An informative collection that would have benefited from more accessible imagery.
Dickey (Quebradillas, 2011, etc.) offers a book of poetry that goes back to the origin of the universe.
“In the sense that the story of Earth is a great saga with a magnificent hero (Life) and a formidable villain (Death) my narrative is an epic poem,” writes geologist Dickey in the preface to the first section, “Earth: A Narrative in Verse.” This epic, divided into six eras, begins 4 billion years ago and ends 6 billion years in the future. Beginning with the creation of the solar system, the first section looks at Pre-Archaean and Archaean Earth, followed by Proterozoic, Paleozoic, Mesozoic, Cenozoic, and Future Earth, highlighting major events along the way, including the birth of life on the planet in the form of RNA. The section closes by highlighting the hazardous effects of global warming, which eventually leads to the demise of life on Earth. In the second section, “The Solar System: A Tour in Verse,” each poem focuses on a celestial body, describing the “dark cyclonic storms” on Neptune and Mars’ shield volcano, Olympus Mons, accompanied by NASA photos. The sometimes-rhyming collection functions as guidebook to the universe, with poems such as “Canto 10: The Birth of Love,” explaining the benefit of diploids in accelerating gene variation and another detailing the possibility of ecosystem development on Jupiter’s moon Europa, and ending with a glossary of words and phrases. Unfortunately, many verses read like disjointed sentences from a geology textbook (“Upwelling currents led to chemical / convection fractionation of the melt, / transporting substances more soluble / to liquid levels higher in the stack”). There are also frequent lists, and some misspellings (“Robert Hook,” “Vallis Marineris”) that hamper the momentum. However, other lines flow more smoothly: “Green sunshine danced on rippled sands / awash in shallow seas / where vegetating creatures lay / in vernal reveries.” Most interesting are the collection’s introspective moments. For instance, in “Canto 8: The Cenancestor,” the speaker describes rapidly dividing Proterozoic bacteria and concludes that “Life, for all we know, goes on.”
An informative collection that would have benefited from more accessible imagery.Pub Date: Feb. 6, 2018
ISBN: 978-1-939749-05-5
Page Count: 344
Publisher: JoSara MeDia
Review Posted Online: April 30, 2018
Review Program: Kirkus Indie
Therapeutic, moving verse from a promising new talent.
Keridan’s poetry testifies to the pain of love and loss—and to the possibility of healing in the aftermath.
The literary critic Geoffrey Hartman once wrote that literature—and poetry, in particular—can help us “read the wound” of trauma. That is, it can allow one to express and explain one’s deepest hurts when everyday language fails. Keridan appears to have a similar understanding of poetry. She writes in “Foreword,” the opening work of her debut collection, that “pain frequently uses words as an escape route / (oh, how I know).” Many words—and a great deal of pain—escape in this volume, but the result is healing: “the ending is happy / the beginning was horrific / so let’s start there.” The book, then, tracks the process of recovery in the wake of suffering, and often, this suffering is brought on by romantic relationships gone wrong. An early untitled poem opens, “I die a little / taking pieces of me to feed the fire / that keeps him warm / you don’t notice that it’s a slow death / when you’re disappearing little by little.” The author’s imagery here—of the self fueling the dying fire of love—is simultaneously subtle and wrenching. But the poem’s message, amplified elsewhere in the book, is clear: We go wrong if we destructively give ourselves over to others, and healing comes only when we turn our energies back to our own good. Later poems, therefore, reveal that self-definition often equals strength. The process is painful but salutary; when “you’re left unprotected / surrounded by chaos with nothing you / can depend on / except yourself / and that’s when you gather the pieces / of the life you lost / and use them to build the life you want.” The “life you want” is an elusive goal, and the author knows that the path to self-definition is fraught with peril—but her collection may give strength to those who walk it.
Therapeutic, moving verse from a promising new talent.Pub Date: Nov. 2, 2018
ISBN: 978-1-72770-538-6
Page Count: 196
Publisher: CreateSpace
Review Posted Online: Jan. 9, 2019
Kirkus Reviews Issue: Feb. 15, 2019
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
Downbeat but often engaging poems and stories.
A slim volume of largely gay-themed writings with pessimistic overtones.
Poe (Simple Simon, 2013, etc.) divides this collection of six short stories and 34 poems into five sections: “Art,” “Death,” “Relationship,” “Being,” and “Reflection.” Significantly, a figurative death at the age of 7 appears in two different poems, in which the author uses the phrase “a pretended life” to refer to the idea of hiding one’s true nature and performing socially enforced gender roles. This is a well-worn trope, but it will be powerful and resonant for many who have struggled with a stigmatized identity. In a similar vein, “Imaginary Tom” presents the remnants of a faded relationship: “Now we are imaginary friends, different in each other’s thoughts, / I the burden you seek to discard, / you the lover I created from the mist of longing.” Once in a while, short story passages practically leap off of the page, such as this evocative description of a seedy establishment in Lincoln, Nebraska: “It was a dimly lit bar that smelled of rodent piss, with barstools that danced on uneven legs and made the patrons wonder if they were drunker than they thought.” In “Valéry’s Ride,” Poe examines the familial duties that often fall to unmarried and childless people, keeping them from forming meaningful bonds with others. In this story, after the double whammy of Hurricanes Katrina and Rita hits Louisiana, Valéry’s extended family needs him more than ever; readers will likely root for the gay protagonist as he makes the difficult decision to strike out on his own. Not all of Poe’s main characters are gay; the heterosexual title character in “Mrs. Calumet’s Workspace,” for instance, pursues employment in order to escape the confines of her home and a passionless marriage. Working as a bookkeeper, she attempts to carve out a space for herself, symbolized by changes in her work area. Still, this story echoes the recurring theme of lives unlived due to forces often beyond one’s control.
Downbeat but often engaging poems and stories.Pub Date: Nov. 16, 2015
ISBN: 978-1-5168-3693-2
Page Count: 120
Publisher: CreateSpace
Review Posted Online: March 5, 2016
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
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