Michael Brown’s poetry is deft and
skilled in its portrayal of male identity, specialising in vignettes that
capture and transform moments and experiences. Even so, repeated
readings of his first full collection, Where Grown Men Go (Salt
Publishing, 2019), were required before I finally got to grips with the subtleties
of his craft.
One striking example of this
afore-mentioned craft is Brown’s use of pronouns. Several poems are written in
the second person and others in the first-person plural. In fact, very few poets
use the first-person plural as much as Brown. However, my favourite pieces from
this collection are those that combine pronouns, play them off against each
other and let them interact, often to powerful effect. Here are the opening
and closing stanzas to two poems. Let’s start with The Social and Economic
Consequences:
I found the place easily enough.
It was a Sunday and I was here to
drink.
They were already six sheets in the
wind…
…and we had not come to think of love
as any more or less than this: a space
where grown men go to find they’re
lost.
And then let’s compare it with Minor
Operation:
When I was four I nearly died.
My temperature sky-rocketed
fahrenheit degrees: 108,109…
…I don’t believe in fate, how routines
of days
and weeks are fixed at birth. We all
pretend
we don’t balance on that edge.
Of course, these extracts don’t do
justice to the poems in question, as they miss out the central cores.
Nevertheless, I’ve chosen to quote them in this way so as to illustrate how the
two pieces employ a similar technique, shifting from the first-person singular
to the first-person plural, but in slightly different ways. The first one invokes
a specific first person plural, referring to the people in this place, while
the second expands that plural far more widely to include the reader.
A common purpose links Brown’s varied use
of singular and plural pronouns in this collection. His intention is to take
something specific and expand it out into the universal, inviting us in to his
anecdotes, encouraging us to invest in them emotionally. Moreover, he’s posing
constant questions as to the role of the individual and the collective both in
the family (such as fathers and offspring) and in wider social contexts. As
such his use of pronouns is pivotal to a deeper understanding of his work.
Michael Brown’s poetry might initially
seem straightforward. Certain critics might dismiss it as facile or simplistic.
In reality, the opposite is true, as Where Grown Men Go demands close
attention before its layers begin to reveal themselves. I only hope potential
readers give this collection the chance it so richly deserves.
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