‘Resonance’, a poetry collection by Gary Beck. Reviewed by Mandy Pannett

Resonance by Gary Back. 
Dreaming Big Publications. ISBN: 9781523916405


Resonance begins with an introduction by Gary Beck taken from his longer essay The Evolution of Poetry, and I’d like to begin this review by looking at this as I feel the content is important, not only to the author himself as it sets out his personal direction for writing, but also is relevant to the role of poetry in this twenty-first century world.

‘I must deliver what I believe to be a necessary blunt message’, says Beck who has been frequently criticised for doing just that. In turn he is scathing about what he sees as ‘a type of indulgence’ whereby, in his opinion, the culture of western poetry (particularly in the States) seems to favour ‘an endless stream of ‘pictorial imagery’ based on ‘personal agonies and confessions’ which degrades ‘the uniqueness of verbal description’.  This is an age, continues Beck, ‘of insecurity and danger’ in which poetry has a diminishing influence on world events. There should be alternatives, he says, ‘to academic products and disclosures of angst’. Among these alternatives are the blunt messages of ‘direct communication’.

I had the pleasure last year of reviewing Gary Beck’s previous collection Conditioned Response which adopted the same hard hitting stance in its hatred of corruption, acquisition, consumption and media manipulation. Dire Prediction, the opening poem in Resonance attacks ‘bloated consumers’ and adds a plea for the return of ‘men and women/who will walk through fire, bullets, blood,/to protect us’ from the world of power where ‘men stand by the buttons/of weapons of mass destruction, eager to slay millions,/while we sit in comfort in our homes’ (Children of Deprivation). The scenario in Radiation Rhapsody is even more chilling for here we have a landscape that includes

……….No more rush hour.
……….No quick latte at Starbucks.
……….Just a large crater
……….that will glow at night
……….for the next hundred years.

Gary Beck, in his introduction, states that he may have abandoned ‘metaphor and simile’ in his preference for direct confrontation with social and political issues. Resonance, however, shows few signs of this. Certainly the language is stark but there is no shortage of lyricism. Condition Grave may attack an ‘aging land’ which is ‘tainted and diseased’ but it begins with memorable lines ‘What is the hunger of water-falls,/little men of tiny boats, flirting with whirlpools?’ Images from myths and legends are plentiful as in Mythos where the death of Balder in Asgard is a cause of lamentation as ‘the wind goes howling and shrieking/through naked trees’ and ‘The creaking of frigid limbs/splits the darkness/as the wild hunt goes on.’

The collection does also include some poems seemingly of a more personal nature. Opium Escape is one such where the narrator says ‘I watched you walk away/out of my dark, bewildered life./I cursed you then.’ I also like the imagery and lyricism of Fond Pause where memories of leaving/being left bring ‘thoughts of musty windmills,/mouse ghosts/unsqueaking in shuddering rafters’
However, it is the ‘tougher’ poems I prefer – the kind of poems Gary Beck has said he wants to write, that need to be written. Bleak Highway, I think, says all of it:

……….It is inky night.
……….We are driving, driving, driving
……….into the impenetrable blackness
……….of the heart of America.
……….There are no stars visible,
……….just never-ending darkness
……….broken only
……….by the passing gleam of headlights
……….from wanderers forever lost
……….in a confusing land.