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Aside from suffering devastation of home, illness, and severe bodily injury Basile continued to write and explore her craft. The poems are acts of resistance against the tyranny of pain and self-inflicted guilt. By sublimating her treacherous moments in language of ritual and metaphor, Basile restores her balance and defines the life she deserves as psychic trauma is expunged.
While Grassl doesn’t define women (who can), her collection captures the essence of women’s spiritual and metaphysical being. She portrays women as part druid, animal, spirit, land and water, in short, women full of desire, capability, and knowledge. The collection presents women in their endless poetic variety of roles, shapes, sizes, forms, connections.
Despite being a collection of poems, the book doesn’t sound monotonous and is full of various themes and styles, which Brown has complemented with quotes and images in several instances. These intertextual elements did not just come off as random ways to break from the poems but relevantly complemented the book’s overall theme.
Here, understanding the compositions through perception is recommended. It is nearly cinematic and tied to specific moments that are constantly unsettled and incapable of solidifying harmoniously. In one lens, the image of the metaphysical poet appears. In another, the weathered-down court jester.
In the title poem of her new collection, Tishani Doshi juxtaposes violence with timeless endurance, patient resolution with destruction, almost like a manifestation of Shiva, the creator/destroyer god of Hinduism. She writes about the ongoing “dirge of loss recovery / loss loss loss,” but assures us that “Our task is to march on.”
Seyl, a science writer and editor at Los Alamos National Laboratory’s National Security Research Center, has organized a coffee table book to end all coffee table books. Trinity: An Illustrated History of the World’s First Atomic Test, replete with more than 300 carefully restored photographs, maps, blueprints, and formerly top-secret documents, goes where no book has gone before.
If you’re looking for poetry that explores the dystopia we’ve woken up in, poems that remind us we’re all animals even when we write and dream, Mirage of Burning Things will be affirming, even as it releases you as disturbed as when you arrived. Parlyaree Press is winking, knowing we’re all on the platform, but the trains have stopped running.
This is a vast and ambitious collection which is totally imaginative and unlike anything I have read. After reading Neolithic Imaginings, I look at the night sky wondering about my place in that sky and my connection to those who stood full of hope among the stones, dwarfed by their immeasurable mystery and beauty.
This is a chapbook to read aloud, to read to a lover, or to read alone as an act of self-pleasure. In her essay(s), Coleman strives for clarity as she navigates the strict rules of syntax she must master in order to go free—she is a woman expected to say certain tame things who instead writes the forbidden correctly.
If, as Will Shakespeare once said, all the world’s a stage, and all the men and women merely players, then Jayadev John Richardson’s vivid and highly accessible autobiography, The Rod and the Rose lifts the curtain on a personal drama that is operatic in scale. The path of his life has formed an arc so extraordinary that we ideally need to track it from the upper circle. Don’t worry, you won’t need rose-tinted spectacles.