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The Other Americans by Laila Lalami (audio)

Source: Audible
Audiobook, 10+ hrs.
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The Other Americans by Laila Lalami, narrated by Mozhan Marnò, P.J. Ochlan, Adenrele Ojo, Ozzie Rodriguez, Susan Nezami, Ali Nasser, Mark Bramhall, Max Adler, and Meera Simhan, is less the story of the murder of Driss Guerraoui, a Moroccan immigrant, and more about the other Americans in their circle. Driss was a Muslim immigrant who embraced the American Dream and opened his own restaurant in a small town of Mojave, California, and sought to live his dream.

However, his wife, Maryam, doesn’t want to assimilate, and she often praises her dutiful daughter and dentist Salma, but her relationship with her husband and youngest daughter and musician Nora are on shaky ground. These are the main characters as best as I can discern them, excluding Jeremy, a policeman/love interest.

Lalami tackles not only racism and fear, but also the tension between those who are religiously devote and those who are not. There is the young woman who wants to follow her dream but is pulled back home by the death of her father and the obligation she feels toward her family and the Pantry, the restaurant. At the crux is honesty and distrust – the lack of one and the abundance of the other.

Some of these narrators were far better than others – some sounded wooden and others sounded computer generated. Nora’s voice is the most real and engaging. But I also wonder if it is the narrative that made it harder to narrate — some of the dialogue is stilted.

The Other Americans by Laila Lalami was a good read for the topics it covers that book clubs can discuss, but there were far too many characters (who were chapters unto themselves) and their connections were tenuous at best. There are dropped threads in the family narration, like the relationship between the mother and father and impending breakup and the struggles of the dutiful daughter, Salma. The relationships are broken in more ways than one, and they don’t seem to be repaired (at least not satisfactorily) or even talked about again.  Lalami seems to have taken on too much in this ambitious book. For threaded narratives of seemingly unconnected characters, you should try Colum McCann.

RATING: Tercet

About the Author:

Laila Lalami was born in Rabat and educated in Morocco, Great Britain, and the United States. She is the author of five books, including The Moor’s Account, which won the American Book Award, the Arab-American Book Award, and the Hurston/Wright Legacy Award. It was on the longlist for the Booker Prize and was a finalist for the Pulitzer Prize in Fiction. Her most recent novel, The Other Americans, was a national bestseller and a finalist for the Kirkus Prize and the National Book Award in Fiction. Her essays and criticism have appeared in the Los Angeles Times, the Washington Post, The Nation, Harper’s, the Guardian, and the New York Times. She has been awarded fellowships from the British Council, the Fulbright Program, and the Guggenheim Foundation and is currently Distinguished Professor of Creative Writing at the University of California at Riverside. She lives in Los Angeles.

Road of Bones by Christopher Golden

Source: Purchased
Paperback, 240 pgs.
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Road of Bones by Christopher Golden is set in the coldest part of Russia on Siberia’s Kolyma Highway, which was built by hundreds of thousands of forced laborers from the gulag who were interred in the pavement after dying during its construction during the Stalinist era. Felix “Teig” Teigland has rented a truck and convinced his cameraman friend Prentiss to join him on the Road of Bones as he sniffs out the next television series idea he needs to pay back Prentiss and numerous others.

“Don’t fall asleep,”Prentiss said.

Teig forced a smile. “Don’t bore me to death and I’ll stay awake.”

In the frozen tundra, keeping any vehicle on the road is difficult. From the moment they are on the road, it is clear that the cold of the tundra will play a significant role in this story, almost as if it were another character. Teig’s uneasy, “The worm of nausea squiggled anew in his gut,” especially when he meets the guide, Kaskil, he hired. Life and death on the road of bones is something that Teig sees will save his career, but perhaps he should be more concerned about his actual life and death situation in a place where the weather can kill you.

When he and Prentiss meet Kaskil and make it to his home town of Akhust, it is more than legends and ghost stories that they find. The town has been abandoned, with some of its people leaving their homes while barefoot. Lurking in the woods, wolves are stalking them, but these are not traditional wolves.

My one quibble was the character of Ludmilla, who is introduced and we get to know her and her mission to free the souls on the Road of Bones, but her connection to the main story line seems so rushed. It seemed as if she were a ghost in the first place or part of the legend of the woman on the Road of Bones freeing souls, but then she isn’t. It was a bit disappointing, but didn’t detract too much from the main story. Perhaps there’s another book in the works with her?

Despite the plot holes, Golden has created an otherworldly feeling with the killer cold, mysterious disappearance of a whole town, the appearance of a beautiful woman, and the eyes in the forests at the edge of town. Road of Bones by Christopher Golden is definitely all you would expect it to be — creepy, suspenseful, and chock full of gruesome murder.

RATING: Quatrain

About the Author:

Christopher Golden is the New York Times bestselling, Bram Stoker Award-winning author of such novels as Road of Bones, Ararat, Snowblind, and Red Hands. With Mike Mignola, he is the co-creator of the Outerverse comic book universe, including such series as Baltimore, Joe Golem: Occult Detective, and Lady Baltimore. As an editor, he has worked on the short story anthologies Seize the Night, Dark Cities, and The New Dead, among others, and he has also written and co-written comic books, video games, screenplays, and a network television pilot. In 2015 he founded the popular Merrimack Valley Halloween Book Festival. He was born and raised in Massachusetts, where he still lives with his family. His work has been nominated for the British Fantasy Award, the Eisner Award, and multiple Shirley Jackson Awards. For the Bram Stoker Awards, Golden has been nominated ten times in eight different categories, and won twice. His original novels have been published in more than fifteen languages in countries around the world. 

Thank You For Listening by Julia Whelan (audio)

Source: Borrowed
Audiobook, 11+ hrs.
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Thank You for Listening by Julia Whelan, narrated by the author, is my 5th book in the 12 books, 12 friends reading challenge, and it was the perfect book for my state of mind. Sewanee Chester, successful audiobook narrator and former actress, is worried about her grandmother’s health and disease’s progression, is in a battle of wills with her father over decisions related to his mother’s care, and continues to hide in the audio booth from how her life has changed and shaped who she is now.

In Las Vegas, filling in for her boss at a convention, Sewanee is thrust into the thick of romance narration as a panel moderator, which forces her to confront her own misgivings about HEA (happily ever after). It also forces her to see herself as something more than broken when she finds herself entangled with a strange and charming man. “What happens in Vegas….”

Once a narrator of romance, Sewanee has moved to meatier reads and won awards, but when an industry icon in the romance genre’s dying wish is to have her narrate her last book with steamy and mysterious Brock McNight, she’s unsure. After a bit of convincing and wishing for a return to her old life as an actress, Sewanee sets forth on a journey of rediscovering herself and learning to tap into her own emotional center. This is a romance, but it is as much a journey of healing and discovery. I laughed aloud while listening so many times, and I really felt these characters’ development and movement past pain and disappointment. There definitely is an HEA, but it’s more like Hope in Everything Always.

Thank You for Listening by Julia Whelan was a delight! It was the perfect book for where I was emotionally and in terms of stress levels. I had an entertaining read to fall into just when I needed it, and Whelan as a narrator is superb. I’m not sure who recommended this book, but it was a winner, and I thank you!

RATING: Cinquain

About the Author:

Having narrated over 400 audiobooks in all genres, Julia Whelan is, by industry standards, considered one of the top narrators recording today. She’s repeatedly featured on Audiofile Magazine’s annual Best-Of Lists. She was named Audible’s Narrator of the Year in 2014 and is a Grammy-nominated audiobook director. She has acquired multiple Audies and SOVAS (Society of Voice Arts) Awards, including for the performance of her own novel, My Oxford Year. She has won dozens of Earphone Awards, The Audie Award for Best Female Narrator of 2019, and was presented with Audiofile Magazine’s Lifetime Achievement Golden Voice Award in 2020. She attributes her distinctive style of narration to her ongoing passion for literature fueled by her decades of acting experience.

 

Lo: Poems by Melissa Crowe

Source: Publisher
Paperback, 88 pgs.
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Lo: Poems by Melissa Crowe, 2022 Iowa Poetry Prize winner to be published in May 2023, is an expression of grief, longing, and joy all at once as the young girl growing up within these poems and pages finds that the world is all at once beautiful and ugly. This song echoes throughout the collection from the opening poem, “The Self Says, I Am,” readers will see the whimsical imagination of a young girl surrounded by a rural landscape, but within that landscape blisters and sunburn can form, causing a young girl to learn to be “nimble” and “learned.”

The narrator of “Thrownness” says, “Maybe home is what gets on you and can’t//be shaken loose.” Taking the lighters side of that observation it is clear Crowe’s roots in Maine are still with her in the imagery she chooses, but on the flip side of that, the darkest parts of our childhood lives leave indelible scars. “Remember how every branch/on that same street seemed blessed with fat red berries/your mother said would make you sick and how — always/hungry, cupboards bare — you would not stop tasting them/anyway.” (pg. 5-6)

In many of these early poems, a young girl is yearning and she cannot get enough, even when what she receives is not necessarily the best thing for her. She is loved, but there are parts of her story that include attention, not necessarily love. Part 3 of this collection houses a variety of poem structures that tell a traumatic tale, and each mirrors the emotional state of the narrator. (be advised these can be triggering) “Thank god I thought, burning,/somebody will ask me. Nobody asked me.//Thank god I thought, burning, knowing/for the first time maybe what he’d//done to me, that what he’d done to me was/wrong enough to go to jail for, if you told.//” (“When She Speaks of the Fire,” pg. 30) This is where the reader weeps for this girl. You cannot help but weep. It is because the narrator is speaking directly to the reader, even if it’s framed as spoken to someone else. You are drawn in, you are “watching through a crack as thick as a man’s/fingers what unfolds beyond your power/to undo.”

Lo: Poems by Melissa Crowe is not focused just on the trauma and telling of it; it is the emotional journey of telling it and learning how to navigate the debris and the disappointment with loved ones who were supposed to protect you and didn’t/couldn’t and didn’t want to speak aloud about it even when it is clearly needed for healing. Another not-to-be-missed collection; pre-order it now.

RATING: Cinquain

About the Poet:

Melissa Crowe is a poet, editor, and teacher. She was born in Presque Isle, Maine, but she currently lives with her family by the sea in Wilmington, North Carolina. Crowe is an assistant professor of Creative Writing and Coordinator of the MFA program at UNCW. Her first full-length collection, Dear Terror, Dear Splendor was published by University of Wisconsin Press in 2019, and her second book, Lo, won the Iowa Poetry Prize and is due out from the University of Iowa Press in May 2023.

In Kind by Maggie Queeney

Source: Publisher
Paperback, 98 pgs.
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In Kind by Maggie Queeney, 2022 Iowa Poetry Prize winner to be published in May 2023, calls on the goddesses of old to illuminate the struggles of today. She deftly deals with trauma in a way that captures the darkness, the struggle, and the strength to move forward honoring that wound that makes up part of the whole person. In “My Given Name,” “Grit both the middle and the start of it://A bit of sand or shell shard, the hard/Speck of stone or flint or bone or beak—/What cannot be broken back//Into nothing, but offers an ever/Smaller division: this is what made me/What I am: Mar—as in mark, as in wound,//” (pg. 4)

Throughout her poems, transformation is taking place. Everything is unsettled in these poems, and it can be hard to get your bearings, but that’s to be expected given the subject matter (which those who have experienced trauma may want to consider before reading these poems). “We sang ourselves new bodies/the volume of our old hearts/” says the narrator in “Metamorphosis: The Daughters of Minyas Deny Ecstasy, Transform into Bats.”And in “A Charm, A Series of Survivals,” the narrator says, “He wrote his yes into my silence.” (pg. 21) Queeney demonstrates that old myths have something to teach us about punishments meted out to those who fail to conform to society’s expectations. They are unjust and harsh, but they also can become empowering enabling survivors to leverage those punishments as fuel in their own transformations and blossoming.

***(this is a graphic poem)*** Read the title poem, “In Kind,” at underbelly. It’s where I first saw Queeney’s work, and the differences between her draft poem and the final are amazing. Her poem builds from the rapping of the window washers’ ropes against the window, which take on the life of the traumatic memories, and these memories continue to haunt as the time passes and the narrator moves forward in the poem. The poem is not only about the witness and their trauma, but about the trauma of the victim who takes the actions leading to the witness’ trauma. It folds in on itself in a tragic way to remind us that “Nothing, and/no one ever enough.” Nothing could have prevented this tragedy. That’s the most hopeless moment in anyone’s life — knowing nothing you could have done would have saved a person you loved.

In Kind by Maggie Queeney is a deep exploration of trauma and transformation. It never shies away from the harsh realities and emotions of trauma, but it does seek to highlight the wounds can heal and be transformed into something that drives an individual’s healing and purpose. Do not miss this collection; pre-order it now.

RATING: Cinquain

About the Poet:

Maggie Queeney is the author of In Kind, winner of the Iowa Poetry Prize, forthcoming in 2023, and settler (Tupelo Press). She is recipient of the Stanley Kunitz Memorial Prize, the Ruth Stone Scholarship, and two IAP Grants from the City of Chicago. Her poems, stories, and hybrid works have been published widely. She holds an MFA in Creative Writing from Syracuse University.

Elegies for an Empire by Le Hinton

Source: the poet
Paperback, 65 pgs.
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***A portion of the purchase price of Hinton’s book ($15) will go to the Lancaster Cleft Palate Clinic.***

Elegies for an Empire by Le Hinton, is a gorgeous collection of poems paying homage to parents, ancestors, and others who came before, while realizing that the foundations and moments the poet leaves behind for children will be similarly in the past, even as they are present. In each step forward, there is an echo of the past, like his opening quote says from Ralph Ellison, “The end is the beginning and lies far ahead.” In the opening poem, “Asking for my Mother,” there’s the echo of a mother’s voice, urging the speaker to not only think on the past as a lesson, but to also employ it in a humble way. There’s a tension between doing something and praying about it, while at the same time, there is the urge to do something, move forward because one is praying about it.

Second Chance (pg. 18)

I carry my family's dreams
into this soil's darkness.

Inside this pod, I hold these hopes:

a fresh garden,
a tender lunar spring,
a faultless reputation.

No one here can sing my past

There is a sense of lament in each of these poems, but carried inside it is a hope that cannot be contained. Rise from the soil to build a garden anew, sit alongside the spirits of your ancestors to learn the past and how to navigate the future. These meditations signal to the reader that the hustle and bustle of our lives needn’t be the only driver of our action or inaction.

Hinton is tackling topics that we see on the news every day, and not all of us live in that reality but are mere observers. The question I come away with is: Why are you sitting idly on your hands and observing when you can take action to make change? Do all Black men have to have internal conversations about death when stopped by police? Is there a way to remedy this issue without more violence? How can we think our way out and take action?

The entire collection is not about darkness, death, and loss. There is love here. “Still Life with Desire,” shows us that even while masked and left with unspoken words, lovers can create something beautiful just as “Beethoven composing/his 9th within the enveloping silence.” (pg. 39) Elegiac song fills the air when so much is lost, but what about the things we’ve gained. “Consider your good fortune to have survived/a virus that has no conscience or taste buds/and disregards the pleasures of a lengthened life//Then peel the skin, slowly, intentionally,/noticing the tiny movement of flesh/beneath your fingers, the initial droplets//of the sweetest of juices.” (pg. 41, “How to Eat a Peach During a Pandemic”).

Elegies for an Empire by Le Hinton reminds everyone about the importance of connection to ourselves, to one another, to our ancestors, and yes, even to our enemies. In “Allies and Ancestors”, the poet says, “we’ll recycle these deaths/over again and again and over.” The energy of us never leaves. We are all still here, still connecting, still influencing.

RATING: Cinquain

About the Poet:

Poet, teacher, Le Hinton, is the author of seven collections including, most recently, Elegies for an Empire (Iris G. Press, 2023). His work has been widely published and can, or will be found in The Best American Poetry 2014, the Baltimore Review, The Skinny Poetry Journal, the Progressive Magazine, Little Patuxent Review, Pleiades, and elsewhere. His poem “Epidemic” won the Baltimore Review’s 2013 Winter Writers Contest and in 2014 it was honored by The Pennsylvania Center for the Book. His poem, “Our Ballpark,” can be found outside Clipper Magazine Stadium in Lancaster, Pennsylvania, incorporated into Derek Parker’s sculpture Common Thread.

He is the founder and co-editor of the poetry journal Fledgling Rag and the founder of Iris G. Press/I. Giraffe Press.

You Cannot Save Here by Tonee Moll

Source: Publisher
Paperback, 84 pgs.
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You Cannot Save Here by Tonee Moll, winner of the Washington Writer’s Publishing House‘s 2022 Jean Feldman Poetry Prize, opens with a quote from Ocatvia Butler’s Parable of the Sower, which sets the stage for the whole collection. Moll’s poems are about every day moments that each of us can relate to, such as days in which we have little energy to perform even the simplest tasks or are exasperated with the search for love and acceptance. The collection points to the gradual wearing down of ourselves.

In the first poem, “You Cannot Save Here,” the narrator begins with “the first day of The End,” which sets up readers for the journey through the apocalypse of life. “I don’t do anything just/sit in the dimness of midday/room with unopened blinds” Think about it, would we really know when the end comes? Do we even know when our end is near or that death has come for us? Not usually. This theme of not knowing if it is the end permeates the poems in this collection where the narrator realizes in “If You See Me, Weep” that lyrics about the end of the world and it “being later than you think” have been sung for decades.

Not only is Moll calling us to task about our obsessions with the end of the world and the death of ourselves, but he also is urging us to “be a whole oak enveloped in kind potential.” (“Fruit of the Unenclosed Land”). Through the title poems (yes, multiple poems are titled “You Cannot Save Here”), readers are immersed in the apocalypses that populate our lives. Humans are such dramatic creatures. Moll is meditating on what it means when we’ve past the point of no return and how do we live with where we are. But don’t expect all of these poems to be dark and dreary, because they are far from that.

You Cannot Save Here by Tonee Moll is a light in the darkness, teaching us to see what we have and rejoice in that moment. The collection asks what is our potential and how can we achieve it, despite our apocalyptic perspective.

RATING: Cinquain

About the Author:

Tonee Moll is a queer poet, essayist and educator. Tonee holds an MFA in Creative Writing & Publishing Arts and a Ph.D. in English. They are the author of “Out of Step: A Memoir,” which won the Lambda Literary Award and the Non/Fiction Collection Prize. Their latest book, “You Cannot Save Here,” won the Jean Feldman Poetry Prize from Washington Writers’ Publishing House. They live in Baltimore, and they teach creative writing & literature as an assistant professor of English at Harford Community College.

Dear Selection Committee by Melissa Studdard

Source: Jackleg Press
Paperback, 132 pgs.
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Dear Selection Committee by Melissa Studdard is a poetry collection that will have you on your toes, make you gape in awe, and have you wishing you kept some of your own boldness on the surface. These are poems of empowerment. In the opening poem, “Dear Selection Committee,” readers will see immediately that Studdard is bold and ready to ask for what she wants, whether it is a corner office or the ability to drink chardonnay when she wants.

In “My Kind,” the narrator says, “I’m building a life/out of sad songs, good friends, and leftover microwavable food./It occurs to me that I may be my own soul mate. That’s how I’ve/ended up in this body alone.” While there is a great deal of socialization, Studdard also brings to the forefront the inner life and loneliness of this persona. How do you fill those voids you experience? With friends, good food, pets? In “Untitled,” her persona’s “address is nostalgia/for things that never happened. I wander in/and out of coincidence, dragging a wagonful/of unrequited lovers behind me.” and later the persona says, “Oh — what we embrace/to avoid the life we’ve been given…Generate/a disaster in your life to sidestep/the true catastrophe of your life.”

The poems at first blush appear to be very tongue-in-cheek, with wild situations and imaginative conversations. Beneath the surface there is a powerful female voice carving out her due. From burying the past and digging it up to expressing exasperation with being human and all that requires. One of my favorite poems is Wrap it in Silk, which was published in The Los Angeles Review.

Dear Selection Committee by Melissa Studdard reminds us that we are center stage in our own lives and we need to live it boldly and without excuses. We can be kind, but also we can get what we want by going after it, not waiting for it to come to us. This collection is funny, sexy, and empowering. You won’t be able to put it down.

RATING: Cinquain

About the Author:

Melissa Studdard is the author of five books, including the poetry collection I ATE THE COSMOS FOR BREAKFAST. Her work has been published or featured by places such as NPR, PBS, The New York Times, The Guardian, POETRY, Kenyon Review, Psychology Today, and New England Review. Her awards include The Poetry Society of America’s Lucille Medwick Memorial Award, The Penn Review Poetry Prize, the REEL Poetry Festival Audience Choice Award, the Tom Howard Prize, and more.

Dispatches from Frontier Schools by Sarah Beddow

Source: Publisher
Paperback, 124 pgs.
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Dispatches From Frontier Schools by Sarah Beddow is an in-depth account of teacher in a poorly funded charter school and the pull of an educator to fulfill their passion in educating children and the tension it comes with when there is little funding, students are hard to reach, and family takes a back seat to her students. In the opening poem, “Dispatch for: [redacted]” the poet says, “I do not want    do not want cannot/stand this world/for them  So I touched/ her and listened.    She did/not dissolve    today but/surely she will/and/if I can   I will be/the nurse who notices   the silent shivering  the silent tears   and brings/an extra blanket//” (pg. 16)

Throughout this collection, readers will experience what it is like inside the classroom, dealing with managers, and caring deeply for students. She wants to reward her most engaged students, but the world seems to conspire against even the simplest rewards – a donut party. There’s a deep sadness in some of these poems. It’s clear the narrator of these poems is dedicated to her students, but teaching itself is hard enough without having to handle the pressures of the administration and compliance with rules. in “Dispatch re: Complaince” “I have / nothing else / to give   no ideas better than these / no students more woke / no donuts / no tears left to cry in the parking lot dawn / no me” (pg. 19)

Beddow tackles guns in school, education compliance, testing, inter-personal relationships between students, teen pregnancy, and how teachers must be involved but not be too involved in students’ lives. From “Dispatch re: Our Scholars” (pg. 55), “To take children of color and   performatively / age them into such series / stuffy  academics Lock them away in / an ivory tower  until they / emerge civil and / obedient  fit to meet the nation’s needs”

Dispatches From Frontier Schools by Sarah Beddow is a deeply moving collection of horror and beauty in educating students in a tumultuous time where students and teachers are under enormous pressures. Beddow is a masterful storyteller; she will have readers crying and thinking deeply about our education system.

RATING: Quatrain

About the Poet:

Sarah Beddow is a poet, wife and mother. She is the author of the book Dispatches from Frontier Schools (Riot in Your Throat) and the chapbook What’s pink & shiny/what’s dark and hard (Porkbelly Press). Her poems and essays have appeared in Bone Bouquet, Menacing Hedge, Entropy, GlitterMOB, and elsewhere. She has degrees in creative writing from Johns Hopkins University and Sarah Lawrence College. After completing her MFA in poetry, she earned an MS in Urban Education from Mercy College and spent nearly a decade teaching high school English. Though she now works in educational publishing, she looks forward to one day returning to the classroom.

On Black Sisters Street by Chika Unigwe (audio)

Source: Library
Audiobook; 9+ hrs.
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On Black Sisters Street by Chika Unigwe, narrated by Chinasa Ojbuagu, is my 4th book for the 12 books 12 friends reading challenge.

***Those who have been raped, sexually assaulted, or human/sexually trafficked, be warned that this book is graphic and triggering.***

Sisi, Ama, Efe, and Joyce are four different women from Africa who come to Antwerp, Belgium, in pursuit of independence and finances for their own dreams in an unforgiving business of sex. Chinasa Ojbuagu‘s narration was not as differentiated as I would have liked for each character, and the story lines are fragmented, shifting from present to past, but it didn’t distract from the compelling story of these women.

While in Belgium, they each focus on their goals and share little of their real selves with the women they share an apartment with. Each has Madam and their pimp Dele in common, but their reasons for coming to Europe vary. In this book, desire is the main motivator – the desire for a better life among women under the thumb of men and society and for money as Dele and Madam use “slaves” to achieve their own dreams.

This novel is nothing but horrifying. There’s so much desire for a better life that these women are blinded by it, but at the same time, these women have faced significant trauma in their childhoods. Where is the bottom? Is there a new bottom? Or is the choice to sell yourself to men an empowering decision? This is muddled in the narrative because the trauma they face in their own nations would be a low point, but coming to Europe is not the freedom they expect it to be.

On Black Sisters Street by Chika Unigwe is stark in its horror, and remember these are real people’s lives (not just the lives of these characters). Reality can be the most horrifying thing you can face.

RATING: Quatrain

About the Author:

Chika Unigwe was born in Enugu, Nigeria, and now lives in Turnhout, Belgium, with her husband and four children. She writes in English and Dutch.

In April 2014 she was selected for the Hay Festival’s Africa39 list of 39 Sub-Saharan African writers aged under 40 with potential and talent to define future trends in African literature.
.
Unigwe holds a BA in English Language and Literature from the University of Nigeria, Nsukka, and an MA from the Catholic University of Leuven, Belgium. She also holds a PhD from the University of Leiden, The Netherlands, having completed a thesis entitled “In the shadow of Ala. Igbo women writing as an act of righting” in 2004.

Above Ground by Clint Smith

Source: Publisher
Paperback, 128 pgs.
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Above Ground by Clint Smith explores the impact of parenthood on a worldview, and how our historical institutions and personal histories influence their parenting, and how the social and political turmoil can creep into your life.

The collection opens with “All at Once” provides readers an opening sense of overwhelm. Everything is happening simultaneously in different places from the child learning to walk to the wildfires destroying the forest to teachers calling parents about good deeds of students to scientists finding a vaccine to a mother getting the sad news that cancer has returned. All of it is overwhelming in so many ways, much like becoming a parent can be. Isn’t that when the worries start piling up?

Smith’s poems are fundamental and sweet — the anticipation of a child’s birth even across miles and over FaceTime. But they also can call us to the chopping block like in “When People Say ‘We Have Made it Through Worse Before'”: “But there is/no solace in rearranging language to make a different word/tell the same lie. Sometimes the moral arc of the universe//does not bend in a direction that comforts us./ (pg. 12) and in “Roots” where the narrator reminds us: “Your life is only possible because of his ability/to have walked through this country on fire/without turning into ash.” (pg. 25)

“Lines in the Sand” is a poem that should speak to every parent and should tell our policymakers to rethink their actions. I cannot begin to tell you how emotional the lines in the poem are. “Legacy” is another of my favorites. It is just beautiful.

Above Ground by Clint Smith is more than a collection about parenting and parenthood. It’s about the care we should take with all the children, with our Earth, and with our own lives. We should not be idle and we should take our own steps to make things better. We want to stay alive, we must act, not be idle.

RATING: Cinquain

About the Poet:

Clint Smith is a staff writer at The Atlantic. He is the author of the narrative nonfiction book, How the Word Is Passed: A Reckoning With the History of Slavery Across America, which was a #1 New York Times bestseller, winner of the National Book Critics Circle Award for Nonfiction, the Hillman Prize for Book Journalism, the Stowe Prize, the Dayton Literary Peace Prize, and selected by the New York Times as one of the 10 Best Books of 2021. He is also the author of the poetry collection Counting Descent, which won the 2017 Literary Award for Best Poetry Book from the Black Caucus of the American Library Association and was a finalist for an NAACP Image Award. His forthcoming poetry collection, Above Ground, will be published March 28, 2023.

Sound Fury by Mark Levine

Source: Publisher
Paperback, 80 pgs.
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Sound Fury by Mark Levine assaults the reader, bombarding them with broken words and lines at unexpected times, sounds that render readers concussed in many ways. “There go another million minutes/In the history of the misery/” (pg. 62-4, “‘strange shadows on you tend'”) His poems tackle a wide range of subjects from identity to ecological destruction, but sometimes the poems are so focused on artistry that the themes are muddled and obscured.

Despite these drawbacks, the collection does provide readers with vignettes of sorrow and insanity. Like in “Lark” where a storm causes significant damage, yet the narrator and the family slept through it.

Lark (pg. 1)

Storm of storms: We slept through it
In golden stupor. True, it
Did its damage before it withdrew. It
Emptied our orchard of unharvested fruit
Along with a fruit-picking crew it
Hurled hither and yon, bushels askew; it
Did not apologize, either, though a few it-
Ty bitty groans slipped through it-
S pores, a sorrowful fugue.

In “Thing and All,” the narrator laments the anonymity and desire for fame or being known, but by the end “It might feel like something/To feel something capturing you/In milled mirroring lenses/As you are and would be/But that self-love/Is nostalgia.”(pg. 18) Here, there is a sense that even self-love is an illusion in this chaotic world.

Levine seems to take “Delight in Disorder,” of course a poem in the collection. And his poem “‘strange shadows on you tend,'” reminds us of the fleeting nature of this chaos we try to make sense of with our assaulted senses: “It is not that he was never here/Or that we were never here./It’s just, oh just that he and we/Have lost a way/Together.” Sound Fury by Mark Levine has moments of clear lucidity and absolute chaos, what we take from the collection is all that we’ve carried with us in this wild world.

Rating: Tercet

About the Poet:

Mark Levine is author of Debt, among others. He is professor of poetry at the Iowa Writers’ Workshop, and is editor of the Kuhl House Poets series for the University of Iowa Press. Levine lives in Iowa City, Iowa.