A wily pack of bedside reading for fans of up-and-coming fantasists.
An assembly of international writers assumes the mantle of the Brothers Grimm with contemporary folk and fairy tales.
Bulgarian author Michael Harris Cohen’s story “The Ex-Court Painter, Goya, and the Princess” places readers in the Madrid of Charles IV. Chosen by the king to paint his dead daughter, lonely ex–court painter Angelo discovers that his replacement, Goya, is struggling with his turbulent, final masterworks. While “aging” the dead princess by painting her portrait annually, Angelo falls in love with his creation. The theme of madness buoys other tales in the selections, too. Cheryl Stiles’ deceptively creepy free verse, “Gourmaundeth,” takes its cue from the true story of a modern-day “Menschenfresser,” or man-eater. Joann Oh’s whimsical “Bury Me in Faerie” turns an old woman’s dementia into an end-of-life gift. Many of the stories directly invoke the archetypal characters first recorded by the Grimms in the 19th century. Block re-examines “Snow White” in her strong, ultimately sentimental “Mirror Child.” Hansel and Gretel are re-examined by gifted poet Erin Virgil (“Four Grimm Tales, Revisited”) and, in much longer form, by John Kiste, in the guises of Henry and Gerta in “Henry’s Tale.” Elodie Olson-Coons, in “Fish,” adds a note of disillusionment—and a unique second-person voice—to “The Fisherman and His Wife.” Some authors retain the cruelty and violence of the original folk tales, as in “The Black Widow,” Clayton Lister’s sinister story of twisted love, and the disturbing encounter between a princess and a smooth-talking frog in Maude Larke’s “Persuasion.” But the cleverest of the lot reinvent the folk tale from an American vantage point. Joyce Winters Henderson’s “Misery and Blue” tells how a fight between giants led to the birth of the “Blues.” Tim Belden’s delightful “Once, I Was Avedon” uses spare verse to transform subjects from the iconic photographer’s oeuvre into a modern pantheon. Illustrations scattered throughout the book add a nice touch to the text, but overall, the quality of the collection is uneven: Some pieces are better crafted than others, while more than a few seem overworked or incomplete.
A wily pack of bedside reading for fans of up-and-coming fantasists.Pub Date: May 11, 2013
ISBN: 978-0982833025
Page Count: 248
Publisher: Indigo Ink Press
Review Posted Online: Aug. 14, 2013
Kirkus Reviews Issue: Sept. 15, 2013
Review Program: Kirkus Indie
A short, simple, and sweet tale about two friends and a horse.
A novel tells the story of two spirited girls who set out to save a lame foal in 1952.
Mary, age 12, lacks muscle control of her legs and must use a wheelchair. Her life is constantly interrupted by trips with her widower father to assorted doctors, all of whom have failed to help her. Mary tolerates the treatments, hoping to one day walk unassisted, but her true passion involves horses. Possessing a library filled with horse books, she loves watching and drawing the animals at a neighboring farm. She longs to own one herself. But her father, overprotective due to her disability and his own lingering grief over Mary’s dead mother, makes her keep her distance. Mary befriends Laura, the emotionally neglected daughter of the wealthy neighboring farm owners, and the two share secret buggy rides. Both girls are attracted to Illusion, a beautiful red bay filly on the farm. Mary learns that Illusion is to be put down by a veterinarian because of a lame leg. Horrified, she decides to talk to the barn manager about the horse (“Isn’t it okay for her to live even if she’s not perfect? I think she deserves a chance”). Soon, Mary and Laura attempt to raise money to save Illusion. At the same time, Mary begins to gain control of her legs thanks to water therapy and secret therapeutic riding with Laura. There is indeed a great deal of poignancy in a story of a girl with a disability fighting to defend the intrinsic value of a lame animal. But this book, the first installment of the Dream Horse Adventure Series, would be twice as touching if Mary interacted with Illusion more. In the tale’s opening, she watches the foal from afar, but she actually spends very little time with the filly she tries so hard to protect. This turns out to be a strange development given the degree to which the narrative relies on her devotion. Count (Selah’s Sweet Dream, 2015) draws Mary and Laura in broad but believable strokes, defined mainly by their unrelenting pluckiness in the face of adversity. While the work tackles disability, death, and grief, Mary’s and Laura’s environments are so idyllic and their optimism and perseverance so remarkable that the story retains an aura of uncomplicated gentleness throughout.
A short, simple, and sweet tale about two friends and a horse.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Hastings Creations Group
Review Posted Online: Oct. 15, 2016
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
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