Ambitious poems that deftly tackle big ideas.
A poetry collection explores life’s delicate equation.
Divided into three sections, Myers’ (Between Dream and Flesh, 2018, etc.) latest volume is both cataclysmic and comforting, offering free verse poems that take a long look at time and the universe alongside the mise-en-scène of daily life. The first section, “Space,” opens with a part-whimsical, part-ominous late-night conversation the speaker has with the forces of an inanimate bedroom. “So, sleep, dream, as you know / the meeting is never over. Enter / the dark with us, animal,” it ends, shifting the tone seamlessly in a way that seems emblematic of the author’s brief poems that plumb the depths of the collective unconscious. Frequently, quotidian tasks give way to metaphysical musings, as in “Dirge for Wanderers,” about a trip to the market, or “Morning Rush,” about commuting to work. The middle section, entitled “Time,” looks at the fourth dimension in terms of the eternity of earthliness and the fluctuations in interpersonal relationships, as in poems like “Yahrzeit” and “Seasonal.” Among Myers’ strongest pieces in that section are poems about the passage of time and loved ones. In “After Parking at Starbucks,” the speaker describes going for coffee with an aging parent. The author writes: “Something fine / and brittle might break as I lift it / away from its place, like that china / cup I fumbled,” drawing a line from the frailty of the speaker’s mother to her inherited china set. Details like these can be read with a bit of relief. But the focus on the speaker’s self and its interconnectedness with the rest of life can, at times, render other characters decorative and one-dimensional, as happens to the young woman a writer meets in “After the Master Class,” who is invited up to a hotel room. The final section, “Union,” is a bittersweet ode to what’s come before, prefaced by a quote from mathematician Hermann Minkowski that warns that “space by itself, and time by itself, are doomed to fade away into mere shadows.” Poems like “I’ll See Her Turning” and “Catch” examine the banalities of life and death and are especially effective for their humanity. In over 40 poems, Myers manages to be both brief and expansive.
Ambitious poems that deftly tackle big ideas.Pub Date: Feb. 28, 2019
ISBN: 978-1-936657-42-1
Page Count: 114
Publisher: Moonpath Press
Review Posted Online: Oct. 1, 2019
Kirkus Reviews Issue: Nov. 1, 2019
Review Program: Kirkus Indie
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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