Some people seamlessly accept the maturity and responsibility that comes with adulthood. Some of us call our moms a lot. Some dig their heels into the ground with the resistance of a toddler heading to time out. Chloe Caldwell, by certain definitions, is the latter. Caldwell’s latest essay collection, I’ll tell you in person, includes lengthy but devourable essays about some of her craziest decisions, most obstructive and devastating problems, major disappointments, and the relationships that got her there.
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.
The Making of an American Dream
Review: Welcome Home
Alternative Book Press: 158 pp.
Jude Ezeilo’s heartwarming introduction to America provides a new ethical and moral viewpoint to the country that Americans are accustomed to today. Welcome Home: A Memoir is an exchange between Ezeilo’s past and present selves, both working toward obtaining United States citizenship. Arriving at such a young age from his home country of Nigeria, two-year-old Ezeilo soon discovers the work and dedication it takes to achieve the American dream.
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.
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.
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.
The path to happiness can be crooked and twisted with daunting barriers along the way. In Vanessa MacLellan’s debut novel, Three Great Lies, the key characters seek their own forms of happiness – only attainable when they recognize the truth about themselves.
MacLellan sets her tale in Egypt. Her bored and self-absorbed protagonist, Jeannette, decides to trust a local teenaged boy, to show her a newly opened tomb with no tourists. She survives a harrowing ride in a motorcycle sidecar to arrive at the site. Like Alice before her, she soon finds herself tumbling down the rabbit hole. Jeannette awakens from the fall and learns she is still in Egypt, but Egypt from 3,000 years ago.
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.
book reviews by glassworks editorial staff