Enise Agel’s second collection, Have You Seen the Ocean in Your Eyes?, is definitely worth exploring, especially for ardent readers of lyrical poetry. Though glimmering with the biographical, the concrete narrative threads of the collection are second to Angel’s ability to craft poems that prioritize thoughtful treatment of subjects such as time, love, pain, and searching. With a special affection for walking and movement throughout the collection, Agel leads the reader to and along various literal and metaphorical pathways, though only occasionally in ways that invite the reader to appreciate reflective possibilities of the journey.
Agel is an accomplished writer of the short lyric. The poet’s emotional and intellectual gestures throughout the collection demonstrate an impressive experimental energy fueled by careful study of and relationship with the genre. In poems like “The End of the World,” Agel exercises playful skill with the construction of formal patterns which unfold and build ideas out of temporality and space. In “Promise,” the lyric hums with an exigence for writing in the face of the brevity of human life. These poems are exciting and fresh, challenging syntax and grammar (especially around verb tenses) in ways that denote Agel’s unique voice. And if taken as a project in the extended experiment of pushing the lyric to its most captivating potential, Have You Seen the Ocean in Your Eyes? succeeds admirably.
The memory poems in this collection, especially those that catalogue the observations made on specific walks taken during the speaker’s travels abroad, are often not as strong as other poems in the collection. Accounts of moving through specific cities and landmarks—London, the Colosseum, paths outside of towns, etc.—are rich in their imagery. But the poems are variable in their reflection upon these locations, only occasionally inviting the reader into the poet’s ideas and specific impressions about place. Agel is a poet certainly capable of constructing such depth of insight, and the reader is left wanting more from her anecdotes and observations.
It is undeniable that Enise Agel is a poet of considerable talent and that her poetic skills are powerfully on display in this collection. The complexity and diversity of Agel’s work encourage the reader to continue following this poet’s literary career. There is tremendous promise in the pieces. But perhaps a more selective version of this manuscript (a chapbook emphasizing the short lyrics, perhaps) might have made for a more impressive showing.