Home Truths by Ryan Guth
Anyone who has ever done genealogical work knows the mixture of joy and sorrow such an enterprise involves. Even the most respectable of families has its skeletons–persons, events and resentments that are discussed only in whispers at family reunions, if discussed at all. Some of the best poems about family relationships acknowledge this mixture, from Roethke’s “My Papa’s Waltz,” whose fond recollections are troubled by the nagging hint of abuse, to the perennial Father’s Day favorite “Those Winter Sundays,” in which Robert Hayden’s speaker belatedly praises the “austere and lonely offices” of fatherhood while not neglecting to mention “the chronic angers of that house.”
It is precisely this mixture that distinguishes Ryan Guth’s Home Truths, a thorough reworking of his 2006 collection of poems by the same name, with five new pieces (and new revelations) added. Andrew Hudgins, with whom Guth studied at the University of Cincinnati, notes in ...
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Dan Brady: Strange Children
How do we survive trauma? In times of crisis, from where do we pull strength and build hope? Dan Brady explores these questions in his first full-length collection, Strange Children.
Brady’s project is an intimate narrative: a medical crisis threatens a couple’s plans for the future. The poem “Stroke Diary” beautifully chronicles the grief and fear of that unknown, and the tenacity and moments of triumph that make survival possible.
Our life together,
like a great whale
breaching, or rather
as fast as a fish
picks a single fly
from the river water
Brady’s restraint in language creates depths meaning in the unsaid, and it’s where Strange Children really shines. Reading this sparseness mirrors our need to leave our dearest hopes safely unuttered, carefully unformed, so that we are more prepared for their obliteration.
Take this lovely tidbit from “A Newborn Fact”:
We ...
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Richard Georges: Make Us All Islands
First, a confession: there is a terror in writing a review like this, a low but present thrum, almost percussive: When (and where, and how – responsibly) to mention Walcott? The titanic figure casts such a shadow over the continental United State’s psychic construction (and, indeed, projection) of the Caribbean archipelago that it may be hard, at times, to unsee his images, to unlearn his influence. And yet, in Richard Georges’ debut collection Make Us All Islands, that larger appreciation of influence—and of tradition, literary, cultural, intellectual, psychic—binds these poems in a way that is holistic and expansive. It reminds us (almost to a startling degree, to this reader) that our sense(s) of place are rooted in experience both personal and collective, and are fundamentally told and re-told and passed on. Place, simply, is a gift—and gifts are to be shared.
Make Us All Islands does not read like ...
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Austin Allen: Pleasures of the Game
Pleasures of the Game is Austin Allen’s debut collection and the eleventh winner of the Anthony Hecht Prize, in the annual contest run by The Waywiser Press. Its title is perfect: it’s a book entirely devoted to what poetry can do to give us pleasure. It puts aside worry about the unsettled state of the world and the roiling of politics to offer us compelling narrative and verse craft for their own sake as well as for the sake of contemplation. This is the approach we might sensibly expect from a poet whose widely published essays explore form so deeply.
By “puts aside worry” I don’t mean that the book is at all lightweight. It has a dark heart to explore, which is sometimes the heart of the universe and sometimes the very particular heart of a specific narrator. In the book’s opening section, the one most transparently ...
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Two Poets, Both Alike in Dignity: A review of Paul Muldoon's One Thousand Things Worth Knowing and Joseph Harrison's Shakespeare's Horse
Two poets, both alike in age and erudition, both accomplished: one as famous as poets in the 21st century can be; the other likely unfamiliar to you.
One Thousand Things Worth Knowing, Paul Muldoon’s twelfth collection, begins with “Cuthbert and the Otters,” an occasional elegy composed for the funeral of Seamus Heaney. The central narrative, developed at intervals throughout the poem, concerns Saint Cuthbert and the otters who took care of him while he prayed beside the sea. As the poem progresses, the otters become confounded with the monks who carried off Cuthbert’s remains to protect them from invading Danes. Both the otters and monks, then, become the pall-bearers (of whom Muldoon was one) carrying Heaney’s coffin. Other strands bring in Vikings and Celts, the 82nd Airborne and sundry other historical figures and settings. The poem, thus, is a collage, and it seems Muldoon composed the layers separately, then ...
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Rebecca Foust: Paradise Drive
Rebecca Foust’s new book, Paradise Drive, the winner of the 2015 Press 53 Award for Poetry, is a diary in verse, reminiscent in subject and technique to Vikram Seth’s Golden Gate. Drawing on Pilgrim’s Progress, John Bunyan’s allegory of trial and redemption, as well as the English sonnet’s tradition of spiritual encounter, Foust’s sonnet sequence dramatizes the protagonist’s journey toward greater self-awareness. In the beginning we see Foust’s alter-ego Pilgrim adrift in Marin County, California, where life is la dolce vita, a never-ending party. Unfortunately Pilgrim has been party to the party for too long; her life of privilege has become both Vanity Fair and Slough of Despair.
Yet much as this book recalls Bunyan’s Puritan epic, it is also something quite different. There is a joie de scrive in these sonnets, which is both counterpoint to its heroine’s quagmire as well as its objective correlative. How long have ...
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Apollonius of Rhodes: Jason & the Argonauts (translated by Aaron Poochigian)
Aaron Poochigian’s new translation of Apollonius of Rhodes’ Jason & the Argonauts demands to be read aloud—lines of perfect, unforced iambic pentameter make it as lyrical as Shelley or Frost. When reading the text, I kept pausing to recite the verse, repeatedly, with different points of emphasis, in an attempt to do justice to the euphony of Poochigian’s English translation. So many of the lines drip from the tongue:
She dropped her gaze, but as she did
a smile as sweet as nectar spread across her face.
Her heart had flamed beneath his flattery. (III.1305-7)
Over and over flood tides leave the mainland
and then come rushing back to drag salt water
across the sand. One of these tides abruptly
dropped the Argo so far up the beach
that little of the keel was still in water. (IV. 1592-6)
To complement the lulling meter of the ...
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Mary Mackey: Travelers with No Ticket Home
In a sense, Travelers with No Ticket Home is a study in ethnobotany, the ways people and their cultures relate to the plants in their environment, the plants in this case being the lush and abundant flora, including hallucinogenic mushrooms, of the tropics, the people being two transplanted Americans fresh out of college. At its best, the book is an immersion in a phantasmagoria of landscapes whose surreal and liminal quality in these pages doubtless owes something to a narrator's not being native to it, a Conrad describing the interior of Africa, a Kafka in Amerika. It’s a tropics of “beauty and mystery,” Mackey tells us in her “Acknowledgments,” she first fell in love with as an eighteen-year-old sophomore while auditing classes with Richard Evans Schultes, father of modern Ethnobotany at Harvard. Mackey spent a decade in Central America in the 1960s and 70s and later traveled extensively in Brazil, ...
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Jeffrey Bean: Girl Reading a Letter at an Open Window
In terms of both the geography and the straightforward diction in which his work is rooted, Jeffrey Bean is a very middle-of-the-U.S. poet—Michigan, Indiana, Iowa, Ohio—with a style that brings to mind early William Matthews. But Bean’s voice in his chapbook Girl Reading a Letter at an Open Window is very much his own. (Published this spring, it won the 2013 Cowles/Copperdome Chapbook Award.)
The images and descriptions in Girl Reading a Letter at an Open Window’s poems are startlingly beautiful, but they don’t startle, they’re not set off like jewels to draw the eye. They rise naturally from the landscape of the language, spoken by authentic voices who have a hell of a feel for rhythm. (And, like landscape, and like early Matthews, are in danger of being driven past without attention by readers who are looking for adrenaline-spiking turns).
The first poem in the chapbook, "The ...
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Jessica Piazza: Interrobang
An interrobang is a little known punctuation mark that depicts a question mark and an exclamation point joined together, sharing the same dot. Jessica Piazza could not have picked a better symbol to encapsulate the effect her book, Interrobang, had on me.
The best books (poetry and otherwise) make the reader smarter. They make us look things up. They make us question (Interro-) things we previously believed, or they make us learn new facts or words (or punctuation marks) we hadn’t known before. Jessica Piazza’s book taught me a boatload of new words—most of which had to do with fears (phobias) and loves (philias). With each read, Interrobang teaches me things because it’s smart. Smarter than I am. But its intelligence doesn’t leave me cold. Because it’s smart without being the tiniest bit pretentious. I mean, Piazza uses italics as well as ALL CAPS IN ITALICS, sentence fragments, wordplay, and sayings like, “Holler back.” That’s where ...
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