Michael R. Wyatt’s review in the El Paso Times
Review: New poetry by Donna Snyder
Michael R. Wyatt, Special to the Times
“The Tongue Has Its Secrets” by Donna Snyder
El Paso performance poet and human rights activist Donna Snyder has published a new book of her poetry, “The Tongue Has Its Secrets” (NeoPoiesis Press).
The slender volume holds some very powerful imagery and might be thought of as setting forth Snyder’s ontological theory of poetry. After all, Snyder is a poet, and what is poetry but the deliberate revelation of secrets held by the tongue? And, closer to home, what proof is there that a poet exists, but for this revealed poetry, and what the poetry reveals?
The book contains 57 poems, equally divided between three parts. The first poem, “The tongue has its secrets,” precedes Part 1 and is in the nature of a foreword. In it, Snyder begins to lay the foundation for the universe she later develops.
Her deity is conceptually female: “Praise Her in five songs.” Her creation myth begins with a thought, which requires the tongue to express it; until told, it is just a secret. And her existence of the self is mouthwateringly sexual: “The spurt of the mother / a creamy desecration of the dark.” And, as is true in most maternalistic ontologies, she expressly acknowledges the cycles of life: “Out of devastation new growth green as a jungle / A verdant blanket.”
To set forth such a vibrant and vivid world-view in a mere 30 lines of text on the first page of her new book demonstrates the power of Snyder’s mental and expressive capacity, as well as the tenacity of her work ethic.Snyder, a lawyer by profession, an activist by inclination and a poet by compulsion, has an extensive list of published work to her credit, including “Poemas ante el Catafalco: Grief and Renewal” (2014 Chimbarazu Press), a lamentation in three parts commemorating the lives, and untimely deaths, of three men central to her life. The three parts of her new book are not as clearly delineated, although one can sense a flowing movement from themes of Nature to Voice to Prayer. Throughout each movement, the Tongue, as a necessary component of the voice that guards the Secrets, and as a sexual organ, provides a constant point of reference.
In the first movement, Snyder introduces the Corn Maiden, one of numerous mother-gods she invokes, and draws out for the reader an explicit connection between Nature, sexuality, and the thoughtful, deliberate act of creation. In “Masa on the tongue,” she writes:
I want to feed on Corn Maiden’s flesh
caramelized in the embrace of mother earth
let it melt on the tongue like agave nectar
rain in the mouth of years to come
Other goddesses featured in this work include Dea Tacita, Ixchel, Mother Crow, Epona and Oshun. The reader may be excused for an occasional Wikipedia break.
This also holds true for Snyder’s references to her non-deified muses, which include various fauna of the Southwest (mariposa, colibri, jaguar, eagle, coyote, deer, bear, serpent); a couple literary lights (Walt Whitman, Gertrude Stein); and a deep well of half-hidden languages women have invented to share their secrets in plain sight (Lingua Ignota, Nu Shu poets and the so-called “Venus of Willendorf”). In each case, the poet invokes the muse to give voice to the secrets of the tongue, and thereby creates her world.
Snyder’s keen social awareness also requires her to express alarm. Somebody has killed the muse of Juárez, severed the tongues, silenced the girls, left a dead stone: “Nothing but the sound of blackbirds cawing, / crying out in grief.” And her concern reaches beyond the femicides of Juárez to the planet herself. This collection contains a series of contemplations on the environmental degradation man has wrought, which include “Bitter poison of history denied”; “Earth Day”; “The Sunday news”; and “Agua de mi sierra madre(TM).”
But the poet remains sanguine, both in spirit and flesh tone. In “Struggling with fragile” she expresses her conviction, in a most personal fashion, that spilled blood signifies life to come: “bones of the broken moon turn verdant / flesh and sinew become roaming beasts / spilled blood becomes life. …” The moon “quivers / calls forth the waters to flood and surge / makes the blood rush forth between the legs / the fragile moon / her body broken / her bones and body become life.”
And even though life is but a long wait to die (in “Carmine”), the poet concludes with a prayer (“Supplication”) in which she asks that particular “great and beneficient energy flow” to cleanse her soul, heal and protect her, and restore her vitality.
In the morning, feed me honey with fresh yogurt,
and mint or sage tea at noon.
In the evening, stroke me
with the peacock feathers
of your benevolence.
In the afternoon, love evokes remembrance, and in “Minnow slip of the finger” the artist’s sexuality drips from the page: “humidity sudden in the desert heat / monsoon season of the wet country …,” where “a beard of thorns waits to be trimmed / the ruby flash of tuna / anticipation of eager teeth / dripping sweet.”
In the end, she is prepared to ululate! The reader may be forgiven for discerning a secret meaning from the text, and for allowing the Tongue to suss it out.
Michael R. Wyatt is an assistant El Paso County attorney and has practiced law in El Paso for 28 years.
What: Poet Donna Snyder will read from “The Tongue Has Its Secrets” during a BorderSenses-sponsored book release event. The event also will include an all-ages open mic.
When: 8 p.m. Saturday
Where: The Rock House Cafe and Gallery, 400 W. Overland.
How much: No cover charge.
Information: Snyder, 328-5484 or firstname.lastname@example.org, or Richie D. Marrufo, facebook.com/BWOMS.