Jana Prikryl begins her poem "Chorus," the first piece in her fourth collection "The Channel" (Norton), with the lines, "While the others spoke, my meaning was coming through." The identity of these "others" remains ambiguous; Prikryl might be referencing media voices, fellow poets, or simply the everyday chorus experienced throughout life. She notes that these voices do not precisely represent her views, emphasizing that "meaning was elsewhere and I kept it to myself." This raises an intriguing question: how can one retain meaning privately while composing poetry intended for public consumption?
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Prikryl has expressed her disdain for poetry that simplistically conveys meaning, stating, "Basically I hate poetry that pretends it’s possible to say what you mean." She finds the excitement in writing poetry lies in examining and questioning words that claim to express her thoughts. This self-reflective approach leads to a challenging, layered style in "The Channel," where she employs run-on sentences that juxtapose fragmented clauses. Her syntax often twists unexpectedly, creating a sense of struggle as she balances humor and silence amidst complex imagery and ideas.
While some readers might conclude that Prikryl prefers to keep her meanings private, this interpretation may overlook her deeper intentions. Her skepticism towards straightforward self-expression prompts her to adopt various voices. The collection features numerous references to Shakespeare, particularly in relation to "King Lear," where characters like Cordelia and the Fool deliver extended monologues. Prikryl cleverly intertwines her own narrative within these speeches, complicating the distinction between her own voice and her characters'. For instance, in "Cliff Notes," Cordelia writes, "Backstage I’m scribbling lyric poems / to prove there is a place where I can be."
The intermingling of voices becomes most effective when readers cannot easily discern whether Cordelia or Prikryl is speaking. For instance, if "Chorus" is interpreted as coming from Cordelia, then "the others" would represent her deceitful sisters. Throughout the play, Cordelia's honesty stands in stark contrast to Goneril's and Regan's flattery of King Lear, reinforcing her choice to maintain authenticity. Prikryl reflects on this ambiguity, hinting that her original style, for all of its uniqueness, is influenced by the very clichés she seeks to confront.
In the context of contemporary political climates, Prikryl's exploration of autocratic demand for public loyalty resonates strongly. The theme of father figures permeates "The Channel," yet her focus shifts from Lear to Cordelia, a character often overlooked. Prikryl describes Cordelia as an "aperture in the story," emphasizing her absence from much of the play, which allows space for an imaginative exploration of what Shakespeare chooses not to express.
With titles such as "Dover Calais" and "Calais Dover," Prikryl's monologues conceptualize journeys across the English Channel, intertwining her experiences with historical narratives. In "Calais Dover," the speaker notes the arrival of an army on a passenger ferry "circa 1992," highlighting the blending of time periods as a thematic device.
Jana Prikryl, born in Czechoslovakia in 1975, immigrated to Austria and later Canada with her family to escape communism. This migration, which she described as "baffling," heavily influences her understanding of language and identity. In "The Channel," she uses Cordelia's experiences to reflect on the transformations inherent in crossing borders. Prikryl captures this with slapstick imagery, such as Cordelia falling into the English Channel, underscoring the peril and opportunity of such transitions.
Prikryl’s early dislocations have shaped her engagement with language, emphasizing its fluidity. Her poetic style integrates Elizabethan language with contemporary scientific terms, providing a rich, multi-layered reading experience. One poem, written entirely in Czech, challenges readers to confront the complexities of language. In "The Knots," Prikryl narrates a visit with her father, whose dementia has rendered Czech his more accessible language. This poignant moment, marked by shifts in communication, emphasizes the overlap of personal and universal experiences of family dynamics.
Prikryl’s relationship with her brother Voyta, who died in a car accident in 1995, recurs throughout the collection, culminating in the closing poem. That piece captures the tension of night approaching, with the narrator reflecting on isolation and intimacy. In the final moments, Prikryl conveys a longing for connection, stating, "as if he were the one—who saw the mountain in the small hours." This line captures the essence of her exploration: the ability to convey deep personal meaning through the complexities of voice, memory, and language.