What is it we are interpreting and from whose house? They are legitimate questions and all becomes clear as soon as we investigate the poetry of Lisa Kelly.
Kelly has right-sided deafness which does not define her, and is a glorious poet which does. Her work illuminates that fact through the three parts of her collection, each named with a double meaning in mind relating to hearing: Chamber is part of the ear and also a room. Oval window is self-explanatory and also a small membrane in the ear. Canal relates to the ear canal and a stream or waterway, perhaps highlighting the journey she has taken as a poet.
The poem "The House of the Interpreter" is a visceral attack on the different approaches to communication for the Deaf: Oralism, the theory, practice, or advocacy of education for the Deaf chiefly or exclusively through lipreading, training in speech production, and training of residual hearing, as opposed to Manualism, the theory or practice of education for the Deaf employing and promoting the use of sign language as the primary means of communication. Kelly has taken one and rejected the other. This is partly explained in this piece and raises questions the vast majority of us cannot answer. Indeed should we answer on behalf of others? I think not. This is their world, their body, their truth.
I find the section Oval Window most fascinating as she relates mushrooms and fungi to deafness. In a talk she gave on YouTube she tells us about this and how fungi communicate. She talks of the world wide wood and her interest in the different ways that life forms communicate. This was very important to her during lockdown and in her studies she learnt how the misunderstood fungi could talk to us and still leave us so much to learn.
"If My Deaf Ear Were a Mushroom" is perfection and the final line - "it would be valued for signing the way to alternate reality" - sums up he words perfectly as she takes on myriad adventures full of vivid colour and images to highlight her world. The mystery of the mushroom she communicates with is epitomised in "Mushroom Stones" where we see normality and mysticism unravelled and almost explained. This a fascinating approach and opens up a bright new world for us to explore and to discover. But discover what? Kelly takes us down the rabbit hole and we have to decide for ourselves.
Later in Canal we explore her journey and we read of the misogynistic world she faces and how, in "A Diptych is not a Dick Pic," she has to confront it. Not a pretty sight in anybody’s world. The colours of "Metamorphoses: Colours, Marks and Signs" contrast perceptibly with her own world. "Blue Hydrangea" epitomises this with the struggle to turn the pink flower blue, the disappointment of having a girl rather than a boy.
This collection is as varied as it is powerful, as imaginative as it is self-possessed with a strength the reader can feel in the writing of a poet secure in their place in the world and confident enough to examine the failings and successes we all have. This is an incredible piece of work and must be read for its insightfulness and its beauty.