They say that in the hands of a great writer anything can be made interesting. With the right hands behind the keyboard architecture can become terrifying, food can become hilarious, abandoned trash on the ground can become heartbreaking—the terrain is all within the mind, and the only thing that matters is the way it appears after it is transferred onto the page. After all, life doesn’t have an inherent plot as much as it has thousands of minor, fleeting experiences that together congregate to form a day, a year, and eventually a life, and often it is the expressions offered in a context no other sort of mind could have conjured that move the most.
There are certain writers who I respect so much that I find myself waiting to hear how they will speak, how they will arrange their next words. Andrew James Weatherhead is one of them. I still think regularly about one of the first lines I read by him: “There are 450 players in the NBA / not all of them can be my favorite.” What is it about that sentiment that has stuck in my mind even five years after the fact? It’s such a simple thought, directly stated, and yet somehow it changes the way I think about the entire sport. The idea of picking a most beloved athlete’s personality or playing out of thousands of strangers, all of them grown-ass millionaires running around on a screen indirectly and almost unknowingly competing for the favor of this particular viewer. It’s almost as if the more you think about the way the thing is said, the more ways there are to think about the thing, which makes the almost sneaky emotion it delivers that much more surprising. Perhaps that’s one of the greatest things: to be surprised; to find magnetic qualities in places you weren’t prepared, hadn’t seen coming; to laugh without even knowing what it was that worked, and then to feel the tragedy in that, packed in tight alongside the pleasure.
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All of this is to say that I’ve been waiting for a long time for Andrew James Weatherhead to publish a book. Finally, after years of making due with his endlessly satisfying Twitter feed, that wish came true, in the form of a spare, 62-page collection of poems titled Cats & Dogs. Before this, there’d only been a single-copy print run of Andrew’s memoir, a loosely bound, many hundred page document printed on Deskjet paper of his first name, Andrew, repeated countless numbers of times.
As I’d expected, Cats & Dogs contains a range of styles I’d not expected, all told in a tone of voice that embodies the qualities mentioned above. There is a poem that describes what the lines of the poems say rather than saying the lines; another that compares CVS to Target; there are several haikus that seem to pay little attention to what haikus do; there is a poem that somehow milks strong emotion out of the simple description of a spilled coffee making its away around the moving floor of a city bus; a poem titled “A Private View of Butt City.” The voice maintains its certain, inalienable poise across the span of all these pieces. For once someone is speaking calmly and carefully about the small, everyday things that find a way to somehow both pass by you quietly, and in that quiet passing underline a sense about the world you somehow always felt but could never name.
The effect here is a tone of voice that walks the line between the most common objects and the unreal. For once, I don’t really have any idea of what I could compare it to, what precedent to which it might align. But where other writers might rely on absurdity or satire to deliver electricity, Weatherhead patiently allows the most minor details to loom larger in the absence of more noise. A poem about how a piece of pizza getting wet in the rain resembles his friend Philip, who is then no more intricately described, seems to somehow give a better sense of the importance of this person, and even what they might be like, than trying to go deeper. It is as if there is emotion derived from the pure absence of all frills, and the presentation of strange information as the only information, a sense that there is no other way to bring it out. It is refreshing to find such sense delivered with such trust in itself—and in the reader. Weatherhead’s book assumes that you are not a dumbass, that we can all see through the exaggerated artifice of some creations, and he is talking to you as a friend, an eye in the world that for once isn’t taking and taking, but seeing and believing, having faith in that which you didn’t even know needed it.
Three poems from Cats & Dogs:
Poem
You don’t even know
you know even half
the stuff you know.
No one is home.
In 2012, 141 people
were killed by trains.
Take it Easy
the wind blew in
off the lake today
I lifted heavy weights
in the morning with
the help of coffee
I dribbled a basketball
in place I read
about a tiny island
both Korea and Japan
think is theirs I
found a small pimple
in my beard next
to a single red
hair
What Happens When Your Dad Dies
what happens when your dad dies
is you get a phone call
is he going to be ok, you ask
you hear “no” and crying
you don’t say anything
for so long that someone says
“are you still there?”
you say “yeah”
the phone gets passed around
someone says you have a flight home
someone says to book a car, use the credit card
someone says to not forget your suit
the call ends
you sit down
you stand
you email your boss and roommates
you take a long shower
and walk outside
it’s 3:13 in the morning
a garbage truck is beeping
you start walking
you take a left, a right, another left
then walk straight for a while
you come to a brightly lit diner
you open the door
it’s empty except for the wait staff
you sit in a booth
you order the steak and eggs
no meal in your entire life
has arrived so crystal clear
and meaningless
there’re onions and green peppers
in the hash browns
a very small glass of juice
you manage a few bites
ESPN is on the television
the NBA playoffs
are about to begin
and months later you’ll realize
you just got up and left
completely forgetting to pay
and that sucks
because they
were really nice
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