Finely wrought poetry on both mundane and divine subjects.
Minchow-Proffitt (Chicken Train, 2016, etc.) shuttles deftly between the particular and the universal in this accomplished third volume of verse.
A poet’s trustiest tool is his or her willingness to look—to see details that the rest of us miss and then pin them down with words. Minchow-Proffitt has a particularly keen eye for such details; in this collection, he’s alive to the soft growl of a toddler doing his best tiger impression (“Holding My Own”) or the plaintive tone of a cashier’s laugh (“Valentine’s Day”). But the author’s skill is not merely to point out these small touches, but to make them fulcrums on which entire poems might balance and spin. Readers see one such point in the fine poem “Signs,” in which the meaning revolves around a single letter “S.” The piece lists phrases on church signs along a highway near the speaker’s home: “One church brags: / Our lifeguard walks on water. / Another up the road advises: / To be lifted up / go down / on your knees […] Then, at the church / just past Bull’s Eye Sports and Shooting Range— / God still storms.” As the speaker drives on, he sees, from a distance, a man at a flea market strike a young girl, and he pulls over to gather himself before continuing. The next morning, a young pastor returns to that last sign with an “early edit: / God stills storms.” So much rests on that added letter—not least of which is God’s role in the world and the ways in which human responsibilities hinge on it. Minchow-Proffitt is a retired pastor, so many of his poems address such spiritual themes, but his tone usually resembles that of “Signs”: inquisitive, humble, delicate. If God storms, then the poet speaks in more hushed tones. Although he’s still actively involved in ministry, his retirement gives him more time to write, and readers are all the better for it. Illustrator Proffitt-Allee’s (Flashbulb Danger, 2018) understated but elegant black-and-white line drawings develop or enhance the poet’s themes. These accents are subtle, but they round out the collection in surprisingly effective ways.
Finely wrought poetry on both mundane and divine subjects.Pub Date: May 10, 2019
ISBN: 978-1-73359-793-7
Page Count: 114
Publisher: Middle Island Press
Review Posted Online: Sept. 20, 2019
Kirkus Reviews Issue: Nov. 1, 2019
Review Program: Kirkus Indie
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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