Review of Gary Cummiskey's Romancing the Dead by Kobus Moolman

With the appetite of a new razor blade, Gary Cummiskey’s latest collection Romancing the Dead (Tearoom Books, Durban), slices through pretence and politeness. It is tough writing. It is uncomfortable. In your face. Tough and uncomfortable and in your face the way Lesego Rampolokeng is, or Cormac McCarthy, in his early novels – Child of God and Outer Dark.

But unlike these two authors, Cummiskey’s eye and ear are far too world-wise (and weary) to take themselves very seriously. He knows that it is through ‘sleeping on a razorblade’ that he has acquired his poetic sensibility, but also admits that he likes his ‘reality stirred with milk and honey’.

So, a contradiction. A paradox that runs through all of his writing: beauty and horror in the same breath; intense lyricism and feverish crudity. And in a truly exceptional poem like “Blue just like the Sky”, he pulls this tension off with great skill. It is a poem that baffles the reader, and at the same time lures them on to continue discovering more and deeper levels of reality and imagination. How else are we to approach my favourite lines, ‘Do not mix with murdered sheep or with the remains of children. The jet plane there is easy to swallow’, except by disassembling our narrative minds, and reading instead with eyes that look at the world slantways?

Romancing the Dead is the second book brought out by Tearoom Books, an independent press in Durban. Run by Pravasan Pillay and Jenny Kellerman-Pillay it aims, according to its blurb, to ‘publish pamphlets of contemporary poetry, fiction, non-fiction and humour’.

Tearoom Book’s first publication was Glumlazi by Pravasan Pillay, a collection of off-the-wall, but trenchant, three-line and two-line poems. Hooray for small publishers, I say. They are often the only ones brave (or crazy) enough to take on work as provocative and uncomfortable as Cummiskey’s latest.

Tree Girl by Jenny Kellerman Pillay

Secrets

She keeps secrets like the English keep colonies.

Victoria Williams: 0034

Oh Coca-Cola, I am so wired and it’s all your fault. Why can’t my habits be more manly and serious? Why do I have to be addicted to you, you bottled pansy-water? Even the smokers are laughing at me. Why did I pay an extra 10p for your ‘Limited Edition Coca-Cola with Lemon’ flavour? You know I love you with a slice of lemon (frankly, we all know I just love lemons), but your citric flavourings are not ‘the real thing’. You to me: like being kissed by a princess, then I turn into the frog.

Anton Krueger and Pravasan Pillay in A Look Away #13

"A Look Away issue 13 out now!

The wait is over! We're proud to present issue 13 of the quarterly
publication A Look Away magazine. Definitely the best issue to date, issue 13 showcases both international and developing South African artists, designers, writers, musicians and performing artists.

Articles such as "Space to Grow" and "Noisewomb" showcase exhibitions of varying and startling local and international talent. Pravasan Pillay and Anton Krueger's short story "Wednesday Evening" shocks you to the core, but also promises a brief episode of twisted pleasure in your existence. Performing artists are given their due in reviews of last year's Krekvars Festival, as are four University of Pretoria design students who won the only Gold Loerie in the students' category at last year's Loerie Awards. We also get some insight into what makes new-metal band Urban Vitamin tick.

Get your copy of A Look Away issue 13 now. Check out our Facebook page for your nearest stockist and a preview of this issue's cover.

You'll only be sorry if you don't get it!"

Tearoom Books Welcomes Ashley Jewnarain

Tearoom Books is pleased to welcome the work of Durban-based artist Ashley Jewnarain to our little corner of the web.

Bukkake Kat by Ashley Jewnarain