In Red Corner, Dawn Web chronicles their journey toward self-acceptance in ten chapters. The early chapters are spare, confessional, and often emotionally messy. Intimate, domestic spaces in Chapter 1. Surreal, and public spaces snd social interactions in Chapter 2. Enthalpy are rendered strange, uncanny, and disorienting. In the first half of the collection, Web typically favours economical, lyric poetry reminiscent of Phyllis Webb’s Naked Poems, but often plays with the rhythmic and declarative registers of slam poetry, sections of dialogue that call to mind screenwriting, and prose poems. This formal elasticity builds towards the sixth chapter, Vortex, a personal essay that chronicles the poet’s journey through mental illness, sexual assault, and sexual identity. If the voice in this chapter and the following—Backwards, a socially-minded section reminiscent of Karen Solie’s politically charged poetry—is confident, even strident, the path to that self-assurance has been traced in the earlier chapters, which reveal Web’s ambivalence, in terms of diagnosis, embodiment, illness, and treatment. In the final chapters, Web returns to an intimate and confessional voice that opens towards a greater sense of connectivity, community, and acceptance. Red Corner is more than a collection—it’s a carefully mapped journey that acknowledges the difficult and essential nature of self-acceptance.
Web’s first book is a great read—it’s complex, thoughtful, and engaging. The breadth and the depth of the writing in Red Corner promises that it won’t be the last from this ambitious, brave, and introspective young writer.