The Note She Left: Poems

by Susan Hahn

Hahn’s new collection wrestles with the elemental and enduring challenges of the human What can we use from our spiritual heritage? How should we find relief? How, after it all, do we live? The poems are presented as a letter to the world from a woman preparing to leave it. In four sections—“The Bells,” “The Crosses,” “Widdershins,” and “Afterwor(l)d”—she contrasts the hope against the dark that is embodied by an amulet or cross with the abased resignation of torture, failed prayers, and witchcraft. Though Hahn’s vision is a dark one, its dramatic emotional depth speaks to a human power that, though damaged, can still engage. from The Crosses (V) Cross my fingers, cross my heart, arms extended, legs together, not apart, I make of myself a cross. In my pockets bright blue beads, small clay gods, scarabs, four-leaf clovers, bejewelled mezuzahs. In my hat cockleshells to exorcize the demons, to keep hidden the seventh chakra, the tonsure, the bald compulsion. Cross my fingers, cross my heart, arms extended, legs together, not apart. In my ears little bells of confusion, to frighten away eyes of the evil. On my breast a foul sachet to repel the lick of the Devil . Cross my fingers, cross my heart. In my window a glass witch ball to guard against the shatter from intruders. Cross my fingers.

88 pages, Paperback

First published April 18, 2008

Reviews

[Anne · Rating 2 out of 5]

I felt a bit mislead by the title and the back cover. The book was plastic wrapped at the store, so I couldn't peruse. But according to its description it was supposed to be dealing with what one would say to those they loved if the knew they were dying/leaving. However, don't let this fool you. The book is far from this. The poetry is elusive, the narrative held far enough at bay to give it a mystical quality (I went back and forth between feeling I was reading about a witch hunt and/or a woman locked in a mental institution), however, though this quality is quite beautiful, it's never at all clear. There's some good writing in it, some beautiful lines, but the emotional pull is too far out of reach.

[ril · Rating 3 out of 5]

At what point do we acknowledge our intimidation?

Years ago, I asked a friend who drew manga/anime inspired characters if he could draw other things. Like real things.

It took me awhile to realise how rude my question was.

This is the point of view I have of Hahn's latest book. What I call the 'abstract poem' is hard for me to get into and harder for me to like. But Hahn, when she's reading the book, takes away some of the intimidation and abstractness.

And she admitted to starting poems the same way I do... With a title or first line.

A good book, but not the most approachable.