Understated, courageous, and deeply insightful poems.
A collection of poetry offers a detailed journey through the author’s past.
“Because I heard the wind / blowing through the sun, / I left the lecture / on mathematics.” These opening lines from the poem “Fractalization” epitomize Foley’s (WTF, 2017, etc.) approach to writing. She has no time for tedium; she refuses to feel trapped; and she is at home and inspired by natural, wide open spaces where individuals “see beyond / the limits” of a mind “numbed by numbers.” Thematically diverse, her poetry is, in every sense, transporting. In “Little Rooms,” she describes herself as a fourth grader, carefully assembling a box to store her collection of gemstones. In “After,” she is a grandmother at a protest march wielding the placard “Queer Grannies Against Trump.” Other poems depict her family—“Rumpelstiltskin” captures her father’s rage when she tells him she is to marry “the hunchback Moroccan,” and the title piece recounts the poet’s first steps into parenthood with a toddler who “sits, / squealing in the mess.” Foley also leads readers through the corridors of a mental health facility, where she recalls visiting her sister: “Quiet as death, / our footsteps echoing against the scarred wood.” The masterful poetry in these pages is replete with elegant lines that beg to be underlined in pencil and returned to repeatedly. For instance, the love poem “Beyond” opens with the beautiful and timely statement: “I don’t think of her as woman, or man, / just as I don’t gender sunlight / on my face the first coatless spring day.” Foley’s writing may appear sparse and reserved but it harbors a subtle power. The poet’s greatest strength is her acute sense of observation. She possesses the ability to thread sensuousness into the fabric of everyday life, as in “What the Dead Miss,” which portrays a visit to a filling station: “I hear music in the liquid trickling, / filling my tank to the brim, / music in my steady footsteps.” After transforming seemingly commonplace sounds into auditory pleasures, she floors readers with the line “They say that’s what the dead miss most, / an ordinary day, spent like this.” This is a dazzling volume of poetry that delights in crisp imagery and tender recollections.
Understated, courageous, and deeply insightful poems.Pub Date: N/A
ISBN: N/A
Page Count: 96
Publisher: Headmistress Press
Review Posted Online: July 8, 2019
Kirkus Reviews Issue: Aug. 15, 2019
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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