Book review: Violet Bent Backwards Over the Grass, Lana Del Rey
It's been a while since I've done a poetry book review; so, the other day when I reread Violet Bent Backwards Over the Grass by Lana Del Rey, I thought that this would be a nice way to go back to the genre!
Known in the music industry for her melancholic sounds and poetic lyricism, Lana Del Rey's first poetry collection didn't come as a surprise when it was released in 2020. Having been a huge fan of her work for many years, I wouldn't say that this is her best poetic venture, but it's definitely a very interesting body of work to analyze.
The 19 poems that form this book (alongside 10 haikus and some original photography) are very much free-form. Some of them, like the titular one and "Sportscruiser", have a storytelling quality to them, leading the reader through a very particular narrative within the poet's life.
Like in her music, Del Rey is quite masterful at setting a scene, establishing from the beginning the commonplace details that create a specific atmosphere. Her poetry is clearly influenced by the style of Allen Ginsberg and Walt Whitman, poets who she has previously referenced in songs. The stream of consciousness and lengthy format of her poems recall that of both Whitmanian and Beat poetry.
Del Rey began writing these poems in 2017, following a writer's block that she had while beginning to work on her sixth album, Norman Fucking Rockwell! (which came out a year prior to the book). This is an interesting context because, having been written more or less simultaneously, one can find some dialogue between these two works — as if the acclaimed album was a show and this book, the backstage.
Just like NFR!, this poetry collection is permeated by imagery of California (in itself the title of a song in the album). One of the most poignant poems is called "LA Who Am I to Love You", which personifies the city of Los Angeles. She sees LA as home, juxtaposing it with the image of her absent mother:
I never had a mother, will you let me make the sun my own for now, and the ocean my son?
I'm quite good at tending to things despite my upbringing, can I raise your mountains?
Further Californian imagery can be found in "The Land of 1,000 Fires" (which addresses the wildfires that happened in the state in 2020), as well as references to Long Beach in "Past the Bushes Cypress Thriving" and "Never To Heaven". But inspiration from her surroundings isn't the only correlation between this book and NFR!; a lot of lyrical similarities can be found as well.
In the song "How to disappear", she dialogues with the poem "Past The Bushes Cypress Thriving": "you don't want to be forgotten / You just want to disappear". Similarly, "Let's pour one out / to knowing / not hoping", from "In the Flats of Melrose", recalls the track "hope is a dangerous thing for a woman like me to have - but I have it".
"Mariners Apartment Complex" is replaced by a "stupid apartment complex" in "Sportscruiser", while "Cinnamon Girl" is hinted at by two different poems. In "Sugarfish", "sugar sugar in my teeth / from your kiss you texting me" recalls the lyrics "Cinnamon in my teeth / From your kiss / You're touching me". In "ringtone", "if you let me be myself / u will be the first one who ever did" reminds one of the chorus "But if you hold me without hurting me / You'll be the first who ever did".
Del Rey's constant self-referencing creates a very personal, self-sustaining universe always in conversation with itself. In this particular work of poetry, the artist makes a detour from her musical endeavors towards a quieter, unfiltered vista of her intimate reality.
Unpretentious and genuine, Violet Bent Backwards Over the Grass, although not as captivating as her music usually is, benefited a lot from the parallel release of its spoken word album. Her melodic sensibility gives life to words that on paper don't strike a chord as much, while the instrumental production of her current collaborator Jack Antonoff sets the perfect atmosphere for her recitation.
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"Sportscruiser", poem by Lana Del Rey
" I took a flying lesson on my 33rd birthday, instead of calling you
Or parking on the block where our old place used to be
Genesee, genesee, genesee
Pathetic, I know - but sometimes I still like to park on that street,
And have lunch in the car just to feel close to you
I was once in love with my life here,
In that studio apartment with you
Little yellow flowers on the tops of trees as our only view,
Out of the only window,
Big enough for me to see our future through
But it turned out I was the only one that could see it
Stupid apartment complex.
Terrible you
You, who I wait for
You, you, you
Like a broken record stuck on loop
So that day, on my birthday, I thought
"Something has to change"
You can’t always be about waiting for you
Don’t tell anyone, but part of my reasoning for taking the flight class
Was this idea that if I could become my own navigator,
The captain of the sky,
That perhaps I could stop looking for direction from you
Well, what started off as an idea on a whim,
Has turned into something more
Too shy to explain to the owners that my first lesson was just a one-time thing
I’ve continued to go to classes each week
At the precious little strip off Santa Monica and Bundy
And everything was going fine
We were starting with dips and loops
and then something terrible happened
During my fourth lesson in the sky
My instructor, younger than I, but tough as you
Instructed me to do a simple maneuverer
It’s not that I didn’t do it,
But I was slow to lean the sports cruiser into a right hand upward turn
Scared, scared that I would lose control of the plane
Not tactfully and not gently,
The instructor shook his head, and without looking at me said
“You don’t trust yourself”
I was horrified
Feeling as though I’d somehow been found out
Like he knew me,
How weak I was
Of course, he was only talking about my ability as a pilot in the sky,
But I knew it was meant for me to hear those words
For me, they held a deeper meaning.
I didn’t trust myself
Not just 25,000 feet above the coast of Malibu,
But with anything
And I didn’t trust you.
I could’ve said something but I was quiet
Because pilots aren’t like poets
They don’t make metaphors between life and the sky
In the midst of this mid-life, meltdown, navigational excerise in self-examination,
I also decided to do something else I always wanted to do.
Take sailing lessons in the vibrant bay of Marina del Ray
I signed up for the class as "Elizabeth Grant",
And nobody blinked an eye
So, why was I so sure that when I walked into the tiny shack on Valley Way, someone would say
“You’re not a captain of a ship, or a master of the sky!”
No, the fisherman didn’t care, and so neither did I
And for a brief moment, I felt more myself than ever before.
Letting the self proclaimed drunkard captain’s lessons wash over me like the foamy tops of the sea.
Midway through my forehead burned,
and my hands raw from driving
The captain told me the most important think I’d need to know on the sea
“Never run the ship into irons”
That’s nautical terms for not sailing the boat directly into the wind
In order to do that though, you have to know where the wind is coming from
And you might not have time to look up at the mast,
Or up further to the weathervane
So you have to feel where the wind is coming from
On your cheeks, and by the tips of the white waves from which direction they’re rolling
To do this, he gave me an exercise
He told me to close my eyes, and asked me to feel on my neck which way the wind was blowing
I already knew I was going to get it wrong
“The wind is coming from everywhere, I feel it all over” I told him
“No,” he said “the wind is coming from the left. The portside”
I sat waiting for him to tell me “You don’t trust himself”
But he didn’t, so I said it for him
“I don’t trust myself”
He laughed gentler than the pilot, but still not realising that my failure in the exercise was hitting me at a much deeper lever.
“It’s not that you don’t trust yourself” he said. “it’s simply that you’re not a captain. It isn’t what you do.”
Then he told me he wanted me to practise everyday so I would get better.
“Which grocery store do you go to?” he asked
“To the Rafts and the Palisades” I replied
“Okay. When you’re in the Rafts and the Palisades,
I want you, as you walking from your car to the store,
To close your eyes, and feel which way the wind is blowing
Now, I don’t want you to look like a crazy person crouching in the middle of the parking lot,
but everywhere you go,
I want you to try and find which way the wind is coming in from
And then, determine if it’s from the port or starboard side,
So when you’re back on the boat you have a better sense of it”
I thought his advice was adorable
I could already picture myself in the parking lot,
Squinting my eyes with perfect housewives looking on
I could picture myself growing a better sense of which way the wind was blowing
And as I did, a tiny bit of deeper trust also began to grow within myself
I thought of mentioning it,
but I didn’t
Because captain’s aren’t like poets
They don’t make metaphors between sea and sky
And as I thought that to myself,
I realized
that’s why I write
All this circumnavigating the earth,
Was to get back to my life
Six trips to the moon for my poetry to arise
I’m not a captain,
I’m not a pilot
I write!
I write "
From "Violet bent backwards over the grass"
(2020)
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10 most iconic Princess motor yachts
MBY contributor Nick Burnham knows his Princess's inside out having sold the boats for over 20 years. He selects 10 of Princess Yachts' most iconic craft
Princess 45
The flagship at the time and also (I believe) the biggest production boat built in the UK upon launch (how times have changed!) Opened up the Med market for Princess and an outstanding boat then and now.
Princess 37
Launched in 1973, the flagship at the time and set the pattern for Princess for twin shaft drive diesel flybridge cruisers – and twin stainless steel horns on the front of the flybridge!
Princess 266 Riviera
Okay, possibly not 'iconic' (maybe the 286 Riviera would be more iconic as the first Princess sportscruiser) but one of my favourite Princesses ever for its styling, layout, manageability, but most of all its incredible sea keeping and phenomenal performance (42 knots with twin 4.3 V6 petrols). A classic.
Princess 440
The boat with which Princess really got to grips with clever interior packaging, creating a hugely spacious interior for the boat's size.
Princess V39/V40/V42 trilogy
First of the V range (along with the original V55), brilliant combination of size, style and space. It was massively successful, from memory over 500 sold across the three versions.
Princess 22M
First of the M Class (back in 1996!) and a great looking (and distinctive) boat with its huge oval saloon windows.
Princess V65 MkI
The original V65 with the open backed hardtop. Great cockpit layout, twin garages, fabulous saloon with the glass topped bar, epic sea keeping and 40-knot performance with the 1,300hp engines. Fantastic!
Princess V48
First pod drive and the first sub 50ft full beam master cabin (in a Princess) and took the V Class in a new, more accommodation lead, direction that ultimately proved to be hugely successful.
Princess 42
I think, the ultimate combination of manageability, capability, (relative) affordability and practicality. This was – still is – in many ways the perfect family flybridge cruiser and very successful.
Princess 40M
Biggest ever! (So far)
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