Full-Metal Indigiqueer
Whitehead, Joshua. Full-Metal
Indigiqueer: poems / Joshua Whitehead. Talonbooks, 2017.
$18.95
ISBN 978-1-77201-187-6
Reviewed by Wes Babcock
In the acknowledgements to this collection, Joshua
Whitehead has a message for all the “settlers who wish to continue
appropriation: hereIamhereIamhereIam[period]”. I can’t say that I wish to
continue appropriation, but I acknowledge that I am a settler, and I do wish to
unpack some parts of my experience with this book.
Both the form and content of the poems throughout Full-Metal Indigiqueer slice through barriers imposed
by the conventions of language, to assert a new kind of identity for Whitehead,
as the poet struggles and fights against the social, literary, and individual
colonizations that he lives with/in.
The collection’s project is perhaps best understood
through a close reading of the form of the opening two poems. Beginning with
the concrete, almost graphic-novelesque “birthing sequence,” Whitehead attempts to situate
himself as a present active agent amidst the anglo-franco-european detritus
colonizing his psyche. The poem fills the first 18 pages of the book with progressively
larger white (and colon-ized) circles on a pure black background, stating “:
::: : : ::: H3R314M:: ::: ::”. This is complicated for
numerous reasons, not the least of which is that it suggests a reluctance to
use the written words of the English language, and yet finds only a sort-of
alternative.
In the second poem, “i no bo - d[i]y,” through an elaborate naming process, which is
nearly equal parts denial of the need to be named and expression of a name’s
inevitability, the poet becomes “zoa.” Amidst a continued denial of
conventional language, he wonders “what means name[questionmark]” and attempts
to reach a conclusive definition, by quoting the OED. This is emblematic of the
conflict inherent throughout the collection: who am I, in the face of the
colonization of all my ways of understanding? how can I use the tools of
colonization to decolonize myself and my world? what does an old English man
know about me?
Beyond the fact that colons act as literal gatekeepers of
meaning: what you find on one side explains what’s on the other, they serve as
a partial homophone for colonizer, that is to say settler people. The whiteness
of the circles in birthing sequence, not to mention of all the subsequent pages in the book also
bears notice. Whitehead takes the reader from a place of no words, and black
pages into a whiteness of words, of reprisals of white men’s words, and then
back out through a catalogue of missing and murdered Indigenous women. The
careful logic of this collection’s formal decisions means this path is no
accident.
Furthermore, he resolutely refuses to use punctuation
besides dashes, braces, parentheses, and the occasional comma, instead writing
“[period]” “[questionmark]” and “[blank]” to conclude sentences. These marks
are used to expand thoughts, causing a concatenation of ideas, rather than
attempting to resolve or complete any of them. It’s also interesting to note
that when Whitehead does conclude a sentence, he seems to be left with many
more questions than answers: [questionmark]s within the text outnumber
[period]s by a significant margin. Only in one poem, in a section composed
entirely of non-English letter combinations, do [period]s outnumber
[questionmark]s. I don’t know if this section of “i no bo - d[i]y” is transliterations of a language, or a manifestation of the
complicated process of learning to speak, but in any case it makes a clear
statement that the principal things that Whitehead is sure of are not knowable
inside of English.
The winner, in terms of frequency for punctuation, is the
colon. I understood this pervasive colon usage as simultaneously a reflection
of Whitehead’s continued attempts to make sense of his thoughts, a quirk or his
visual taste, and a subtle nod to the omnipresence of colonization throughout
our interactions. They of course mean all of that, and none of that, and
whatever other interpretations the reader wants to impose on them. This is the
appropriative act of reading.
One of the reasons I’ve concerned myself with this
exhaustive discussion of punctuation use is that I’m trying to avoid colonizing
the substance of the work with my own critical interpretation. Of course, the
act of reading is always colonizing in the sense that it’s a re-writing. And
these poems are self-consciously re-writings of colonial writings.
Through the middle of the collection, Whitehead is
explicitly concerned with the project of decolonizing himself, and
“[IN]dig[IT]izing” colonial text. He explodes Spencer’s The Faerie Queene, Milton’s Paradise Lost, and Kundera’s Ignorance, to name a few. There are more
explicit literary allusions and reprisals than can be known, let alone
identified. In fact, the small set of “Sources” that Whitehead includes reminds
me of nothing so much as Eliot’s “Notes on ‘The Wasteland,’” in the sense that
more is omitted than is revealed.
Whitehead displays a clear love for the possibilities of
written language, despite his misgivings about how it has come to be a part of
his life through the colonial process. The creative use of text and language
throughout this collection suggests that creative use of language can become a
bold way through the traps set up to confine speakers to sanctioned ways of
expressing themselves.
Wes
Babcock is a Toronto-based writer, editor, and performer. His most recent work
has been in the theatre, where he has co-written and performed in Your Princess is in Another Castle, a
play for two actors, currently in its second stage of development following a
successful tour in 2017. He is also a stage manager and multi-talented theatre
technician whose productions including Vox Théatre’s Oz, and Pinocchio, and
Broken Turtle Productions’ Roller Derby
Saved My Soul. He has notably worked as a dramaturge on the award-winning
production Everybody Dies in December
(Best Drama, Atlantic Fringe 2016), and for playwrights such as Gerard Harris
and Charles Salmon.
Select
writing credits include “Ritual” (poem) untethered magazine vol. 3.1, “Jamie
Portman, What Have You Done?” (editorial) newottawacritics.com, and “Oscar
Petersen Plays” (poem) the Bywords
Quarterly Journal vol. 10.4. After 4 years as a critic with the New Ottawa
Critics, he recently ended his tenure with the organization as their managing
editor, to pursue his more creative aspirations.
You
can find him on Instagram @wildrnesswes, or online at www.wesbabcock.com. When
he’s not at his desk, on stage, or online, you will likely find him clinging to
vertical rock faces, or paddling a canoe.