With this invigorating torrent of words, the author should leave readers energized and inspired.
Amos (The Embryo of My Manhood: First Edition, 2014) offers a new collection of poetry, influenced by rap.
The line between rap and poetry has always been unclear, and lyrical masterpieces recently produced by Kendrick Lamar, Kanye West, and Eminem have only blurred it further. In this volume of poetry, Amos plays quite productively in the space between these two art forms. In “Genocide,” he writes, “My style of teaching is similar to Tupac and other great lyricists.” But perhaps a more obvious influence is a fellow Detroiter: “My favorite rapper was Eminem,” the author adds. Eminem is relentless with his rhymes; in older songs like “Stan” and newer pieces like “Survival,” the rapper doesn’t let artificial schemes determine the number of his rhymes. He will stop when he’s good and ready. Amos is similarly (and admirably) persistent. Readers see his doggedness in poems like “Flatline”: “I can’t save you. / I wasn’t given the utensils to open society’s wound and surgically remove its / stereotypical labels. / I can, however, persuade you / To loan me your ears as I defer the repayment of the loan, and the interest / alone can make you ethically stable. / These words will aide [sic] you, if you’re able.” There’s a brilliance to this long linkage that moves from “save you” to “persuade you” to “aid you”—and then assonantly shifts to “stable” and “able.” There’s no similar thematic throughline in this book as a whole, as the author himself admits: “bear with me as I do a little sorting.” But whatever the collection lacks in polish, it makes up for in drive and thrill. Amos takes on desultory topics, from his dad’s absence in “No Fatherly Image” to sex in “The Big Bang Theory” to race and racism in “Black Privilege.” And he ends his elegant, powerful volume with arguably his best poem, “Imperfect.” That piece concludes, “And me? / I have a great family, a full stomach, an education, and an abundance of / support, / And apparently // I have the nerve to be complaining.” Amos can complain, but readers likely won’t. This is fine stuff.
With this invigorating torrent of words, the author should leave readers energized and inspired.Pub Date: N/A
ISBN: N/A
Page Count: 68
Publisher: Dog Ear Publisher
Review Posted Online: July 25, 2016
Kirkus Reviews Issue: Sept. 15, 2016
Review Program: Kirkus Indie
BOOK REVIEW
This compilation’s original works are offbeat but arresting, featuring far-out content in a melodic format.
Whimsical, melancholy, and death-laden songs make up this tuneful collection of poetry.
Much of Torgersen’s verse has a singsong quality, with strong meters and rhymes, repetitive choruses, and the use of dialect, especially West Indian patois. His subject matter and poetic moods, however, are often steeped in quizzical rumination and existential angst. A few pieces wander into overt philosophizing, including a colorful but dated prose essay that warns readers that “the long-legged wolf of consumerism runs unchecked as the lead dog in the world-wide Iditarod of capitalist oppression.” Some are songs that have been copyrighted by other authors, including the Paul Simon hit “Slip Slidin’ Away,” The Eagles’ “Hotel California,” Steve Goodman’s railroad ballad “City of New Orleans,” and Jimmy Cliff’s “The Harder They Come.” Torgersen reprints the lyrics of these and other copyrighted songs verbatim, without attribution. In an introduction, he contends that many of his early verses were “stolen” from him, but he offers no evidence of his authorship of any of the lyrics here that have been previously recorded and published by others. In dozens of what appear to be original poems, however, Torgersen’s verse abounds in cryptic lyricism. He often strikes a prophetic chord, admonishing readers in “A’ Them Gone,” for example, to “Hear me when I say / there is something here today, / and there can be no peace / ‘till it’s gone.” Surreal scenes course through many poems. “Big Hill Revisited” begins with “The space suited florist’s man / is dumping dead daisies / out the back of a blue van / into an alley at dawn.” Goats are also a substantial presence in the collection: “The Wind and the Goats” speculates playfully that “Maybe it’s the way they smell, / so strong and, well, goatey, / that keeps the wind from trying / to ruffle their hair,” and “Look Homeward, Now” mentions “a goat on display, / with his head on a plate.” In patois pieces, such as “After We Are Weevils,” Torgersen’s poetry sounds an earthier but still hallucinatory note: “After we are weevils, / they baked in we bread. / Ask me ‘bout it sometime, / and remember we dread.” Formed in 1960s countercultural music ferment, the poet’s voice wanders through various styles, from folk picaresque to morbid psychedelia, and his imagery is often intriguing, even compelling. Sometimes, however, the verses fall flat on the printed page (“Aaa aa aaa / mm aaa aa aa / A’ them gone, / gone away, / yes they gone, / gone to stay”). At its best, though, the musicality of Torgersen’s poetry packs a strong emotional resonance, as in the elegiac chantey “One Love”—“Strike up, ye band members, / and play soft and low, / for ‘tis alla we / beyond the sunset must go, / and relive the story / from those lost days of glory, / where we once walked / through life hand in hand.”
This compilation’s original works are offbeat but arresting, featuring far-out content in a melodic format.Pub Date: Dec. 15, 2014
ISBN: N/A
Page Count: 322
Publisher: CreateSpace
Review Posted Online: June 20, 2018
Review Program: Kirkus Indie
Thrilling prose poems from a cherished writer.
A poet meditates on the things that everyday life does and doesn’t prepare us for.
Cox (Sorrow Bread, 2017, etc.), a Pushcart Prize and Whiting Award winner, takes the title of this elegant new volume of prose poems from Hamlet, whose titular character says, near that play’s climax, “There’s a special providence in the fall of a sparrow. If it be now, ’tis not to come. If it be not to come, it will be now. If it be not now, yet it will come. The readiness is all.” Hamlet is presumably talking about timeliness, but many of Cox’s pieces are, ironically, about untimeliness—about the events for which we aren’t ready. The book is dedicated to the author’s friend and fellow poet Jack Myers, who died in 2009. He memorializes his friend in “Wrought,” which opens, “Jack, our old age together lasted twenty minutes. The distillation of all we’d learned about economy…we sat rocking on the rented beach house porch—something we had joked about for years, the inevitable old poets’ home—and listened to gulls scavenge along the water.” The scene-setting here is gorgeous, but the poem is, at its core, a riff on its one-word title; “wrought” is both a craftsperson’s word—and what is poetry if not a craft?—and the base of “overwrought”: agitated, troubled, disturbed. The author mines both meanings, thinking back on his friend’s work while still clearly troubled by his early death. With such careful wordplay, Cox gives lie to the common notion that prose poetry is too formless to count as real verse. (Poet Charles Simic once said of prose poetry that it’s “regarded with suspicion not only by the usual haters of poetry, but also by many poets themselves.”) This collection proves that this suspicion has no basis in reality, as Cox is as careful with diction, rhythm, and even rhyme as one might be if they were writing strict alexandrines—and yet, his poems are as fluid and readable as Jack Kerouac’s novels.
Thrilling prose poems from a cherished writer.Pub Date: March 28, 2018
ISBN: 978-1-941209-78-3
Page Count: 80
Publisher: Press 53
Review Posted Online: July 3, 2018
Kirkus Reviews Issue: Aug. 1, 2018
Review Program: Kirkus Indie
BOOK REVIEW
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