Sound and subject serve to unite most of these spiritually resonant poems.
Raben (Terracotta Smoke, 2011) ponders motherhood and beginnings in a collection rich with Christian imagery and alliteration.
Though unpunctuated, most of the free verse poems of Raben’s second collection are written in complete sentences, as demarcated by capitalization. One notable exception is “Transcending”—all one run-on sentence built around three “When I” statements, with no concluding verb. Instead, the stanzas are alternative definitions of the title. The following poem, “When I Sleep,” echoes the conditional phrasing and dreamy tone. Spiritual language infuses many of the entries, especially in the first two sections. The Virgin Mary has a recurring symbolic presence; e.g., “I was completely pure / and the shower was just a symbol / for my Madonna-like purity.” “Mother Mountain” blends creation imagery with an allusion to the Sacred Heart to suggest a feminine deity: “Her heart beats out a message for me / She has created me / out of her molten blood.” Confirmation of this mother/creator’s identity comes in “Peace to All Mothers,” which insists, oxymoronically, “She has not given birth.” Throughout, Mary functions as an emblem of both innocence and sacred maternity. Meanwhile, “He Was Waiting” imagines Jesus’ thoughts on the cross. Raben also compares saints past and present in the lines “Mother Teresa / Mary Magdalene / In between a sinner and celestial angel.” The poems in the “Something Out of Nothing” section (perhaps referencing the doctrine of creation ex nihilo) dwell on mornings—specifically, breakfast. This works well in “Creation,” where a hard-boiled egg stands in for a newly revealed world; the narrator tells us, “A little pressure and the shell slips / A perfect white oval.” However, other breakfast-themed poems, especially the comic but literal “A Lonely Pancake,” seem trivial. The collection’s middle sections, their poems composed of vague vignettes, feel less essential. Yet they are more memorable sonically, with striking, short phrases and successful alliteration like “Women / with window shades / and wings” and “Crawling out of a coffin…Cheering clusters of crowds.”
Sound and subject serve to unite most of these spiritually resonant poems.Pub Date: July 22, 2014
ISBN: 978-1499051094
Page Count: 80
Publisher: Xlibris
Review Posted Online: Sept. 24, 2014
Review Program: Kirkus Indie
BOOK REVIEW
Therapeutic, moving verse from a promising new talent.
Keridan’s poetry testifies to the pain of love and loss—and to the possibility of healing in the aftermath.
The literary critic Geoffrey Hartman once wrote that literature—and poetry, in particular—can help us “read the wound” of trauma. That is, it can allow one to express and explain one’s deepest hurts when everyday language fails. Keridan appears to have a similar understanding of poetry. She writes in “Foreword,” the opening work of her debut collection, that “pain frequently uses words as an escape route / (oh, how I know).” Many words—and a great deal of pain—escape in this volume, but the result is healing: “the ending is happy / the beginning was horrific / so let’s start there.” The book, then, tracks the process of recovery in the wake of suffering, and often, this suffering is brought on by romantic relationships gone wrong. An early untitled poem opens, “I die a little / taking pieces of me to feed the fire / that keeps him warm / you don’t notice that it’s a slow death / when you’re disappearing little by little.” The author’s imagery here—of the self fueling the dying fire of love—is simultaneously subtle and wrenching. But the poem’s message, amplified elsewhere in the book, is clear: We go wrong if we destructively give ourselves over to others, and healing comes only when we turn our energies back to our own good. Later poems, therefore, reveal that self-definition often equals strength. The process is painful but salutary; when “you’re left unprotected / surrounded by chaos with nothing you / can depend on / except yourself / and that’s when you gather the pieces / of the life you lost / and use them to build the life you want.” The “life you want” is an elusive goal, and the author knows that the path to self-definition is fraught with peril—but her collection may give strength to those who walk it.
Therapeutic, moving verse from a promising new talent.Pub Date: Nov. 2, 2018
ISBN: 978-1-72770-538-6
Page Count: 196
Publisher: CreateSpace
Review Posted Online: Jan. 9, 2019
Kirkus Reviews Issue: Feb. 15, 2019
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
Downbeat but often engaging poems and stories.
A slim volume of largely gay-themed writings with pessimistic overtones.
Poe (Simple Simon, 2013, etc.) divides this collection of six short stories and 34 poems into five sections: “Art,” “Death,” “Relationship,” “Being,” and “Reflection.” Significantly, a figurative death at the age of 7 appears in two different poems, in which the author uses the phrase “a pretended life” to refer to the idea of hiding one’s true nature and performing socially enforced gender roles. This is a well-worn trope, but it will be powerful and resonant for many who have struggled with a stigmatized identity. In a similar vein, “Imaginary Tom” presents the remnants of a faded relationship: “Now we are imaginary friends, different in each other’s thoughts, / I the burden you seek to discard, / you the lover I created from the mist of longing.” Once in a while, short story passages practically leap off of the page, such as this evocative description of a seedy establishment in Lincoln, Nebraska: “It was a dimly lit bar that smelled of rodent piss, with barstools that danced on uneven legs and made the patrons wonder if they were drunker than they thought.” In “Valéry’s Ride,” Poe examines the familial duties that often fall to unmarried and childless people, keeping them from forming meaningful bonds with others. In this story, after the double whammy of Hurricanes Katrina and Rita hits Louisiana, Valéry’s extended family needs him more than ever; readers will likely root for the gay protagonist as he makes the difficult decision to strike out on his own. Not all of Poe’s main characters are gay; the heterosexual title character in “Mrs. Calumet’s Workspace,” for instance, pursues employment in order to escape the confines of her home and a passionless marriage. Working as a bookkeeper, she attempts to carve out a space for herself, symbolized by changes in her work area. Still, this story echoes the recurring theme of lives unlived due to forces often beyond one’s control.
Downbeat but often engaging poems and stories.Pub Date: Nov. 16, 2015
ISBN: 978-1-5168-3693-2
Page Count: 120
Publisher: CreateSpace
Review Posted Online: March 5, 2016
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
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