How To Make A 1 Year Old Go To Sleep Exploring Memory, Creating Myth, Providing Sustenance – Holly Prado Takes Us "From One to the Next"

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Exploring Memory, Creating Myth, Providing Sustenance – Holly Prado Takes Us "From One to the Next"

Holly Prado’s latest book of poetry, published by Cahuenga Press, from one to another taking us on a journey from day-to-day transition and adaptation to broken dreams of mother and memory and ultimately easing us into a guarded but hopeful mythology. The book consists of three sections, which are sharply different in style, but united in their search for meaning. The first part is also the title of the book from one to another and use the phases of the moon to light our path. It starts with the full moon in Taurus/Scorpio, which happens in the fall, the year is coming to an end and in Los Angeles, as an artist, I remember how one starts to worry towards the end of the year, when production slows down and the city goes to sleep, no jobs, no prospects until January (in these economic times, now very a real concern for more than just the production community). Prado deals with this The next day Santa Anas. The piece speaks of the tension of hard times during Los Angeles’ tense Santa Ana season:

if we wanted relief

we wouldn’t live here

cracked skin especially on my thumbs

and minor surgeries

However, the work becomes easier when Prado thinks about small comforts and, in doing so, can comfort her husband:

new sweaters

two of them

are nice —

i earned the money

as i always do.

grudges pass

“don’t worry don’t worry”

I’ll tell him

at night earlier than usual

These poems are quiet and fluid and acknowledge what it is to be present, to be established, to be human on this earth. Visionary, but true describes this beautifully:

the moon above my head this Sunday morning

fully visible but

startling like I’ve never seen it before

like this is the first month

The quiet observation of life’s changes gives way to sharp memories branch the second part of the book. When I read branchI felt a tremendous sadness that came as much from the memory of the magazines as from the actual sources. The poems stretch along the family tree towards the mother’s memory, whose branch was cut too soon. One of the most memorable songs for me is Skirttwo simple words, one stanza:

green

wing

On its own, it could be simply visual and too cryptic for any emotional understanding, but within a partition it acts as a bridge. It’s mom’s skirt and that skirt is a memory of spring and wind and basically life. That skirt evolves into a skirt with gold coins on the hem and the life of a gypsy daughter who eventually learns to stop looking for meaning in loss and instead turns to meaning in what we have left. The section ends Tonight:

give me the way down

but then

I look at one branch

sprout more branches

then more

I found this section incredibly moving and its pulse is fast, moving from image to image, just like a dream. These images begin to plant the seeds of mythology that will come to fruition in the final volume.

In celery, the third volume of Prado’s book, the narrative poems address our need for mythology and divine interpretation of everyday life, though Prado himself, with his pragmatic lyricism, would probably deny the latter. The title is taken from the old woman who appeared on the last day of the Chinese New Year and distributed celery to the revelers. Prado offers an explanation in the work Sweater:

To bring us back to our human senses, the story tells us that on the fifteenth day of the Chinese New Year, it is time for the old woman to greet us with celery, a piece of basket, to take away the sugar of ecstasy, to ease us. to the feet of vegetables -He reminds us that….we are on a planet that sustains and values ​​its creatures –

Prado’s narrative work in this section reaffirms this reminder basket:

One of us falters, the others jump in – skills, advice, prayer, cooking – to release the pain, to restore, to create a new beginning. The power of physical salvation has nothing to do with comfort. It pushes us: cellular inheritance, molecular faith. Its speed is the realization that death is behind us – so make haste.

The work still talks about the speed of nature, but in fact all the narrative poems have a slow, delicious quality. As if Prado were weaving a documentary using time-lapse photography. This time lapse gives us a glimpse into the inhabited space between the newly formed memories of a year that took shape as in Sunflower:

…the allure of meat and green vegetables and cool wine…dishes that force our bodies toward the golden curves of the pumpkin, the wintry forms that are at their best with long, slow cooking.

But it’s not just about physical nutrition. These pieces, like those from one to another and branch looking for a thread, a thread connecting our individual stories and our collective consciousness. In the last paragraph Season Prado deals with the subject directly and effectively. He lists what he has collected and written during the year and then:

These little mirrors matter because they are the signifiers through which my myth creates itself, a myth that relates to the imaginary truth of the celery woman or any culture. …invisibly it thickens our living structure. Everyone adds to this. Everyone who talks, writes and wonders.

With this, Prado embraces his readers and brings them to his gypsy camp to tell their stories and warm their hands. Using different styles in the book, Prado is a master storyteller, but you get the sense that there is room for all of us. from one to another not only reinforces the importance of language and style, but also the narrators themselves.

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