I got to read this manuscript a couple months ago, and I was even considering it for a Conium Press chapbook. Ultimately, we passed on the manuscript in favor of releasing the Spring 2012 Sampler. Since our flagship journal is still fledgling, we thought it more prudent to preview the issue than publish a standalone chapbook. That said, Mezynski’s manuscript is solid, and I am not surprised that Yellow Fringe Dress was picked up so quickly by another publisher. And Radioactive Moat Press helps the completed chapbook comes together nicely.
Aesthetically, Radioactive Moat Press’ electronic treatment of Yellow Fringe Dressis fitting. The chapbook is well-designed with interesting typography and a gorgeous cover. It fits the fractured fantasy-esque dreamscape vibe of Mezynski’s poetry, and it showcases the potential of electronic publishing. While I am a firm believer in print media, electronic publication has its place, and it can be an art form unto itself (when done properly—and Radioactive Moat Press consistently does it properly). Though Mezynski’s syntax is experimental, the chapbook’s inviting aesthetic makes it easy to read. The layout compliments the flow rather than hindering it; I wish more e-books featured this attention to presentational quality.
But enough about my design notes; what about Mezynski’s poetry? It’s arranged in a hybrid prose poem state. There is attention to structure, but many of the passages opt for less overt poem-like structure in favor of a hybrid prose poem appearance—her work is one of the few examples of a true prose poem. There seems to be an overabundance of poets/writers who call anything short prose piece a “poem”--Yellow Fringe Dress is not one of these types of prose poems. It is well-crafted, and it’s subtle arrangement ads minute layers of meaning to poetry that derives most of its purpose from syntactical variance and interesting word choice.
Without giving away the chapbook’s central story arc, I’ll say that it’s a postmodern type of anti-bildungsroman, with several instances of twisting plotlines that test the reader’s perception of the genre. The chapbook only stumbles moderately in its slow beginning. If you can push through the first few pages, the latter half of Mezynski’s chapbook will surprise you. Early on, there feels like a lack of movement, where the same themes are repeated. Mezynski does this for thematic emphasis, yet it bogs down the reader slightly. Once Yellow Fringe Dress picks up the pace, it hurtles at breakneck speed with vivid imagery and carefully planted sensory details.
The experimental prose poem style may be hard for some readers to grasp, but the general storyline of Yellow Fringe Dress is beautifully summed up in the ending section. The breadth of Mezynski’s piece is distilled in a minimalistic recap that can be transposed over all the preceding sections. If you have trouble with the unique style of this chapbook, you can flip to part VIII as a cheat sheet. You’ll miss all the detailed bridges between these fragmented, wispy little descriptors, but it’ll help you understand the central theme easier. It’s a nice device that provides framing and closure to Mezynski’s well-told story.
At times, the text is wordy and could use some paring down to the bare poetic essentials. But overall the piece is well-written, and Mezynski’s Yellow Fringe Dressprovides a manageable foray into experimentalist syntax and imagery for readers who are new to this type of writing. It is a great entry-level piece that gets you ready for more work by Neila Mezynski or similar writers—and after you readYellow Fringe Dress, you’ll definitely want more.
