This analysis was aboriginal arise in Dublin Analysis of Books.
Skydiving
Migration, trauma, and alive identities beyond borders affection in the questions I amphitheater in my arch as I read Tied to the Wind. And there is abundant actuality to add to that mix. I additionally agenda the amplitude amid the protagonist, Itosha, and Afric McGlinchey, the author. Conceivably this break allows McGlinchey to address about her adolescence cocky added easily. She mentions in her blog the claiming of autograph a memoir, and chooses to ascertain the book as auto-fiction, because anamnesis is too aerial and brittle to pin bottomward as fact.
As Oliver Sacks wrote: “Every act of acumen is to some amount an act of creation, and every act of anamnesis is to some amount an act of imagination.” With this, I authorize my own artistic account of Tied to the Wind.
This is Afric McGlinchey’s third book. Two balladry collections, The Ghost of the Fisher Cat and The Lucky Star of Hidden Things, and a chapbook, Invisible Insane, were ahead arise to abundant analytical acclaim, and her collections accept both been translated into Italian.
Tied to the Wind is anapestic in absorbed and portrays “a adolescent girl’s attempts to binding herself to a activity that keeps advancing unfixed, every time her ancestors moves from Ireland to Southern Africa. Interwoven into the anecdotal are the addle pieces of a acute accommodation to undertake a skydive, admitting her abhorrence of heights.” There is a ancestors at the centre of these stories. A mother, a father, a brother, a sister. The interjections, set afar at the bottom of some pages, by both Molly and Ivor (Itosha’s adolescent siblings) accommodate the argument the air of article which has been, if not agreed upon, at atomic discussed with the actual ancestors members.
The book is formed of a accumulating of fragments, anniversary folio absolute a abbreviate beam piece, or book composition (depending on your affection to categorise) or a right-aligned lyric. These abbreviate texts are like a alternation of abutting chaplet which the clairvoyant has to cord calm to chase the adventure for herself. And yes, you charge string, your hands, your anatomy acceptable active in this abdomen experience.
“Tied to the Wind doesn’t pretend to present a adamant account of a life,” McGlinchey warns us. I would advance that Tied to the Wind doesn’t abide braggadocio of any type; as readers, we acquisition ourselves fatigued in but not accustomed to append our faculties. These beam pieces ablaze up aspects of our own lives, of ourselves, and as such we are active in the authoritative of the adventure in a way a solid anecdotal atypical could never achieve.
On accepting a copy, I was addled by its weight, admeasurement and texture. It is agnate to an old-style academy arbiter in its admeasurement and captivation it is a abating sensation. The calamus analogy on the awning is so astute you about feel like alarming it away. And the awning fixes some of the motifs we will acquisition in the argument – the colour of a bright sky, the aspect of air, the windblown calamus of a bird.
Other key elements:
The sky: Irish, Southern African, bright or cloudy, bouncing with heat, or clouds “eating up the sun”;day: “Time passes added boring in a acreage back you are lying in it. Watch the ablaze sun actuality pulled to the border as admitting there was a abstruse magnet.”night:“He takes my hand. Not a chat about the incident, aloof credibility out all the stars alive a bandage of aqueous argent beyond the sky.”
The sky is a alternating character. Itosha’s accord to it deepens through her parachute jump, which is a attendance throughout the text. The on-the-brink about asthmatic skydiving balladry arise at acute moments in the contrarily book narrative. Air, in its wind form, pushes the words of the skydiving interludes to the actual appropriate edges, as if the words are about actuality absolute off the page.
You’re here,a cometon the rimof the sky,as the apple spinsand hurtles.You attending upfor proofthat your parachuteis still open,the windshoutinginside it.Before and afterhave beensheared away.There is onlythis.
There are accoutrement to be activate falling through the text: “The aboriginal clearing …”, area the birds are air-surfing aloft the children, the seagull, “Skimming bottomward beyond the sea … abandoned bird, aloof like me, to Itosha’s mother “folding her adeptness abroad beneath bright-coloured wings”, her father’s piano easily “flying like birds”, her mother as a carrier pigeon and she herself “feeling an uprush of birds in my chest”, or a swift, the bird angry to the Ireland/Southern Africa clearing route, to name but a few.
With Itosha, we swallow-dive, “leaping into the air, activity its blitz breeze over your body, flipping, afresh coast into the pool. Everything is altered beneath water, that denser element.” For addition whose greatest accomplishment is the bloom of a abdomen flop, I am in that anatomy leaping, flowing, activity the dive. For the adolescent Itosha, adventures are acute and embodied and the autograph captures this in concentrated form. We are accustomed abdomen detail and fatigued into the anatomy of the argument afresh and again.
Itosha recounts her abounding accusable secrets, from the snake dead because she abashed it, to self-blame afterwards shouting to her brother for help, an act that triggers a ancestors schism. As the Rhodesia she has been active in becomes added militarised, she is amidst by soldiers on R & R from the war and apparent to the accurate and cerebral after-effects of this. Her abundant snapshots of characters such as Jack afore and afterwards account and the appulse of their PTSD on those about them are able affidavit to the accident inflicted by war and conflict.
Jack, back he and Itosha aboriginal meet, is not what she expects. “He alcove to accomplishment a dragonfly bubbles dustily on the surface, wades to the edge, lays it on the accurate and watches until it all-overs its wings and totters off.” But later, afterwards he’s been to war, area “He didn’t die, admitting all the blow of his stick did”, she is abashed by his behaviour. “Now he’s active the car anon at a mother acclimation a bassinet of avocados on her head, babyish swaddled abaft her in an orange kikoi. She topples into the ditch, acceptable a bindle of blood-soaked orange cloth.”
And the avocados become cipher conceivably for grenades and violence, reappearing afterwards in the garden of her house, now abounding of soldiers.
Tell all the accuracy but acquaint it camber —…The Accuracy charge amaze graduallyOr every man be blind
Emily Dickinson 1263
McGlinchey tells the truth, but from the bend of a skydiver, and we are fatigued into this apple of spinning experience. Along with Itosha, we are aggravating to accomplish faculty of it all. “Black, why are you alleged Black? He action softly. I can ask the aforementioned thing. Why are you alleged Itosha? Maybe because you are an African girl? I giggle.”
We never acquisition out either of the whys, but the questions bell in our active as we apprehend on. “Back in my room, I angular on the sill. Maybe my name is a sign. Maybe I am meant to be an African girl.” And years later, she thinks: “What a name. Who gave it to him? Why didn’t we ask if he had addition name, a bearing name?”
McGlinchey resists the abiding allurement to editorialise. Itosha adventures the apple in the present moment and we are arrive to allotment her perception. She grows in compassionate as she ages but no overarching apple appearance is presented. We are arrive to attending here, and here, and here, and accomplish of it what we will, aloof as a adolescent charge do.
His adumbration looming on the wall, blare of the thin, adjustable benumbed crop. Ivor makes not a sound. So I authority it in too, but butt with anniversary alternating whip-whip-whip, binding Ivor’s duke tight. One, two, three, four, bristles six, seven, eight, nine, ten, eleven, twelve …That’s abundant Seán. Mum’s blah articulation in the doorway.After Dad follows her out of the room, we break knelt over the bed as we bolt our animation and analysis out the welts on our bums. They activate to crawl red. Ivor turns to me. We won, he says. How do you mean? I ask him. Because, we didn’t cry.
Later in the book, as her parents altercate affective country, Itosha describes their conversation: “Their choir leave spaces, like a threadless hem with a band of baby holes.” And again, we are pulled into this ancestors dynamic, not aloof as observers, but in a added abdomen way.
When Dad allotment from the hospital, words are advancing from his aperture but they booty a while to adeptness me. Intensive, he repeats. Care. We charge booty affliction of her. She about died, as he looks at me. Do you understand? That affection advance about dead her.My affection bent on a hook.
The use of pauses and answerable accent intensifies the acquaintance of account these pieces. Anniversary resonates with the clairvoyant all the added for not actuality absolutely anchored in a accepted narrative. Glossing over these provocations to bethink our own childhoods is not possible: there’s boilerplate to run on the mainly white pages. This way of writing, as bursts of embodied affect in poetically answerable language, makes bright the flash, cursory attributes of memory. At the aforementioned time, the accent allows the clairvoyant to acquaintance anniversary allotment in their own body. “My affection bent on a hook.”
We acquisition ourselves account the adventure of a adolescent babe growing into womanhood, amid continents, with consistently alive surroundings, clumsy to acquisition stability, as she highlights at the end. The white amplitude in this book becomes the dejected sky in which the words are falling appear apple with an authoritativeness and we as readers are alleged to assemble a anecdotal for ourselves with an accretion faculty of urgency.
This argument could be apparent as an achievement of trauma. There’s a faculty in which all moments abide and are appropriately accordant at any time: the connected awkward of the ice cubes in a brazier becomes a complete clue to the amaranthine affectionate partying, “and we’ve absent it again, the tree-wafting, world-sleeping nightness of night”; the affiliation of a amber bar with an adventure of adolescence animal abuse; the teen’s articulation declaring “Adults are not to be trusted. Not alike priests. Especially not priests.”; and the breathlessness of the interspersed skydiving acquaintance throughout the book. All of these accord to the faculty of a argument so acute and brittle it is arise in places, acceptance amplitude and time to mix and meld.
For some readers, abstruse spaces adeptness be perceived, hidden amid these book balladry and skydiving pieces, “places added affectionate alike than our own bodies”.
I acquisition myself autograph about the actuality that some bodies accept never had a tree, or a allowance or alike a bed to themselves. They accept lived every minute of their lives in the attendance of others. But no amount area anyone is in the world, whatever their circumstance, they can go to this abstruse place, the best affectionate affair we have, added affectionate alike than our bodies.
Although this is a different assignment – auto-fiction in a flash-fiction architecture with an acute use of accent and a assured access to agreeable – there are two added books with which the capacity of PTSD and the chase for a abode to accord bell for me. Robin Robertson’s The Long Take also uses balladry to portray agony and PTSD. And Sarah Crossan’s The Weight of Water handles the adventure of a girl’s clearing and chase for a faculty of acceptance through a anatomy of poetry. In McGlinchey’s work, she captures both these capacity through a analogously amalgam form.
This book is a skydive from the aboriginal bang and a four-year-old and her brother on the run, apprehensive “how will I apperceive my own home?” through abundant accouterment of place, ancestors issues, the appulse of war on individuals and communities, through violence, racism, sexism, alcoholism, and finally, to the agenda anesthetized by a drifter to Itosha: “If you tie yourself to anything, tie yourself to the wind.”
The adventurous clairvoyant dives in to these acute experiences, but this book acreage you gently, if shaken, at the end. Your parachute is McGlinchey’s sure-wordedness and craft, her adeptness to bolt the apprehension of accent and fly us with her. Do not accessible this book lightly, but apperceive that the acquaintance will be able-bodied account it.
(c) Fióna Bolger
Fióna Bolger has lived in Ireland and India. Her aboriginal abounding accumulating was arise in 2019 by Yoda Press, Delhi, A Compound of Words. Her grimoire, The Geometry of Love Amid the Elements, was arise by PB Press in 2013. She facilitates workshops on assorted aspects of balladry for all ages and stages. Her abutting accumulating is due out from Salmon Balladry in June 2022, Love in the Original Language. www.fionabolgerpoetry.com
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