A bracing, poetic call for readers to break loose from their chains.
A collection of poems battles against groupthink and fake freedom.
In the famous “Grand Inquisitor” chapter from The Brothers Karamazov, Dostoyevsky imagines a conversation between a medieval Spanish priest and Jesus. The Inquisitor’s point in this exchange is that liberty is terrifying—and that real freedom is both a rarer and more daring thing than most people acknowledge. Flaherty (Ebbing and Fibbing, 2012) sings a similar tune in his delightfully idiosyncratic new verse volume. In “Myopic Freedom,” he writes: “We think we’re free / because we’re not shackled / and we get to choose which shoes to wear today. / We think we’re free / because we’re not kept in a cage / and can move from the sofa to the supermarket / when our favorite snacks need replenishing.” For the author, obviously, such “freedom” is nominal at best, and readers are actually all in irons, whether they care to admit it or not. Flaherty, on the other hand, is looking for a truer liberty: “There must be more to liberty than / being free from foreign rule, as our own rulers’ / star is diminishing, with them on their way / to becoming clones of their foes, / leaving me baying at my Betsy Ross flag: / gimme liberty I can smell!” The search for this autonomy is the throughline of this piquant collection. In it, the author returns to a few crucial messages: Think for yourself; question authority; and don’t tire in your quest for real independence. These are powerful lessons and valuable antidotes to complacency and apathy. And they are skillfully delivered in rousing poetry. Compressed into deftly crafted stanzas, Flaherty’s exhortations jump right off the page. And he mixes them with several pencil-drawn images by debut illustrator Dale that add variety and a rough charm to the whole enterprise. The book’s only flaw is the author’s diction, which sometimes feels fancy or forced. For instance, in a poem about a group of antelopes, he writes: “When a predator was sensed approaching / the herd’s chronic druthers was fleeing.” The passive voice in the first line robs it of its drama, and the phrase “chronic druthers” in the second is both nonstandard and just plain awkward. Flaherty should feel free to keep streamlining his otherwise effective poetry.
A bracing, poetic call for readers to break loose from their chains.Pub Date: Dec. 8, 2018
ISBN: 978-0-692-08771-8
Page Count: 106
Publisher: Time Tunnel Media
Review Posted Online: Aug. 13, 2019
Kirkus Reviews Issue: Sept. 15, 2019
Review Program: Kirkus Indie
BOOK REVIEW
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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