Listen to the lioness roar.
The moving self-portrait of a young artist coming into her own, both spiritually and poetically.
Irish was born in the British West Indies but came of age in London. Like the many strangers in strange lands before her, Irish often found the immigrant’s experience challenging. English schooling felt foreign, and maturity didn’t necessarily bring with it certainty as to what her future would hold. But all that changed in her 20s, when two new influences began to give shape to her life: First, the religion of Rastafarianism—taught to her by two new friends—offered a spiritual foundation, and then poetry gave her a voice. The present volume features many poems written during this period; thus, it is a record of Irish’s development that demonstrates the poet’s growth both as an author and as a young woman. As Irish admits, Rastafari informs much of her verse, and the faith provides a key to understanding some of her project. Though Rastafarians don’t have a single creed, many believe that much of the world is like Egypt before the Exodus or Babylon during the chosen people’s exile; Rastas often see evil and feel compelled to condemn it. Irish, too, voices her frustration at the ills that wrack society. In “Brain Deficiency 11,” she excoriates rappers for their “derogative” lyrics, fast-food restaurants for their worthless food, technology for drawing children away from the wonders of the real world: “We have got serious issues in this our community,” she concludes. But as many other Rastas do, she takes solace from the belief that God dwells inside her. In “Falsehood,” she writes, “You cannot stop the God in me.” Even Irish’s pseudonym, the Lion Queen, comes from her faith; the lion is a key symbol in Rastafari. Yet if much of the content of Irish’s verse derives from the religion she loves, her style is truly her own. She stacks short lines one on top of the next, building sturdy poetry that may well stand the test of time. Her diction is unpretentious but never simplistic, and her voice is a clarion call.
Listen to the lioness roar.Pub Date: Nov. 2, 2011
ISBN: 978-1456787219
Page Count: 120
Publisher: AuthorHouseUK
Review Posted Online: June 23, 2014
Kirkus Reviews Issue: Aug. 1, 2014
Review Program: Kirkus Indie
An emotional, captivating Christian story in verse.
Heidish (A Misplaced Woman, 2016, etc.) presents an account of St. Francis of Assisi’s life, as told from his father’s perspective in poetic form.
St. Francis is known as a saint who believed in living the Gospel, gave sermons to birds, and tamed a wolf. Over the course of 84 poems, Heidish tells her own fictionalized version of the saint’s journey. In his youth, Francesco is an apprentice of his father, Pietro Bernardone, a fabric importer. The boy is a sensitive dreamer and nature lover who sees “natural holiness in every living thing.” As an adult, Francesco decides to pursue knighthood, but God warns him to “Go back, child / Serve the master.” He joins the Church of San Damiano, steals his father’s storeroom stock, and sells it to rebuild the church. His furious father chains him in the cellar, and the bishop orders Francesco to repay the debt. Afterward, father and son stop speaking to each other; Francesco becomes a healer of the sick and a proficient preacher. After failing to broker a peace agreement during wartime, Francesco falls into depression and resigns his church position. He retreats to the mountains and eventually dies; it’s only then that Pietro becomes a true follower of St. Francis: “You are the father now and I the son / learning still what it means to be a saint,” he says. Heidish’s decision to tell this story from Pietro’s perspective is what makes this oft-told legend seem fresh again. She uses superb similes and metaphors; for example, at different points, she writes that St. Francis had eyes like “lit wicks” and a spirit that “shone like a clean copper pot.” In another instance, she describes the Church of San Damiano as a place in which “walls crumbled / like stale dry bread.” Following the poems, the author also offers a thorough and engaging historical summary of the real life of St. Francis, which only adds further context and depth to the tale.
An emotional, captivating Christian story in verse.Pub Date: Feb. 23, 2018
ISBN: 978-0-9905262-1-6
Page Count: 146
Publisher: Dolan & Associates
Review Posted Online: April 19, 2018
Kirkus Reviews Issue: June 1, 2018
Review Program: Kirkus Indie
A poignant collection by a talented poet still in search of one defining voice.
A debut volume of poetry explores love and war.
Divided into four sections, Osaki’s book covers vast emotional territories. Section 1, entitled “Walking Back the Cat,” is a reflection on youthful relationships both familial and romantic. “Dying Arts,” the second part, is an examination of war and its brutal consequences. But sections three and four, named “Tradecraft” and “Best Evidence” respectively, do not appear to group poems by theme. The collection opens with “My Father Holding Squash,” one of Osaki’s strongest poems. It introduces the poet’s preoccupation with ephemera—particularly old photographs and letters. Here he describes a photo that is “several years old” of his father in his garden. Osaki muses that an invisible caption reads: “Look at this, you poetry-writing / jackass. Not everything I raise is useless!” The squash is described as “bearable fruit,” wryly hinting that the poet son is considered somewhat less bearable in his father’s eyes. Again, in the poem “Photograph,” Osaki is at his best, sensuously describing a shot of a young woman and the fleeting nature of that moment spent with her: “I know only that I was with her / in a room years ago, and that the sun filtering / into that room faded instantly upon striking the floor.” Wistful nostalgia gives way to violence in “Dying Arts.” Poems such as “Preserve” present a battleground dystopia: “Upturned graves and craters / to swim in when it rains. / Small children shake skulls / like rattles, while older ones carve rifles / out of bone.” Meanwhile, “Silver Star” considers the act of escorting the coffin of a dead soldier home, and “Gun Song” ruminates on owning a weapon to protect against home invasion. The language is more jagged here but powerfully unsettling nonetheless. The collection boasts a range of promising poetic voices, but they do not speak to one another, a common pitfall found in debuts. “Walking Back the Cat” is outstanding in its refined attention to detail; the sections following it read as though they have been produced by two or more other poets. Nevertheless, this is thoughtful, timely writing that demands further attention.
A poignant collection by a talented poet still in search of one defining voice.Pub Date: Jan. 31, 2018
ISBN: 978-1-984198-32-7
Page Count: 66
Publisher: CreateSpace
Review Posted Online: June 26, 2018
Review Program: Kirkus Indie
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