This makes perfect sense, because in the Shaughnessy multiverse, everything contains everything else, or has that capacity. “There are no opposites,” the poet tells us. “There are only dimensions, relations, recurrence, series.” Elsewhere she says: “But nothing’s natural./And nothing’s unnatural either.” For Shaughnessy, the self is fluid, inquisitive, acquisitive and porous. “One person, that tangle of matter and energy, that bag of broken clocks dreaming of ness-ness, can never be only that one person nor the entirety of that person, but they can be more.”
If you had told me when I was in college that I could love a book of poetry that mentioned “the self” as frequently as this one does, I would have heaved a dictionary at your head. Yet Shaughnessy’s vibrant dives into the possibilities of that phrase invest it with multitudes. “I always wanted self/to be a magic scroll/the universe kept safe,” Shaughnessy writes. Me too. Maybe that’s why my younger self became irate when she felt poets were flinging the concept around lightly. Luckily, the self and its youthful prejudices can sometimes be revised.
Femaleness and iterations of feminism provide a framework for “Tanya.” The collection can be seen in part as a version of midlife stock-taking, via odes to women artists, mentors, lovers, frenemies and former selves. Virginia Woolf wrote, “A woman writing thinks back through her mothers.” Shaughnessy’s doing that here, tracing her own derivation and education through myriad mothers, stretching definitions of “mother” to include frictions, crushes, heartbreaks and inspirations that became part of her DNA.
No surprise then, given all this permeability and interpenetration, that boundaries, outlines and doors, those would-be enclosers and barriers, occur frequently in these poems. Shaughnessy asks whether artists have the right “to weigh and lay/to rest the question of half, of division, of border, of definition, of edge?” Elsewhere, in one poem she describes a ballerina as crossing “the strange wide water/between flower and force.” The beauty and economy of that line called up for me an image of the dancer bridging a riverlike division between delicacy and power, embodying both.
The book ends with the “long, careening” title poem, a 43-page surge that feels like high tide after the rising ocean that precedes it. (Structurally, this is similar to the way the last and title poem in Shaughnessy’s earlier book “Our Andromeda” becomes a crescendo, rallying and deepening the collection’s concerns.)