Starred review from May 29, 2023
Shaughnessy’s poignant latest (after The Octopus Museum) honors the women artists who have inspired her own creative journey while delving deeply into memories of formative relationships. The first section functions as an artistic genealogy, with many of the poem titles referring directly to women artists, including Torkwase Dyson and Ursula von Rydingsvard. In “The Impossible Lesbian Love Object(s),” the speaker’s voice mingles and merges with the voice of surrealist artist Meret Oppenheim, referencing Oppenheim’s experiments with estranging objects such as teacups from their customary purpose: “When no one can use me, I am most free.” The legacy of these women artists takes on a near-sacred tone: “My fire handed down to me by cauldron witches/ in their longish unauthorized youth—.” The long title poem explores a relationship that has continued to have a profound effect on Shaughnessy over the years, its emotional weight collapsing time to the longing present: “Who needs a future if you’ll go away/ into it, leaving me here/ with only the you of now,/ so soon past.” This generous and moving volume is a dazzling celebration of the mentors who spark creative life.