review by José Angel Araguz
The First Time PCOS Spoke – Minadora Macheret
The doctor didn’t believe my periods had disappeared.
Most months were painless
as I watched all the other girls clutch cramps and bloating—
I wanted that too. I was different enough
and every 28 days I begged my uterus.
Medicine wrestles pubescent girls into journal articles
amenorrhea is due to over activity (at this age).
Please gentle the body—
thicken it with sleep.
When you slow down,
you will be
Reading through the poems of Love Me, Anyway (Porkbelly Press) by Minadora Macheret, one encounters a poetic sensibility capable of exploring the intersection of disability and being a woman in ways that interrogate the misguided narratives around both. The first line of the poem above (“The doctor didn’t believe my periods had disappeared”) begins this work within the context of disbelief. Here, it is disbelief not only of what is stated, but also an implied doubt due to youth and gender. The poem then builds from this initial disbelief by adding to it the speaker’s own disbelief in the workings of her body. The difference between these two disbeliefs is stark: the doctor’s disbelief is authoritative, while the speaker’s is grounded in vulnerability and fear. This starkness is furthered by the third stanza, where the medically-informed disbelief is seen as “[wrestling] pubescent girls into journal articles,” phrasing that evokes what it feels like to have a personal experience reduced to objective terms and analysis.
By the final stanza, the turn to the language of prayer (“Please gentle the body— / thicken it with sleep”) is a surprise on several levels. First, authority is subverted and, while still distant, it works now in a different tone, a tone that reads first as “gentle” but proves itself controlling by the end. Secondly, this subversion exposes the condescension and harm of the doctor’s disbelief; their authoritative advice is prescriptive in both a medical sense but also in a sense charged by gender bias. In a way, this last stanza could be read as a command to the speaker, a woman, to “slow down.” Lastly, returning to the title, these last lines can also be read as PCOS (Polycystic Ovary Syndrome) itself addressing the speaker. Because it echoes the medical authority in tone and advice, this address becomes a betrayal charged with vulnerability.
This engagement with disbelief through lyric (re)imagination is at the heart of Love Me, Anyway. The PCOS experience is shown as a human experience that affects both a woman’s body and identity. Throughout the poems, Macheret evokes the struggle of identity through poetic acts of (re)definition. In “Remembering Girlhood,” the speaker reckons with the identity-shaping effects of the schoolyard:
…I am other Watch the girls point inside themselves to understand the outside of me Listen to their words mouth traitor…She can’t be a woman there is no moon inside of her to wax and wane Follow the porcupine quills on her face and breasts She is of men not of women Turn away turn away turn away
What is compelling here is how the context of the schoolyard is subverted by, first, being informed by the disbelief of other children, and, second, by how this disbelief is channeled through a formal, high diction. Phrasing like “there is no moon inside of her to wax and wane” and “She is of men not of women” is charged with a severity that drives home the damning effect childhood bullying has.
In “To the Bearded Lady I Am (Age 26),” the speaker begins by sharing:
I spend my days mirror-bound. Farm the angles of my face with tweezers. Lately, I can afford laser treatment. Each pulse of light burns hair follicle clusters.
Here, we have the clarity and directness found in other poems, metaphor being used to set the scene. The poem develops to these ending lines:
The anxiety of hair growth strangles my days to slip into nights. I’m like a teacup left out, dust covered, a chip in my side.
The clarity of the opening lines grounds the poem in the speaker’s reality; coming to these closing lines, metaphor works in a different, richer way by showing a further depth to the speaker’s reality. Not only is anxiety acknowledged as part of the self-conscious act depicted, but there is the effect on identity. In seeing herself as a “teacup left out, dust covered, a chip in my side,” the speaker evokes ideas of beauty and purpose as well as neglect. A disease’s ability to make one feel “other” (as noted above) is presented here in literal object-ification. These lines are another example of how working past otherness and imposed narratives comes at the cost of a shifting sense of self.
In this last poem, the idea of disbelief—both that of others and one’s own—is answered by a clear reckoning and acknowledgment. Disbelief, by being present, implies the possibility of belief. The poems of Love Me, Anyway argue, ultimately, that sometimes all one has to believe in is one’s own experiences, one’s pain and survival. These poems embody one of the gifts of lyric poetry, specifically the ability to evoke struggle and the life found through it.
In the title poem (below), this idea is worked out as a hard-earned belief. (Re)definition appears again in the opening lines—“Settle into my skin, / show of nature gone awry,”—but is accompanied by conscious (re)action “make-believe the parts are working.” The poem continues through admission, creating from honest acknowledgment a lyric space where the speaker is able to fully voice and feel, and, thus, fully exist.
Love Me, Anyway – Minadora Macheret
Settle into my skin,
show of nature gone awry,
make-believe the parts are working.
There will be days
anger currents keep me upright
as anxiety locks me to the bed
and the safari of my skin
full of brush
stains the covers fluorescent-red
the Nile is deep and endless
as the mechanism syncs
to the monthly flood-watch.
And on the mornings
I am barren
for a day more than I can handle,
please love me, anyway.
Influence Question: How would you say this collection reflects your idea of what poetry is/can be?
Minadora Macheret: This collection reflects what I see poetry can do and/or can be because it is giving voice to invisibility, to disability, to the liminal spaces that make us more human than we care to admit. Through the manipulation of white space and use of lyric images to guide a narrative that is searching to understand itself, this collection allows for the reader to gain an emotional glimpse into a body haunted by grief, by disease, by an inability to function “normally.” Also, there is the blending of language/translation, of culture, of folklore/myth (Baba Yaga & Demeter make appearances), and how those elements of identity also play a foundational role into understanding the body and how to recreate the self and the stories told on the page. Most importantly, this collection is another avenue for political poetry and social justice because it is asking the reader to see how the patient is gazing back at the doctor, the clinic, the world they inhabit, especially as it considers the disabled body, the diseased body, the female body. Poetry also has the capacity to breathe new meaning and understanding into the undefinable and this collection is pushing against the ways in which doctors engage the female body and struggle to offer support and/or treatment for diseases they think they understand.
Influence Question: What were the challenges in writing these poems and how did you work through them?
Minadora Macheret: Some of the challenges in writing these poems came through translation. What I mean by that is not just the translation of disease from scientific literature to something accessible, but in the actual act of thinking in Russian (my first language) to writing it in English. Because I think multilingually (and grew up in a household of polyglots) I struggle with translation at times and though poetry has the capacity to hold a multiplicity of languages and their conversions/inversions, I would need to have trusted friends look at the syntax and/or grammar at times of what I was saying for clarification. Another challenge was how to talk about a disease that is terrifying, that disintegrates the body from the inside out without just glamorizing it or making the disease beautiful. I worked very intentionally with balancing between the horrific/grotesque with lyrical images or use of musicality/sound to show the duality of disease and its affect on the body. In particular, I am thinking of my “Self-Portrait as Mythos” poem that is using beautiful language and imagery to show the realities of a disease that causes infertility among a host of other issues. Lastly, something I struggled with is how to balance the grief in the collection without ending on something inspirational. I tend to turn away from the inspirational because I wanted to show the lived every day experiences that many people go through as grief/disease/disabiltiy becomes a facet of their lives. One way that I dealt with this is to not shy away from (my) truth of the experience and to let myself sit in those images/experiences as they were.
Special thanks to Minadora Macheret for participating! To learn more about Macheret’s work, check out this interview with her at Rogue Agent Journal! Copies of Love Me, Anyway can be purchased from Porkbelly Press.
Minadora Macheret is a Ph.D. student and Teaching Fellow at the University of North Texas. She is a Poetry Editor for Devilfish Review. Her work has appeared in Tinderbox Poetry Journal, Red Paint Hill, Rogue Agent, Connotation Press, and elsewhere. She is the author of the chapbook, Love Me Anyway, from Porkbelly Press, 2018. She likes to travel across the country with her beagle, Aki.
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