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TIN CUP

Tight, competent poetry that precisely presents senses of place and self.

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Deason’s brevity and staccato lineation make her debut book of poems a very attractive read. 

The poet’s words function like anchors—carefully chosen and weighty. A piece of sky, a public glance, or a wafting breeze can inflect an entire scene. The book falls into two halves—the first part focused on childhood, and the second concerned with adult passions. Several poems celebrate rural New Mexico.  A wise, gruff Great Aunt Mona appears a few times as a reminder of how even the harder aspects of life—the smell of manure on the crops, the slop bucket “alive / at the cellar door”—can make permanent claim on one’s identity. The subject matter travels with the poet on her life’s journey. An early poem about riding the subway shows the dislocation caused by being out of one’s rightful place: “Across the aisle, a man thunders / backwards. I face my future / looking out at the dingy-rag sky / grieving in all directions.” Mourning together, the sky and the speaker burst beyond limitations. A few final poems include grandchildren and the usual delights of their company: wet, exuberant kisses and locomotive energy. Many lines break with a quiet cracking, as the syntax is arranged so carefully. What will pull listeners in closest, however, are the re-created moments that open out into expansive, nearly overwhelming feeling, in which poetic restraint achieves real intensity. A flashback to May Day 1954, for example, shows readers the special purity of girlhood. After hanging a May basket, the second-grade self waits for it to be found: “I feel the warmth, the blush / in the cherry blossom, the ripe / fruit coming, the flutter / in the red tulip / of loving her / like that.” This same voice knows that time passing is part of the poet’s burden; at the end of “Easter,” three lines convey the rapture of irrevocable loss: “Each moment / is so incredibly / gone.”

Tight, competent poetry that precisely presents senses of place and self.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: N/A

Review Posted Online: July 29, 2015

Kirkus Reviews Issue: Sept. 1, 2015

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ONCE UPON A GIRL

Therapeutic, moving verse from a promising new talent.

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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

Endings

POETRY AND PROSE

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

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