Some standouts but limited overall by the incessant rhyming and some clichéd sentiments.
Bajwa’s debut poetry collection explores spirituality, relationships, and current events.
Bajwa has been writing poetry assiduously for four years after an approximate 25-year hiatus following his high school efforts. Falling into nine thematic sections, these verses use end rhymes along with some half rhymes. In the opening poems, the narrator imagines himself as a silent, wandering observer: “I wanted to be like a river. To just gently flow.” That mellow determination sets an agreeably peripatetic tone. The first section, “Personalities,” contains character studies of heroes and criminals, a dichotomy continued in section three, “Friends and Foes.” Many of the most memorable poems are in part two, “Beauty and Love.” Several are addressed to “Malaguena,” with praise for the beloved’s features echoing the playful verse of Andrew Marvell: “no eyes are so profound, Malaguena, as yours. / Like two suns shining over that beautiful nose.” Other topics include cultivating one’s inner child, drinking with compatriots, and gratitude for freedom. As the title testifies, Bajwa relies heavily on the symbolism of heavenly beings, envisioning ordinary people as fallen angels and vice versa. First-person narratives from God and an angel who left paradise for a human lover imagine the intervention of the spiritual in the everyday. Structurally, the poems generally comprise five or six rhyming couplets. Although these follow no recognizable form, in a few cases, the first stanza is repeated as the last, thus creating a pleasant rounding-off effect. However, Bajwa’s insistence on rhyme can lead to some downright odd combinations, like wharf/dwarf and cute/flute/mute. Reversing normal word order, Bajwa can sound unfortunately Yoda-like in places: “Push oneself one must.” Moreover, most of the poems are printed in an eye-taxing italic font. The conclusions in the section “Life and the Universe” (“Life’s short. So keep smiling and carry on”) may be banal, but the “Current Affairs” section appreciates the complexities of the Middle East.
Some standouts but limited overall by the incessant rhyming and some clichéd sentiments.Pub Date: May 27, 2015
ISBN: 978-1-4834-3172-7
Page Count: 210
Publisher: Lulu
Review Posted Online: June 30, 2015
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
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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