Raw and focused disillusionment. A longing for a definable existence within the mundane. Heartaches tacked with pushpins. From all of this, with unexpected play with syntax, a defiance towards traditional form, and tactile and terse imagery, Meghan Privitello creates a playing field where she volleys ideas of love, loss, relationships, and the self. Within the boxed-in boundaries of fixed margins, the poet’s search for a new language is a way to re/define her heart and explore her own humanity.
In poems such as “Active Drowning,” “Manifest,” “Interpretation,” and “Too Late,” she exposes blind spots within herself and has a distinct way of illustrating what has left the room. There is a humility of the self in her poems which creates a vacancy that she is longing to fill, trying to fill with a new language if nothing more. Often, she lets in a crack of light to reveal what is behind the empty room, if only to reveal more darkness and despair. Even though at times Privitello exposes, at best, a fraudulent landscape of the disparity of the self, it is within these emotional juxtapositions that her personal perspective of her own humanity is put forth:
Gill-less and guileless, how long could we live
together in the sea, never knowing when we’ve
gone too deep?
Sometimes I am so small my obituary starts
and ends with she. Continue reading