A vivid anthology of poems in which everyday events are infused by speakers’ inner lives.
Translator Bell offers a long-overdue introduction of German poet Sessner to English-speaking readers.
The collection contains poems in three parts, drawn from three of Sessner’s previous books, with a fourth dedicated to new poems. The poet’s minimalist style marks all the works, which are devoid of punctuation and provide multiple images within a single line. Prospects of death haunt Part I, from Kitchens and Trains; in “Man With Dog,” the speaker observes a lonely man and his pet walking in the fields, playing fetch: “I’ve a notion that / one time instead of a stick / the dog brought the / whole forest and then / into it they both / disappeared.” Themes of family and identity permeate Part II, from Why Especially Today. At Grandpa’s 80th birthday celebration, “every adult is / a short rhyming poem,” and “the children scurry like / commas” (“In the Circle of the Family”). Part III, from The Water of Yesterday, examines aging; “While Leaving the Café” contrasts the grandmothers of many poems with an observation of the lightness of youth: “The girl takes the / umbrella or / does the umbrella take / the girl.” In “A Landscape,” the speaker ponders the trainlike oncoming of old age. Over the course of this collection, Sessner’s inclination toward enjambment and sparse use of stanzas encourage readers to trust the speakers, and the poems always lead to a striking close. The stark form belies intricate layers of actuality and vision. Part IV, from New, also blurs distinctions among dream, memory, and impression. The abundance of seemingly incongruous imagery is heightened in these poems; in “Flowers,” for example, the speaker describes moments after waking, still engrossed in the world of the dream: “someone is binding / flowers into a bouquet it’s the / one for my mother that / I’m to pick up I often awaken / exactly at this point and / feel in the dark for my / glasses as if I’d be able / to see the ending.”
A vivid anthology of poems in which everyday events are infused by speakers’ inner lives.Pub Date: Aug. 22, 2023
ISBN: 9781636281384
Page Count: 88
Publisher: Red Hen Press
Review Posted Online: July 11, 2023
Kirkus Reviews Issue: Sept. 1, 2023
Review Program: Kirkus Indie
Fans of Stockett’s bestselling debut will love this engaging follow-up.
Stockett heads to Mississippi for another historical novel about feisty women.
This time, perhaps recalling criticisms of cultural appropriation in The Help (2009), she sticks to feisty white women, with one exception. The setting is Oxford in 1933. For two miserable years, 11-year-old Meg has lived in “the Orphan,” a county asylum for parentless girls. Chairlady Garnett—a villain so one-note she’d twirl a mustache if she had one—makes it her mission to ostracize the older girls she deems unadoptable, stigmatizing them as offspring of the “feebleminded” mothers who abandoned them. She particularly has it in for smart, sassy Meg, who refuses to believe her mother’s mysterious disappearance was deliberate. Elsewhere in Oxford, Birdie Calhoun comes to visit her sister Frances, who married a wealthy banker, to ask for money on behalf of their mother and grandmother back in Footely. Frances isn’t thrilled by this reminder of her impoverished small-town origins. But she’s trying to climb up in Oxford society by volunteering at the Orphan, the asylum’s books need to be done before the state inspector shows up in a few weeks, and Birdie is a bookkeeper. Having neatly arranged to keep Birdie in town and draw these two storylines together, Stockett goes on to spin a compulsively readable yarn with enough plot for a half-dozen novels. Birdie and Meg become friends, Meg is adopted despite Garnett’s best efforts, Meg’s mother turns up at the Orphan demanding to know where her child is—and that’s less than a quarter of the way through a long, winding narrative that keeps piling on more dramatic developments until all loose ends are neatly, if hastily, wrapped up in the final pages. Stockett might be making a point about Southern women facing facts and standing up for themselves, but mostly this is just a satisfyingly twisty tale that should make a great miniseries.
Fans of Stockett’s bestselling debut will love this engaging follow-up.Pub Date: May 5, 2026
ISBN: 9781954118812
Page Count: 656
Publisher: Spiegel & Grau
Review Posted Online: Feb. 2, 2026
Kirkus Reviews Issue: March 1, 2026
BOOK REVIEW
Mostly charming, sometimes twee, with some really lovely things to say about poetry.
And now for some lessons in poetry and typesetting.
After Lessons in Chemistry (2022), a debut that became one of the most popular books of recent years, Garmus applies her unique comic sensibility to the story of Batter Gray, a man named after a family dog of mythic talents. A poetry maven who was reading Auden as a fourth grader, he was raised by a type-designer mother and historian father who dearly hoped he would choose some more viable profession than poetry. But via an amazing stroke of luck, he lands a job after college at Peck & Peck, an illustrious literary journal located in a beautiful building in New York City. He’s at the very bottom of the complex and dysfunctional totem pole, making copies in the basement, struggling not to run afoul of the cantankerous editor-in-chief, Salton Peck, or his smarmy assistant, Dexter York, both of whom have taken an instant dislike to our hero (and can never get his name right. Few people can). And to be honest, Batter is not without his flaws. The novel bogs down a bit in the middle, with Salton constantly excoriating his staff in ALL CAPS and much ado over the possibility that submissions have been taken outside the building, which is forbidden. Along the way, many, many famous poets are name-checked, as are many typefaces, since Batter has been raised to instantly identify a font in the wild. The best example of this occurs during his brief sojourn in jail: “The thing I kind of admired about Motherfucker II, besides his manners, was this huge tattoo he had on his neck that read I will fuck you up in ITC Bolt. Call me my mother’s son, but whoever inked it nailed the kerning.” The narrative picks up steam toward the end, as bad guys become good guys, mysteries are solved, and Batter throws one hell of a party.
Mostly charming, sometimes twee, with some really lovely things to say about poetry.Pub Date: Oct. 13, 2026
ISBN: 9781668251065
Page Count: 432
Publisher: Scribner
Review Posted Online: July 6, 2026
Kirkus Reviews Issue: Aug. 1, 2026
BOOK REVIEW
PERSPECTIVES
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