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Nothing You Build Here, Belongs Here by Sara Cahill Marron

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Nothing You Build Here, Belongs Here by Sara Cahill Marron is a collection that explores the need to mark our presence in this life, even as we know that it is all impermanent and often fades.

The opening poem “The Three Shades” reflects this impermanence and the unpredictability of what stays and what fades into the dark. Amid the detritus of modern life (Styrofoam cups et. al.), there is still life here, and we are watching it fade, struggle, and die. It’s a sad emptiness to see life dissipate even in anonymity.

The pandemic clearly influences many of these poems and the desire to save others is prevalent in some, but there’s also this commentary on the disconnect from others. “Please/please stay … drown out news,” the narrator in “An Infant Died Today in Illinois” says, but it is clear that the news cannot be ignored and the inevitability of death is ever present.

Marron is exploring the disconnect between us during the pandemic in the tension with our need for connection. Whether it is an overly sharing email to a hiring manager or an imagined conversation with our eavesdropping cellphone (which I suspect sent her on a journey that culminated in her newest book, Call Me Spes), Marron gives readers a lot to think about in terms of the inevitability of death, our desire for connection and to be seen, and the absence of humanity.

Nothing You Build Here, Belongs Here by Sara Cahill Marron reminds us that many times “the enemy is internal,” whether it is the virus that can infect and kill us, the inequality we propagate, or any other selfishness that infects society and its ability to grow and evolve together in divine love and connection. There is so much to love about this collection.

RATING: Cinquain

About the Poet:

Sara Cahill Marron, native Virginian and Long Island resident, is the author of Reasons for the Long Tu’m (Broadstone Books, 2018), Nothing You Build Here, Belongs Here (Kelsay Books 2021), and Call Me Spes (MadHat Press 2022). She is the Associate Editor of Beltway Poetry Quarterly and publisher at Beltway Editions. Her work has been published widely in literary magazines and journals; a full list is available here. Sara also hosts virtual readings for Beltway Poetry Quarterly with her partner in poetry, Indran Amirthanayagam and teaches poetry in modern discourse programs for teens at the public library in Patchogue, NY. Follow her on Facebook, Twitter and Instagram.

Rooted and Winged by Luanne Castle

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Paperback, 68 pgs.
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Rooted and Winged by Luanne Castle, on tour with Poetic Book Tours, speaks to the human condition, a need for feeling rooted to a home and the need to expand our wings and fly beyond what we’ve known and experienced. The tension of this is felt throughout the collection, but as the poems evolve there’s a sense that both things are possible even if we stay rooted in our families and communities.

One of my favorites in this collection is “How to Create a Family Myth” in which a grandfather seems like he’s larger than life building cities, but in truth, the narrator who looks like her great-grandmother is fascinated by a story in which she takes a whip from a man who is beating a horse and whips him. I love that there’s this magical quality of traveling through time to see this young, brave woman empathizing with the pain of the horse and teaching a man what it is like to be beaten. So many wider implications of this bravery, and how we all wish to be that brave in our convictions.

Birds are prominent as are the poet’s family members. The narrator is building her nest with these twigs of stories and she’s holding those ancestors close, even though many have flown away in death. Like these birds the saguaro is mentioned multiple times, and in reading these poems the candelabra shaped, tree-like cactus (mostly found in Arizona’s Sonoran Desert) is symbolic. It can be prickly, but it bears a sweet fruit, and isn’t that what family and family stories and memories are — bittersweet.

In “Why We Wait for Rain,” the poet says, “We wait to run through wet branches and shake/drops from our shoulders, caught/in the sharp unmistakable fragrance//wanting it to pool inside us in reservoir.” When looking back on the past, we can feel the joy of those moments running through rain with siblings or friends, but as life has moved forward, those memories also can be sad because they are in the past and perhaps we have lost touch with those we loved or they have passed away, or their loss is from some argument.

Whatever the loss may stem from, it doesn’t matter because our memories of them always speak to us from the deep well of our emotion. “if I haul memory from this grave/the transmigration into pulp continues” (“Into Pulp”, pg. 27)

Rooted and Winged by Luanne Castle is a gorgeous collection rooted in the Arizona desert and the past, but it also takes flight on the wings of memory and hope. Don’t miss this collection.

RATING: Cinquain

OTHER Reviews:

About the Poet:

Luanne Castle’s new poetry collection is Rooted and Winged (Finishing Line Press). Kin Types (Finishing Line Press), a chapbook of poetry and flash nonfiction, was a finalist for the Eric Hoffer Award. Her first collection of poetry, Doll God (Aldrich), won the New Mexico-Arizona Book Award for Poetry. Luanne’s Pushcart and Best of the Net-nominated poetry and prose have appeared in Copper Nickel, American Journal of Poetry, Pleiades, Tipton Poetry Review, River Teeth, TAB, Verse Daily, Glass: A Journal of Poetry, Saranac Review, Grist, and other journals.

Summonings by Raena Shirali

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Paperback, 122 pgs.
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Summonings by Raena Shirali is an urgent calling of female personas in an effort to highlight the continued practice of daayan (witch) hunting in India. But even as Shirali conjures the spirits of these women, she is also summoning her own power as a westernized Indian woman to empathize and call attention to this practice and the unfair targeting of women.

As she points out in the foreword, “India is the world’s most dangerous country for women … The only Western nation in the top 10 was the United States…”

Shirali is fully aware that as a westernized Indian woman there is “distance/between self & subject.” (“on projection,” pg. 12) Her poems aim to bring these women into full-bodied poems based on what she knows about these “witches,” but it is hard to be a spirit without the lens of one’s own culture and upbringing. This mirrors her poem “ojha : rituals” where she questions what “truth” is, especially when it becomes subjective.

These poems are multi-layered and the longer you sit with these lines and images, the more you realize these stories are a conjuring of female power from ancestors and modern women who face oppression. Even as there is a reach for feminine power, there’s also a self-hatred Shirali struggles with: “i was shit & wanted/to be shit. & then i swallowed pretense. swallowed/countries” (“at first, trying to reach those accused” pg. 27) and in “summoning : retreat” (pg. 31) “digging in/the old-world soil/for common root.”

Shirali offers a “different way to look at the same/old face.” (“daayan gets her name” pg. 35) In summoning the spirits of these women, these so-called witches, she’s rewriting the narrative to include their truth, not just the stories that have been told about them. Her poems are when “the earth began to shift”(“daayan & the mountains : ii pg. 58-9). Summonings by Raena Shirali is asking us to reexamine who gets to ask, who answers, and who tells the story.

RATING: Quatrain

About the Poet:

Raena Shirali is the author of two collections of poetry. Her first book, GILT (YesYes Books, 2017), won the 2018 Milt Kessler Poetry Book Award, and her second, summonings (Black Lawrence Press, 2022), won the 2021 Hudson Prize. Winner of a Pushcart Prize & a former Philip Roth Resident at Bucknell University, Shirali is also the recipient of prizes and honors from VIDA, Gulf Coast, Boston Review, & Cosmonauts Avenue. Formerly a Co-Editor-in-Chief of Muzzle Magazine, Shirali now serves as Faculty Advisor for Folio—a literary magazine dedicated to publishing works by undergraduate students at the national level. She holds an MFA in Poetry from The Ohio State University and is an Assistant Professor of English at Holy Family University. The Indian American poet was raised in Charleston, South Carolina, and now lives in Philadelphia.

The New Gods by William O’Daly

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Paperback, 92 pgs.
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The New Gods by William O’Daly is as unpredictable as the ocean’s waves, as the poet pushes us to action and halts our momentum for moments of reflection. Opening the collection with “The Fire” readers are dropped into a glade of sorts where water is tumbling to a hot canyon, and it is clear that despite the destruction of the fires in the forest and the danger to the birds and horses, there is still beauty here. Does that beauty survive? It’s hard to say, but O’Daly makes sure we pause to see it.

Moving further into that opening poem, O’Daly shifts the focus to the tension and angst we create with our fire of invention and the risks it carries. The hail of spitballs in a classroom reminding the narrator of the nuclear fission that could rip them to shreds and render the world of friends and brothers, etc., into vapor. It’s again another familiar scene that many of us recognize that is destroyed by an outside force that could be of our own making. In the final lines, it is clear that we are all just on the cusp of a precipice.

O’Daly has a keen eye for detail in these poems, creating a world you fall into and instantly recognize. But he also asks readers why “we live far from ourselves and/each other…” (pg. 35, “The Unwritten Letter”) It’s like a bird’s call for us to slow down, pay closer attention, and learn from what’s around us, what has come before, and even the destruction we cause. There are lessons to be gleaned and beauty even in that darkness.

The Flag Is Burning (pg. 37-8)

We, friend, are the body of the country
burning in the street,
eyes open against the sky,
the child running,
the mother on her knees
reaching for the soldier aiming,
the village on fire -- the shrapnel littered ruins
...

It is in this poem where we are reminded of our place in society and a country and that we are responsible equally for its actions if we remain inert. O’Daly revisits this concept again in “Handout,” where a huddled figure in the fog is feared by the narrator rather than shown compassion until his daughter takes action with her hand out to him, an offering of food. The New Gods by William O’Daly spans a great many subjects, historic moments, but it is in its quiet moments where he’s at work, teaching us that we are the “new gods,” the ones with the power to effect change.

RATING: Cinquain

Photo courtesy of Kristine Iwersen O’Daly

About the Poet:

William O’Daly’s most recent book of poems, The New Gods, which includes these poems, will be published by Beltway Editions on September 15, 2022. O’Daly has translated eight books of Pablo Neruda’s late and posthumous poetry and Book of Twilight, the Chilean Nobel Laureate’s first book.

Falling Leaves: An Interfaith Anthology on the Topic of Consolation and Loss edited by Susan Meehan and Robert Bettmann

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Falling Leaves: An Interfaith Anthology on the Topic of Consolation and Loss edited by Susan Meehan and Robert Bettmann is a prayer for the anguish felt around the globe by each of us whether that be during the pandemic or at another point in our lives. Each poem is founded on a tradition in faith, but the poets reinterpret some of these traditions in their lines.

Offering prayers, acceptance, and healing, these poets are reaching out to readers to demonstrate that we are not alone in dealing with loss. No loss is greater than another; all are equally harrowing. Even in this loss there is connection to ourselves, our ancestors, and the future.

As Luther Jett points out in “Ha’azinu,” “… Don’t pretend/that I am up there/in the sky — aloof,/unattainable//Don’t imagine/that I am only in/the gentle places–/the sweet moments/you wish to recall.//” (pg.9-10) And in “Come Sunday,” Lori Tsang says, “I give thanks/for this chance/to remember/I am part/of something/Larger” (pg. 57-8)

Falling Leaves: An Interfaith Anthology on the Topic of Consolation and Loss edited by Susan Meehan and Robert Bettmann is anthology readers can turn to again and again to find comfort. If you experienced a loss, and we all have, this collection will help you see that you are not alone in that sea of grief.

RATING: Quatrain

The Tradition by Jericho Brown

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Paperback, 77 pgs.
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A little unconventionally, I found Jericho Brown on Twitter without having read his poetry, but what he says on the platform caught my attention and I’ve followed him ever since. When the pandemic hit, I was a poet without a group of poets to fuel my revision and writing and I found a number of Zoom workshops and events to fill the void.

However, when the opportunity to have a workshop with Brown came up (for free), I was, first, stunned it would be free, and, second, that I could workshop with Brown! This workshop turned my writing on its ear. I have not forgotten his methods, his exercises, or his advice during that session. In many ways, his workshop led me to break out of the box I pinned myself in. With that in mind, I just had to pick up his book when I finally had money and could enter a bookstore in person again — yes, I waited because bookstore trips are like spiritual experiences.

Without further ado, here’s my review.

The Tradition by Jericho Brown explores the violence that has become tradition in the United States and elsewhere and its effects on not only the body, but the soul. He opens this collection with “Ganymede,” that breathes the modern world into Greek mythology and the kidnapping of the young Trojan by the gods and equates it with the taking and selling of slave children across the plantations. “The people of my country believe/We can’t be hurt if we can be bought.//” he says in the ultimate lines of the poem. How true and untrue that statement is. The truth of it is that they are harmed, but that others perceive that they are not because they are property.

From this opening, we know as readers we’re taking a journey into deeply emotional territory for Brown from the choice of a mother to side with a father and forsake her son to the bright lives of Black men and women who are cut down so easily and without remorse on the streets every day.

From "Bullet Points" (pg. 16)

...
Calling worst. I promise if you hear
of me dead anywhere near
A cop, then that cop killed me. He took
Me from us and left my body, which is,
No matter what we've been taught,
Greater than the settlement

But it isn’t just the violence against Blacks that he talks about, it is the coverup of history and that we gloss over the atrocities of our history. The stealing of land from native peoples, even as those people never laid claim to the land but merely subsisted on what it gave them. The conquering of other lands merely because we wanted to or could, all in the name of democracy or some other twisted ideal — only to turn our back on it when everyone wanted freedom.

The Tradition by Jericho Brown pushes us to ask why violence has become a standard for us and to look at where it comes from. It is rooted in all that we are as a nation. In order for us to find that “something vast” and to leap toward it, we must break this tradition and create something new.

RATING: Cinquain

Make Me Rain by Nikki Giovanni

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Paperback, 144 pgs.
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Make Me Rain by Nikki Giovanni is a collection of prose and poems, with some of the prose answering pieces in The New York Times. Giovanni is unapologetic as she should be and lifts up not only relatives and friends, but infuses her poetry with a hope and confidence that some poets don’t find until they’ve lived a long life. Her poems revel in the Black experience, while at the same time decrying the hatred, racism, and white supremacy that the Black community – herself included – have endured.

In “You Talk About Rape” (for Donald Trump), Giovanni pulls no punches at his rhetoric and blatant disregard of women as property and playthings for his amusement. She reminds us that Blacks endured this type of suffering from the early days of the slave trade and what is left and what you do with it is how you survive. “Give me left/overs/and I will create/a cuisine//” she says, adding that she can use scraps to create a quilt. As a woman, she’s a creator, a possibilities maker, and someone who will not stand still and wait for you to impose your will on her.

Not all of these pieces are about darkness. There are tender moments in which Giovanni wishes to become a sweatshirt to cuddle close to those she loves and how her aunt showed her love in the dresses she made for little Nikki. Some poems make us realize that mortality cannot be escaped even if you do win all the poetry prizes and accolades, but it is how we are loved that most endures when we’re gone.

Make Me Rain by Nikki Giovanni pays homage to not only Blackness and the struggles of men in war, women in societal war, and so much more. As she reminds us, there’s always that struggle between the light and darkness, but “I like to think if Dark/sitting on the back porch/maybe drinking a beer/rocking back and forth/waiting for Light to come/” and “The sun sees them/on the rocker/…and sends them little pieces of color/asking them to come together/for who can say No/to the sun/” (pg. 106)

RATING: Cinquain

Other Reviews:

 

Also check out my Interview with Nikki Giovanni

 

Photo © Deborah Feingold

About the Poet:

Nikki Giovanni, poet, activist, mother, and professor, is a seven-time NAACP Image Award winner and the first recipient of the Rosa Parks Woman of Courage Award, and holds the Langston Hughes Medal for Outstanding Poetry, among many other honors. The author of twenty-eight books and a Grammy nominee for The Nikki Giovanni Poetry Collection, she is the University Distinguished Professor of English at Virginia Tech in Blacksburg, Virginia.

Call Us What We Carry by Amanda Gorman

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Hardcover, 240 pgs.
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Call Us What We Carry by Amanda Gorman, which was the August read-a-long, is the first poetry collection by the youngest poet laureate to read at a presidential inauguration. Her poems read much like a spoken word poet would recite them. She plays a lot with poetic form, crafting lines into images of whales and masks, and placing poignant lines on the stripes of the American flag. Some of these image-focused poems work well, but others just seem to fall flat.

From "Cut" (pg.26-27)

Disease is physiological death,
Loneliness is a social one,
Where the old We collapses like a lung.
From "War: What, Is It Good? (pg. 118-124)

War, like a whale, is all consuming-
Everything fits into its mesh mouth.
Like a whale, a virus can wolf
Down the globe whole.
The bullet is a beast, as are we.
Our invisible battles
Are the hardest ones to win.

***

The first step in warfare & pandemics is the same:
Isolation, to rupture the channels of communication of
virus/violence."
Later in that poem on mask vs. no mask (pg. 144)

Why it's so perturbing for privileged groups to follow
restrictions of place & personhood.
Doing so means for once wearing the chains their power
has shackled on the rest of us.

Gorman tackles a lot of issues in this collection from slavery and racism to the COVID pandemic and its parallels with the 1918 Spanish flu. Water imagery and references to the slave ships travel throughout the collection, connecting the struggles together into the anchor that many still carry.

There is a lot of struggle and darkness in these poems, but she answers the call of how to move on with love, empathy, and connection. Gorman reminds us that there is hope for change, and that we can make those choices. We are not all that we carry with us.

From "School's Out" (pg. 17-8)

Their feet stomp at our life.
There is power in being robbed
& still choosing to dance.

Call Us What We Carry by Amanda Gorman is strongest when it is passionate and honest, when the poems don’t rely too heavily on physical images or erasure to create declarative poems. Her honesty shines brightest in her youthful passion and I am eager to see more from this poet.

RATING: Tercet

This was our August read-a-long selection for the 2022 Poetry Reading Challenge. You can find those discussions below:

About the Poet:

Amanda Gorman is the youngest inaugural poet in U.S. history, as well as an award-winning writer and cum laude graduate of Harvard University, where she studied Sociology. She has written for the New York Times and has three books forthcoming with Penguin Random House.

Born and raised in Los Angeles, she began writing at only a few years of age. Now her words have won her invitations to the Obama White House and to perform for Lin-Manuel Miranda, Al Gore, Secretary Hillary Clinton, Malala Yousafzai, and others. Amanda has performed multiple commissioned poems for CBS This Morning and she has spoken at events and venues across the country, including the Library of Congress and Lincoln Center. She has received a Genius Grant from OZY Media, as well as recognition from Scholastic Inc., YoungArts, the Glamour magazine College Women of the Year Awards, and the Webby Awards. She has written for the New York Times newsletter The Edit and penned the manifesto for Nike’s 2020 Black History Month campaign. In 2017, Amanda Gorman was appointed the first-ever National Youth Poet Laureate by Urban Word – a program that supports Youth Poets Laureate in more than 60 cities, regions and states nationally. She is the recipient of the Poets & Writers Barnes & Noble Writers for Writers Award, and is the youngest board member of 826 National, the largest youth writing network in the United States.

Final Week: Amanda Gorman’s Call Us What We Carry Read-a-Long

For this last week, we read the final sections of the collection:Fury & Faith and Resolution.

Here are a few questions to get us started:

  1. In Fury & Faith, Gorman again takes the poetic form and upends it, placing it onto the stripes of the American flag. What are your thoughts on this use of poetic lines?
  2. Explore your reactions to the poems in this first of the last two sections. What are some of the things that stuck out to you?
  3. In the Resolution section, what do you think her main point is about resolution?

I’ll be monitoring the comments and replying throughout the weekend. Can’t wait to see what everyone thinks.

Check out the previous discussions below:

Thank you to everyone who participated or just read along with us. I hope you enjoyed the book, and I’d love to hear what you thought overall.

Week Three: Amanda Gorman’s Call Us What We Carry Read-a-Long

For this 3rd week, we read the Atonement section.

Here are a few questions to get us started:

1. What was your favorite poem in this section?

2. Erasure poems modify current text to create something new or highlight a particular theme. What impact does this form have on these poems?

3. Gorman offers a great deal of background to these found poems in footnotes and elsewhere, how did or did it not affect your reading of the poems?

I’ll be monitoring the comments and replying throughout the weekend. Can’t wait to see what everyone thinks.

Week Two: Amanda Gorman’s Call Us What We Carry Read-a-Long

For this 2nd week, we read the 3rd and 4th sections: Earth Eyes and Memoria.

Here are a few questions to get us started:

  • In Earth Eyes, what do you see are the main themes and how do they relate to the collection’s title, Call Us What We Carry?
  • Gorman has a lot of visual forms for her poems, how do they impact your enjoyment of the poems?
  • In Memoria, what do you think Gorman is saying about memory and the act of remembering?
  • What are some of your favorite lines or poems in these two sections?

I’ll be monitoring the comments and replying throughout the weekend. Can’t wait to see what everyone thinks.

Week One: Amanda Gorman’s Call Us What We Carry Read-a-Long

For this first week, we read the first two sections: Requiem and What a Piece of Wreck is Man

I wanted to start the discussion with a few questions about these two sections.

1. Why do you think “Ship’s Manifest” is the opening poem to the collection and no included in the first section, “Requiem?”

2. Gorman’s first section’s title signals that the poems will be a remembrance of the dead, how well do you think the poems accomplish this task? What was one of your favorites?

3. In “What a Piece of Wreck is Man,” what do you think she’s saying with these poems? Is man irredeemable? Is there more to our failures?

4. What are some of your favorite poems or lines in these two sections?

I’ll be monitoring the comments and replying throughout the weekend. Can’t wait to see what everyone thinks.