Jennifer Maide, The Espionage Act (Quemar Press 2020)
In May 2019 Julian Assange was indicted on 17 counts of violating the USA’s Espionage Act. It’s the kind of event we’re used to reading about in journalistic language: what and why and when and how and where and who, though not necessarily in that order. You can click here to see how the New York Times reported that event.
Jennifer Maiden’s books for the last decade or more have dealt with that kind of incident, but done it obliquely, in imagined scenes that usually begin with the ‘waking up’ of a historical or fictional character who is somehow connected with the news item. As Assange was taken from the Uruguayan embassy in London, he was clutching a copy of Gore Vidal’s History of the National Security State: in the first poem in this book, ‘Resistance’, Vidal wakes up beside Assange in a London Magistrate’s Court. He does it again in four more poems, in one of which they are joined by a newly awake Emma Goldman – who, we are told by Vidal, was sentenced under the same act in 1917 – and in another by Princess Diana.
These are political poems, but no one would call Maiden ‘our protest poet’ as a recent headline did, reductively, the late Bruce Dawe. Her imaginary dialogues have a clear point of view, but they are exploratory rather than declamatory, In ‘Resistance’, for instance, Vidal’s ruminations are a means to inform the reader (or remind her, if she’s better informed than I am) that the magistrate presiding in Assange’s hearing ‘was the one who had / stopped a private prosecution of Tony Blair for war crimes’, and to remind us (or inform, etc.) of the circumstances of Assange’s removal from the Uruguayan embassy. But Vidal does exist as a fictional creation, anxious to know if Assange liked his book, vain about his own quotability, dropping the occasional name from high society. Diane Spencer wears the dress she was buried in to remind us ‘of the easiness with which one ignores murder,’ but flairs the dress out, ‘actress-fashion’. In her dialogues, it’s as if Maiden puts two or more characters in dialogue to see what she thinks about something, but they have to be more than just mouthpieces for ideas.
There are two other sets of dialogues in this book. In five poems, Maiden’s longstanding characters George and Clare converse, have sex, look after their toddler son Corbyn. George chats on the phone to Donald Trump and a friend in the CIA. Three poems feature an Australian critic, who chats with Jackson Pollock and Brett Whiteley (in front of Blue Poles in Canberra), with Dorothy Wordsworth (and quotes to her the passage from her diaries that her brother drew on for his famous poem), and with Gabriel Garcia Marquez (who doesn’t like the term ‘magic realism’).
There are other poems – one responds to a comment, reproduced on the back cover, that Maiden should be considered for the Nobel Prize; three feature her recent creation, a cute little marsupial named Brookings (after the Brookings Institution); one features Alan Turing; several ‘Diary Poems’, ruminate on the Federal Police raid on the ABC, on Jeffrey Epstein’s death in prison, on the Australian ‘poetry wars’, on the writing and reception of other poems in the book.
If there’s an overall subject, it’s the way reactionary politics infiltrates and influences the general culture, belittles creativity and promotes art that serves its purposes. And what it means to struggle against that influence.
It needs someone more learned than I am to talk about the formal qualities of the poems. I’ll just mention one thing. Have a look at the opening lines of the title poem, ‘The Espionage Act’:
Emma Goldman woke up uneasily in Belmarsh Prison Hospital. She recognised the sharp shape of a reading Gore Vidal, who was watching over Julian Assange, curled foetal in a prison sheet not blanket, not at all well, she thought, but fragile as an angel. Death had made her even more maternal and she had always been motherly, since a girl. Vidal gave her his usual tough smile: 'I've really been expecting you for a while'
You could read this as prose that’s been interrupted by an occasional line break, but if you did you’d be missing a lot. You might not notice, but this is rhyming verse. All 56 lines of this poem end in ‘l’. Sometimes there’s a full rhyme like ‘smile’ and while’, or later ‘fall’ all’ and ‘recall’. Once you notice it, the effect is hypnotic, but if even without your noticing it the lines have a wonderful musicality that pushes the narrative forward.
I’ve been reading and rereading this book for a while now. I’ve been learning about history (I think of Muriel Rukeyser’s repeated line, ‘Pay Attention to what they tell you to forget’), making connections between things I’ve known and kept in silos in my mind, and questioning received versions of things, all with Jennifer Maiden’s insistent music in my ears.
A sampler of the poems from this book, including ‘Resistance’, ‘Except’, ‘Brookings Gets A Helmet’, ‘George Jeffreys: 25:
George Jeffreys Woke Up on Abu Musa Island’, ‘The Espionage Act’, ‘Diary Poem: Uses of Fear’, ‘Clare’s Dream’, ‘Brookings Tries Out Ubiquity’, ‘Diary Poem: Uses of Alan Turing’, ‘Diary Poem: Uses of Poetry Wars’, ‘What if all the village were vampires?’ and ‘Maximum Security’, are online at the Quemar website, at this link.
The Espionage Act is the sixth book I’ve read for the 2020 Australian Women Writers Challenge.