A well-written but occasionally verbose collection that will please academics but may test the patience of lay readers.
An academic poetry opus from prolific Cuban author Yáñez (The Bleeding Wound/Sangra Por La Herida, 2014, etc.).
Divided into four sections, the author’s latest collection opens with “Acto I: The Visits/Las Visitas,” which takes readers through settings shrouded in secrecy: “Don’t be deceived by appearances: / the patios of the convents / —those flower-filled, disquieting jails— / may lend themselves to dirty tricks of the worst kind.” In “Intervalo: A Reminder/Recordatorio,” the speaker tells readers that “poets dream / of a long permanence / and to that end they construct cathedrals / and poems.” “Acto II: Class Notes/Apuntes de clase” reads like a clever advice column for students; “Rhetorically Speaking” offers tips on hiding what one is reading or writing from a professor, and in “A Generational Duty,” the author encourages young poets to “do whatever you must to sew within the secret seam / of letters / the shifting pain of the universe / and the laws of the tenderness that is always flowing / always flowing.” This section also invokes legendary poets such as Jorge Luis Borges and Sor Juana Inés de la Cruz in eponymous poems. “Final: Limitations/Limitaciones” is rife with death references and ends with a contemplative poem about a phone book with the contact information of the departed. While the author excels at anchoring the reader in physical surroundings, and Miller has faithfully translated the Spanish text, perhaps what Yáñez needed more than a translator was a stronger editor. The poet’s descriptions can be flowery, such as this one of a hotel: “Its demolition, / planned by the competent officialdom, / will preclude new accomplices / to its antiquity / (I wonder to whom it will now relate / its stories /and its delusions of grandeur).” Overall, the book feels like a memoir written in stanzas, at times bordering on self-indulgence and the kind of nostalgia better shared between two friends: “don’t fail to keep in mind / that those places / we never visited / will still be weighing heavily on me.”
A well-written but occasionally verbose collection that will please academics but may test the patience of lay readers.Pub Date: March 1, 2017
ISBN: 978-1-944176-11-2
Page Count: 135
Publisher: Cubanabooks
Review Posted Online: Feb. 27, 2017
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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