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The Day the World Ends by Ethan Coen

April 24, 2012 by

The Day the World Ends by Ethan Coen, one half of the Coen Brothers film making team with great films under their belt like Brother, Where Art Thou? and No Country for Old Men, is a twisted and unexpectedly thoughtful collection in places.  The limericks are bawdy and remind me of Christopher Moore’s humorous prose, but less in the smart and sassy humor and more in the low-class bathroom humor sense.  Necromancy Never Pays stated that the poetry in the volume is geared toward a male audience, and in most cases, that is true — particularly with the dirty limericks.

"Stone-age man, thawed from glacier, aghast:
'Was some snowman in my recent past?
And if so, who fucked who?
My dick's numb and quite blue
And there's freezer burn all up my ass.'" (Page 28)

Additionally, Coen appears to love rhyme, no matter how trite or over-stretched it might be.  Readers could find this collection amateur at best in how Coen chooses his rhymes, even when they have a tongue-in-cheek quality.  Like the “bathroom” humor, these rhymes can get tiresome.  Take for instance the rhymes in “Vine-Covered Verse” (page 53), “Lord, keep this farmer’s soul in peace,/For, though he dallied with his niece,/And cow, and nephew, none can claim/He, during, failed to praise Your name;/And how commit a lesser sin/When neighbors are but kine and kin?//”   However, even in this poem, there are moments of deeper thought in which the narrator is asking what sins are worse and should they all be forgiven or all be condemned.  It also questions how well we know our partners or other humans in general and what secrets they will take to their graves.

Coen’s poetry in this collection seems built for laughs among men mostly, though there are moments in which the poems are not trying so hard to be humorous.  There are some with an anachronistic quality to them, while others like “My Father’s Briefcase” are more serious and reflective.  “Therapy” uses humor and disdain to point out the inane struggle we have against aging and the depression that accompanies the process of aging, as the narrator talks of his depression to a less-than-helpful therapist.

The Day the World Ends by Ethan Coen is not for everyone and could be trying if read from cover to cover, but for those looking for a humorous romp on the underside of humanity, take a dip into these pages.

Poet Ethan Coen

About the Poet:

Ethan Jesse Coen is one half of the American film making duo the Coen brothers.  Their films include Blood Simple, Fargo, The Big Lebowski, O Brother, Where Art Thou?, No Country for Old Men, and True Grit. The brothers write, direct and produce their films jointly, although until recently Joel received sole credit for directing and Ethan for producing. They often alternate top billing for their screenplays while sharing film credits for editor under the alias Roderick Jaynes.

To enter to win one of 2 copies for US/Canada readers:

Leave a comment about what tour stop on the National Poetry Month Blog Tour you’ve enjoyed most, either here or on one of the participants’ blogs.

Blog, Tweet, or share the link on Facebook for up to 3 additional entries.

Deadline is April 30, 2012.

***Today’s tour stop is at Arisa White, so check it out!***

 

This is the 11th book for my 2012 Fearless Poetry Exploration Reading Challenge.

 

 

This is my 29th book for the 2012 New Authors Challenge.

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Hurrah’s Nest by Arisa White

April 23, 2012 by

Hurrah’s Nest by Arisa White is an illustration of the “untidy heap” or “tangle of debris that can block a stream” that family can become, and it will remind readers how birds create their nests out of the most unwelcome or tossed aside elements of the world from hair to fabric strings and twigs.  There are scars here, deep ones rooted in absentee parents and relatives whose ways of doing things countered the practices the narrator was taught.  Minor acts of rebellion scream out in dreadlocks and boyish haircuts on girls.  There are other poems with child-like qualities in which panties become parachutes and beaded braids become like seaweed in “Last Bath,” which represent happier memories and playfulness shared by young siblings with great imaginations.

In “Portrait Painter” (page 19), White’s narrator ponders the evident differences between herself and her brothers, whom she is called out of childhood into adulthood at a moment’s notice to help raise.  “It’s different/how our mother looks at us/with sweet and brick/of romances gone,” she observes.  A deep sadness and resentment pervades the poems in this collection as the narrator looks back on the waffling of her mother who in turns cares for and gives up care of her children, and threatens them with foster care when they’ve not behaved as they should, particularly in “Chore.”

Ostracization happens inside and outside the family for the narrator as she experiences typical classroom jokes coupled with the laughing she endures from her mother, brother, and step-father.  Her mother even chastizes her for her sensitivity, saying that it is like a “broken leg” in “Helicopter, Heliocopter Please Come Down. If You Don’t Come Down, I’ll Shoot You Down.” (page 28).

In “An Albatross to Us Both” (page 41-3), the theme of protection and strength is strongest as the narrator and her siblings “wear each other like amulets.”   Hurrah’s Nest by Arisa White is a lesson to us all that despite all of the “mess” we create with our lives and the messes that we live through, there are nuggets of wisdom and strength that we carry with us and nurture.  Strong imagery combined with themes of loss, separation, and togetherness create a powerful collection about the beautiful mess that families are and how they shape us.

Poet Arisa White

ARISA WHITE is a Cave Canem fellow, an MFA graduate from the University of Massachusetts, Amherst, and author of the poetry chapbooks Disposition for Shininess and Post Pardon; she was selected by the San Francisco Bay Guardian for the 2010 Hot Pink List. Member of the PlayGround writers’ pool, her play Frigidare was staged for the 15th Annual Best of PlayGround Festival. Recipient of the inaugural Rose O’Neill Literary House summer residency at Washington College in Maryland, Arisa has also received residencies, fellowships, or scholarships from Squaw Valley Community of Writers, Hedgebrook, Atlantic Center for the Arts, Prague Summer Program, Fine Arts Work Center, and Bread Loaf Writers’ Conference. Nominated for a Pushcart Prize in 2005, her poetry has been published widely and is featured on the recording WORD with the Jessica Jones Quartet. A blog editor for HER KIND, and the editorial assistant at Dance Studio Life magazine, Arisa is a native New Yorker, living in Oakland, CA, with her partner. Her debut collection, Hurrah’s Nest, was published by virtual artists collective.

****Check out today’s National Poetry Month Blog Tour stop at Seer of Ghosts and Weaver of Stories.

 

This is the 10th book for my 2012 Fearless Poetry Exploration Reading Challenge.

 

 

This is my 28th book for the 2012 New Authors Challenge.

Filed Under: challenges, Events, Fearless Poetry Exploration Reading Challenge, national poetry month, New Authors Challenge, poetry, Read in 2012, review copy, reviews Tagged With: , , ,

2011 Indie Lit Awards Poetry Runner-Up Review: What Looks Like an Elephant by Edward Nudelman

April 18, 2012 by

What Looks Like an Elephant by Edward Nudelman, published by Lummox Press, was the 2011 Indie Lit Awards Poetry Runner-Up.  Initially, readers may fear the collection’s use of math and science, but Nudelman’s poetry makes these concepts accessible in most cases.  Broken down into four sections, the collection explores the known and the unknown, that which we fear and that which we do not.  There is a tension throughout the collection that will push and pull the reader with each poem’s exploration of the human condition steeped in nature imagery, math concepts, and scientific analysis.

In some instances, Nudelman uses the scientific method to carry readers through a series of images and questions about what we know to be true and what we think is true.  Like Socrates, the scientific method ensures that hypotheses are tested with experiments or examples and counter-examples to uncover the truth or guiding theory.  Beyond the use of math and science, Nudelman’s observation skills as a scientist still shine without them, like in “Arrival” (page 18),  “Outside, a dog wants in./Inside, a soul wears slippers and sips iced tea.//” and in “The Corners of Rooms” (page 35), “On sultry evenings while mosquitoes squeeze/through screens, you remain safe in the vertex/of walls.  Better to dazzle in a little gray light/than crisp-up in the middle of the oven./”

Beyond the science, the math, and the poetic observation, there are pieces of the great poets here, including Robert Frost in “Something There Is That Doesn’t Love a Garage.”  Nudelman is tackling the seen and unseen in his poems from what death looks like and how his touch affects us every day in “Trump Card” to “Gorilla Flower,” which revisits the old saying if a tree falls and no one is there to hear it, did it fall? — though in this case, it is the existence of a purple bloom in the midst of a white jungle, an anomaly that shouldn’t exist and yet does.  Themes and topics run the gamut here, and one of the gems is “Tracing Roots,” which is a tongue-and-cheek look at genealogy through the eyes of a scientist.

What Looks Like an Elephant by Edward Nudelman is looking into the heart of the matter, human matter.  He seeks the truth in poems through science, math, nature, and philosophical discourse, trying to make sense of the world and how it works.  While his narrations acknowledge finding the truth is often a futile endeavor, the journey . . . the experience is worth doing and sharing.

Poet Edward Nudelman

About the Poet:

Edward Nudelman is a poet, scientist and literary critic from Seattle.  He has two poetry books and his latest collection was runner-up for book of the year.  Check out his Website.

Stay Tuned for my interview with the poet on April 19. Also, here’s a video with Edward Nudelman reading from the book:

***For Today’s National Poetry Month Blog Tour Post, visit Diary of an Eccentric for The Girl’s post.***

Other Reviews of What Looks Like an Elephant from the Indie Lit Awards Panel:

Diary of an Eccentric

 

This is the 9th book for my 2012 Fearless Poetry Exploration Reading Challenge.

 

 

This is my 27th book for the 2012 New Authors Challenge.

Filed Under: challenges, Events, Fearless Poetry Exploration Reading Challenge, Indie Lit Awards, national poetry month, New Authors Challenge, poetry, Read in 2012, review copy, reviews Tagged With: , , ,

Wild Place by Erica Goss

April 16, 2012 by

Wild Place by Erica Goss is a chapbook, published by Finishing Line Press, examining the wild places within ourselves and our interactions with nature.  Wild and untamed, the verse sings the beauty in the blame as humanity encroaches on nature, sometimes leading to its destruction and at other times unveiling the beauty beneath the scars.  Goss has a talent for using few words to create a powerful and vivid image that sends a message to the reader about the wildness of nature and ourselves.  From “This Is a Wild Place” (page 10), “The little junk birds peck at foil,//and I am called away from my body/to forage for my life/out in the open.//” and from “New Colors” (page 16), “in an anonymous/coffee shop/a child waved/to me from//his father’s arms/fingers opening/and closing like/pink fronds//of a sea anemone.//”

Some poems are haunting, like “The Redwoods,” in which she compares the trees to whales sifting krill and how they sing in the windy darkness.  She tackles the fears of aging and clinging to the the past in several poems, including “The Redwoods,” but rather focus on nostalgic rose-colored images of the past, she highlights the splinters that gnaw at our sensibilities and the scars they create and how they shape who we become.  There is a certain wisdom that we all garner as we age, and rather than celebrate it, many times we are too focused on what might have been.

Although the California landscape and other West coast settings play a significant role in her poems, Goss also takes us out of our American element with poems like “Strange Land” and “Woman in the Berlin Airport,” in which she tackles assumptions of Americans about how foreigners act and react and how they see us.  From “Strange Land” (page 24), “America takes practice/mother prepares/our daily lessons//each morning we emigrate/our fermenting lunchboxes/ripe with foreign stink//the war of two languages/leaves us mute in school/speak up, the teacher says//”  Goss tackles the hardships of fitting in when one comes to America from somewhere else and the expectations that places on them and their children, but within the same poem, there is a nod to the past — in this case, WWII — and how it is best left in the past and not brought into the new “shining” future.

Even as Goss uses nature imagery to pull out her themes of aging, fitting in, and moving onward, she also does an excellent job providing breathtaking verse about mechanical objects, such as the airplane in “Leaving Frankfurt.”  Readers will rise and fall with the aircraft as it leaves one city for another and the narrator immerses herself in the experience.  Wild Place by Erica Goss is stunning to the point where readers will not look at the world in the same way; they will be forced to look further, to think harder, to accept more — broadening their perspective and horizons so that they become more conscientious about themselves and the world around them.

Poet Erica Goss

About the Poet:

Erica Goss is the winner of the 2011 Many Mountains Moving Poetry Contest. Her chapbook, Wild Place, was published in 2012 by Finishing Line Press. Her poems, articles and reviews have appeared in many journals, most recently Connotation Press, Hotel Amerika, Pearl, Main Street Rag, Rattle, Eclectica, Blood Lotus, Café Review, Zoland Poetry, Comstock Review, Lake Effect, and Perigee.

She won the first Edwin Markham Poetry Prize in 2007, judged by California’s Poet Laureate Al Young, and was nominated for a Pushcart Prize in 2010. Erica teaches creative writing and humanities in the Bay Area and is a contributing editor for Cerise Press. She holds an MFA from San Jose State University.  If you live in California, please attend one of her local events near you.

***For today’s National Poetry Month blog tour stop, please visit Indie Reader Houston.***

 

This is the 8th book for my 2012 Fearless Poetry Exploration Reading Challenge.

 

 

This is my 26th book for the 2012 New Authors Challenge.

Filed Under: challenges, Events, Fearless Poetry Exploration Reading Challenge, national poetry month, New Authors Challenge, poetry, Read in 2012, review copy, reviews Tagged With: , , ,

2011 Indie Lit Awards Short-Listed Poetry Review: Sonics in Warholia by Megan Volpert

April 13, 2012 by

Indie Lit Awards 2011 short-listed poetry title, Sonics in Warholia by Megan Volpert is highly experimental with poetic form meshing together pop culture and prose with lines from songs and other elements many will recognize in a homage to the conundrum that was Andy Warhol (most famous for the Campbell’s Soup Can).  An interesting thing to note is the red “SIN” in the title, as well as the use of “Sonics,” which could be a reference to the garage band, The Sonics, from the 1960s.  The images of Volpert in the background remind readers of Warhol’s famous Marilyn Monroe paintings and the rows of knives.

The collection consists of eight long poems that play on musicality and surrealism, engaging readers in a back-and-forth, push-and-pull of ideas, much like Warhol himself, who remained cryptic about his process and his influences.  In many ways, Volpert’s work resembles that cryptic nature.

From “Portrait of a Mix Tape” (pages 7-12), “. . . Thus, Andy, please/enjoy your 58 years boiled down to fifty-seven minutes and fifty-/one seconds.//” the poem is homage to Andy through lyrics in popular music appearing from the time of his birth to beyond the time of his death to illustrate the influence he had on the narrator and the world, especially the world of pop culture.  In many of the poems, the narrator speaks directly to the ghost of Andy Warhol, but on some occasions readers will be left adrift if they are not as familiar with Warhol or the other images and pop culture events discussed.

“For the Love of Good Machines” (pages 13-19) begins with reference to Warhol’s relationship with Lou Reed as lead lyricist of The Velvet Underground, and again Volpert is combining music with her poetry as she speaks about the internal rhythms of songs vs. their external lack of speed and vice versa in the image of the stationary motorcycle, which she equates to the creativity of the mind — whether among poets, musicians, or artists.  Even though little may be produced outwardly, these creative spirits are always creating inwardly.  An ambitious collection of just eight poems oscillates between sublime and ridiculous, deftly providing a portrait of Warhol and all he gave to the world.  However, the style in which it is written could cause readers to take each poem in small chunks rather than as a whole and require some “googling.”

Sonics in Warholia by Megan Volpert has moments of sheer insanity and surrealism that many readers will either detest or love, and while the form is experimental, it does have poetic qualities of allusion, narration, and imagery that draw out themes and comparisons between all art forms and the often “hidden” quality that they all share — that which makes the affectations of that talent either succeed or fail in the eyes of the public.

Please check out other reviews from the Indie Lit Awards Panelists:

Necromancy Never Pays and her interview with Megan Volpert.

Poet Megan Volpert

About the Poet:

Megan Volpert is a poet and critic from Chicago who has settled in Atlanta with her wife, Mindy. Volpert holds an MFA in Creative Writing from Louisiana State University and is a high school English teacher.

Sonics in Warholia is her fourth collection of poems (Little Rock: Sibling Rivalry Press, 2011). The other three are The Desense of Nonfense and Face Blindness (Buffalo: BlazeVOX Books, 2009 & 2007), and Domestic Transmission (San Antonio: MetroMania Press, 2007). She is currently editing This assignment is so gay: LGBTIQ Poets on the Art of Teaching (Little Rock: Singling Rivalry Press, 2013).

***Today’s National Poetry Month Blog Tour stop is at The Indextrious Reader.***

 

This is the 7th book for my 2012 Fearless Poetry Exploration Reading Challenge.

 

 

 

This is my 25th book for the 2012 New Authors Challenge.

Filed Under: challenges, Events, Fearless Poetry Exploration Reading Challenge, Indie Lit Awards, national poetry month, New Authors Challenge, poetry, Read in 2012, review copy, reviews Tagged With: , , ,

Listening to Africa by Diana M. Raab

April 11, 2012 by

Listening to Africa by Diana M. Raab are the poet’s thoughts on her trip to Africa in 2008.  The poems are not about Africa and the events that happen there, so much as the effect the trip had on Raab and her family.  A trip motivated by death and malignancy, Raab is seeking a spiritual renewal, a way to rejuvenate her flagging will to fight.  She finds what she needs as she watches the village people struggle to clothe and feed themselves by actively pushing their crafts onto tourists and selling themselves to tourist firms as entertainment for the pampered Americans.

From "Amplified Melancholy" (page 8):

. . . and all I can tell you is that
on the tenth anniversary of dad's
passing, the doctors removed

my right breast and five years later
stabbed by a second diagnosis,
bone marrow malignancy,

no cure, just treatment --
the holiday lights sharpened.
Past dripping menorah candles,  . . .

Emotions run the gamut in this collection from fear to nostalgia for the past, and a new understanding of how the past has shaped each of us.  She sees the grandfather in her son in “Your Camera” as he approaches the world behind the viewfinder of a camera.  There is fearsome beauty in Raab’s poems as she explores the wild with her family, even though her trip is controlled.  The beauty of the sunrises and sunsets, the hidden dangers of genteel looking hippos, and the fight for survival among all nature’s creatures.  For example:  “The forces of life and death/are at play like the day I found/my grandmother dead in her bed –//” (from “The Scent of Death” on page 19) and “We are snapped into silence, the comes the roar/of dragon breath and then silence again./The purple scarred panorama lingers//” (from “Balloon Rides” on page 21).

Readers will become steeped in the melancholy and the tentative observations of Africa from which the poet is seeking to draw strength and understanding.  Like the hippo in “Hippos” and in nature, the poet has a deep, hidden strength and history of survival from which to draw from as she fights what ails her, but also the cancers have their own hidden strengths and it is clear there will be a battle of wills.  “Our jeep arrived at sunset//at the edge of their swamp/as their big papa sat and stared/deep into our foreign eyes, long enough//to bring ten more in his company,/as if this army could infiltrate/our veins with fear.  They sat proudly//” (from “Hippos” on page 43) illustrates the duel going on within the poet between the cancer cells staring her down eager to win the battle, and her doing the same as she gathers her inner strength and support systems around her.

Listening to Africa by Diana M. Raab is a wonderful reminder that we each struggle for survival, though we all may not live in the wilds of the jungle.  Raab is a talented poet who takes her memorist talents and weaves them into imagery and verse that creates emotional tension and verse readers can reflect upon and apply to their own lives.

Poet Diana Raab

About the Poet:

Diana M. Raab is a memoirist, essayist and poet. She has a B.S. in Health Administration and Journalism, and an RN degree from Vanier College in Montreal, in addition to an MFA in Nonfiction Writing from Spalding University’s Low-Residency Program.

Diana has been writing from an early age. As a child of two working parents, she spent a lot of time crafting letters and keeping a daily journal. A journaling advocate and educator, Diana teaches creative journaling and memoir in workshops around the country. She frequently speaks and writes about the healing powers of writing.

 

This is the 6th book for my 2012 Fearless Poetry Exploration Reading Challenge.

***For today’s National Poetry Month blog tour stop, please visit Necromancy Never Pays.***

Filed Under: challenges, Events, Fearless Poetry Exploration Reading Challenge, national poetry month, poetry, Read in 2012, review copy, reviews Tagged With: , , ,

The Virgin Journals by Travis Laurence Naught

April 9, 2012 by

Imagine a life in which everything is viewed from a wheelchair or from the arms of someone moving you from the bed to the chair and back again.  The Virgin Journals by Travis Laurence Naught is that story and more.   Naught was diagnosed as an infant with incurable spinal muscular atrophy, and his poems and prose speak with a frankness that is not only raw but unsettling.  Do we want to truly know what he’s thinking as he sits in his wheelchair and cannot decide to go to war as a soldier or to even have a choice about what he does physically?  His collection reads much like the confessional poets of Sexton and Plath with its brash ambition to tell it like it is without sugar coating, but in many ways it is not as sophisticated in that there are no mysterious images to unravel.  He puts it all out there without pretense and the poems read more like journal entries.

From "All You Need is Touch" (Page 75):

Feeling like a pain in the ass
Is no fun for anyone
But I get by every day
By needing
Basic life functions
From "Big Mouth" (Page 50):

Do not treat me with distrust
For I have not lied
Only told the truth too much

The collection is broken into three sections:  Life, Love, and World.  It is likely to make readers uncomfortable in that the narrator of these poems is constantly frustrated, deprived of human touch/contact, and full of lust.  To truly understand the plight of someone stuck in a wheelchair, these poems can do just that, but the poems appear to be prose broken up into lines and stanzas arbitrarily.  Moreover, there are more poems here that read like stream of consciousness prose and late-night confessions that normally would not see the outside of a drawer.  They are raw and unflinching.

Some poems are more typically poetic than others, but it is clear that writing is an outlet for Naught as he struggles daily with his lack of physical freedom and desire for more out of life. From “Lack of Physicality” to “Movie in Mind,” Naught’s poetic talents shine as he weaves in images to display how we are all human and struggle with our own limitations.  These are the gems of the collection.  Readers may want to dip into the collection over a period of time rather than read it from beginning to end so that they can take in the heavy emotions put forth by the narrator.  The Virgin Journals by Travis Laurence Naught is a good debut from a writer who clearly has more to say and more to explore in terms of poetry and prose.

Poet Travis Laurence Naught

About the Poet:

Travis Laurence Naught is poetry/prose writer … college graduate … former Division 1 college men’s basketball assistant … quadriplegic wheelchair user.  Join him on Facebook and on Twitter.

***For today’s National Poetry Month blog tour stop, go to the bookworm.***

 

 

 

This is the 5th book for my 2012 Fearless Poetry Exploration Reading Challenge.

 

This is my 24th book for the 2012 New Authors Challenge.

Filed Under: ARC, challenges, Events, Fearless Poetry Exploration Reading Challenge, national poetry month, New Authors Challenge, poetry, Read in 2012, reviews Tagged With: , , ,

Real Courage by Michael Meyerhofer

April 8, 2012 by

Real Courage by Michael Meyerhofer is a chapbook that showcases a unique perspective and use of imagery and comparison.  Much like “BPM 37093” (Page 5), Meyerhofer takes often wildly different images and situations together in comparisons that generate an “aha” from the reader after a momentary question mark hovers over their heads.

A smoldering white dwarf
like our own pyrite-colored sun may be.
Proof that after a solar relationship
ends, like most relationships,
with a fiery, bloating rampage
followed by a crash diet
down to blistered, white-hot corestuff,
the leftover carbon crystallizes
into a two-septillion-ton rock

However, in “The Great Refrain” (Page 19), Meyerhofer plays with the notion of refrain in which lines are repeated in a song-like chorus. Rather, the refrain here is more of a repeated emotional response to how things have changed, seemingly more like a lament. “are the remnants of motor-skiffs/and sun-sails, bronze men hauling//titanium fishing lines, mothers/reading to their infants from books//filled with calculus and poetry./That ages before an ice-pole shifted//”  Readers also will appreciate how Meyerhofer explores ideas contrary to conventional wisdom, like comparisons of dogs to the uncivilized in “Ode to Dogs” (page 22).

Real Courage by Michael Meyerhofer is full of unconventional wisdom and unexpected images and comments that reaches beyond the typical rant or disillusionment with the modern world. There also are more personal poems here that strive to make sense of death and loss, but there are others that uncover the surprising reactions of those in society considered more reserved than the rest of us and those that shun technology. Meyerhofer explores the human condition from an unusual perspective and uses language that does not dare hide his meaning.

Poet Michael Meyerhofer

About the Poet:

Michael Meyerhofer‘s third book, Damnatio Memoriae, won the Brick Road Poetry Book Contest. His previous books are Leaving Iowa (winner of the Liam Rector First Book Award) and Blue Collar Eulogies (Steel Toe Books, finalist for the Grub Street Book Prize).

He has also published five chapbooks: Pure Elysium (winner of the Palettes and Quills Chapbook Contest), The Clay-Shaper’s Husband (winner of the Codhill Press Chapbook Award), Real Courage (winner of the Terminus Magazine and Jeanne Duval Editions Poetry Chapbook Prize), The Right Madness of Beggars (winner of the Uccelli Press 3rd Annual Chapbook Competition), and Cardboard Urn (winner of the Copperdome Chapbook Contest).

He received his BA from the University of Iowa and his MFA from Southern Illinois University Carbondale. He currently teaches poetry, creative writing, and composition at Ball State University in Muncie, IN.

 

This is my 23rd book for the 2012 New Authors Challenge.

 

This is the 4th book for my 2012 Fearless Poetry Exploration Reading Challenge.

 

 

***For Today’s National Poetry Month Blog Tour stop, hop over to Books, Thoughts, and a Few Adventures…***

Filed Under: challenges, Events, Fearless Poetry Exploration Reading Challenge, national poetry month, New Authors Challenge, poetry, Read in 2012, review copy, reviews Tagged With: , ,

The Penguin Anthology of 20th Century American Poetry edited by Rita Dove

April 5, 2012 by

The Penguin Anthology of 20th Century American Poetry edited by Rita Dove (listen to her NPR interview, where she talks about the anthology and provides advice for young poets) collects a few poems from some of the great poets at the the height of their craft between 1900 and 2000, and while Dove notes that some of the poets who were starting to emerge in the latter portion of the century may not be included, it is merely because the anthology had to have a cutoff point and those poets may have reached the height of their craft after 2000.

Moreover, her introduction goes on to demonstrate the various turns in social movements throughout the United States and how poets and their poetry fit in with those historic changes, ranging — of course — from the backlash following the U.S. Civil War and the beginnings of WWI to the antiwar protests, the emergence of the feminist movement, and the struggle for civil rights.  Each poet’s bio is included alongside samples of their work.

“. . . and I should have written it right then, before rereading, discovering, misplacing note; before tracking down copyright dates, crunching numbers — in short, before the politics of selection could interfere with my judgment.”  (Page XXIX)

“If I could, I’d make this introduction a fold-out book.  Open to the first page, and up would pop a forest: a triangle of birches labeled Robert Frost, a solitary Great Oak for Wallace Stevens, a patch of quirky sycamores tagged William Carlos Williams, and a Dutch Elm for Hart Crane, with a double lane of poplars for Elizabeth Bishop and a brilliant autumnal maple tree marked Langston Hughes bearing leaves called Harper, Clifton, Soto.”  (Page XXX)

The selection of poems for this collection must have been a tough task, and Rita Dove employed the best tools at her disposal.  She’s spoken frankly in the introduction of the politics behind the selection of poems, particularly regarding a budget that was unable to meet the rights fees for certain poems (i.e. Plath and Ginsberg, who are notably absent from the collection, but not the introduction).  While some can not forgive this decision (i.e. Helen Vendler, whose criticisms have been widely used in college classrooms, including some I’ve attended; please also view Rita Dove’s reply to Vendler’s criticism), some readers can accept the oversight given how widely known and published some of these absent poets are and were.  Dove has even discussed the problem of “rights” in an interview with The Writer’s Chronicle, in which she said that one of the worst offenders was HarperCollins, which owns the rights to Sylvia Plath and Allen Ginsberg (December 2011, pg. 22).  “What I hated most about this unsettling affair was seeing other, less iconic poets held hostage by the very company they had trusted to promote them,” Dove lamented in the interview after discussing how one publishing hose offered poets the option to have their poems included in the anthology if they gave up their share in royalties even though the publishing house would not.

As with any “collection of great works,” the anthology is bound to have its detractors who are dissatisfied with the selections and who lament the absence of their own favorite poets and poems.  Dove says in the introduction, “The impulse driving them all, however, stemmed from the same revelation:  that every person contains a story that, if told well, would resonate within us no matter how strange or unfamiliar the circumstances, bound as we are by the instincts and yearnings of human existence.”  (Page XXXIII)  Readers will find that some of the poems speak more to them than others, but that also is expected in a collection of multiple poets with multiple styles.

Insect by Annie Finch (Page 540):

That hour-glass-backed,
orchard-legged,
heavy-headed will,

paper-folded,
wedge-contorted,
savage--dense to kill--

pulls back on backward-moving,
arching
high legs still,

lowered through a deep, knees-reaching,
feathered down
green will,

antenna-honest,
thread-descending,
carpeted as if with skill,

a focus-changing,
sober-reaching,

tracing, killing will.

There are old favorites from classics like E.E. Cummings to contemporaries like Yusef Komunyakaa. Readers will want to dip in and revisit their old poet friends, but also find the undiscovered gems from the past, present, and future. Ruth Stone, for instance, is a prolific poet, who may not be known by may readers, but her verse is so present and relatable; From “Scars” (page 178): “Sometimes I am on a train/going to a strange city,/and you are outside the window/explaining your suicide,/” Then there are Edgar Lee Masters at the beginning of the century that may be overlooked in favor of Robert Frost and other more well-known poets, despite his prolific career. From “Fiddler Jones” (page 2), “The earth keeps some vibration going/There in your heart, and that is you./And if the people find you can fiddle,/Why, fiddle you must, for all your life.” As the anthology progresses there is a distinct inclusion of more minority and female poets, like Reetika Vazirani and Terrance Hayes.

The Penguin Anthology of 20th Century American Poetry edited by Rita Dove is one perspective on American poetry over the last century, while it touches upon each of the social and poetical movements in the nation, it does skew the reality of the poetic realm a little bit by being unable to include certain icons and including newer poets who may or may not have proved their historical impact on the world of poetry to the satisfaction of everyone.  However, the inclusion of new voices is always a blessing when so much of poetry is consider classic and iconic from Frost’s New Hampshire woods to Ginsburg’s outspoken Howl.  Dove’s anthology is a collection to be dipped into time and again to visit old favorites and delve into the images and verse of new voices who have emerged in the latter part of the 20th century.

Poet Rita Dove

About the Editor:

Rita Dove, born in Ohio, served as Poet Laureate of the United States and Consultant to the Library of Congress from 1993 to 1995 and as Poet Laureate of the Commonwealth of Virginia from 2004 to 2006. She has received numerous literary and academic honors, among them the 1987 Pulitzer Prize in Poetry and, more recently, the 2003 Emily Couric Leadership Award, the 2001 Duke Ellington Lifetime Achievement Award, the 1997 Sara Lee Frontrunner Award, the 1997 Barnes & Noble Writers for Writers Award, the 1996 Heinz Award in the Arts and Humanities and the 1996 National Humanities Medal.

 

 

This is the 3rd book for my 2012 Fearless Poetry Exploration Reading Challenge.

 

 

***For Today’s National Poetry Month Blog Tour post, hop over to Unabridged Chick***

Filed Under: challenges, Events, Fearless Poetry Exploration Reading Challenge, national poetry month, Penguin, poetry, Publishers/Publicists, purchased, Read in 2012, reviews Tagged With: , ,

The Auroras by David St. John

April 4, 2012 by

The Auroras by David St. John is broken into three distinct sections:  Gypsy Davy, In the High Country, and The Auroras.  In this triptych of poems, “In the High Country” is flanked by the smaller sections “Gypsy Davy” and “The Auroras” but what ties the sections together is not a cohesive story as in Emma Eden Ramos’ Three Women, but a set of emotions ranging from unrest to pain and melancholy.  Both expressions of a poetic triptych are effective, but St. John’s is a little more subtle in its attempts at cohesiveness.

However, within these subtle lines and images, there are real gems, leaving conclusions and epiphanies with the reader, like in “The Aurora of the New Mind” (Page 4):

Still I look a lot like Scott Fitzgerald tonight with my tall
Tumbler of meander & bourbon & mint just clacking my ice
To the noise of the streetcar ratcheting up some surprise

I had been so looking forward to your silence
& what a pity it never arrived

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But even with these offhand remarks do not end the discourse of the poem; the narrator’s desire for silence is powerful and he has not qualms about uttering it aloud, but is he happy when he receives it or is he unsettled by the granting of that wish? Through subtle images and seemingly forthright comments, the narrator has brought to the surface questions of how when we receive our desires the result may be less adequate than expected. Following that train of thought, “Shopenhauer’s Dog Collar” (Page 14) speaks to the dissatisfying nature of desire fulfilled as Shopenhauer himself did in some of his philosophical works and the disillusionment of that realization in “Three Jade Dice” (Page 8-9):

I wish I could tell you that it's time for coffee
I wish I could tell you that the card table

Carved of onyx & ivory
Supports a life of orgasmic hope & certain prosperity

I wish I could tell you the legs of the piano reach
All the way to the ground as

I wish I could tell you the melody of the forgotten
Is as beautiful as the melody of the desired

“In the High Country” has poems that set the narrator apart from the action of each poem as events and moments — regretful and heartbreaking moments — are witnessed and observed in a helpless state, especially in “From a Bridge” (Page 23), “Waiting” (Page 24), “Human Fields” (Page 32), and “My Friend Says” (Page 34), but in “My Friend Says” the narrator begins to draw comparisons between himself and the subject of the poem or in some cases the “victim” of the events in the poem.

In the final section that mimics the name of the collection, the narrator becomes a mouthpiece of a higher power, speaking to the reader about the glories of the moment and how each is not perishable, but leaves a lasting imprint on the earth even if it is not explicitly seen. But there remains a questioning between the poems, a wondering about what will remain behind once one passes into the next world or simply ceases to exist. There is a reverberation of each person as we pass through the lives of one another, and those “auroras” will live on even after we have passed.

The Auroras by David St. John are at once deceptive in their simplicity and complex in their references to Fitzgerald, Shopenhaur and others, but the arc of the collection is that our beings impact one another and the world around us in even the most unapparent ways. And while we lament the passing of our family, friends, and those who have sought to move on without us to other places and times, their indelible marks remain as do our own.

About the Poet:

Prizewinning poet David St. John is the author of ten collections of poetry, including Study for the World’s Body: New and Selected Poems, which was a finalist for the National Book Award, as well as Where the Angels Come Toward Us, a volume of essays, interviews, and reviews. He is the co-editor, with Cole Swenson, of American Hybrid: A Norton Anthology of New Poetry. He teaches at the University of Southern California and lives in Venice Beach.

***For today’s National Poetry Month Blog Tour stop head over to Diary of an Eccentric.***

Want to win a copy of The Auroras for yourself?  Go enter.

This is the 2nd book for my 2012 Fearless Poetry Exploration Reading Challenge.

 

 

This is my 22nd book for the 2012 New Authors Challenge.

Filed Under: ARC, challenges, Events, Fearless Poetry Exploration Reading Challenge, Harper Collins, national poetry month, New Authors Challenge, poetry, Publishers/Publicists, Read in 2012, reviews Tagged With: , ,

Resilience Edited by Eric Nguyen

February 24, 2012 by

Resilience edited by Eric Nguyen is a collection of essays, poems, stories, and advice for young gay, lesbian, bi-sexual, and transgender teens and young adults, but there are lessons in these stories for everyone, including those that bully, talk down to, or otherwise belittle people.  The world would be a much better place if we were secure in ourselves and didn’t give others’ hate speech the credence that we do or given them the power over our own lives, but those of us who need support, deserve a system of people and community willing to stand up for others.

The collection has some powerful short stories and inspiring essays, and there are poems that demonstrate the pain, confusion, and bullying that LGBT teens experience daily.  It is both heartbreaking and inspiring.  There are letters to the younger self, plays, monologues, and more.  While some of these cry out the injustices experienced by the writers or their characters, others share the regret of not stepping forward to defend their friends and family from bigots and those narrow minded people who tortured and ostracized others because they were different.

From When the Bully Apologizes by J.J. Sheen(page 79):

“Something about the stillness of sitting there in the dark with Marie’s hand all wrapped up in mine made everything boiling inside me fall out and I started crying in a way that I had never allowed myself to.  I tucked my head into my hands and felt like I might be stuck that way forever.  I felt so embarrassed and exposed and wrong and sitting next to the only person who really knew me, I felt lonelier.”

Emma Eden Ramos, whose poetry collection Three Women: A Poetic Triptych and Selected Poems was nominated for the 2011 Indie Lit Awards, offers a genuine short story, “Where the Children Play,” that will have readers by turns anxious and hopeful.  These are the stories readers will cling to, hoping that the world will begin to emulate the acceptance and the unconditional love in these pages.  Readers may have a tough time reading the collection cover to cover, but its meant to unsettle conventional thoughts and open readers’ eyes to the struggles of LGBT teens as they struggle to find themselves and “come out” to their friends, parents, and loved ones.  Although they may accept themselves, telling someone who has a different perception of you is a conversation wrought with fear and longing.

Resilience edited by Eric Nguyen is a collection for not only the community it represents in its stories, poems, and essays, but also for those of us who need to be reminded that these teens are people struggling with issues that go beyond what clothes to wear and what activities to engage in at school and outside of it.  For those without role models or who live in cloistered families with traditional beliefs, this can be restrictive and even more difficult to overcome.

For those in NYC:

On March 17 at 3-5PM, an Open Mic night will be held for contributors to the collection at WordUP Books.

For more information about the Resilience project, visit the blog.

 

This is my 13th book for the 2012 New Authors Challenge.

 

 

This is the 1st book for my 2012 Fearless Poetry Exploration Reading Challenge.

Filed Under: ARC, challenges, essays, Fearless Poetry Exploration Reading Challenge, fiction, New Authors Challenge, poetry, Read in 2012, reviews, short stories Tagged With: ,

Quilting the Black-Eyed Pea by Nikki Giovanni

December 23, 2011 by

Quilting the Black-Eyed Pea by Nikki Giovanni hums with the rhythm of spoken word poetry and the jazz of human experience.  Each poem carries with it an essence that reflects the Black experience from the capture and transportation of slaves and what that should teach us about how to treat people to the lessons we carry with us once our relatives die.  Her poetry is frank and honest, but it pulls no punches to ensure that readers understand that there are deep wrongs that can be learned from as long as we are willing to look at them closely.  It may be difficult to review past transgressions without jumping to defend or shy away from shame, but her poems cause you to meet those challenges head on and to learn from our own follies.

At other times, her verse decries the blind eye that we turn every day to our own situations and histories, wishing that there were a different outcome or social norm.  Giovanni’s poems focus a bit on the Black experience, but in many ways her verse and perspective transcends beyond those parameters to reach out to all of humanity.  From “Possum Crossing” (page 5), “All birds being the living kin of dinosaurs/think themselves invincible and pay no heed/to the rolling wheels while they dine/on an unlucky rabbit//”

Giovanni also takes her readers on a historic journey through the struggle for civil rights and equality in poems dedicated to Gwendolyn Brooks and poems about Martin Luther King and more.  Her poems aren’t just about the past, but about contemporary people and events and the strength and conviction they display.  Her poems range from the traditional free verse to the narrative prose-like poems that read like a stream of consciousness.

From “Symphony of the Sphinx” (page 19):

“I have to remember Africa each night as I lay me down to
sleep The patchwork quilt my Great-Grandmother patched
one patch two patches three patches more I learned to count by
those patches I learned my numbers by those patches the ones
that hit and the many thousand gone I learned my patience by
those patches that clove to each other to keep me warm”

Giovanni’s imagery and matter-of-fact tone tells it like it is without pretense, and readers will take a journey with her through her own life experiences.  “Talk to me, Poem . . . I’m all alone . . . Nobody understands what/I’m saying . . . ” from “Shoulders Are for Emergencies Only” (page 15) is a lament that resurfaces, but readers nod in agreement as Giovanni expresses each observation.  “We hear you,” they will say.  There is a patchwork of poetry here that weaves history with the present and struggle with joy to generate the warmth family, friends, and life can bring.  Quilting the Black-Eyed Pea by Nikki Giovanni is sensational and touching.

Books & Interviews With Nikki Giovanni:

This is my 33rd book for the Fearless Poetry Exploration Reading Challenge.

Filed Under: challenges, Fearless Poetry Exploration Reading Challenge, Harper Collins, poetry, Publishers/Publicists, purchased, Read in 2011, reviews Tagged With: ,