Endlings by Joanna Lilley (Turnstone Press 2020)
Reviewed by Rebecca Valley
“How carefully we preserve the dead and eat the living” (109)
How to write an elegy for animals? Not the ones closest to us, our dogs and cats, chickens, rabbits, the domesticated fauna we use to name and sustain ourselves. How do we write an elegy for the animals we did not save in time; the “endlings,” the final link between past and present? How do we write an elegy for the victims of a murder we won’t even admit we’ve committed?
Landscape of The Wait by Jami Macarty (Finishing Line Press, 2017)
Derived from the ancient word for “watching,” waiting seems especially relegated to the human animal. Waiting implies the existence of a thought process as well as biology–a stasis, a trance. The state implies a wish, as a reaction to time and action. It makes sense that the literature of waiting has ancient origins, and that the sub-genre thrives during war. The world’s most important epics are also part of the body of the literature of waiting. The Odyssey and Penelope’s wait, and The Aeneid and Dido’s wait are two of our most essential examples. Naturally, the literature of waiting thrived during World War II, when Yehuda Amichai wrote the marvelous poem I heard him read in Hebrew and in English at the Hillel Center at UCLA in the 1990’s, where he said, in essence, that the war was not worth the poems made by the light of warfare. It begins
Out of three or four in a room,
One is always standing at the window.
Forced to see the injustice among the thorns,
The fires on the hills.