Memorable and moving, these pared-down poems have a compelling tensile strength.


With precise grace, this poetry collection examines cycles of destruction and growth.

In her debut collection, Colburn offers poems (many previously published in literary journals) that tend to inhabit either pole of the natural/artificial divide. The process of becoming is one manifestation of the first pole, as in “Plenitude/Pregnancy,” a nine-part poem—like the nine months of gestation—in which the speaker is expecting in both senses of the word. Her hopes for the future are thrown by recognition of life’s vulnerability. Similar poems bring the poet’s attention to living things and the threats they face. People starve; species go extinct; “Yes, certainly we will destroy ourselves,” she concludes in “The Natural World.” The opposite pole is often represented by the notion of boxes, essentially unnatural spaces that offer safety but captivity. Yet they also offer “the idea of escape itself,” as in Mark Rothko’s painted rectangles, which take the viewer “Inside and inside.” Similarly, natural or creative sterility contains the space for returning vigor: “And when the words came: O Land of the very-seen: / alive and green.” In other poems, Colburn searches for ways to bring her opposites together. In “Explanation of the World,” whose second line gives the collection its title, a high shelf holds “boxes, spaced: just   so,” yet above, below, and beyond is the uncontainable—“firmaments” and “the sound of the sea.” The concluding poems continue to explore the resolution of division by joyfully confirming the power of what is. In “Time Box,” for example, the opening line—“Certainly, the immortal soul”—suggests a counter to the speaker’s earlier certainty of self-destruction. Spare, elegant, and perceptive, these poems are charged with the numinous, a haikulike attention to essence. Some pieces recall Hopkins’ notion of inscape: “The world in-latched. Of-itself made.” Colburn’s lines often hesitate, stopping themselves with a dash, colon, or spaces (“So many, so many, each one: // one:   numberless:”), a powerful silence similar to rests in music or white space in a painting.

Memorable and moving, these pared-down poems have a compelling tensile strength. (Poetry, 12+)

Pub Date: Dec. 31, 2019

ISBN: 978-1-944585-36-5

Page Count: 90

Publisher: The Word Works

Review Posted Online: Sept. 24, 2020

Kirkus Reviews Issue: Nov. 15, 2020

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Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.


The sequel to It Ends With Us (2016) shows the aftermath of domestic violence through the eyes of a single mother.

Lily Bloom is still running a flower shop; her abusive ex-husband, Ryle Kincaid, is still a surgeon. But now they’re co-parenting a daughter, Emerson, who's almost a year old. Lily won’t send Emerson to her father’s house overnight until she’s old enough to talk—“So she can tell me if something happens”—but she doesn’t want to fight for full custody lest it become an expensive legal drama or, worse, a physical fight. When Lily runs into Atlas Corrigan, a childhood friend who also came from an abusive family, she hopes their friendship can blossom into love. (For new readers, their history unfolds in heartfelt diary entries that Lily addresses to Finding Nemo star Ellen DeGeneres as she considers how Atlas was a calming presence during her turbulent childhood.) Atlas, who is single and running a restaurant, feels the same way. But even though she’s divorced, Lily isn’t exactly free. Behind Ryle’s veneer of civility are his jealousy and resentment. Lily has to plan her dates carefully to avoid a confrontation. Meanwhile, Atlas’ mother returns with shocking news. In between, Lily and Atlas steal away for romantic moments that are even sweeter for their authenticity as Lily struggles with child care, breastfeeding, and running a business while trying to find time for herself.

Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.

Pub Date: Oct. 18, 2022

ISBN: 978-1-668-00122-6

Page Count: 352

Publisher: Atria

Review Posted Online: July 27, 2022

Kirkus Reviews Issue: Aug. 15, 2022

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A tale that’s at once familiar and full of odd and unexpected twists—vintage King, in other words.


Narnia on the Penobscot: a grand, and naturally strange, entertainment from the ever prolific King.

What’s a person to do when sheltering from Covid? In King’s case, write something to entertain himself while reflecting on what was going on in the world outside—ravaged cities, contentious politics, uncertainty. King’s yarn begins in a world that’s recognizably ours, and with a familiar trope: A young woman, out to buy fried chicken, is mashed by a runaway plumber’s van, sending her husband into an alcoholic tailspin and her son into a preadolescent funk, driven “bugfuck” by a father who “was always trying to apologize.” The son makes good by rescuing an elderly neighbor who’s fallen off a ladder, though he protests that the man’s equally elderly German shepherd, Radar, was the true hero. Whatever the case, Mr. Bowditch has an improbable trove of gold in his Bates Motel of a home, and its origin seems to lie in a shed behind the house, one that Mr. Bowditch warns the boy away from: “ ‘Don’t go in there,’ he said. ‘You may in time, but for now don’t even think of it.’ ” It’s not Pennywise who awaits in the underworld behind the shed door, but there’s plenty that’s weird and unexpected, including a woman, Dora, whose “skin was slate gray and her face was cruelly deformed,” and a whole bunch of people—well, sort of people, anyway—who’d like nothing better than to bring their special brand of evil up to our world’s surface. King’s young protagonist, Charlie Reade, is resourceful beyond his years, but it helps that the old dog gains some of its youthful vigor in the depths below. King delivers a more or less traditional fable that includes a knowing nod: “I think I know what you want,” Charlie tells the reader, "and now you have it”—namely, a happy ending but with a suitably sardonic wink.

A tale that’s at once familiar and full of odd and unexpected twists—vintage King, in other words.

Pub Date: Sept. 6, 2022

ISBN: 978-1-66800-217-9

Page Count: 608

Publisher: Scribner

Review Posted Online: June 22, 2022

Kirkus Reviews Issue: July 15, 2022

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