The Other Side of the American Dream
Review: Don't Call Us Dead
The Other Side of the American Dream
Review: Don't Call Us Dead
One aspect that makes poetry such a powerful form is how it is often used to tackle pertinent and even controversial topics. Race and sexuality are two timely issues, and Danez Smith tackles both of them in his book of poetry Don’t Call Us Dead. As a gay, black man in America, Smith has a unique perspective that shapes much of what he writes. In some ways, his poems speak to a very particular demographic and yet, they ring true for larger audiences.
In Lee L. Krecklow’s debut novel The Expanse Between, he delivers a page-turner that will leave most readers unsure of what they would do by the end. It does an interesting job of introducing a commentary on the growing Internet, screen-obsessed culture. It takes place sometime in the mid-2000’s before this craze had really taken off, and in doing so shows that perhaps the human condition always had the impulses that the technology of today is making easier to appease.
Baz Dreisinger has crossed oceans and boundaries—both figuratively and literally—in her new book, Incarceration Nations, which provides a first-hand account of Dreisinger’s two-year quest to penetrate the walls of some of the most notorious correctional facilities around the globe. Dreisinger maintains a dual purpose in her pilgrimage and her account. She hopes to inject small doses of hope and creativity into the inmates she encounters, as well as provide an account to the world that will foster awareness and spur a cause-to-action mentality for the prison crisis that exists in today’s world. Dreisinger’s work seems to accomplish both purposes, as the impact that she has made in the lives of the people who reside in “The Houses of the Living Dead” is evident. The astounding facts and accounts of the inmates’ lives that are carefully crafted into this book have and continue to invoke necessary changes in the global prison system.
Every child hears “Once upon a time” and immediately knows that “happily ever after” is on its way. Snow White is woken up with Prince Charming’s kiss. Ariel gets her legs and her man. Cinderella is reunited with her precious glass slipper and her true love. But what happens when you wander off into your own once upon a time, only to find that Cinderella’s other shoe has dropped on your head? Suddenly you’re sitting on the commuter train, heading into another Monday of sucking down crappy coffee in that tiny office it took you five years of making copies and running office lunch orders to get promoted to.
Now you’re thinking happily ever after might just be for fairy tales after all.
A Dark Ordinary has a combination of visually intriguing poems, reminiscent of e.e. cummings, and poignant prose poems that grasp your imagination. Using vivid imagery, unusual description, and vibrant language, Dyckman successfully paints a portrait of the sad, bleak, “dark ordinary” lives of child laborers in early 1900s America.
In her debut poetry collection Glass Harvest (2016) Amie Whittemore unites all aspects of the universe: family, nature, farmland, music, and even the mythical and mysterious. It is full of surprises, moments of elation followed by moments of poignant grief, dark imagery juxtaposed with snapshots of beautiful, rural landscapes. With her poems, Whittemore celebrates the offbeat and unconventional, resulting in a collection of poems that mirror the chaos and unpredictability of family, both in form and content.
Songs for a River, McGahan’s third book, combines eloquent descriptions of nature, vivid artistic philosophies, and serene paintings of grazing buffalo in mountainous landscapes with a complicated romance that spans almost the entire novel. There is a Zen-like quality that carries over from page to page, inviting the reader to see art, nature, and relationships as more than just ordinary aspects of one’s life. But between the lovely portraits of wild North-West America, McGahan addresses the similarities between art, humanity, and the spirit of nature; although our pride as humans is to live and govern above the rest of the animal kingdom through reason and emotions, at our base nature we rely on the same instinctual tendencies as our hoofed and feathery counterparts. And even though we might consider ourselves beings of intellectual and artistic ability, it is difficult to push aside the lingering traces of animal ancestry along with the need to break free from societal restraints.
Jacob Appel’s The Topless Widow of Herkimer Street proposes an intriguing question, and with it, a particular view on and of society. While it may play fast and loose with both extremes of logic, insisting on familiar reality at times and abandoning it to implausibility at others, its characters struggle with that compelling question of choice and consequence, often long after they have resigned themselves to passively letting their lives play out.
M.M. Wittle's creative non-fiction chapbook Three Decades and I'm Gone is her personal story of the author losing her father in her first decade of life, her mother in her second decade, and nearly losing herself to her grief in her third decade. The story is mostly written in a linear sequence of vignettes of prose poetry with some traditional stanza poetry. This treatment of memoir in a chapbook/poetry form gives the popular genre a compact, accessible feel. One can take the tragedy of each decade piece by piece and still experience the fullness of the story because each bit is an independent thought or feeling that supports the story as a whole.
There are some cravings that can last a lifetime. If there is any evidence of this, it can be read in Clementine von Radics’ poetry collection Mouthful of Forevers. These poems separately challenge the reader to look at how they define love and how they heal from it. They make us question whether or not love is just one thing, or a mangled mess of emotion. Von Radics begs us to be raw with ourselves, to explore the types of love the world has to offer, traditional or not. She teaches us that the type of love we learn is the definition of love we bring with us, the love we challenge.
book reviews by glassworks editorial staff