Maria Takolander

While the terms ‘romance’ and ‘novel’ are entangled at their origins, romance novels have been traditionally disparaged as formulaic and frivolous, feminine and anti-feminist. Nevertheless, romance is the most popular genre in the world. Harlequin reportedly sells two books every second. In recent times, scholars have given the genre serious attention.

Trauma is often said to be unspeakable. There are various reasons for this. Pain and shame are silencing, as are implicit forms of censorship (of the kind scorning trauma literature, for instance) and explicit injunctions against speaking (from perpetrators, enablers, or the law). But it is also the case that trauma doesn’t inhere in language. Trauma lives in the limbic system, which is that of the fight, flight, or freeze response, and which is necessarily more immediate than language processing. After all, when your life is under threat, it’s not words you need, but action.

In Ghostly Subjects, her first book-length collection, Maria Takolander brings a sharp, wide-ranging voice to various themes of haunting. What, after all, does it mean for a subject to be ghostly? Takolander reveals a fasci-nation with the ways that surfaces of many kinds might be disrupted within the poetic text – for example, the ways in which the present can be interrupted by the pressures of the past, or an external geography of landscape by the private desires of the heart, or the stage of global events by the graspable scale of the local. And as these boundaries blur and suffuse, Takolander’s poetry suggests that the subject is not only the world under the scrutiny of the poet’s eye, but also the subjectivities of poet and reader, both drawn into these shifting spheres of light, shadow, and surprise.

Umberto Eco once described the text as a ‘lazy machine asking the reader to do some of its work’; to contribute, in other words, to the production of meaning. Poetry has a particular reputation for being demanding, but Tracy Ryan’s tenth poetry collection, Rose Interior, isn’t challenging in the way that Eco envisages. It is less about engaging readers in the masculinist energy of the ‘machine’ and ‘work’ than about inviting them into a feminine world of domestic spaces and quotidian phenomena ...