Tenderly observant and rewarding poetry.
This debut collection of poetry offers an amble through life and nature.
“There is nothing tidy about this volume,” writes Parker in his opening letter to readers. Yet even though the poems are not ordered by “history, subject matter, literary form, or style,” there is a satisfying sense of cohesion to the collection. The author approaches a broad range of subjects, from nature and religion to families and food—he even writes his own obituary—but the poems remain united by Parker’s sedately measured narrative voice. In a coming-of-age poem entitled “Conversion,” he describes his father, a Vermont farmer who became a minister, “in the confidence of his black robe / pouring the unction of his words / over the congregation.” The author’s smooth-edged observations serve similarly as a balm, soothing the painful questions of existence. In “No Doubt,” he writes a maxim for life that epitomizes his poetic worldview: “This is my present: to be in love with everything, and more / with lovely things that will be quickly spent; / still more, because the loss is permanent.” Parker’s sense of peace and determination to savor life are contagious. His poetry takes joy in the overlooked details of flora. In “Leeks,” he first provides the gardener’s perspective of watching the vegetables grow, noting whimsically: “The leaves become their /stockings underground. / By fall the stems are layers / of thin socks tugged up on / each other—no feet at all.” That is followed pleasingly by the viewpoint of the cook: “I will / have thick soup before / December’s iron freeze.” The poem is sensuous and transporting—leading readers to the vegetable patch and later placing the steaming potage before them. Throughout the volume, the poet’s use of simile is exquisitely pictorial and refreshingly innovative: “My words bounced / like butterflies off a rhinoceros.” But there are occasional falters toward cliché: “The high narrow wheels rode through like Jesus / walking on the water.” While several illustrations by Tyrol do not greatly inform or improve the reading experience, this is nonetheless an enchanting collection.
Tenderly observant and rewarding poetry.Pub Date: June 9, 2020
ISBN: 978-1-57869-031-2
Page Count: 134
Publisher: Rootstock Publishing
Review Posted Online: Sept. 21, 2020
Kirkus Reviews Issue: Nov. 15, 2020
Review Program: Kirkus Indie
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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