The Verses of War and Fatherhood

Martin Ott, Lessons in Camouflage: Poetry

Themes of “who I am” regularly permeate Martin Ott’s poetry and fiction. As a writer, a father, and a former soldier, he has alternated among identities with the urgency of an actor trying roles. So, like many of us, he sits down quietly with himself, as poets have to, and he doesn't know exactly who he’s sat down with. This struggle becomes the driving force behind his quiet, introspective verse.

The tapestry of identities Ott draws upon to create this collection may seem familiar, especially to anyone who’s read his previous books. The rural Michigander living in the city; the working-class boy in a creative-class job; the quiet introvert with an energetic family. As in previous collections, though, Ott’s history as an Army interrogator looms large: the man assigned to extract truth, like a tumor, in situations of hostility and violence.

A retired interrogator walks
into a bar with himself,and asks for bold spirits,
untraceable in the lineage
of fevered fermentation.
Who is greater than gods,
creator of zealots and fools,
apocalypse of every shade,
architecture of storm and awe,
maker of mountainous tombs?
(“Riddle”)

Saying a poetry collection turns on themes of “identity” has become almost cliché anymore, since poets write for self-selecting audiences rather than mass publics. Everybody writes about identity, because they write about themselves. But Ott takes this a step further. The question-and-answer tone of the poem above permeates this book. Many of his verses stride forth boldly, then interrupt themselves with questions that reverse everything that came before them.

This probably reflects his own rapid transitions in life. At various times he’s needed to nurture and to kill, to discern truth and to obfuscate, to create and to destroy. Who hasn’t, of course, even Solomon wrote something similar; but having served in the military, at a time when the moral certitudes of the World Wars have fled us, this conflict between Ott’s present and his past forces him to constantly re-evaluate himself. The past isn’t gone, but the present changes it:

Martin Ott

The older I get, the less well I do at hide
and seek, my kids able to see the bulges
poking out, fewer places for me to disappear,
the essence of fatherhood to be in plain view.
(“33 Lessons in Camouflage”)

Most of this collection’s early poems deal explicitly with Ott’s military experience, littered with references to basic training, maneuvers and orders, the disciplines necessary in war. After the first twenty or so pages, this theme recedes, becoming not a driving force, but an implicit piece of background radiation. Like a musical theme in a symphony, it becomes a necessary part of a larger composition, no longer demanding attention, but fundamentally part of the structure.

This happens with several concepts throughout this collection. Themes introduced in one poem achieve maturity in another. Hide and seek, mentioned in the stanza quoted above near the end of the collection, refers to another poem near the beginning. In that one, he writes about being so good at the game, in childhood, that even police tracking dogs couldn’t find him. This seems a momentary blip, until Ott unexpectedly completes the arc, over thirty pages and twenty poems later.

Readers weaned on the way poetry is taught in high school, with each poem essentially a separate specimen considered in complete isolation, may require some time to get accustomed to this. (Hell, I have a graduate degree, and it threw me at first.) For Ott, poetry collections like this aren’t anthologies of individual verses, written separately and brought together for publishing purposes. He constructs his poetry collections as consciously as any novelist.

When I was a boy, my family and I took
long forays into the woods for berries,
Dachshund in tow, pinging our haul
into pails, sometimes searching for morels.
Mom’s body is pale, tumors nestled between
windpipe and heart, five days since she collapsed.
(“Morels”)

Motifs of gravel, and fire, and morals/morels crop up throughout the collection. They seem to have the randomness of everyday life. Yet suddenly they’ll come together in an explosion of clarity, sometimes in a poem’s closing lines, sometimes later. Like Beethoven’s Ninth, this collection progresses toward its final movement, in this case the mini-epic that provides the title for the collection.

Like us, Ott’s identity isn’t monolithic. It comes together in a sudden explosion of insight, not always looked for, but forever impending. We wait for clarity, and aren’t disappointed. And we’re grateful Ott invited us along on his personal journey.