Annotation by Kimberly Bredberg
Valerie Coulton’s, The Cellar Dreamer, is balance and disentanglement,
is an invitation. Her lush consenting lexicon conjures a damp and fertile mood, inviting us to forage the must of root. She leads us by the hand, beginning whimsically “some where” moving through “The Orange Window” prose to the sparse, breathy poetics of “blaue augen” leaving us with no desire to back-again.
In the first section of the collection, we are led by the hand somewhere strange yet familiar (even if we’ve never actually been in a cellar), “listen—green husks/sizzle in wind. a little/silk gilds the sound:/ big round kernels/of gold./ little emerald—/ I climb your stems thick/ rungs.” Everyday objects become the to entry to the impenetrable.
To enter the prose of the second section, we sit beside a window in the glow of sun. This is where we rest to sort and decipher snapshots, image, cracks, and bent corners. They are not our snapshots, not our history, but at once are intimately ours, “Spatters of light coming into focus: a city lit by night. A white cigarette, a supple line. His broad back dimly haloed. A sense of counting.”
At last, after being thoroughly burnished with the window’s orange, we are brushed with its complimentary blue. The poems in this last section are cooling, meditative, inspired by Michael Pastoureau’s, The History of Color. Visually sparse, “her stain slips out of her mouth
across sleeping/ ocean,”
these are the poems that spy strange bits of glittering buoyancy and challenge us to linger for the next improvisation surfacing.
On its surface, this volume reminds us to anchor our poems to place, but if we read courageously, if we dare to descend the staircase to this particular earthy-indoor-dank, we encounter what all poets know to be true. Familiarity with a place will not enact the world of a poem. The poet must know that place intimately. When we dare to listen to the dark of quiet of place we will sense its heartbeat, breath, whisper. The Cellar Dreamer reminds us that the great task of the poet is to contour, renovate, tilt the inchoate of place to shelter the unforeseen disposition of a poem.
This collection begins with an inscription from Gaston Bachelard’s The Poetics of Space, “The cellar dreamer knows that the walls of the cellar are buried walls… walls that have the entire earth behind them,” and leaves us haunted with the song of its the lore echoing in our basket of unearthed trinkets as we ascend the creaking cellar steps to the light of day.