A moving, vivid collection of verse.



A poetry collection by Laina (Mikti Techniki, 2012, etc.), translated from Greek to English by McCann, explores the nuances of time and women’s power.

“It was summer from shore to shore / I say this even though seasons have no meaning anymore,” muses a lighthouse keeper in the poem “Narration.” The first section of this collection, “Time,” offers imagery reflecting the march of time (“It blooms slowly, silently / the melancholic, comic tree”) and also explores its antithesis, stillness, offering grounding and emotional connections to the elusive notion of time’s passage. This expressive collection moves into different territory in the second section, “Witches.” From Circe in Homer’s Odyssey to the Wayward Sisters in William Shakespeare’s Macbeth, witches have served as supernatural beings, as evil, twisted characters, and, in some cases, as symbols of female empowerment. Laina deftly expands on this latter notion. In “Poros Minor,” the speaker describes a beautiful woman with glowing red eyes that “will mimic again the grace and the strength of a sword.” This theme recurs through the rest of the collection; in an unnamed poem, the speaker describes living a life of “malice and deceit” but powerfully concludes by reminding herself to “let no man overpower me.” The third section, “Travels,” especially shines with its poignant storytelling (“He left the jug down by the river / and recollected everything / creaks and murmurs that changed color around the houses / deep voids in the sky / but he didn't leave because / his story had died”). However, opaque prose slows the collection’s momentum at times. McCann’s translations are impressive and capture Laina’s nuance, but the word “rose,” for instance, gets lost. In Greek, there are separate words for the color (used in the original title poem) and the flower, while English has one for both, making the meaning of the translated poem hard to discern: “Fear / ever worse / rose fear / before what, of what / fear’s fear / fear, lest it paralyze you.” That said, the collection’s strength lies in its ability to challenge the reader, and its study of time offers new ways of imagining the intangible.

A moving, vivid collection of verse.

Pub Date: Dec. 20, 2017

ISBN: 978-0-9992613-1-6

Page Count: 112

Publisher: World Poetry Books

Review Posted Online: March 9, 2018

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A volume of poetry and prose that offers heroic visions of urban African Americans.


A debut multigenre collection of short pieces presents vignettes focusing on the lives of African Americans from a variety of perspectives, both real and fanciful.

This eclectic anthology begins with an autobiographical sketch, “P Is for Pride and Perseverance,” in which King traces his early years from his 1979 birth to a 16-year-old mother to his incarceration for attempted robbery and his subsequent determination to do something positive with his life. “Baby Girl” reprises the story of King’s birth from his mother’s point of view, a girl whose teen pregnancy seems predestined by both her grandmother’s clairvoyant dreams and her own limited expectations. Other narratives are linked by shared characters, such as “Posse Up, Ladies First!” and “Thug Angel,” which provide somewhat idealized portraits of street gangs as building blocks of the black community. “Battle Kats” is an SF work about a group of humanoid felines from another planet who work undercover to defend Earth and its alien allies. The central section of the book is occupied by a collection of 21 poems. Some, like “Hold on to Love” and “Away From Home,” focus on romance while others, such as “The Rent Is Too Damn High!” and “Blockstars,” illuminate the experiences of working-class African Americans in inner-city neighborhoods. “Remember Me?” calls up the spirit of LaTasha Harlins, a young black woman shot by a Los Angeles shop owner in the early ’90s, speculating “I wonder what you could have been LaTasha?” King’s efforts to describe his personal struggles and the vibrant characters who populate impoverished black communities are ambitious and dynamic. His prose narratives are too short to feel really complete, but they deliver glimpses into a world mainly familiar to the urban poor, where drug dealing is one of the few available career choices, incarceration is a rite of passage, and street gangs view themselves as community leaders. While the author does have a tendency to romanticize life on the street, as in “Posse Up,” in which a girl gang maintains a strict “code of principles,” his writing presents a vision of what could happen if people worked to “play a part in the improvement of the community.”

A volume of poetry and prose that offers heroic visions of urban African Americans.

Pub Date: March 10, 2011

ISBN: 978-1-4568-8093-4

Page Count: 124

Publisher: Xlibris

Review Posted Online: Jan. 6, 2020

Kirkus Reviews Issue: March 15, 2020

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A nihilistic poetic remembrance that will appeal most to older teens and 20-somethings.


Davis recounts the confounding pressures of his 1990s childhood in this debut memoir-in-verse.

When telling the story of your life, one might as well start at the very beginning. That’s exactly what the author does in this memoir, which he describes as “a thing like a very long lie to yourself.” Specifically, he tells of how “The White-Gloved Sheriff / kicked in the door / and / Pulled me” from his mother (whom he calls his “Supervisor”; he later calls her “the Computer Science Major,” “the Waitress,” and other occupational names). Unusually, he had horns and a lot of hair at birth, he says. He was immediately at odds with the people and other living things around him—his parents, his brothers, his family dog. As a toddler, he created an imaginary world for himself known as “FU,” which was “Filled with things that looked like me / And where things made sense / I was King.” His earliest years were characterized by horrible discoveries (school work, isolation, crushes, problems in his parents’ marriage), but his teen years proved to be an even greater series of highs and lows, involving confusion over geopolitical events, friends, computers, pornography, and marijuana. Like a novice who can’t quite figure out the rules of a game, Davis bumbles forward—all horns and fur and misunderstanding—inadvertently angering authority figures as he seeks an adequate method of self-expression. The poem is composed in short, direct lines, enjambed to emphasize particular words or phrases rather than establish a consistent overall rhythm. Davis’ idiolect is inventive in its names for things (siblings are “life partners,” pets are “prisoners,” teachers are “Part-Time Supervisors,” and so on), and his outsider’s observations of society are shrewd and often funny. However, the combination of snark and self-seriousness causes some poems to come off as petulant and cloying; as a result, it’s difficult to imagine anyone over the age of 22 finding the work emotionally affecting. Even so, the tone and style, coupled with debut artist Klimov’s truly engaging black-and-white illustrations should captivate readers of a certain anarchic mindset.

A nihilistic poetic remembrance that will appeal most to older teens and 20-somethings.

Pub Date: May 25, 2018

ISBN: 978-1-71806-449-2

Page Count: 143

Publisher: Nada Blank Press

Review Posted Online: Nov. 24, 2018

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