Strong, spare, and elegiac poems; a fine collection.
This poetry collection considers memory, family, the body, aging, and loss.
In his first collection, Doggerland: Ancestral Poems (2015), King explored the deep history of family and the Irish. Here, he touches on legend—one section is titled “Mythic”—but locates many poems in personal childhood memory and aging, his parents’ and his own. In “Bird Years,” the titular poem plays with the more expected concept of dog years (the next poem’s title, in fact) to give King’s own age, lending it strangeness: “In man years, I am sixty-seven.” The speaker sees himself as having a precarious hold on existence, like the California condor with which he later identifies. This vulture went extinct in the wild but has been slowly and expensively reintroduced; the poet writes, “More public support is needed / to save me for a little while longer… / I am nearly extinct.” That he compares himself to a vulture, not some more cuddly endangered species, comports with the weary mood that inhabits many poems in this collection. Several pieces reflect on parental decline but also decline in the speaker’s generation. In “Mouth,” for example, the speaker writes of himself and siblings: “We are wary—listening to Tom, / our weary brother, the reliquary,” his sawlike words “working the lean hindquarter / of our childhood.” Here, with the speaker’s caution and resistance alongside Tom’s weary work, age isn’t a time of retirement and rest but of increasing labor. Tom becomes a kind of archaeologist as the siblings talk; “on a last late night of excavation, / he makes a deep wound deeper while the wives sleep / —digs at our new, our long dead.” But beside all this difficult work is the poem’s lilt, as with wary/weary/reliquary. This hints interestingly at the speaker’s Irish background (also underlined by “reliquary”), Ireland being a country marked by both struggle and poetry. Forgetting takes on an ambiguous role as loss and protection from the past; the book’s final poem ends with elephants peacefully forgetting something their mahouts bitterly contest.
Strong, spare, and elegiac poems; a fine collection.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Mayapple Press
Review Posted Online: Jan. 31, 2017
Kirkus Reviews Issue: March 1, 2017
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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