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.
Lilith. Feminist icon. Biblical nightmare. And now, the subject of Julie R. Enszer’s latest poetry book.
Lilith’s Demons, Enszer’s third book, reimagines the infamous, ancient figure Lilith as a modern, empowered woman. Split into three parts, the book begins with poems from Lilith’s point of view, followed by a middle section narrated by her demons (all with their own unique name and personality), and finally, closing with a short section narrated by angels who are drawn to Lilith’s alluring power. Through the eyes of Lilith and her demons, Enszer crafts a beautiful and thought-provoking narrative of the modern issue of women’s oppression, and the punishment they receive.
War of the Foxes (2015) is the long awaited follow-up to Richard Siken’s Crush (2005), published ten years ago, which won the Yale Younger Poet’s prize. It is a brilliant work full of questions and unearthing, looking both inward and around, projecting his battles through art, poetry, and the characters within them.
Most of Siken’s poems seem to be self-reflecting, riddled with abstractions and rhetorical questions. He yearns to untie “the knot of the self,” as quoted from his poem, “Glue,” looking at his own writing, his own art, his own life and mentality. It is soul searching in its finest display of craft. Profound attempts to answer profound questions. Siken could be questioning his own existence and his own method of life. “Why live a life? Well, why are you asking?” The very process of writing seems to be the answer to his questions.
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.
Kathleen McGookey’s words are brave. She begins her latest collection, Stay, with a quote by Gary Young: “The worst thing you can imagine is not the worst thing that can happen to you.” And yet, worse for McGookey translates to great for the reader. Her bravery comes across on every page, not as a battle cry or manifesto, but slowly, quietly, in the most unassuming way. The vulnerability permeating each poem is, perhaps, the bravest words can be.
Mark Jay Brewin, Jr. dares his audience to pontificate the world and relationships around them in his stunning work of poetry Scrap Iron. Written with a narrative voice, these poems are less like traditional poetry and more like beautifully detailed, deeply personal stories that explore the complexities of familial relationships and the desire to be elsewhere. Broken into three parts, there is a clear beginning middle and end to this book of poetry that is lacking in other similar works. Rather than leaving the reader empty and unfulfilled, the carefully comprised structure of this book ends with the reader left in a state of deep thought and satisfaction.
A Morbid Nature
Stephen C. Behrendt
Shechem Press, pp. 109
Hardback cost: $24.95
The very essence of the word refraction takes its basis from the physical world; referring to when a ray of light is diverted from one path and begins to traverse another. In his new poetry collection, Refractions, Stephen C. Behrendt uses the term as a focal point for his collection to take an alternate look at the morbid aspects of humanity. Behrendt creates a portrait of love, nature, and what it means to be human through an epic scope, looking at life not only through the viewpoint of an animal, but through the viewpoint of his own life.
The Funny Truths About Human Nature
Review: Walking In On People
Able Muse Press, pp. 80
Melissa Balmain’s book Walking in on People transfixes readers with the humor of her and her family’s everyday life. The poet's simple language illustrates a play on observation, thought, and vantage point as she tackles marriage, raising children, and pop culture. Delivering lines that are thought provoking and eloquent, she simultaneously keeps the poetry genuine with her direct language. Balmain is boldly “walking in on people” where many choose not to go. This collection shouldn’t, however, be seen as spying, but rather as a different take on the renewal of faith in everyday human nature.
The poems in Balmain’s collection have varied subject matter and are intended to be humorous. Readers of more than one personality type should be able to at least smile after entering this poet's world. Because some of the entries are so short, every word has to mean something…and each one does. Walking in on People is constructed in such a way that the poems flow easily from one to the next. It also helps that they are divided into sections so the reader can skip around to the subjects they find more interesting.
Many lines can be very funny and innocent at the same time. One of the better examples comes from the titular poem “Walking in on People,” which reads, “I witness at a conference enjambed / of friends rebounding from a recent breakup / and once, two mimes in nothing but their makeup.” Balmain manages to get across a serious point while keeping the words light so the reader and the mood do not become overwhelming. These lines obviously are talking not only about a breakup from the outset, but also about two friends reacting to their perceived hardship.
Review: When I Was Straight
When I Was Straight
Julie Marie Wade
A Midsummer Night’s Press, pp. 48
Julie Marie Wade’s chapbook When I Was Straight, a title that may lead a reader to expect poems about the transition between sexual identities, is actually largely heterosexually focused. Wade speaks openly about her experiences with men at the start of her sexual awakening, comparing her role as a woman to the ideal feminine condition society preaches, and in contrast to the feelings she had for other women in her life, even before she acted on them. Instead of appealing only to lesbians, the content of Wade’s poetry is extremely relatable for any woman who might not be entirely comfortable in the gender roles society has assigned to her or who is questioning her sexuality.
Feminism is not brought up explicitly, but it is an underlying thread that runs throughout the entire work, lending intensity to her emotions and the words she chooses to express herself. The old-fashioned way of looking at how a woman relates to a man still lingers, although women are doing their best to destroy the sad excuses for the lack of progress, as displayed in the helplessness shown in Wade’s poem “There Was a Man in the Moon”: “The woman did not know how to work/the lawnmower, & the man did not know/how to work the microwave.” This presentation of a woman’s skills in the home versus a man’s know-how may have had a seed of truth in it once upon a time, but now women are freer to learn everything they want about the world. Women are also allowed to pursue careers and hobbies rather than just getting married and having children. Wade’s poem “It Was a Shame” brings up what girls are still not taught—how to be a sexual woman, like Wade was while figuring out her sexuality: “It was a shame. It was a phase. / It was a secret. / I wanted every man I met. / I courted danger on the dance floor.” Even before she was thinking about engaging another young lady in bedroom activities, Wade’s perceived promiscuous nature was looked down upon by society in general as unseemly. Girls going through puberty and experiencing hormones and sexual attraction for the first time are understandably confused about what is happening to their bodies and minds during this time and why they want new things, and they must be taught the truth in order to stay healthy.
book reviews by glassworks editorial staff