by Ryan P. Byrne ‧ RELEASE DATE: Aug. 8, 2014
An effective exploration of the commonplace.
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A Christian poet searches for meaning in the mundane.
Byrne doesn’t name the painting he’s writing about in “Manet’s Genre Paintings of Everyday Light,” a poem in his new collection. “A heavy silence and late day light fill the room, a kitchen / table, with bowl and book, another day endured, the / patience of a shared elderly marriage.” Perhaps he’s thinking of “Interior at Arcachon,” in which a couple—she much older than he—laze at table by an open window, each looking off in different directions. But no matter the painting, Byrne captures the great impressionist’s concern with the mundane. Manet, perhaps more than any other modern master, painted the everyday, depicting not gods or generals, but instead just regular men and women “enduring” their workaday lives. The relentless grind of days is a topic to which Byrne returns again and again. “Balances” opens, “Most days there is a constant fight against / ourselves.” In “And Then It Was Saturday,” Byrne notes—or laments—“I’m ready, another Monday morning is on its way.” Later, in “It’s All Just Another Day,” he writes, “It’s time to shut down for today / Another day working on the fringe….Another day is waking, / so the other person can win.” The pressing question for Byrne is how do we instill the weight of days with meaning? Byrne tries a number of answers—love, family, work—but seems ultimately to find the most durable peace in religion. As the author reminds us early on, “God’s loving energy is around us everywhere.” Byrne is a Christian, and his faith infuses his verse. In “Grace Before We Had Begun,” he invokes Christ’s suffering: “A spear in side, / The last tear dried, / How could you betray a friend / Like twelve of those whom were chose / To see it till the end.” However, here we see his weakness, too: “twelve of those whom were chose” is either quite stilted or grammatically incorrect, and similar slip-ups appear occasionally in his verse. Yet they are not too distracting, and careful proofreading would clean them up quickly.
An effective exploration of the commonplace.Pub Date: Aug. 8, 2014
ISBN: 978-1490838212
Page Count: 82
Publisher: Westbow Press
Review Posted Online: Feb. 26, 2015
Kirkus Reviews Issue: April 1, 2015
Review Program: Kirkus Indie
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PERSPECTIVES
by Katie Keridan ‧ RELEASE DATE: Nov. 2, 2018
Therapeutic, moving verse from a promising new talent.
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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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by William Poe ‧ RELEASE DATE: Nov. 16, 2015
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
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