Sweet, crisp poetry about loving a man one shouldn’t.
Fine verse about falling in love, falling back out, and coming of age.
How many reams of poetry have been written on the theme of unrequited desire? What would William Shakespeare be without his dark lady? Dante without Beatrice? William Butler Yeats without Maud Gonne? The story’s much the same in Stott’s deft collection, which tells of stunted yearning and unfulfilled, unreturned love. Yet the roles here are filled by new players. The lover is Eliza, a young poet lusting after a Baptist deacon who was once her professor. The older man is married, but he accepts his student’s advances—innocently at first, then less so. Their decades-spanning relationship is initially chaste—then less so—but when the flame gets too hot, the professor flees, retreating to his spouse with his tail between his legs. It’s a tale as old as time but no less moving for its age. Stott breathes new life into the “lunacy of love” with the help of her poignant, unpretentious verse. Thus there’s Eliza pining in the classroom: “It is impossible, perhaps, / to love a man / for the richness of his hands: / for things they’ve scribbled across a board.” Then there’s his regard, turning to her, “Last night, you circled me with your arms / gone brown from years of loving the sun. / What’s gotten into me, if not / a carnival of love.” Finally, seemingly inevitably, there’s his betrayal: “now your talk’s grown holy: / ‘sacred matrimony.’ / Sound of locusts; your strict voice / crying in our wilderness…. / Sermon overdone.” Stott’s poetic form throughout this finely told tale is like a fisherman’s net: structured but flexible. The mortar that holds the bricks of her verse together is the Western canon—from Dante to Danae and from Khayyam to the Quran. Her default stanza is short—a couplet or triplet—but evocative even in its concision. Her language is precise but unaffected—a difficult balancing act that she pulls off with seeming ease.
Sweet, crisp poetry about loving a man one shouldn’t.Pub Date: Nov. 26, 2013
ISBN: 978-1-61927-667-3
Page Count: 139
Publisher: BookBaby
Review Posted Online: June 10, 2015
Kirkus Reviews Issue: Aug. 15, 2015
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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