Unpretentiously revelatory poetry that hums a comforting, melodic tune through the night, heralding the arrival of a new day.


Unaffected and affirmative lyric poetry on cycles of aging, death, and rebirth.

In her aptly titled new collection, Stevens (Sirens’ Songs, 2011, etc.) offers poetry true to the best qualities of the nocturne tradition—atmospheric, tranquil, dusky, and musical verses—while inflecting it with an undeniably American optimism. “Night is moving across the country,” she concedes, and soon, the lands will be “engulfed in charcoal twilight / darker than mud in long-tilled fields.” But, she writes, this is no cause for fear, for this is a “comforting darkness” that descends like “the most gentle, the most tender caress.” Setting the tone for the rest of the volume, the eponymous opening poem reinterprets the dread promise of twilight as an invitation to rest and reflection, a space for quiet contemplation and conversation with familiar shadows. In this vein, the poem concludes with the unusual invocation: “Let night cover the country: / let soft, shrouding darkness soothe, cradle, heal. / Let the night be long.” Though wise, Stevens’ narrators are still prone to their own fears of the dark and cold. Trapped without electricity by an early snow, they hide “fears of a winter // worse than any, a season / forever-long. / Its frost could freeze us blind, // shroud us in mist with / no escape.” And when, in “Ugly April,” a late freeze strikes, the narrator personalizes and embodies the damage, noting that “at a dark and early hour, / those soft, pink magnolia petals / brown, fade, shrivel, fall. / They rest on cold ground—hundreds, / too many to number. They resemble / pale shards of torn flesh.” They courageously celebrate opportunities for phantasmal visitations—whether encountering a “decade-dead friend” and a “two-decades dead husband” on the side of the road or remembering a “mother’s voice / on the phone, louder than usual, / as if to bridge invisible distance”—but fail in courage when confronted by a terminally ill friend: “the terrible odor of her mortality escapes her mouth. // It carries charnel fear. We smell it. Our words falter.” They are, in short, fully and beautifully human, frightened and frail, but endowed with faith, hope, and vision.

Unpretentiously revelatory poetry that hums a comforting, melodic tune through the night, heralding the arrival of a new day.

Pub Date: Feb. 1, 2015

ISBN: 978-1-938144-31-8

Page Count: -

Publisher: BrickHouse Books, Inc.

Review Posted Online: May 24, 2015

Kirkus Reviews Issue: July 1, 2015

Did you like this book?

No Comments Yet

A volume of poetry and prose that offers heroic visions of urban African Americans.


A debut multigenre collection of short pieces presents vignettes focusing on the lives of African Americans from a variety of perspectives, both real and fanciful.

This eclectic anthology begins with an autobiographical sketch, “P Is for Pride and Perseverance,” in which King traces his early years from his 1979 birth to a 16-year-old mother to his incarceration for attempted robbery and his subsequent determination to do something positive with his life. “Baby Girl” reprises the story of King’s birth from his mother’s point of view, a girl whose teen pregnancy seems predestined by both her grandmother’s clairvoyant dreams and her own limited expectations. Other narratives are linked by shared characters, such as “Posse Up, Ladies First!” and “Thug Angel,” which provide somewhat idealized portraits of street gangs as building blocks of the black community. “Battle Kats” is an SF work about a group of humanoid felines from another planet who work undercover to defend Earth and its alien allies. The central section of the book is occupied by a collection of 21 poems. Some, like “Hold on to Love” and “Away From Home,” focus on romance while others, such as “The Rent Is Too Damn High!” and “Blockstars,” illuminate the experiences of working-class African Americans in inner-city neighborhoods. “Remember Me?” calls up the spirit of LaTasha Harlins, a young black woman shot by a Los Angeles shop owner in the early ’90s, speculating “I wonder what you could have been LaTasha?” King’s efforts to describe his personal struggles and the vibrant characters who populate impoverished black communities are ambitious and dynamic. His prose narratives are too short to feel really complete, but they deliver glimpses into a world mainly familiar to the urban poor, where drug dealing is one of the few available career choices, incarceration is a rite of passage, and street gangs view themselves as community leaders. While the author does have a tendency to romanticize life on the street, as in “Posse Up,” in which a girl gang maintains a strict “code of principles,” his writing presents a vision of what could happen if people worked to “play a part in the improvement of the community.”

A volume of poetry and prose that offers heroic visions of urban African Americans.

Pub Date: March 10, 2011

ISBN: 978-1-4568-8093-4

Page Count: 124

Publisher: Xlibris

Review Posted Online: Jan. 6, 2020

Kirkus Reviews Issue: March 15, 2020

Did you like this book?

No Comments Yet

A nihilistic poetic remembrance that will appeal most to older teens and 20-somethings.


Davis recounts the confounding pressures of his 1990s childhood in this debut memoir-in-verse.

When telling the story of your life, one might as well start at the very beginning. That’s exactly what the author does in this memoir, which he describes as “a thing like a very long lie to yourself.” Specifically, he tells of how “The White-Gloved Sheriff / kicked in the door / and / Pulled me” from his mother (whom he calls his “Supervisor”; he later calls her “the Computer Science Major,” “the Waitress,” and other occupational names). Unusually, he had horns and a lot of hair at birth, he says. He was immediately at odds with the people and other living things around him—his parents, his brothers, his family dog. As a toddler, he created an imaginary world for himself known as “FU,” which was “Filled with things that looked like me / And where things made sense / I was King.” His earliest years were characterized by horrible discoveries (school work, isolation, crushes, problems in his parents’ marriage), but his teen years proved to be an even greater series of highs and lows, involving confusion over geopolitical events, friends, computers, pornography, and marijuana. Like a novice who can’t quite figure out the rules of a game, Davis bumbles forward—all horns and fur and misunderstanding—inadvertently angering authority figures as he seeks an adequate method of self-expression. The poem is composed in short, direct lines, enjambed to emphasize particular words or phrases rather than establish a consistent overall rhythm. Davis’ idiolect is inventive in its names for things (siblings are “life partners,” pets are “prisoners,” teachers are “Part-Time Supervisors,” and so on), and his outsider’s observations of society are shrewd and often funny. However, the combination of snark and self-seriousness causes some poems to come off as petulant and cloying; as a result, it’s difficult to imagine anyone over the age of 22 finding the work emotionally affecting. Even so, the tone and style, coupled with debut artist Klimov’s truly engaging black-and-white illustrations should captivate readers of a certain anarchic mindset.

A nihilistic poetic remembrance that will appeal most to older teens and 20-somethings.

Pub Date: May 25, 2018

ISBN: 978-1-71806-449-2

Page Count: 143

Publisher: Nada Blank Press

Review Posted Online: Nov. 24, 2018

Did you like this book?