by Hoyt Rogers ‧ RELEASE DATE: Oct. 5, 2023
An introspective and occasionally esoteric collection that invites contemplation.
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Rogers shares a series of poems about impermanence.
This collection of lyrical poetry offers musings on nature, relationships, and endings. He opens with “Reef,” a reflection on love that toggles between the complex beauty of the ocean and the inevitability of losing a beloved: “I can hold you, but not hold you back,” he writes. In “Vireos,” he considers how words can salvage hope, but also betray, and how silence can be a language all its own. The fragile, ephemeral nature of love and the tension between connection and distance are the foci of “Letters,” in which the speaker meditates on a relationship of mutual longing in which “We / taunt each other like granite cliffs, both of us unreachable.” “Transit” explores the fleeting nature of existence—how all that one does is destined to fade into obscurity in an indifferent world: “Imagine how we’re invented but replaced—our chronicles, our / fables swept away with us.” “Beginning Again” is more hopeful, even as it highlights the repetition of life, suggesting that happiness is infinitely renewable in nature and in love. Recounting another’s misfortune in “Outpost,” a speaker tells of a young man who traveled to a remote Arctic post without an exit strategy. The man basked in the beauty of the spring and summer months, only to find himself starving and barricading himself against bears. Ultimately, the man died by carrying out a death plan detailed in his journal; his solitude, which was appealing at the start of his adventure, meant that there was “no one to hear his final words or touch him in the gray October light.” By the book’s close, it seems that Rogers has surrendered, too, writing, “All right, have it your way: I ask for no tomorrow” (“Gifts”).
Rogers’ contemplative style blends lyricism with philosophical meditation, making this an emotionally intriguing and intellectually stimulating collection. The poet vulnerably explores loss, as in a poem about a deceased sister. Rogers is astute when it comes to scene-setting: “I drowsed behind wooden blinds, cradled by / viscous heat. The gray-green slats swayed to and fro; their / silhouettes inched across the bed” (“Reef”). His connection to the natural world is visceral and immersive in lines such as these from “Reflections”: “We slip from the dock. / Floating with the clouds, our bodies drift on blackened glass, / reflections among reflections.” Other lines expertly evoke the exhilaration of love, but he also deftly navigates the gray area between two people: “Heart of stone, I called you. If only we could love each other / now in that silent, hopeless way, stone against stone, light / against light.” However, the dense nature of the poetry’s philosophical themes may make the book inaccessible to more casual readers. Other works are so abstract that they require multiple readings to wager a guess at their meaning: “The metaphor droops and wilts; the actual ocean snips their / dwindling hooves. // The only tendons here are ours, rebounding to the gun-smoke / of freedom” (“Nightbreak”).
An introspective and occasionally esoteric collection that invites contemplation.Pub Date: Oct. 5, 2023
ISBN: 9781952335648
Page Count: 90
Publisher: MadHat Press
Review Posted Online: Nov. 16, 2024
Review Program: Kirkus Indie
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by Hoyt Rogers with Artemisia Vento & Frank Báez
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by Philippe Claudel & translated by Hoyt Rogers
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IndieBound Bestseller
by Steve Martin illustrated by Harry Bliss ‧ RELEASE DATE: Nov. 17, 2020
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
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IndieBound Bestseller
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
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by Elyse Myers ; illustrated by Elyse Myers ‧ RELEASE DATE: Oct. 28, 2025
A frank and funny but uneven essay collection about neurodiversity.
An experimental, illustrated essay collection that questions neurotypical definitions of what is normal.
From a young age, writer and comedian Myers has been different. In addition to coping with obsessive compulsive disorder and panic attacks, she struggled to read basic social cues. During a round of seven minutes in heaven—a game in which two players spend seven minutes in a closet and are expected to kiss—Myers misread the romantic advances of her best friend and longtime crush, Marley. In Paris, she accidentally invited a sex worker to join her friends for “board games and beer,” thinking he was simply a random stranger who happened to be hitting on her. In community college, a stranger’s request for a pen spiraled her into a panic attack but resulted in a tentative friendship. When the author moved to Australia, she began taking notes on her colleagues in an effort to know them better. As the author says to her co-worker, Tabitha, “there are unspoken social contracts within a workplace that—by some miracle—everyone else already understands, and I don’t….When things Go Without Saying, they Never Get Said, and sometimes people need you to Say Those Things So They Understand What The Hell Is Going On.” At its best, Myers’ prose is vulnerable and humorous, capturing characterization in small but consequential life moments, and her illustrations beautifully complement the text. Unfortunately, the author’s tendency toward unnecessary capitalization and experimental forms is often unsuccessful, breaking the book’s otherwise steady rhythm.
A frank and funny but uneven essay collection about neurodiversity.Pub Date: Oct. 28, 2025
ISBN: 9780063381308
Page Count: 272
Publisher: Morrow/HarperCollins
Review Posted Online: Sept. 12, 2025
Kirkus Reviews Issue: Oct. 15, 2025
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