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Ashes to Justice by R.E.I.L.

Source: GBF
Paperback, 46 pgs.
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(**note that this collection could be triggering for child abuse survivors)

Ashes to Justice by R.E.I.L. is a deeply personal collection of poetic resilience and strength. The opening poem, “Piece for PEACE” is a tribute to her grandmother and the strength she showed the young girl every day and the devastation of loss the young woman feels due to her grandmother’s passing. It’s a poem of learning to live without a loved one, but also an homage to the strength a grandmother instilled in a granddaughter: “my mind was dedicated/To being the strongest woman I could ever be/You are my hero, and I miss you/” (pg. 1)

It is clear that this poet has suffered, but she has chosen to strive for strength and resilience. Her poetry explores her efforts and her setbacks, but it is clear she will not let the abuse rule her life and take her down. From “Her Testimony,” “A little girl sad/Her life had no glory//And she wanted me to tell her story/She wants you to know that it feels good to be alive//This young girl died four times/Then was brought back to life!//” (pg. 3) It is through this spoken-word style that the narrator of the poem unpacks the sexual abuse story and brings forth the concept of “Reborn Early In Life” (R.E.I.L.). It becomes a moniker that sets the redemptive tone for the entire collection.

She strives to explore what “sexy” means and how it should be defined by not only society but ourselves. These poems are a sussing out of the past and the narrative present to determine how she should be viewed by herself, her lovers, and ultimately, what love and affection should be and how it should feel. The poet also tackles familial love and how it should be. In “A Real Man,” she implores a father to console her and the understand that not everything is about him.

Ashes to Justice by R.E.I.L. is a cathartic journey for a survivor of abuse, but it also is a lesson in how to learn what love is and not just what you’ve been given. It’s a soul-searching collection in which “where I come from” shouldn’t and doesn’t dictate who you are and what you deserve out of life. “Realizing that no one person is the problem/But we’re all part of the solution/And somewhere between here now and then/We need a resolution//” (pg. 29-31; “Fighting Temptations”)

RATING: Quatrain

About the Poet:

R.E.I.L. started her poetry career at open mics in the D.C. area and at 16 competed in the Brave New Voices slam in New York City. A poetic performer, visual artist, and arts educator teaching in D.C. schools, R.E.I.L. seeks inspiration from past and present life experiences to help the lives of other unsung souls.

Ten Thousand Steps Against the Tyrant by Indran Amirthanayagam

Source: GBF
Paperback, 90 pgs.
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Ten Thousand Steps Against the Tyrant by Indran Amirthanayagam opens with the “Migrant Song,” part plea, part love song to those who have fled homes to make new ones. “We write/poems for our tribes, making one tribe of/every beating heart sending blood through/the veins of one earth.” (pg. 3) This poem sets the tone for the collection. While many of these poems tackle tough issues of racism, institutional racism, a presidential election that threw a country into crisis, and so much more, Amirthanayagam bears witness to it all, but unlike the journalist observing, he’s participating in change. He’s calling voters in conservative locations, speaking to them one-on-one, writing letters, trying to express a different view but always with an open hand and heart.

One of the most beautiful lines in this collection comes in “Soul Rising”: (pg. 25)

I miss you something fierce;
I have to tell my bones to
stop shaking, to calm
down, that there is something
called work, poetry, cleaning
the room, getting food
together, attending to mother,
reading fine print in polling,
picking up the phone, cold-
calling a Texan in the name of
participatory democracy, the
nation's and the earth's soul...

In this poem, about a third of the way through, it is clear that democracy matters and it should matter to all of us. We should be taking the time to speak to one another — face-to-face, phone-to-phone, video-to-video — anything to keep the democratic dialogue going. Like I said, more than poems of witness. These are poems of action.

From "Artist's Role" (pg. 47)

...Can we continue
to make light and gladden hearts while the virus kills
and one gang leader tries to steal the democracy, unmasked?

Despite the darkness we face in America — the something “too rotten in the fridge” and the “blackening hole” and the “spilling of blood” — Amirthanayagam is still hopeful. There is light in the ship that carries democracy in the hold and the crossing of John Lewis bridge, and the dermatologist who is able to freeze the blackening hole and removing it before cancer takes over. “Writing a poem is/the easiest option, the only one I can/imagine and control. Although war is/everywhere, and it is time to raise/our hands and say no, not past this line.//” (“Not Beyond This Line, pg. 58)

It may take 10,000 steps, but freedom and peace are worth every stone stuck in your shoe, every bead of sweat that falls, and every emotional emptying it takes. Ten Thousand Steps Against the Tyrant by Indran Amirthanayagam explores the freedom of an open heart that allows us to “embrace the darkness and accept each other’s/absolute freedom to fly to the other end of the earth.” (“The Candle (Migratory Bird), pg. 87)

RATING: Cinquain

About the Poet:

Indran Amirthanayagam writes in English, Spanish, French, Portuguese, and Haitian Creole. He has published over twenty books of poetry, including Blue Window (translated by Jennifer Rathbun), The Migrant States, Coconuts on Mars, The Elephants of Reckoning (winner 1994 Paterson Poetry Prize), Uncivil War, and The Splintered Face: Tsunami Poems. In music, he recorded Rankont Dout. He edits the Beltway Poetry Quarterly (www.beltwaypoetry.com); curates www.ablucionistas.com; writes https://indranamirthanayagam.blogspot.com; co-directs Poets & Writers Studio International; writes a weekly poem for Haiti en Marche and El Acento; and hosts The Poetry Channel (https://youtube.com/user/indranam). He has received fellowships from the Foundation for the Contemporary Arts, the New York Foundation for the Arts, The US/Mexico Fund for Culture, and the Macdowell Colony. He is a 2021 Emergent Seed grant winner. Forthcoming new books include Powèt nan po la (Poet of the Port) and Isleño.

Water Shedding by Beth Konkoski

Source: GBF
Paperback, 26 pgs.
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Water Shedding by Beth Konkoski is a chapbook of stunning images that illustrate the shedding of an old self to make way for the emergence of another. In the opening poem, “Linger,” the narrator recalls how they needed to fit into a mold of another. “Burning any fringe/or edge you don’t like,/I beg to fit in your chosen/mold, to slide like a wedge/of orange between your teeth./” But the poem unravels this past to show readers that even as it hurts to break this mold, the narrator must relearn to use muscles that haven’t done much lifting.

From "Fragile, Do Not Drop" (pg. 2)

On a good day, I sense I'm breathing through glass
not shards cutting deep, just a dome of fine glass

I can almost press my hand to the edges,
but then fall, an insect captured beneath glass.

In each of these poems there is an energy that is contained, and while the narrator laments the lack of freedom to just be who they are, they also are afraid of what’s outside the safety of their carefully crafted world. But in “When I Was Eleven,” we see a brief moment of that freedom as the children head out into the night to catch fireflies or ride off on their bikes in summer. Later in “Sleep-Away Camp,” Konkoski explores the tight grip of fear with the story of Hansel and Gretel. She illustrates how fear is limiting, leaving the children without knowledge of the truffles in the forest or the beauty of the creek because the fear of the witch is ever prominent in their lives. “…we cage them with safety/and wonder when they do not flourish.” (pg. 6)

Water Shedding by Beth Konkoski takes readers on a journey through motherhood, being a daughter and a wife. She discovers the beauty in the cages, while slowly breaking free from the fear that creates those confinements. Her poems evoke nature in a way that calls readers to take a breath in their own lives and really consider the beauty in it. We do not need to completely shed ourselves to be free, but we can bend like the river and flow like the water beneath the obstacles and around them.

RATING: Quatrain

About the Poet:

Beth Konkoski is a writer and high school English teacher who lives in Northern Virginia with her husband and two children. She has published poetry, fiction, and non-fiction in more than fifty literary journals. Her first chapbook of poems, “Noticing the Splash,” was published in 2010 by BoneWorld Press.

Dear Diaspora by Susan Nguyen

Source: GBF
Paperback, 78 pgs.
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Dear Diaspora by Susan Nguyen, winner of The Raz/Shumaker Prairie Schooner Book Prize in Poetry, is almost a letter to those who have left their homeland in Vietnam. We begin with a flight in “The Body as a Series of Questions:” (pg. 1)

I was running fast because of what was behind me
the bridge existed a few steps before me then disappeared
through wooden slats rose the sound of rainwater
I absorbed the sound until there was nothing else

Suzi is a young teen of immigrant parents who is living an American dream, but she observes the hardships of her parents. A mother who comes home from working, “hair limp, deflated like a paper bag” in “Suzi’s Mother Does Nails” (pg. 7) Suzi sees the hardships, but she also sees the disappearances. Her father is a man who still seems to be running in the jungles to the waterways searching for fish, for something, on little to no sleep.

In “Letter to the Diaspora” (pg. 14), the poet asks, “Does memory eat the body?” Memory can be an all consuming beast sometimes, as we recall those we’ve lost, the past that is marred by danger and fleeing. Sometimes memory can consume you so much that you “exist at the edges.”

Dear Diaspora by Susan Nguyen is a stunning debut that looks trauma in the eyes and dares it to consume us. It’s a navigation of one generation through the grief of another. “Grief says little: yes, no. Does not say where her father has gone, does not say how to speak the language of her mother.” (“Sitting Down With Grief,” pg. 49)

RATING: Cinquain

About the Poet:

Susan Nguyen‘s debut poetry collection, Dear Diaspora, won the 2020 Prairie Schooner Book Prize in Poetry and was published by the University of Nebraska Press in Sept 2021.

Nguyen’s poetry is often interested in the body: how geography, history, and trauma leave markers, both visible and invisible. Her poems have been nominated for Best of the Net and a Pushcart Prize and have appeared or are forthcoming in The Rumpus, Tin House, Diagram, and elsewhere. She is an alum of Tin House Winter & Summer Workshops and Idyllwild Writers Week. Her hobbies, beyond reading and writing, include photography, zinemaking, hiking, and otherwise being outdoors.

Nguyen recieved her BA, English from Virginia Tech and her MFA, poetry from Arizona State University where she was the poetry editor for Hayden’s Ferry Review. She has taught creative writing at ASU and the National University of Singapore and she received a fellowship from the Virginia G. Piper Center for Creative Writing to conduct an oral history project centered on the Vietnamese diaspora. She was named one of “three women poets to watch in 2018” by PBS NewsHour.

Follow her on Instagram.

Your Words, Your World by Louise Bélanger

Source: the Poet
Paperback, 99 pgs.
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Your Words, Your World by Louise Bélanger, which toured with Poetic Book Tours, is a collection of nature photography and poetry. To me, however, the poems read more like a daily devotional, something many of us may need as the pandemic continues into its 3rd year. It’s a collection that reminds us of the beauty around us and how we tend to be too busy with our lives to notice the miracles in our gardens or parks.

from "The contest" (pg.19-20)

....
"And the fragrance of each flower
When mixed together was exquisite."

Then they understood
No flower is the best
Separately they don't win the contest
The winning comes when they are together
....

Many of these poems are reliant on a faith in God and have a motherly quality to them. Some of the tone is like a mother speaking to a child, expressing ways to better navigate the world. Learning to get along with others, become part of a team, and work toward a common goal, rather than compete with one another in a contest we cannot win.

Many of the photos in the collection are flowers or nature related, but I absolutely loved the clouds paired with the poem “A handful of cloud”. A mother and child are outside together and he reaches for a blue cloud, but it is the wispy nature of the cotton candy that reminds us of pure joy. It is the sweetness of an innocent child, it is the ephemeral nature of life’s moments. Enjoy each one while you have it.

Your Words, Your World by Louise Bélanger can be turned to again and again in times of worry or stress. The photos alone will cause readers to take a breath and smile. The poems will remind them that life doesn’t have to be a frenzy.

Rating: Tercet

When Your Wife Has Tommy John Surgery and Other Baseball Stories by E. Ethelbert Miller

Source: GBF
Paperback, 96 pgs.
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When Your Wife Has Tommy John Surgery and Other Baseball Stories by E. Ethelbert Miller is a collection that spans not only the love of baseball, but also wider themes of racism, gender issues, and loss. The collection opens with “Hit This” in which a ball curves after falling off a table. What a metaphor for life and baseball! Isn’t that just the way of things, we assume life is headed in one direction and then it takes a turn.

From "Roberto" (pg. 6)

We had gloves. Cheap gloves. Gloves
with no pockets no matter how much
we kept punching into the center of them.

The gloves had missing pockets
like our missing fathers who punched
our mothers and swung bats at our heads.

Our fathers were gone and we outgrew their
absence. Our hands became too large
for small gloves. Many were lost or stolen.

Miller’s plain language and emphasis on the childhood games of baseball in the streets and parks become larger metaphors for the violence and low-income struggles of these children’s lives. His lines pack a serious punch, particularly in “Roberto.” Many of the poems in this collection are like this. Remember that opening poem — the ball curves, and this is how each poem reads in Miller’s collection.

From "Kind of Blue" (pg. 15)

....A player swung
and sent a fly ball toward the outfield
fence. It went foul at the last moment
like love or a marriage striking an
empty wooden seat and bouncing
back to the field.

I had to look up Tommy John surgery, which I found out is the reconstruction of ligaments in the elbow and it’s a surgery most often done on pitchers. I like baseball and have written my own baseball poems, but mine are nothing like Miller’s poems. From a World Series played by survivors of earthquakes and climate change in “The World Series” to the hope that you’ll be remembered after the spring time of your youth in “Free Agent,” Miller’s baseball metaphors are larger than life, much like Whitey Ford and others who have played America’s favorite pastime.

RATING: Cinquain

About the Poet:

E. (Eugene) Ethelbert Miller was born in the Bronx, New York, in 1950. He attended Howard University and received a BA in African American studies in 1972. A self-described “literary activist,” Miller is on the board of the Institute for Policy Studies, a progressive multi-issue think tank, and has served as director of the African American Studies Resource Center at Howard University since 1974. His collections of poetry include Andromeda (1974), The Land of Smiles and the Land of No Smiles (1974), Season of Hunger / Cry of Rain (1982), Where Are the Love Poems for Dictators? (1986), Whispers, Secrets and Promises (1998), and How We Sleep on the Nights We Don’t Make Love (2004).

Miller is the editor of the anthologies Women Surviving Massacres and Men (1977); In Search of Color Everywhere (1994), which won the PEN Oakland Josephine Miles Award and was a Book of the Month Club selection; and Beyond the Frontier (2002). He is the author of the memoir Fathering Words: The Making of an African American Writer (2000).

The mayor of Baltimore made Miller an honorary citizen of the city in 1994. He received a Columbia Merit Award in 1993 and was honored by First Lady Laura Bush at the White House in 2003. Miller has held positions as scholar-in-residence at George Mason University and as the Jessie Ball DuPont Scholar at Emory & Henry College. He has conducted writing workshops for soldiers and the families of soldiers through Operation Homecoming.

Black Under by Ashanti Anderson

Source: Coriolis Publicity
Paperback, 30 pgs.
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Black Under by Ashanti Anderson is a poetry collection that will knock you back. In the opening ode, Anderson illuminates what it means to be Black and how beautiful it is. She equates it with the dark comfort of the womb, she alludes to the segregation of blacks and whites by evoking images of piano keys, but ultimately, her ode praises blackness. There are no monsters under this bed.

Anderson uses several different poetic forms to celebrate blackness, including a resume format that highlights the horrifying violence perpetrated against people because of skin color and the monetizing of those deaths for the sake of art and media. It’s that double-edge sword of calling attention to the unfair and unjust violence against Blacks, while at the same time feeling exploited. American capitalism at the forefront.

 from "Slave Ship Haibun" (pg. 11)

But she thinks not of how we watched the birds circle overhead,
bomb beak-first into the ocean. Each in our own way, we 
began to imitate. A few of us induced feathers. 
I plucked a plume, made a quill.

One of the most powerful poems in this collection, “The Body Recalls,” crescendos on the 3/5ths compromise where slaves were considered 3/5ths of a person for population counts related to taxation and representation in the House. Anderson makes readers aware of how each violent death of a Black person compounds the historic wrongs of America.

"Acrostic for My Last Breaths" (pg. 15)

If I’m ever out of oxygen

Cut the comms. Switch the radio, play
A song by Whitney or Aretha, something
No sense can pause my throat from parting for.
Gon throw my sorrows into this vast, black void
That don’t even have space to hold tune, or blues,

But I don’t sing to be heard. I do it to keep on.
Ring diaphragm and rattle lung like sickness, each
Eighth-note a reason to stay living. Can’t take
A rest, might hear the sensor’s whining,
That worried, heaving falsetto of siren.
How I hate the sound of dying. Rather riff
Even if everything in me stops screaming.

Black Under by Ashanti Anderson explores what it means to be Black in America and the world, but it also looks to acknowledge and tackle the inter-generational trauma of Blacks in a way that is a searing commentary on our society as well as a celebration of resilience.

RATING: Cinquain

About the Poet:

Ashanti Anderson (she/her) is a Black Queer Disabled poet, screenwriter, and playwright. Her debut short poetry collection, Black Under, is the winner of the Spring 2020 Black River Chapbook Competition at Black Lawrence Press. Her poems have appeared in World Literature Today, POETRY magazine, and elsewhere in print and on the web. Learn more about Ashanti’s previous & latest shenanigans at ashanticreates.com

Model Home by Jay Hall Carpenter

Source: GBF
Paperback, 61 pgs.
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Model Home by Jay Hall Carpenter is a collection reflecting on the homes we build, beginning with the landscape of “Common Ground,” in which the inside of a home may not be tenable but the land around it may be familiar and a place to start when building connections.

One of my favorite poems in this collection also speaks to connection, but in a way that kids and the kids within us will understand — the moments of our days. “Like Kids” explores the spontaneity and the curiosity of childhood, allowing us to shrug off adulthood and its responsibilities to run with the kids after the ice cream headache. These moments are fleeting, and as the string of our kites breaks and the kite drifts off into the air, we are made aware of the past and the present all at once. It is hopeful yet saddening.

“Model Home” speaks to the surface seen by others, but opens the doors wide to expose the fissures of family and the imperfections that we house. Carpenter has a deft hand in these poems, and even as many of them rhyme (something I don’t prefer as a reader), I was captivated. His ability to rhyme without distracting me as a reader was a welcomed surprise (though I have read a children’s manuscript he wrote and that rhymed, so I’m not sure why I should be surprised).

You’ll want to take your time touring Jay Hall Carpenter’s Model Home, scrutinizing the decor, exploring the dark corners, sledding down the snowy hills, examining the model home we, as America, pretend to be for the rest of the world. Our home may not be as perfect as we market it to be.

RATING: Cinquain

About the Poet:

Jay Hall Carpenter is an author and artist living in Maryland. His written works include plays, musicals, children’s books, and poetry. For several years he published The ACE Occasionally, a small literary humor magazine. “Dark and Light” is his first collection of poetry.

Carpenter’s career in the visual arts spans forty years and began at the National Cathedral in Washington, D.C., where he designed 520 of the Cathedral’s sculptural embellishments, including gargoyles and angels. His public sculptures, monuments, smaller bronzes, and drawings can be found throughout the United States and at JayHallCarpenter.com.

the moon won’t be dared by Anne Leigh Parrish

Source: Poet
Paperback, 150 pgs.
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the moon won’t be dared by Anne Leigh Parrish opens “among the trees” where the forest is populated by trees in competition with one another, yet united in their need of rooting. Lydia Selk’s collage imposes a woman on the forest of birches in the dense foliage, lying with arched back and eyes closed. Here she seems at peace, but as onlookers (like the statue in the foreground), she’s aware of witnesses who may judge her for her sheer presence. This unique collection is not how art informs poetry like in ekphrastic poems, but how the art of Lydia Selk accompanying these poems is informed by Parrish’s words. But that is not all that’s going on in this collection.

Parrish is a great observer of nature and the world around her, and she invokes the power of that world to demonstrate just how insignificant we can be and how natural power continues regardless of what we think or feel. Like in “storm,” the clouds are gathering and rearranging, while the narrator is talking, but her conversation does nothing but bring noise to a building storm that breaks and drifts on a rush of wind.

Some of my favorite poems in the collection are in the mid- to latter-half. From “the plains, as seen from above” where a river’s curves are compared to a woman’s hips and the changes the world and the woman have endured over time to “tutelage” where a woman looks back on all that she’s learned from her mother and other peers in her life, only to find the teachings less than adequate and that she may have more to teach them.

the moon won’t be dared by Anne Leigh Parrish, which toured with Poetic Book Tours, is a journey into womanhood and nature that leaves you naked in the forest, but unafraid. Readers will see how the artist Lydia Selk was inspired by Parrish’s imaginative poems that reflect on what it means to be a woman in a male-dominated society and what it means to break free and to own who you are.

***Check out my interview with Anne Leigh Parrish***

RATING: Quatrain

About the Poet:

Anne Leigh Parrish is the author of nine previously published books: A Winter Night (Unsolicited Press 2021); What Nell Dreams, a novella & stories (Unsolicited Press, 2020); Maggie’s Ruse, a novel, (Unsolicited Press, 2017); The Amendment, a novel (Unsolicited Press, 2017); Women Within, a novel (Black Rose Writing, 2017); By the Wayside, stories (Unsolicited Press, 2017); What Is Found, What Is Lost, a novel (She Writes Press, 2014); Our Love Could Light The World, stories (She Writes Press, 2013); and All The Roads That Lead From Home, stories (Press 53, 2011). Visit her website.

2022 Poetry Reading Challenge

It’s that time of year again where reading challenges emerge. We, as readers, just love to challenge ourselves by expanding our horizons and reading more than we did in previous years.

2022 is no different.

  1. One of the easiest, and possibly most difficult, will be getting people to sign up to read a poem-a-day through the Academy of American Poets Poem-a-Day service. The challenge is to read a poem-a-day for a week once per month and write about which poems were your favorite and why. You can write up a short blurb on your Facebook page, Twitter, Instagram, or your blog. I’d love for you to share your experience in the comments each month.
  2. Second, read at least 1 book of poetry (doesn’t have to be cover-to-cover) and write about your favorite poems and what you learned about yourself while reading those poems.
  3. Third, if you want to go all out, feel free to read as many books of poetry as you can in one year and link to your reviews in the comments.

If you accept one of the options or the whole challenge, leave a comment with where you will be posting about your year in poetry.

In August, I’ll be hosting a poetry book read-a-long. Voting on which book we read will be done in July 2022.

Kaddish: Before the Holocaust and After by Jane Yolen

Source: Publisher for GBF
Paperback, 88 pgs.
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Kaddish: Before the Holocaust and After by Jane Yolen is an exploration of loss that readers will be unable to turn away from. Readers must witness the devastating pain of the holocaust, but Yolen still holds out hope that violence is not the only solution to bullies and violence. In “What About Goliath,” Yolen explores David’s win over Goliath and asks, “Maybe there’s a better way/than slingshots, hot shots, mugshots./Better than becoming Goliath/ourselves.//” (pg. 7)

The poems in this collection explore generational loss and the brokenness that follows genocide. The stories of the dead are only kept alive by those who remember, but the perpetrators often have the luxury of seeing those stories as a past that they can rewrite or at least supplant with their own.

From "Holocaust Stories" (pg. 42)

...
We make it true again, truer,
because story sticks
when memory fails.
...

Yolen explores this in “Kristallnacht in Hamburg,” where her poem points out, “Not all Germans remember/this is the night./It is eighty years later,/their great grandparents’ sin,/only a story, a history,/they will have one of their own.// But still, we are all broken./But still, we are all glass.//” (pg. 25) We need to remember that we are all broken by violence. The people we thought our grandparents were when they cared for us, are those same people who harmed others out of hate. We are all part of that broken history. There is always that question in the shadows of how repairing what is broken will still show the cracks of the past.

Kaddish: Before the Holocaust and After by Jane Yolen is heartbreaking in its sincerity. Yolen’s poems provide a frank look at the Holocaust and after, particularly the absence of respect often shown at Holocaust remembrance locations, with teens smiling and laughing. The movement of time often makes memory hazy, which makes these stories all the more important. We need to hear these stories, feel the pain, and learn to move further away from the violence that leads to brokenness.

RATING: Cinquain

What Mothers Withhold by Elizabeth Kropf

Source: Purchased
Paperback, 36 pgs.
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What Mothers Withhold by Elizabeth Kropf is a slim chapbook of the emotions we hold inside as mothers and women from our parents, our children, and even ourselves. She opens the collection with a mother’s caring hands, wishing to scrape away the plaque in the minds of Alzheimer’s patients and the dirt from the feet of children who are walking to the United States from Honduras. Each poem is searing with its heartbreak over things we cannot control and the truths that cannot be hidden for too long.

from "the cost of obedience" (pg. 3)

naked in a paper gown
I am without a voice
I nod and accept. I do not say no.
Nurses stare at monitors, their backs to me.

Miscarriages, infertility, and other heartaches are often internalized by women. Women are expected to hold these heartaches inside, especially the feeling of failure. In “Upon the birth of my daughter,” the narrator of these poems speaks to those early moments of birth. She says, “let me reclaim the first moment I held you,/handing you back so soon, arms too weak/let me reclaim, reclaim this passage/let me reclaim a tender moment/to remember to tell you again and again//”

In the title poem, Kropf speaks to what it means to protect our loved ones. How we sometimes push them away to protect them, but in some cases when we hide the truth, it’s only for a little while. There are moments when the truth has to be revealed. “as mothers have always withheld splinters of pain/unwilling to prick innocent skin/until the moment the child is ready to hold truth tenderly/,” she tells us.

The collection is not just about what we hold from our children, but also from ourselves. We withhold our dreams, put them off, waiting for that moment. But that moment is now. We need to learn to be more open, to break through the norms and anxieties that hold us back. What Mothers Withhold by Elizabeth Kropf is less about what we withhold and more about what we need to break free.

Rating: Quatrain

About the Poet:

Elizabeth Kropf earned her Master of Arts in Creative Writing from Perelandra College and is widely published in literary publications, including The Texas Poetry Calendar, The Penwood Review, and Windhover: A Journal of Christian Literature.  A dream called her from California to Texas where she now lives with her husband and daughters.