Review by Joey Madia
It is always a special day when a new work by this innovative and energetic writer arrives in my mailbox. Over the past 10 years, I’ve reviewed about 20 percent of Tabios’ over fifty published works, at times being inspired to be as innovative as the poet and the particular work in how I did so.
Part of her ability to be so prolific is the way she reworks, recycles, and reimagines her own writings and the writings of others—in this case, as the Author’s Note indicates: “Each poem begins with 1 or 1–2 lines from ‘Self-Portrait in a Convex Mirror’ by John Ashbery.” In many of my previous Tabios reviews I talk at length about her various means of working with existing pieces to create something new, so I won’t belabor it here. Instead, I’ll say that ALL work a writer or other artist produces is linked to and derivative of something—many things—that have come before.
Tabios simply has the self-awareness to be up front about it, even when it is more ephemeral than repurposing lines from another poet’s already existing poem.
Although Tabios has always been to some extent political, be it the Filipino diaspora, 9/11 and the world ever since, or the complexities of gender or adoption for adopter and adoptee, I found Witness in the Convex Mirror to take it to a new level. And the clue is in the substitution of Witness for Self-Portrait. As many a wise and wizened soul has told us, to Witness is to be responsible to Speak. And speak Tabios does, on a variety of pressing subjects in a hurting and hurtful world. So this review will be less about the technical achievement and more about the content of the poems and the responses they evoke. Continue reading