender is a construct//that sex is also a construct//that i can wear makeup and a beard//....” Like many other poems written by LGBTQ artists, this one is utopian, envisioning a non-binary world. M; Margo continues their narrative of “gender dysphoria” in the poem, “song for selphie,” depicting distorted clowns and other disfigured images relieved, however, by their play on words (“selphie”/selfie). Additional cases of humor provided throughout the collection (e.g., “high coo,” “no more pennines”) demonstrate that they are capable of seeing beyond their present suffering, a perspective that may be comforting to others—whatever their present pain. The final poem in this collection “song for flash,” is lyrical, communicating the author's capacity for healing and their wish for intimacy, repeating, “i love you i miss you”—again and again as semi-circles. Ultimately, transgender or not, anyone can identify with M; Margo's journey from a very dark place to a hopeful one. They have created another noteworthy book of innovative poetry that readers of avant garde literature will appreciate and enjoy. I eagerly await their future works.

*Originally published in the Fall Issue (October 2018) of Bitchin' Kitsch

Review of Pennine Hillsongs by M; Margo [Margo Emm] (by Clara B. Jones)

M; Margo

Pennine Hillsongs

(The Haunted Mask II)

PDF available free online (see link)

2018

Ghost City Press (ghostcitypress@gmail.com)

Unpaginated (15 poems)

Mini-Review by Clara B. Jones*

“(just for your information, if I make a facebook post about struggling with gender dysphoria, maybe don't write a comment calling me 'man')” Margo Emm [M; Margo] on Facebook®, 7/13/2018

The purpose of this mini-review is to make readers aware of a new collection by Margo Emm (Publicity Director at Gold Wake Press) who is, in my opinion, one of the most interesting young avant garde poets writing today. They have published three books, Blueberry Lemonade (2015, Bottlecap Press), yr yr (2017, Ghost City Press), and, now, Pennine Hillsongs (The Haunted Mask II), part of the Ghost City Press Summer Mini-Chapbook Series. Kevin Bertolero, Founding Editor and Publisher of Ghost City Press, informed me (via e-mail, 7/9/2018) that the primary purpose of the summer series is to introduce new and emerging writers to the public. All titles are available on the press' website (ghostcitypress.com) at no cost, though, donations are gratefully accepted.

M; Margo's new book is a puzzle, and I decided to submit this mini-review hoping that readers would have time to enjoy the collection's challenges before the official end of Summer. Like many avant garde and post-modern works, however, it is not necessary to decode the text in order to appreciate it. Beginning with the collection's title page, words and image are metaphorical and symbolic. The Pennines are both a mountain range in England and the name of a British band consisting of four young men—wearing masks in the cover photo, apparently symbolic of a character in the book, The Haunted Mask 2. After listening to a couple of songs by the band—available on YouTube—I came away with the impression that the music is somewhat mono-tonal in nature and, mostly, instrumental. The rather sonorous mood created is appropriate to the tone of many of the author's poems in this chap, a collection of hybrid pieces composed of verbal and visual elements. As an aside, I read online that the band has donated proceeds to the mental health community, possibly, one factor drawing the author to this group. Elsewhere, I have called the writer a poet of “angst” because much of their work is a product of their dis-ease—personal experiences with anxiety, dysphoria, loss, and pain. One feature that distinguishes their work from many examples of the genre, however, is that, for the most part, they avoid self-pity and unrelieved morbidity.

In each (experimental) poem, words accompany or are superimposed upon broken concentric circles, and the texts, themselves, are often coded. Symbolically, circles may stand for wholeness or The Self. That each image of concentric circles is broken in some manner no doubt represents the writer's sense of incompleteness or, perhaps, dislocation. The first poem is titled, “song for xan”, a character in an internet role-play game whose “mind was broken” and who was institutionalized, according to information available online. While it is not possible to determine to what degree Pennine Hillsongs (The Haunted Mask II) is autobiographical, each poem conveys some sense of struggle (occasionally with humor), sometimes permitting the reader to identify with the author and to experience universal human emotions beyond the poet's personal domain. This collection coheres, in part, because the circular symbolism is consistent throughout the chap, emphasizing, at once, incompleteness, as well as, the possibility of a more coherent and universal sentience. Should you decide to read this collection, I feel certain that you will not have wasted your time. The author is “one to watch” as they mature as a poet and transition to a more stable place in the world. For those interested in placing this collection within the wider context of experimental literature, many issues arise regarding, for example, the significance of hybrid writing, the various uses of repetition in poetry, the distinction between subject and object, as well as, the meaning of “text art.” Finally, referring to innovative poetry more generally, interested readers will find similarities between the present author's writing and other avant garde poets, including, Gertrude Stein, Ron Padgett, Leslie Scalapino, C.D. Wright, and Myung Mi Kim.

https://ghostcitypress.com/2018-summer-microchap-series/pennine-hillsongs-the-haunted-mask-ii


*Originally published in The Curly Mind, September 2018

My years as a Behavioral Ecologist: 1973-----> (Clara B. Jones)

My years as a Behavioral Ecologist (1973----->) [Behavioral Ecology: study of how Dispersion [Distribution & Abundance] of organisms "maps" onto Dispersion of limiting resources in Time & Space--the [John Hurreel] Crook-ian Model, John Hurrel Crook

Behaviour. Supplement No. 10, The Evolution of Social Organisation and Visual Communication in the Weaver Birds (Ploceine) (1964)

#womeninscience #womeninbehavioralecology

1. The Science culture that I experienced 45 years ago might be called a "Brigade System"--hard-nosed, mostly male, rigid, rigorous--with no hand-holding. It was understood that many wouldn't survive the regime--we took this for granted--bad experiences were just part of the obstacle course. This system motivated me to be the best scientist I could be--emulating the work and standards of the premier Behavioral Ecologists of that time [especially, the early work of, John Hurrell Crook (birds, primates), Stephen C. Emlen (birds, humans, one of my professors), Jack Bradbury (bats, one of my professors), Ruth Buskirk (spiders, baboons, one of my professors), & Sandy Vehrencamp (birds, bats, a fellow graduate student)--the Behaviorist, M.E.P. Seligman, and the Social Biologist, Mary Jane West-Eberhard, were also critical to my early career].

2. Having said the above, we had mutual respect among all deserving parties, whatever their rank, and had a lot of fun.

3. A necessary and sufficient component of my own motivation was falling in love with fieldwork in 1973 [I was 30--a "late-bloomer"] after which nothing ever competed with my work/career. Another factor important to my progress was relieving myself of most caretaking responsibilities [in 1979].

4. At one point during my graduate training, I asked my undergraduate advisor, Harry Levin (linguistics), what was necessary to be successful as a scientist. He replied, "Learn to cope with humiliation." Afterwards, it occurred to me that I would need to have a "thick skin." It was, also, clear that I would have to make it work for me, by myself, on my own, but on others' terms--the terms set by those at the top of my fields--Behavioral Ecology, Social Biology, Ethology, and, to a lesser degree, Behaviorism. Serious Scientists would let me know--straightforwardly--when they thought I was not "measuring up." I could leave Science, or, I would need to find a way to "measure up." Combined with the ability to "hear" critical and negative feedback, I, eventually, enjoyed the challenges inherent to intense competition.

At another point--after  completing my Ph.D.--my major advisor, Ethologist (birds--Agapornis) William C. Dilger, told me, "You have done less with more than any other graduate student I've had." This feedback shook me; however, the lesson was clear--it is very difficult, indeed, to earn the right to be taken seriously by a serious Scientist. Indeed, in graduate school, it was standard not to call ones-self "Scientist" until a recognized scientist had labeled you "Scientist." Dilger's comment reinforced that I needed to take myself and my aspirations seriously if I, and, more importantly, my work, were to earn the opportunity to be taken seriously. A consequence of this experience has been that I consider it a female's responsibility--to herself, more, even, than to others-- to find a way to develop her potential to the fullest, relative to the highest standards of her field[s].

These words of wisdom & feedback from two highly-regarded scientists were instrumental in motivating me to be my best while understanding realities of the academic/professional/research landscape. The path is difficult, and there are no guarantees.

5. When I found my path in Behavioral Ecology to be difficult, I reminded myself that, if I didn't find a way to make it work, there was always another female breathing down my neck who was not defeated by trying or who was making it work.

6. It is central to who I am as a Scientist to view myself having a role comparable to a Judge of the Court. My colleagues and I, if taken seriously, get to "weigh in" on difficult decisions, using critical thinking, data, other components of scientific methods, and expertise.

7. It is important to me that I never used a sex/gender card, a race card, a class card, or a disability card.

8. I consider myself a feminist in the molds of Simone de Beauvoir and, especially, Francoise Giroud whose autobiography, I Give You My Word, which I read early in graduate school, changed my life forever. Everything changed after I read that book--combined with my first field season in 1973.

9. I free myself; others do not free me. All know the way.

10. So-called "imposter syndrome" represented important, valid feedback to me that something needed to be corrected. I did not deny my gut and brain. I figured it out. I realized, there was/is always another female prepared to take my place. That other female would have dealt with her sense of imposition, if she had such, and would have self-corrected.

11. As a woman of color (WOC) in Science who conducted fieldwork, I ran away, rapidly, from anyone who wanted to treat me with kid gloves or treat me differently than the non-marginalized person. This did not always work to my advantage or prove to be the shortest route to authenticity*, but it preserved my self-respect.

12. I think I have few, if any, complaints as a WOC in Science because: [1] I almost always see the glass as half-full rather than half-empty; [2] I take almost nothing personally--what another person does or says reflects on them, not me; [3] I have an uncanny ability to focus without distraction; [4] I try, and, mostly, succeed, at not multitasking, [5] I have an uncanny ability to compartmentalize; [6] I chose, and, continue to choose, very, very carefully, whose critical feedback I weight heavily; and, [7] I, simply, kept my nose to the grindstone [though, primarily for health reasons, I started & re-started quite a few times]. Related to the foregoing, I may be "tone deaf" about what the outspoken and activist young females want to achieve as scientists [I am thinking, particularly, of fieldworkers]. It has taken me a long time to "get" the notion that what I wanted out of a career is not, necessarily, what other females wanted/want. Decisions, choices were straightforward for me. I, simply, chose whatever option[s] would get me closer to my goal which was to be the best scientist I could be, given my talents & given the fact that I did not have higher-order quantitative skills. This is a very simple decision-rule. I, actually, think that many women in Science use this strategy.

13. Finally, just as a hunch, I would suggest that a critical factor in determining a female's success as a scientist is not so much whether she marries or has children but whether she assumes caretaking responsibilities. Whatever the case, I think these factors deserve further study. I would, especially, like to see intense investigation of what traits characterize those women who achieve high rank as scientists [as usual, I am, particularly, thinking of women who conduct fieldwork in the biological sciences]. For example, are there, beyond chance occurrences, married women with or without children who have careers like, say, Mary Willson's, or, perhaps, most notably, Louise Emmons'? If so, lets highlight these women. If not, why not? These are all issues that can be addressed empirically, including, consideration & tests of alternative hypotheses. If only by chance alone, sexism cannot account for all of the differences that we see between male scientists and female scientists in the same discipline. What are all of the factors that are at play?

14. Now, getting back to Science: Every material outcome has a mathematical proof.

*The hardest thing for anyone in Science is to earn the right to be taken seriously.

Clara B. Jones
929 Bonifant Street
Apt. 512
Silver Spring, MD 20910, USA
Cell: (828) 279-4429
E-mail: foucault03@gmail.com; mapcbj@gmail.com