An intricate gem of a poetic debut.
Grace’s debut poetry collection ponders language and meaning.
“I wrote this book because I am interested in how meaning is created,” writes the author in her preface to this new collection. For this emerging poet, meaning is found in the mechanics of human language—specifically word choice and placement—and in the quest to make sense of oneself and the world. The collection is divided into nine sections bearing intriguing, unusual titles, including “Esemplastic,” “Limn,” and “Invariance.” Each section contains a series of poems without titles, numbered in roman numerals. Grace employs a range of poetic forms, from common meter to haiku and pantoums. Some poems contemplate how our relationships with others impact our own identity: “If you are the center of my map—where / am I?” Others consider the act of writing itself: “These marks are a compendium of miscellany / a narrative—translucent, pre-existing and replete.” At the close of some sections, the author includes a “Lyric Glossary” in which she poetically reexamines and reframes specific terms she has used. Grace’s poetry is laden with sensuous imagery: “Ignominious fruit of that garden / my carmine lips, your garnet desire.” The most compelling aspect of this ingenious body of verse is the poet’s determination to excavate ever deeper layers of meaning; Grace returns to the word carmine in her Lyric Glossary, recalling, “a rich red to crimson pigment…I bought a dress that made my skin look like cream and my hair look like amber. / I bought it so that your hands on my waist would look like intent—and they did.” The poet moves beyond cold definitions, adding not only personal significance to the term but pinning it to one intimate moment. She poignantly captures how meaning shifts with time: “a vivid red…I still own that dress. It is packed in a box with other things that don’t fit me anymore.” The poet also demonstrates notable technical prowess, as when priming a villanelle to deliver the powerfully philosophical, doubled-barreled refrain: “What arterial conspiracy was this, aromatic and dusty, rife with pulse and power? / The victor builds the world around himself, calls the edges nothing, the center a flower.” This is the work of an alarming talent.
An intricate gem of a poetic debut.Pub Date: May 2, 2023
ISBN: 9781945049354
Page Count: 168
Publisher: Shadelandhouse Modern Press
Review Posted Online: April 4, 2023
Kirkus Reviews Issue: June 1, 2023
Review Program: Kirkus Indie
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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