A chisel, a hammer, a lyre; reportage, intimate feelings, quips and criticisms. Maria Stadnicka’s poems are clusters of consciousness, graphic, material images of our world. Her language assaults, bends, cajoles, thrusts a saber into the darkness of the very language she employs to explore death, degradation, the non-recognition of the human individual, war, urban violence, in short, the all-too-present context of our daily lives. Is there an element of grace, a lyrical thread, an invocation of human beauty? Yes, if one can continue to believe in this beauty while contemplating the profound alienation and marginalization that characterizes contemporary Western societies.
Although Stadnicka writes in English, her native language, Romanian, is always close to the surface of the words, forging and sculpting the associations that create the poems’ presence. Her language mirrors the human mind, elliptical at times, obsessional from time to time, fragile and reflective when the moments present themselves. ‘A moon of salt unravels / the shadow between years, / unfolding a passage / grey chapter about mortality’ offers a lyrical entrance to the book. The reader moves swiftly into the core of Stadnicka’s vision, ‘the wounds of freedom’.
One of the most beautiful poems in the book is ‘Restituto’. Transformation of thought and body occurs as the voice of the poem articulates the ars poetica, an incendiary gesture born out of an already-condemned historical contex:
I covered my face with black ink
rounded all my possessions up
set fire to everything.
The gods hid in a poem
with a fresh loaf.
Just us now slicing away
to the end of my days.
What concerns Maria Stadnicka? How do these strangely forced collages that are hermetic and yet entirely exposed allow the reader entrance to her world? She is speaking about the discontinuity of personal space and the intrusion of economic and political forces in an individual’s life that leads to fragmentation and, ultimately, to the dissolution of one’s reality. The chance for the existence of a future or even the future is removed. Literature becomes the communication and solidarity that permit the step towards wholeness. In Stadnicka’s poems social, personal, and literary landscapes are fused and at times must be forcibly dislocated, both repositioned and torn apart, so that one can continue. The reader is drawn to the quote from Czeslaw Milosz that frames the book: ‘So much guilt behind them and such beauty!’
The title poem, ‘The Unmoving’, dislocates the predictability of images and pulls together the motifs of Stadnicka’s poetry. A book slips, the world is seen as ‘a time-capsule sent flying into space’, a missile wakes the ‘half-dreaming’ narrator, someone is walking down the motorway, people materialize with a dog for sale, ‘The music absorbed what was left of Rana Plaza’ and the reader is once again confronted with the Savor Building collapse that killed 1,134 people in Bangladesh. The narrator is displaced and ‘The ground settled between reference points.’
In a sense, The Unmoving is a defense of the marginalized, the poor, the displaced and disabled. The poems create a sense of urgency and mystery. The only escape from the imposed absolute of non-being is resolution to go forward illogically and irrationally free. ‘For the first time, I / walked. Blind, absent. / I became tomorrow.’
@Andrea Moorhead, 2018
Review published in ‘Stride Magazine’.
‘The Unmoving’ is available here.
Photography: ©JStadnicki, 2018
There is no way one can observe the social transformations within a community and society without resorting to strong political clues in order to understand the sources of those transformations. And clearly, when things go wrong, we blame the politics, the legislators, the government. But when the political sphere moves away from the reality of the working and the middle classes, the laws and the policies have no real impact on the wide majority. The decision-making groups have little will to support change and the economic downturn Britain has been experiencing for over a decade seems to move towards a silent collapse. And nobody appears to take responsibility. The blame placed on the government rules like a shadow, hiding underneath the roots of bad financial decisions, personal greed and managerial incompetence.
Let’s consider the situation the art sector is in at the moment. The issue came into focus with the news of the devastating fire which, this second time, damaged the Glasgow School of Art beyond repair. There you have £35m down the drain, or rather turned to ashes, and everybody is powerlessly looking at the building asking, with disbelief, ‘how could this be possible’. The fate of the Glasgow School of Art seems, for now at least, sealed by confusion and uncertainty. Who is to blame this time?
Extrapolating the Glasgow tragedy, who is to blame for the uncertain fate of hundreds of art schools across the country slowly but surely decapitated by unachievable targets and percentages? We are looking at another type of devastating fire slowly cooking to ashes the art sector, in general, and the art education, in particular. The drive to achieve the funding targets, the attendance and the achievement rates, the literacy and the numeracy benchmarks. What do they all mean? Certainly, they mean nothing to those involved in the art sector (students, artists, writers, musicians, teachers) but mean everything to those in charge to justify the bureaucracy which supports their livelihoods and to satisfy the pleiades of regulators and inspectors. The focus of this type of education is not the youth’s creativity but to produce a nation of self-absorbed adults ready to slot into whatever social square has been allocated to them as soon as they joined the education system.
And here we face again another type of politics. The ‘politics of inevitability’ as Snyder eloquently describes it, which makes the art education vulnerable and a victim of the constantly expanding globalisation. Since the mid ‘80s, the way we talk about art has fundamentally changed as well as the way the education system works to serve the economy, under the bright colours of neoliberalism. And, one would say, what is the problem with that? The education and the arts remain the essential social institutions within a healthy society and preserve what we call our ‘decency’. They remain our ‘sane barometer’ if you like, which support the configuration of our future and the values this future will act upon.
I remember a recent conversation I had with a head of school who recognised that things have taken a turn for the worse, with the Brexit uncertainty looming, but, as he said, ‘what can one do against a whole government, with a mortgage to pay?’ And here we are again in the blaming game equation. The well-suited head back in his leather chair, the young artist back revising for another maths test. New financial cuts are drowning the hope of an economic recovery and the silence of those suffering its effects sounds more and more like a resigned agreement. Not once we feel that the history allows us to see patterns and to understand that action is a possibility. History permits us, ‘to be responsible; not for everything, but for something’ as the poet Czeslaw Milosz said. This responsibility has always worked against loneliness and indifference.
©Maria Stadnicka, June 2018, Gloucestershire, UK
‘It is unfortunately hard to recall our quasi-permanent concern with the future, for on our return from a place, perhaps the first thing to disappear from memory is just how much of the past we spent dwelling on what was to come; how much of it, that is, we spent somewhere other than where we were.’ (de Botton, 2002)
Photography: ©John Stadnicki, 2018
Live interview with Mikey Mouse, @International Times
©Maria Stadnicka, May 2018