A Theory of Lipstick
Karla Huston
Main Street Rag Publishing Co. 2013
Reviewed by Bob Wake
“I only write poems about sex,” begins Karla Huston’s poem “My Husband Thinks.” The poet proceeds to catalog the more quotidian concerns she insists have graced her work over the years, from “the dentist’s office” and “rotting potatoes” to “paperboys peeing in the snow” and “even the guy who stole my parking place.” But damned if “My Husband Thinks” doesn’t suddenly spring to pulse-pounding life with the lines, “Today I wrote about how the pubic hair I shaved / for you has started to twirl and bend again, / how the skin itches, the way a healing // wound does …”
Huston has never shied away from the maddening predicament of desire, its commingling of love and spite, sacrifice and lust. She can be a brutal satirist of the tyrannical male gaze. The poem “Mona Lisa Imagines” is a stream-of-consciousness monologue of mounting irritation by the artist’s iconic model while Leonardo—“farting when you bend for a rag, / or scratching your balls”—demands prim stillness from his subject: “At least the twelve apostles could / gnaw meat off bones while they lingered / or leaned into a bit of gossip / or fingered silver coins. Today // you want my hands folded just this way.”
Karla Huston. Photo: Steve Huston.
A Theory of Lipstick, Huston’s first full-length collection (after more than a decade’s worth of six well-received chapbooks), is comprised of fifty-four poems. While not always about sex, they are never less than insightful about our shared messy humanness and the ecstasies of the natural world. The title poem, which originally appeared in Verse Wisconsin and was awarded a 2012 Pushcart Prize, is another of the poet’s masterful catalogs that blends the sensible and the sensual, this time into a rhapsody of Day-Glo images: “made from fruit pigment and raspberry cream, / a lux of shimmer-shine, lipstick glimmer, duo / in satin-lined pouch, Clara Bow glow: city brilliant / and country chick—sparkling, sensual, silks / and sangria stains, those radiant tints and beeswax liberty— // oh, kiss me now, oh, double agents of beauty …”
Especially memorable are Huston’s portraits of small-town inhabitants whose lives have the vivid contours of Chekhov or Welty characters. They include “The Dog Catcher’s Wife” (“She’s concerned / that even the nets, nooses or tranquilizer / darts won’t save him from the angry ones”) and “Vanishing Woman” (“But now / even bad sex would be better / than none, grinding blindly into / the night, mapping the smoky / landscape with her flesh”), as well as rueful group snapshots like “Girls Tanning”:
Stretched on benches the first warm day in May
so sure of their beauty with their firm arms
and thighs, their high-riding breasts, so content
knowing that they own the world
as the wind steals their hair and eyes, bright
with the strain of staring into the sun,
posing, white teeth flashing as they lick
cherry gloss from their lips. […]
Accessible and inviting even at its most acerbic, Karla Huston’s A Theory of Lipstick is no unproven hypothesis, it’s a fully vetted and means-tested map of the American heart and heartland.
Coffee Spew 