Valzyna Mort’s third collection Music for the Dead and Resurrected was published in November 2020 amidst ongoing protests in her native Belarus regarding the fraudulent election of Alexander Lukashenko in August of that year. The majority of these poems take place in and around Minsk, the ‘city of iron and irony’ where Mort was born. Born Valzyhna Martynava, her pen name ‘Mort’ befits a collection dedicated to the dead. In an interview with NPR, Mort describes the deaths of her family as an ‘archive of silence’, a silence representative of the failings of ‘official’ country narratives in omitting civilian tragedies. Lines like ‘As the whips of silence rises, language tucks in its tail’ indicate the submission forced by the lack of representation and its necessity, as well as showcasing Mort’s prophetic tonality.
In one poem ‘Self-Portrait with Madonna on Pravda Avenue’, Mort writes about seeing Raphael’s Madonna inside of a classroom:
Her docile features didn’t seem beautiful.
Like hush money,
she was handing the child a breast.
The reference to hush money alludes to corruption, a common feature in societies of political tumult. Throughout the collection, an atmosphere of distrust acts as a bass note, keeping the lyrical melodies of her images in line. This distrust presents itself often as a linguistic unease — the search for the right words as a simultaneous search for a sense of self — significant as the poet also writes in Belarusian, a language considered vulnerable by the UNESCO Atlas of the World’s Languages in Danger...
This is an excerpt of a review by Cheryl McGregor of Valzyna Mort’s Music for the Dead. For more information on Cambridge's workshop at StAnza21, please click HERE. To read the whole review, go to the DURA webpage.