An engaging epic for fans of abstract poetry and dystopian literature of any kind.
A post-apocalyptic poem focuses on a lost soul wandering through a wasteland.
In this ambitious poetic debut, visual artist Hassett offers an abstract narrative about a man in search of something after a worldwide cataclysm, what appears to be a nuclear war—“From the skies to the seas plunged a mammoth beast…a blazing hand fell from the sky and touched the man whose eyes lit.” The narrator, who at times seems both flesh and not, finds himself in the middle of a classic epic archetype, the descent into Hades, when he stumbles across a great cenote in the desert and, without hesitation, throws himself down. This narrator continues his wandering, now through a phantasmagoric underground, encountering various signs and wonders from a past age. Hassett’s free verse brings this nightmarish landscape to life, escorting the reader from one vision to the next: a glyph-covered hallway, a mysterious floating stone (presumably the titular Boundary Stone), a great bonfire, and other objects that lend themselves easily to symbolism. While the convoluted rhetoric makes this narrative difficult to follow at times, Hassett displays a gift for vivid imagery. His descriptions of runes or drawings stretch over pages, and it’s easy to get as lost as the narrator in his rich imagination. There are also striking passages about natural geography. The narrator roams through a desert, explores caverns, follows underground rivers. But the most rewarding part of this long poem is its emotional core, an ambiguous love story. The narrator dives into a great pit in the desert in search of some mysterious “you,” which may be a lover, some part of himself, or perhaps an abstract truth. The verses about this “you” are the most beautiful in the enchanting volume, especially those in the third and sixth sections. This “you” ultimately guides the narrator to transcendence at the poem’s conclusion: “Your splendor at the spread of dawn is streamed and unobstruct and lays out warm.” Despite some occasions of obtuse phrasing and indulgent page breaks, this book delivers a rewarding collection of elegant, haunting images.
An engaging epic for fans of abstract poetry and dystopian literature of any kind.Pub Date: Feb. 10, 2016
ISBN: 978-1-937487-85-0
Page Count: 78
Publisher: CSF Publishing
Review Posted Online: May 6, 2016
Kirkus Reviews Issue: June 15, 2016
Review Program: Kirkus Indie
An emotional, captivating Christian story in verse.
Heidish (A Misplaced Woman, 2016, etc.) presents an account of St. Francis of Assisi’s life, as told from his father’s perspective in poetic form.
St. Francis is known as a saint who believed in living the Gospel, gave sermons to birds, and tamed a wolf. Over the course of 84 poems, Heidish tells her own fictionalized version of the saint’s journey. In his youth, Francesco is an apprentice of his father, Pietro Bernardone, a fabric importer. The boy is a sensitive dreamer and nature lover who sees “natural holiness in every living thing.” As an adult, Francesco decides to pursue knighthood, but God warns him to “Go back, child / Serve the master.” He joins the Church of San Damiano, steals his father’s storeroom stock, and sells it to rebuild the church. His furious father chains him in the cellar, and the bishop orders Francesco to repay the debt. Afterward, father and son stop speaking to each other; Francesco becomes a healer of the sick and a proficient preacher. After failing to broker a peace agreement during wartime, Francesco falls into depression and resigns his church position. He retreats to the mountains and eventually dies; it’s only then that Pietro becomes a true follower of St. Francis: “You are the father now and I the son / learning still what it means to be a saint,” he says. Heidish’s decision to tell this story from Pietro’s perspective is what makes this oft-told legend seem fresh again. She uses superb similes and metaphors; for example, at different points, she writes that St. Francis had eyes like “lit wicks” and a spirit that “shone like a clean copper pot.” In another instance, she describes the Church of San Damiano as a place in which “walls crumbled / like stale dry bread.” Following the poems, the author also offers a thorough and engaging historical summary of the real life of St. Francis, which only adds further context and depth to the tale.
An emotional, captivating Christian story in verse.Pub Date: Feb. 23, 2018
ISBN: 978-0-9905262-1-6
Page Count: 146
Publisher: Dolan & Associates
Review Posted Online: April 19, 2018
Kirkus Reviews Issue: June 1, 2018
Review Program: Kirkus Indie
A poignant collection by a talented poet still in search of one defining voice.
A debut volume of poetry explores love and war.
Divided into four sections, Osaki’s book covers vast emotional territories. Section 1, entitled “Walking Back the Cat,” is a reflection on youthful relationships both familial and romantic. “Dying Arts,” the second part, is an examination of war and its brutal consequences. But sections three and four, named “Tradecraft” and “Best Evidence” respectively, do not appear to group poems by theme. The collection opens with “My Father Holding Squash,” one of Osaki’s strongest poems. It introduces the poet’s preoccupation with ephemera—particularly old photographs and letters. Here he describes a photo that is “several years old” of his father in his garden. Osaki muses that an invisible caption reads: “Look at this, you poetry-writing / jackass. Not everything I raise is useless!” The squash is described as “bearable fruit,” wryly hinting that the poet son is considered somewhat less bearable in his father’s eyes. Again, in the poem “Photograph,” Osaki is at his best, sensuously describing a shot of a young woman and the fleeting nature of that moment spent with her: “I know only that I was with her / in a room years ago, and that the sun filtering / into that room faded instantly upon striking the floor.” Wistful nostalgia gives way to violence in “Dying Arts.” Poems such as “Preserve” present a battleground dystopia: “Upturned graves and craters / to swim in when it rains. / Small children shake skulls / like rattles, while older ones carve rifles / out of bone.” Meanwhile, “Silver Star” considers the act of escorting the coffin of a dead soldier home, and “Gun Song” ruminates on owning a weapon to protect against home invasion. The language is more jagged here but powerfully unsettling nonetheless. The collection boasts a range of promising poetic voices, but they do not speak to one another, a common pitfall found in debuts. “Walking Back the Cat” is outstanding in its refined attention to detail; the sections following it read as though they have been produced by two or more other poets. Nevertheless, this is thoughtful, timely writing that demands further attention.
A poignant collection by a talented poet still in search of one defining voice.Pub Date: Jan. 31, 2018
ISBN: 978-1-984198-32-7
Page Count: 66
Publisher: CreateSpace
Review Posted Online: June 26, 2018
Review Program: Kirkus Indie
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