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40 Simpozij OBDOBJA souls were left dangling. Some unable to lfy and some who simply didn’t. I become one who restrained himself from taking revenge against the killers. 10) (ibid.: 1 The under-voice is as haunting as it is powerful. She’s drawn to Louise Gluck and could be characterizing her own work when she speaks of Gluck’s »paradoxes, keenness and half-disclosed emotions« (Carlson et al. 2017: 121). In the following poem In Chorus from her collection Births, Drev recounts the legacy of growing up as a woman whose views of love and life were shaped by reading literature that makes sacriifcing the heart a morally superior act. Too much waiting, too dependent on the lexicon of foreign words, on plans whispered in our ears: how, where, with whom from the mouths of rigid gods. We gratefully return to the owners their epiphanies. (Trans. by author and B. S. Carlson) In this minimalist ending, she must come to her own vision, recalling the often- subtle workings of repression, reminiscent of Adrienne Rich’s ending to her seminal poem eck, rDiving into the W Drev values the understated and intuitive as a source of spiritual resistance. As Jay Parini (2008: xii) says of the usefulness of poetry in Why Poetry Matters, she »allows consciousness to emerge within the grid of the poem«. She often writes about the individual who ifnds meaning in the cracks and crevices of life. In her poem Sooty Heads about hunting for mushrooms, the old woman »Bent low […] digs beneath masses of leaves / between the fallen trunks / as if she’s unearthing meaning itself.« (Drev 2021) Women born in the mid-twentieth century have inherited an obedience toward a particular traditional lifestyle that, when it no longer »ifts«, catches one off-guard and alone, as she writes in Existence like »a speck in the maze.« She recalls a life of constraint, »Inwardly composed, aware / you keep moving down the corridors, / […] immune to the toxins the pressures, the chill.« She uses the word vanish to describe what she can do. »Or else just sit on the fence for a time.« Her language and images »Baking are unadorned: a pastry isn’t enough.« The teachings she was given and have adopted have become a shell, pastry layers a metaphor for the layers of protection she must cut and shape »[s]aving / until the crust crumbles.« She hungers for love to ifll the layers. »I stay attentive, open, / softly kneading fresh hopes« (ibid.). In English 105
