An odd, nostalgic compilation, but a few poems about hospital patients see keenly into the condition of the individual body...
Wandzilak’s debut poetry collection spans a lifetime, musing on place, change, and mortality in light, occasional verse.
Built in the 1950s, the real-life East Deck Motel in Montauk, New York, was a mecca for beachgoers, surfers, and tourists of all stripes. But in 2015, its future was uncertain. In a sense, some of these poems, set at the motel, read as elegies—nostalgic celebrations of the seashore’s many moods. The title poem’s speaker reminisces about a night of love in the dunes, away from the crowd, and it’s gloomy with foreboding: “I could barely tell land from sea / I knew where I was, but not exactly.” With the lover’s “cold hand” in his, the speaker glimpses “the heart of a tear.” Other poems cast an eye over cultural high points, as in the longish poem “A Partial Autobiography.” The short, free-verse lines begin with oddity (“I was born with a remnant third nipple / I did not know what that meant for me”) but smooth out to more familiar touchstones: “I saw Yul Brynner play The King and I…. // I have seen the unicorns at the Cloisters //….I caught a wahoo in Turks and Caicos.” The oddity gathers and increases, however, in another cultural-event poem, this time on the occasion of seeing famed cellist Yo-Yo Ma in concert in 2013. The lilting cadence of “I ate elk with a runcible spoon!” proceeds to a playful but peculiar after-concert meal: “Later we fed Mr. Ma toasted farro / As he proceeded to eat my bone marrow!” Whimsy is one thing, but word-pairing for the sake of rhyme is another, as in this quatrain: “I have delivered fourteen lives / Each followed by fourteen placentas / Therein, I found elation upon this earth, / Unequaled to a dinner of lobster polenta.” The poet’s background as a surgeon also appears with a poetic nod to delivering bad news; in it, the narrator glances daily into a nearby cemetery, where a patient will soon be buried. A compilation of similarly medical-themed poems would be truly select.
An odd, nostalgic compilation, but a few poems about hospital patients see keenly into the condition of the individual body and soul.Pub Date: April 5, 2016
ISBN: 978-1-5144-6727-5
Page Count: 54
Publisher: Xlibris
Review Posted Online: July 28, 2016
Kirkus Reviews Issue: Sept. 1, 2016
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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