Jardin du Poète

Moira Egan

The garden’s ancient walls are low and brokenand thus (yes, “even at my age”) easyto scale. They say this was a garden Goetheadored. I see him sketching: helichrysum,angelica (whose name reminds him of . . . )and focused: parsing genus, species, love.I’m sure he knew that cypress is the treethat marks Italian cemeteries, deathembodied in the dark green spears that gesturetoward heaven. I inhale : crisp vetiver,grapefruit and orange so pungent that I’m thrustback to another garden, where I learnedof bitter oxymoron in the sweetand luscious fruit he fed me, piece by piece;the faintly musky warmth of his embrace;the ancient stone walls crumbled, and my trust.

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Black-and-white headshot of Moira Egan

Moira Egan has published nine books of poetry—five in the United States and four in Italy. Her most recent volumes include The Furies (LSU Press, 2025) and Amore e morte, a bilingual new and selected (Edizioni Tlon, 2022). Her poems and essays have been published in journals and anthologies on four continents. Alongside translator Damiano Abeni, she has published volumes in Italian by John Ashbery, John Barth, Aimee Bender, Frank Bidart, Lawrence Ferlinghetti, Anthony Hecht, Sheila Heti, Ben Lerner,  Charles Simic, Mark Strand, Ocean Vuong, C. K. Williams, Charles Wright, and others. She has translated into English noted Italian poets such as Antonella Anedda, Rossano Astremo, Patrizia Cavalli, Massimo Gezzi, Marco Giovenale, Franca Grisoni, Vivian Lamarque, and Fabio Pusterla. In 2022, Egan published David’s Jugular (Legas Books), a selection of poems from four of Franco Buffoni’s recent books.

Synæsthesium is an unusual exploration of ekphrasis―poetry that takes a real or imagined work of art as its muse. The first half of the book, ‘Olfactorium’, is inspired by various fragrances and the olfactory flashbacks―real or imagined―induced by them. From everyday Old Spice to exotic Casbah, the poems take the reader on journeys peppered with the luscious language of perfumery. The second part, ‘Love and Work,’ is based on the works of Suzanne Valadon, the bold and unconventional model-turned-artist, peer and probable lover of Renoir, Toulouse-Lautrec, and other painters. The poetic forms―sonnets, syllabics, a villanelle, a rondeau―reflect the content of the paintings and drawings of this great and under-appreciated artist.

“Moira Egan’s Synæsthesium, like a unique perfume in a beautiful flask, expertly mingles the base-notes of memory and desire, art and womanhood, in the clear container of form. She writes from deep within the senses, but she spills nothing with assurance of her craft. When we read these poems, we find that our own senses are renewed.”
—Carol Ann Duffy

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