ESSAY

Pretty Birds Past the Strip Mall

Ada Limón’s field guide for life on a damaged planet.
BY KATHLE E N RO O NE Y

To praise a book as luminous or dazzling is usually to resort to a

blurber’s cliché. However, Ada Limón’s sixth collection of
poetry, The Hurting Kind (Milkweed Editions, 2022), really does
shimmer, albeit in the specific sense of the word the late
anthropologist Deborah Bird Rose employed. This shimmer is
essentially the radiant pulse of life across ecologies, as understood
by the Aboriginal Yarralin people of Australia, among whom Rose
conducted research on flying foxes. In her 2014 lecture “Shimmer:
When All You Love Is Being Trashed,” Rose outlined her desire “to
draw our attention to the brilliant shimmer of the biosphere and
the terrible wreckage of life in this era.”
Like Rose, Limón concerns herself with all that’s being trashed
and how to persevere—or even laugh—in the face of that
awareness. She precedes her poems with an epigraph from the
Argentine poet Alejandra Pizarnik: “Though it’s late, though it’s
night, / and you are not able. // Sing as if nothing were wrong. //
Nothing is wrong.” Attuned to seasonal ebbs and flows, as well as
to the collective human behaviors that alter those
cycles, Limón organizes her latest book into sections titled
“Spring,” “Summer,” “Fall,” and “Winter.” Surfing a brainwave
similar to Rose’s, Limón seeks to spot the shimmer amid ongoing
and undeniable ruin and wrongness, to see “past the strip malls
and the power plants, / out of the holler, past Gun Bottom Road”
as she puts it in “Drowning Creek,” to spy “the prettiest bird I’d
seen all year / the belted kingfisher.” Crucially, shimmer, as it is
understood by both the indigenous people who conceived of it and
by Rose as she brought the worldview into Western use, is
relational. Shimmer operates as a shout and an echo, a call and a
response, an ethical and aesthetic web that enmeshes both the
observer and the observed.
In the book’s complex and gorgeous six-part title poem, an elegiac
meditation on the mortality of her grandparents and entire ways
of pre-digital and agricultural life, Limón lays out what she means
by “the hurting kind.” In the poem, she asks her grandfather about
the breed of horse he had as a child, and he replies, “Just a horse.
My horse, with such tenderness it / rubbed the bones in the ribs all
wrong.” Limón adds, “I have always been too sensitive, a weeper /
from a long line of weepers. // I am the hurting kind.”
Limón’s new work continues and expands the vulnerability and
ecstasy of her previous collections, The Carrying (2018)
and Bright Dead Things (2015). In The Carrying, she infuses her
narratives with environmental details, especially details that
contrast the Brooklyn milieu she was then leaving and the fields of
the rural South she was heading toward. In Bright Dead Things,
she meditates on the wonder and fragility of life overall, especially
as seen through the experience of infertility, not quite accepting
but not quite rejecting the grief that comes from knowing she
likely won’t fulfill her desire to be a parent. She currently splits
her time between Sonoma, California, where she grew up, and
Lexington, Kentucky. Wild and domestic, the landscapes and
animals of both places come to life in her work.
Late though it is in the game of human sentience, science is
catching up to the intuitive understanding that many cultures and
individuals have already had when it comes to life on Earth:
everything is mutual, and nothing goes only one way. From the
first poem in this collection, “Give Me This,” Limón draws her—
and readers’—attention to precisely this mutuality, writing of a
groundhog “slippery and waddle-thieving my tomatoes”: “I watch
the groundhog more closely and a sound escapes / me, a small
spasm of joy I did not imagine / when I woke.”
Limón’s publisher, Milkweed Editions, describes the book as being
about “interconnectedness,” a buzzy concept in these sort-of-post-
pandemic, definitely Anthropocene days, but Limón renders that
term concrete, not conceptual. In “Where the Circles Overlap,” for
instance, she writes of how the very glory of this overlapping can
push the one who experiences it to the point of physical and
spiritual pain: “At the top of the mountain / is a murderous light,
so strong // it’s like staring into an original / joy, foundational //
that brief kinship of hold / and hand, the space between // teeth
right before they break / into an expansion, a heat.”
Later in the same poem, she declares, “Bottlebrush trees attract /
the nectar lovers, and we // capture capture capture,” evoking
reciprocal capture, a key idea in the field of environmental
humanities that denotes an event or a meeting “in which neither
entity transcends the other or forces the other to bow down,” as
Rose writes. “It is a process of encounter and transformation, not
absorption, in which different ways of being and doing find
interesting things to do together.”
To engage in reciprocal capture is to take a risk and be creative. As
the philosopher Isabelle Stengers puts it, “we can speak of
reciprocal capture whenever a dual process of identity
construction is produced: regardless of the manner, and usually in
ways that are completely different, identities that coinvent one
another each integrate a reference to the other for their own
benefit.”
The Hurting Kind offers insight into that process and how one can
feel its benefit creatively and ethically. The encounters
described—from “three guys I met in a Spanish hostel” to Rosie at
the Hillside Cemetery to “Captain / Rhonda and her charred
pontoon boat”—may at first seem inconsequential, but Limón
reveals them to be deceptively vast, a basis on which to
contemplate this question: “What is it to be seen in the right way?
As who you are? A flash of color, / a blur in the crowd.”
Limón practices an ethics of care—not only of caring herself but
also of trying to get others to do the same. That risky endeavor can
easily implode into self-righteousness or sanctimony. In “Not the
Saddest Thing in the World,” for example, Limón writes of finding
a dead fledgling “too embryonic” to properly identify and notes,
“Before I bury him, I snap a photo and beg / my brother and my
husband to witness this // nearly clear body.” Such a sentiment
might otherwise seem cloying, but here, Limón's imagistic clarity,
directness of voice, and keen self-awareness pull her back from
that brink.
In “Intimacy,” a poem about her mother’s calm and confident way
with horses, Limón writes, “There is a truth in that smooth /
indifference, a clean honesty / about our otherness that feels / not
like the moral but the story.” Her triumph in these poems is that
she never moralizes at the expense of story. It doesn’t hurt that
she’s also funny, as when, in “The Magnificent Frigatebird,” she
writes, “When I looked it up, I learned it was the Magnificent
Frigatebird. / It sounded like that enormity of a bird had named
itself.” In “Proof,” she writes of the pleasure of meeting the eyes of
a kestrel: “A surge of relief comes like a check in the mail. / Look, I
have already witnessed something other than my / slipping face in
the fogged mirror.”
When the poetry of witness, as Carolyn Forché termed it, is
invoked, critics often counter that even when it’s political, poetry
doesn’t do or change anything and that lyrically recording trauma,
whether personal or—in the case of much of Limón’s work—
ecological, is mostly impotent. These ripostes are sometimes
accompanied by a line from “In Memory of W.B. Yeats,” by W.H.
Auden: “poetry makes nothing happen.” But in the practice of a
poet such as Limón, the poetry of witness is not a passive way to
make the witnesser feel a sense of hollow achievement but a way
to create, as the title of one of her poems puts it, a “Sanctuary.” In
that poem, she writes, “The great eye // of the world is both gaze /
and gloss. To be swallowed / by being seen. A dream. // To be
made whole / by being not a witness, / but witnessed.” Though
Limón never uses the term reciprocal capture, her depiction of
that phenomenon flips the script by which humans all too often
position themselves at some hierarchical apex.
Her poems enact the reciprocal capture not only between humans
and the natural environment but also between the living and the
dead. “Why,” she asks, “do we quickly dismiss our ancient ones?
Before our phones / stole the light of our faces, shiny and blue in
the televised night, // they worked farms and butchered and
trapped animals and swept houses / and returned to each other
after long hours and told stories.” Here, she not only tells stories
but also asserts values and makes arguments, her rhetoric gently
apprehending readers, asking questions that invite deeper
engagement, as when, in the aforementioned title poem, she
concludes, “Love ends. But what if it doesn’t?”
Praising artists for their authenticity can be perilous given that art
itself is constructed and artificial. Yet, in all of her books, Limón
radiates a profound good faith. Even when she’s being critical—of
human behavior, of unfavorable circumstances—she’s
nonetheless constructive, issuing not condemnations of some
permanently abased state but rather delivering astute
observations and implying that readers might dig into their own
best impulses and do better. For example, in “Hooky,” one of the
funniest poems in the collection, she writes about skipping her
college classes because “we decided to get as high as we could /
and lie down under the cherry trees.” This small adventure starts
out hilarious, then turns into a more momentous experience of
self-examination when they realize, “The true and serious beauty
/ of trees, how it seemed insane that they should / offer this to us,
how unworthy we were, bewildered / how soon we were nearly
weeping at their trunks.”
In these decidedly pessimistic and chaotic times, Limón’s radical
sincerity and goodwill feel revolutionary. Even the
acknowledgments reflect her belief in a shared existence. “Thank
you also, and always, to the trees and animals,” she writes. She
oscillates between the natural world and human beings as entities
often placed in a position to exert what might be considered
dominion. She even celebrates species that have done their
invading largely because of human activity. In “Invasive,” she
writes, “I am trying to kill the fig buttercup / the way I’m
supposed to according / to the government website,” but she stays
her hand temporarily when she sees a bee on the plant: “Yellow on
yellow, two things / radiating life.”
In a 2018 interview, Limón said, “The concept of intersectionality
isn’t new for writers and poets; it’s where we live. We live in the
liminal spaces where things are connected and where the threads
of the universe show up in our hand like life lines.” The warmth of
Limón’s poetic handling of these threads illuminates these life
lines for her audience. In “Blowing on the Wheel,” she declares
that her “secret work” is “to be worthy / of […] this infinite
discourse / where everything is interesting because you / point it
out and say, Isn’t that interesting?” Having set herself the goal of
pointing out innumerable interesting things in every poem, she
succeeds.
In 1988, Philip Levine—who taught Limón at NYU, where she
earned her MFA—observed that much American poetry “seems
totally without people. Except for the speaker, no one is there.” If
that landscape seems more populated today, it's due in part to a
cohort of poets, including Limón, who emerged in the following
two decades, emphasizing individual consciousness less than
communities and collective circumstances. The Hurting
Kind teems not just with other humans but also with animals and
plants: the neighbor’s cat; cockroaches; the wild pansy; the fox,
her “closest confidant”; “some raggedy squirrel”; “young whiptail
lizards”; to name but a few.
The shimmer that Rose describes invites a greater understanding
of responsibility and obligation. As she explains, she is trying to
figure out “how I might live an ethic of kinship and care within
this multispecies family,” acknowledging that with this effort
“comes a burden: the commitment to bear witness to the
shimmering, lively, powerful, interactive worlds that ride the
waves of ancestral power.”
The Hurting Kind is also a field guide for living on a damaged
planet—for acknowledging the suffering inflicted by human
choices and the way people often unmake ecologies and also the
way people could choose to preserve and remake them. In “Cyrus
& the Snakes,” about her brother and his entanglements with
those slithering reptiles, Limón concludes, “I want to honor a man
who wants to hold a wild thing, / only for a second, long enough to
admire it fully // and then wants to watch it safely return to its
life, / bends to be sure the grass closes up behind it.” Life-
affirming can be another blurber’s cliché, but Limón’s affirmations
shimmer so brightly they cannot be denied.