Familiar with Van Booy’s lyrical prose, I cannot help but experience the same kind of luxurious language while reading this collection. In the story, The Still But Falling World, set in a small village south of Rome, the lives of the inhabitants achieve a balance between the world of lies and a world of acceptance. Nuggets of truth are found too: “My entire family and her husband and children are living the most beautiful lie.” The ability to do this, Van Booy writes, stems from love. “In Morano, if you’re loved, everything else falls away.” There is a wisdom and vulnerability to such writing. I am reminded of Fernando Pessoa’s recognition that we make use of lies and fiction to promote understanding among ourselves, something that the truth alone could never accomplish. (Paraphrased from The Book of Disquiet, Penguin Classics.)
Reading Van Booy is like loving a melting snowflake in your palm. The transitory nature of life lies beneath the surface of each piece. Its stories are very much like fables you want to carry around with you. In Everything is a Beautiful Trick the story of Magda, an adopted sister from Krakow, whose left arm is missing at her elbow, the reader is taken into the memories of her brother, reminiscing about her death he only imagines. “Memories spill out through a cracked window, melt into the ground between tall grass, and are pushed back up as wildflowers.” This idea that we each have our own versions of the truth makes for a very colorful world, as one experience can lead to a myriad of flowers pushing up later. This collection is full of such gems. I feel a quality of Taoist flow and Buddhist acceptance from this voice, but a voice qualified to move beyond mere acquiescence. Simon VanBooy writes like a master, there are not many others creating works like these today whereby reality is redefined to include imagination. It is the eye/ear/heart of a poet at work here.
There are 18 stories included in this collection, several of which were previously published by Bookman Press in 2002 in a limited run called Love and the Five Senses. Every piece is distinct from the next, but present is a voice the reader will not forget. There is a thread connecting this author to the above mentioned Passoa, and when I read Some Bloom in Darkness, I return to Colette and am reminded “…we can catch and hold—with words…” as VanBooy does so brilliantly for us. In The World Laughs in Flowers, and The Reappearance of Strawberries, both two very beautiful titles so well selected, the theme of memory underlies. “My memories are arranged like puddles—they are littered throughout the present moment. It seems arbitrary, that which the mind remembers, but I know it is not.” This line appears early in the first story, long before the character arrives in Greece to hopefully re-ignite a love before it is too late. In The Reappearance…” a story full of longing and human endurance, we read “without memory…man would be invincible.” This polarization of elation and suffering is what makes the stories believable; it is what makes this collection profound. There is nothing formulaic or too full of itself. It is balanced and quiet sometimes, and at others, it can be over the top pure poetry, lyrical and enlightened.
