Double Vision, a Chapbook by John Oughton and Nina West
Reviewed by James M. Fisher
An early product of the printed word, chapbooks are inexpensive, easy to produce, cover a wide range of topics (though usually poetry), are small in thickness, and are collectible because of their limited production.
One excellent example of a well-written chapbook is John Oughton and Nina West’s Double Vision. The 35 inside pages are all made of fine paper, which enables the text’s sketches and photos to be clearly rendered. The cover is made of sturdy stock, befitting a quality softcover book.
Double Vision, with its ekphrastic composition, reminded me of my school days when the teacher would show us a picture and ask us to either describe what we saw in it or come up with a short story. By exchanging text and images in a creative yet approachable manner, John Oughton and Nina West elevate this concept to a new level.
Here’s a sample with Nina West providing the text for John’s photograph of a waterglass.
WATERGLASS
Waterglass is a very arresting image. ‘Arresting’ is the word that first came to mind. Almost immediately I wondered why the word ‘arresting’ came to mind. Of course, I know there is a meaning for the word ‘arrest’, of something that has so much impact that it commands attention, stops you in your tracks. Given the state of things here in the US right now, with arrests being made with unfortunate and violent frequency, I wondered if I’d been half-primed for that particular word to surface. In any case, I understood right away why you were distracted from a task by the Reality of that image when you photographed it.
Reality. That word seems better. Waterglass has Reality, as if everything has been distilled into the elements of light and shadow, circle and line, intensity, rhythm, brilliance, liquidness, transparency.
Though I know what a glass is and what light is, this photo reveals something more. I can see the most intense brilliant light emanates from a position that’s roughly 6 o’clock at the base of the glass. It’s as if vivid light has brought the glass into existence.
Also at a first glance, I thought I was catching the glimpse of a seated God attached to that shaft of light. And then upon a closer look I can see you (or a person) are the seated god and the beam of light is either being focused from your mind to the glass or the other way around. You as seated god are caught in the rhythms, the interplay of shadow and light formed by the bigger shaft of light that stretches across the table. These are some of the things I ‘know’ from looking, or that I can see. A somewhat literal description.
And then... instead of those recognizable parts, I surrender to the image, that a shaft of light streaks diagonally, blasts through a circle made of smaller concentric circles it contains. Bigger rings appear, as if the most concrete circle has been dropped into light that radiates outward, like the rings on a pond but instead of moving water, there are rings of light. More light pours in, soft, with irregular shapes, repetitions, overlappings, like an intriguing hand of light that reaches or perhaps moves arcs of light.
Perhaps this is what it was like when all was darkness and then suddenly there was light and space into which light could move.
It is most fascinating the way that Nina West interprets John’s photograph, seeing things that I never noticed or describing what see can see with her artist’s fine eye for visuals. John’s interpretations of Nina’s art are no less compelling. “Chiaroscuro” is a favourite, with John rendering his interpretation of Nina’s dramatic sketch in verse.
In all, there are 15 responses to each other’s images, and one can sense the enjoyment that each had in completing this ekphrastic exercise. Nina comments: “It’s been delightful to read what John wrote and to discover that he does see what I was expressing.” John had similar thoughts: “It’s fascinating to read what she sees in my photos, often layers of meaning I had not even thought about.”
“Fascinating” and “delightful” are two words that best describe Double Vision in my estimation. I truly enjoyed this little chapbook, and I’ll certainly look a little closer at details in photographs and art now!
To obtain a copy of Double Vision, contact: John Oughton (for Canadian orders) at joughton1[at]gmail[dot]com or Nina West (US orders) at: ninawest57[at]gmail[dot]com
About the Authors
John Oughton lives in Toronto and is the author of six poetry collections, most recently The Universe and All That (Ekstasis Editions); Death by Triangulation, a mystery novel, and Higher Teaching.
A retired community college professor, he is the current Treasurer of The Writers Union of Canada. As well as writing and photography, he enjoys playing pickleball and guitar (not at the same time). He has his own Substack, and is a regular contributor to The Seaboard Review of Books
Nina West lives in Atlanta and is a visual artist who has exhibited in juried shows and a couple of solo exhibitions. She worked for two decades as a Museum Educator teaching outreach programs in schools, planning and implementing workshops, summer camps, and other public programs for children and families. In addition to making art throughout her life, she is also a devoted practitioner of Viniyoga, and loves to walk.
About the Reviewer
James M. Fisher is the Editor-in-Chief of The Seaboard Review of Books. He lives in Miramichi New Brunswick with his wife Diane, their Tabby cat Eddie and Buster the Border Collie. James works as an MRI Technologist at the Miramichi Hospital.
Thank you for this review, James!
Gorgeous!