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Ekke
Multilingually inflected, Klara du Plessis’ first collection of poetry explores the multiplicity of self through language, occupying a liminal space between South Africa and Canada. A sequence of visceral, essay-like long poems, du Plessis’ writing straddles the lyrical and intellectual, traversing landscapes and fine arts canvases. Ekke is a watershed debut from one of Canada’s most exciting young voices.
87 pages, Paperback
Published April 1, 2018
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Displaying 1 - 7 of 7 reviews
February 14, 2019
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worlds over the landscape
as it were
a lake.
Confusing when lake is meer in Afrikaans
but mer is sea in French but See is lake in German
and meer is more
and See is sight.
du Plessis investigates how language shapes our worldview, and creates an interesting wordplay between Afrikaans and English throughout this collection. Other themes were physical bodies, art, history in South Africa, and future in Canada.
worlds over the landscape
as it were
a lake.
Confusing when lake is meer in Afrikaans
but mer is sea in French but See is lake in German
and meer is more
and See is sight.
du Plessis investigates how language shapes our worldview, and creates an interesting wordplay between Afrikaans and English throughout this collection. Other themes were physical bodies, art, history in South Africa, and future in Canada.
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July 17, 2024"Up close
rocks are the reverse of flowers.
Flowers in the semi-desert
shine, tiny pin-pricks of white between grays and browns.
The rocks are blanched, spotted with brown
where the paint peels
through to its original self peering out
as negative space
lichen."
- 'First of All We No Longer Write in Black But in White stones', pg. 13
"The subtitle in contemporary art
is the subtle rivalry of stillness and activity
involving time, the ability to arrest the viewer, to stand for the entire duration
stop-frame / animation
that beautiful contradiction
in which the continued existence of another in yourself
is the only real definition of the hereafter."
- 'Stillframe Inbox', pg. 23
"eyes darting
between the portrait which is the face and the landscape which is life
organs so open they have to close from time to time..."
- 'Las Meninas', pg. 26
"Stutter ringing
sharp / peals of smiles at the attempt / contempt
the temptation to become myself is great."
- 'Ekke', pg. 32
"words kiss but never uncover any form of hidden meaning
unless that meaning is the meaning in that moment
momentum
memento mori."
- 'Ekke', pg. 33
"Deciduous female figures
cast off selves
left and right
lies grow out of shoulder blades
and lodge / a nervous condition called angelic."
'Ekke', pg. 38
"teetering on the edge of is and is
no one can expect to be the same way twice."
- 'Conveyor Belt', pg. 51
' "a given"
the prerogative of what we think we have a right to '
- 'Hunter-Gatherer Criminals', pg.53
Tears have their own agenda
they mark the walls of the cheeks,
schedule a meeting with dissatisfaction, rip through rest in peace."
- 'Hunter-Gatherer Criminals', pg. 59
"Emotion is lonely.
Localized in the body
grief is deadly, but at least an honestly physical experience..."
- Hunter-Gatherer Criminals', pg. 59
rocks are the reverse of flowers.
Flowers in the semi-desert
shine, tiny pin-pricks of white between grays and browns.
The rocks are blanched, spotted with brown
where the paint peels
through to its original self peering out
as negative space
lichen."
- 'First of All We No Longer Write in Black But in White stones', pg. 13
"The subtitle in contemporary art
is the subtle rivalry of stillness and activity
involving time, the ability to arrest the viewer, to stand for the entire duration
stop-frame / animation
that beautiful contradiction
in which the continued existence of another in yourself
is the only real definition of the hereafter."
- 'Stillframe Inbox', pg. 23
"eyes darting
between the portrait which is the face and the landscape which is life
organs so open they have to close from time to time..."
- 'Las Meninas', pg. 26
"Stutter ringing
sharp / peals of smiles at the attempt / contempt
the temptation to become myself is great."
- 'Ekke', pg. 32
"words kiss but never uncover any form of hidden meaning
unless that meaning is the meaning in that moment
momentum
memento mori."
- 'Ekke', pg. 33
"Deciduous female figures
cast off selves
left and right
lies grow out of shoulder blades
and lodge / a nervous condition called angelic."
'Ekke', pg. 38
"teetering on the edge of is and is
no one can expect to be the same way twice."
- 'Conveyor Belt', pg. 51
' "a given"
the prerogative of what we think we have a right to '
- 'Hunter-Gatherer Criminals', pg.53
Tears have their own agenda
they mark the walls of the cheeks,
schedule a meeting with dissatisfaction, rip through rest in peace."
- 'Hunter-Gatherer Criminals', pg. 59
"Emotion is lonely.
Localized in the body
grief is deadly, but at least an honestly physical experience..."
- Hunter-Gatherer Criminals', pg. 59
This entire review has been hidden because of spoilers.
September 29, 2018
I loved this book for many reasons, starting with the cover, “Vela Sikubhekile” by Nandipha Mntambo from the Stevenson Gallery, South Africa [cowhide, resin, polyester mesh, wax cord with horn
I love the sensuality of the work, discussion of the female body, comparison to a cow, [domesticated animals most often live in a form/an enclosure like a field or a pen p. 49] the way the work interrogates language in a playful way with word play [cocktail party/cocktail panty p. 76] but also by using words from Afrikaans and English and showing how they differ and how they are the same. “I walk across different languages as if they are flatlands” p. 47. The language is artistic, poems are ekphrastic, commenting on paintings such as Picasso’s Las Meninas, and self-conscious, referring directly to troubles writing the poem or the poem itself, to troubles – language as camouflauge, autobiography appears, musings on the name Klara and its variants, references to the gaze – the mirror is not a safe space, self appraisal
I love the sensuality of the work, discussion of the female body, comparison to a cow, [domesticated animals most often live in a form/an enclosure like a field or a pen p. 49] the way the work interrogates language in a playful way with word play [cocktail party/cocktail panty p. 76] but also by using words from Afrikaans and English and showing how they differ and how they are the same. “I walk across different languages as if they are flatlands” p. 47. The language is artistic, poems are ekphrastic, commenting on paintings such as Picasso’s Las Meninas, and self-conscious, referring directly to troubles writing the poem or the poem itself, to troubles – language as camouflauge, autobiography appears, musings on the name Klara and its variants, references to the gaze – the mirror is not a safe space, self appraisal
August 1, 2018
I couldn't put down "Ekke" yet I wouldn't say I swallowed it whole without chewing. Du Plessis's writing is at once sparse and lusciously in bloom in the blanks she leaves for the reader. "Ekke" touches upon the themes of language and identity in a way that resonated with me and my own poetry strongly, adding an additional layer of engagement and interest. These are poems that can be read out loud and in private as du Plessis imbues language with a meditative quality of the sort that I really needed right at this moment and will undoubtedly need again in the future, making "Ekke" a collection of bottomless wisdom and interpretative possibilities.
January 9, 2019
An exhilirating tumble. Will read again.
August 22, 2019
There were lines and moments that really hit me but I think overall having to look up translations and the sparseness of the poems made it difficult for me to connect with the work.
May 4, 2018
An incredible journey of the self through language. Many pieces in this collection really make you stop and think about how our language shapes our reality.
Displaying 1 - 7 of 7 reviews