Flame, Glass and Ink are Poems, essays, and reading notes by Stefania Joori Suh

Tag: verse

  • star searcher

    Hounds are racing; horses are galloping,

    She is running up on the hill so steep bedraggled

    Panting in staccatos of fleeting hopes

    for her star that someone stole away.

    So she runs up on the hill again and ever

    Till she finds her lost star.

  • Avalon

    Across the five continents and seven seas
    Beyond the bridges of time over the Lethe
    There is the Fortune Isle – enchanting Avalon
    Where all things grow and perfect themselves
    Not by physical labor but by nature’s magician
    in the sovereignty of nine faerie queens’ realm
    of Prudence, Justice, Fortitude, and Temperance
    Adonized in Beauty, revered in magnificence
    As Morgan Le Fay, the Queen of the queens
    Keeps the Holy Grail under the Sacred Oak
    With her half-brother, once mortal King Arthur
    Whom the Queen has brought from the battlefield
    By Black Boat from which her paramour Dane Ogier
    Came to Avalon, where his journey ended in a tryst
    With the Queen by the lake of shining waters
    Where she brought her son Oberon into light
    who became the king of faeries and married Titania.
    Avalon is near and far, real and mythical from whither
    Truth and wishes are sought after and eloped together.

  • Not impossible

    It is supposed to be about being a woman that binds all women regardless of race and ethnicity across a great divide of time. Forget all others and let us focus on the parallel circumstances and kindred experiences as women. But alas, that seems only a tale told by a romantic fool such as I am. If you think this is hyperbole, then I suggest you read the tweets and comments on the recent news that a black actress plays the role of Anne Boleyn, the second wife of Henry the Eighth and the mother of Elizabeth the First, in the upcoming British periodical drama, which went viral among the learned and the general.  In addition to the vehemently acrid narratives on the racial authenticity of Anne Boleyn – especially from fellow women-, the juxtaposition of the two women’s images, the actress Jodie Turner-Smith and the queen Anne Boleyn itself, belies the popular sentiment as though to mock the actress’s appearance in the fashion of the Tudor period by making parallels with the classical portraiture of the Anne of 1000 days.  It has produced vociferous tweets full of fury from people who regard the role as audacious cultural appropriation faithful to the PC ethos of the time. 

    Actress Turner-Smith’s playing the Tudor woman Anne Boleyn is indeed an innovational idea of breaking the typecasting based on the physical distinction for the roles thinkable and conventionally conceivable for the specific attributable characteristics of certain characters. Thus, non-whites playing the roles conceived for whites are seen as usurping the equilibrium of cultural heritage, upending the very foundation of national identity translated into racial identification, a sentiment prevalent even among the professed liberals anti-everything related to Trump, Republicans, and racism. The rejection of the race crossover representation on screen is supposedly due to the difficulty of following the story’s fluid narrative, unable to be absorbed in the story, not least because performers’ distinctive physical attributes mar the harmony of racial fluidity. But do we really?

    I have watched a few good dramas (British) in which the races of performers do not pin down them to the racially charged roles. To illustrate, in Benedict Cumberbatch’s Frankenstein, the wife of Victor Frankenstein was played by a black actress. Besides, his father, M. Frankenstein, is a black actor, a fine ensemble of excellent thespians whose energetic performance brought Mary Shelly’s original Gothic story to a theatrical feast to the eyes and the mind. While watching the drama, I was not distracted by the black performers’ appearances being the father and Genevan Victor Frankenstein’s wife. Instead, the powerfully emotional and assiduously methodological performances resurrected the textual characters to real humans, full of pathos with vigor and wonder. Also, British Asian actress Gemma Chan, who played the role of Elizabeth Hardwick in ‘Mary Queen of Scot’s,’ is known for her versatile roles transcending her racial background. Her recent performance as a cyborg with a touch of humanity named Anita in ‘Humans’ is as naturally harmonious as streams of a river flowing into a great ocean, not highlighting her physical differences.

    L-R Laura (Katherine Parkinson), and Mia (Gemma Chan) from ‘Humans’

    So why the fuss full of sound and fury of the people who cannot accept the black queen in the Tudor drama when they are boastful of the most advanced mind since the age of Enlightenment? In the wake of the global Black Lives Matter movements, people have become afraid of the wind of changes as a frightful tsunami to subvert social foundations, upending the social orders adverse to their belief systems. Although I don’t eschew their concerns for the wind of changes as I am also conservative, not conventional in belief, the current vehemently acrid opinions about the black woman becoming Anne Boleyn are tokens of latent racialized hostility surfaced by the deluged dissents pouring forth from the socially suppressed sentiments. Indeed, you can’t ignore the differences between the two Anne Boleyns. Still, there are more commonalities than the images seen through your optical sensory input: that they are both women of elegance and confidence who are not afraid of expressing what they can. The actress shows she can pull off the character with what she has, and the queen her the courage to confront the criticism for being the cause of subsequent religious turmoil that changed the face of Christendom in spades. Let not prejudice darken entertainment. 

  • Dulcet, Capacious, Illuminate

    She followed a full bright moon

    That appeared from the ocean’s edges

    Where day’s detritus disappeared soon

    Under the arch of rainbows over the horizon;

    Upon a hill across the moonlit lanes

    She looked at the world below

    Revealing wondrous symmetries

    And every part of her breasting the breeze

    From the ocean far away yonder

    She flew down the starry stairs 

    With felicity that was not ecstasy

    And resembled pleasure only

    As the breeze resembled wind

  • Erased

    She comes from todays

    When nature allows her spirit

    With the body growing revival

    To cross the tumbling waves

    And stops the flows of regret

    To erase blotted yesterdays.  

  • Around the World in 72 Days

    The masts were solemnly lowered as the anchor was triumphantly docked in at a Hoboken harbor in New Jersey. Then there appeared a young woman with eyes of brilliance that glowed with joy and alacrity of departure from her race against the time. One hundred thirty-one years ago today was when one steely journalist named Nellie Bly broke the boundary of imagination and reality by completing her round-the-world race in 72 days at New Jersey. Bly’s phenomenal record was indeed transcendent of the realm of fictitious reality where Phileas Fogg, Jules Verne’s creation of gentleman adventurer, finished his globe-trotting in 80 days. The world record was not only a sensational media headline in her time but also a glowing manifestation of grit, resilience, and the power of the mind that Bly demonstrated on herself as a woman.

    Born Elizabeth Jane Cochran in 1864 in a small Pennsylvania mill town, Nellie Bly was her catchy nom de plume for the literary world, where she became successful. She was something of a frontier pioneer woman in investigative journalism and adventuring into unpathed areas of news reporting of the Dickensian world of crime and health bureaucracy, notably of the asylum at Blackwell’s Island in New York where she infiltrated as an undercover. However, a panoply of her achievements backfired when her pent-up yearning for holidays on a different shore agreed to a spectacular proposal by Joseph Pulitzer, the New York World owner, of the ingenious race-round-the world against the time. Bly’s decision to embark on the one-of-kind adventure was an apropos admixture of personal yearning to get away from the weight of reality and the publisher’s entrepreneurial aim to proliferate circulations.

    So there off, she embarked on the race with a trunk containing hygiene necessities, a few wardrobes, and some books to read, but without any weapon, not least because of her belief: “If you smile at the world, the world will smile at you.” She sailed across the Atlantic Ocean from New York, through Europe, the Arabian Sea, and the Far East, and then back across the Pacific to return to the homeland. During the voyage from Hong Kong to Japan, Bly heard that another contender emerged from the oceans’ edges: twenty-eight years old Elizabeth Bisland, the literary editor of Cosmopolitan, a rival publication of The New York World. Always achieving, always forwarding, Bly hastened to complete her race guarded by the goddess of fortune and blessed by Jules Verne, whom she met during the race in Europe and was able to trounce her rival journalist arriving five days earlier and Philias Fogg eight days.

    Bly was a supreme one of a kind, not most because she was a woman reporter who was some rarity. Instead, she was a person of indomitable determination, commendable work ethic, and insatiable curiosity, which were coveted attributes even to men of high aspiration. Bly demonstrated the Nietzschean will to power in her achievement by the epiphany of the noble soul to create capabilities to make the idea into an incredible and remarkable reality in the chapter of humankind’s history. Herodotus would have loved to record it.