Compact poems replete with stunning and visually arresting images, though their fragmentary nature may leave some readers...
Fantasy, dreams and nightmares are given free rein in Watson’s (Seas to Mulberries, 2013, etc.) latest poetry collection.
Watson begins with a simple and bold declaration of his collection’s overarching themes: “to the poet / there is a love of beauty / in all its / terrifying forms.” This is more than empty hyperbole; beauty and terror frequently intersect throughout his poems, often with clever and engaging results. This juxtaposition is prominently featured in one of the unnamed poems toward the end of the collection, in which one young girl’s curiosity spells doom for a famous nursery rhyme character: “she sat / with Humpty Dumpty / and gave him / a little push / (for such is life).” All the poems are free verse, which complements a collection whose subjects range from nursery rhyme characters to dolls to Tarot images and figures. In fact, some of the collection’s strongest poems deal with the tarot, a subject that fits well with the dual themes of beauty and terror. Many of the poems’ haunting images are reminiscent of the works of novelist Angela Carter, whose work frequently drew from fairy tales and folk tales. For example, another unnamed poem could easily fit in with Carter’s story “The Company of Wolves”: “she was a doe / with tender flesh / but the only ones / she loved / were hungry wolves.” In addition to fantasy, existential concerns are also prominently featured in Watson’s poems. In a short but chilling selection, the unnamed narrator cannot escape his or her own image: “washing my face / a thousand times / the mask remains in place.” Watson’s poetry succeeds as a collection of images, but at an average of four to six lines per poem, they don’t often venture further than a fragment of an image. Taken as a whole, Watson’s collection effectively sketches a surreal, ephemeral dream world. Read individually, however, the poems skim the surface of their potentials and seem like the beginnings of longer, more dynamic works.
Compact poems replete with stunning and visually arresting images, though their fragmentary nature may leave some readers wanting more.Pub Date: Oct. 20, 2014
ISBN: 978-1939832122
Page Count: 68
Publisher: Plum White Press
Review Posted Online: Dec. 31, 2014
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
An emotional, captivating Christian story in verse.
Heidish (A Misplaced Woman, 2016, etc.) presents an account of St. Francis of Assisi’s life, as told from his father’s perspective in poetic form.
St. Francis is known as a saint who believed in living the Gospel, gave sermons to birds, and tamed a wolf. Over the course of 84 poems, Heidish tells her own fictionalized version of the saint’s journey. In his youth, Francesco is an apprentice of his father, Pietro Bernardone, a fabric importer. The boy is a sensitive dreamer and nature lover who sees “natural holiness in every living thing.” As an adult, Francesco decides to pursue knighthood, but God warns him to “Go back, child / Serve the master.” He joins the Church of San Damiano, steals his father’s storeroom stock, and sells it to rebuild the church. His furious father chains him in the cellar, and the bishop orders Francesco to repay the debt. Afterward, father and son stop speaking to each other; Francesco becomes a healer of the sick and a proficient preacher. After failing to broker a peace agreement during wartime, Francesco falls into depression and resigns his church position. He retreats to the mountains and eventually dies; it’s only then that Pietro becomes a true follower of St. Francis: “You are the father now and I the son / learning still what it means to be a saint,” he says. Heidish’s decision to tell this story from Pietro’s perspective is what makes this oft-told legend seem fresh again. She uses superb similes and metaphors; for example, at different points, she writes that St. Francis had eyes like “lit wicks” and a spirit that “shone like a clean copper pot.” In another instance, she describes the Church of San Damiano as a place in which “walls crumbled / like stale dry bread.” Following the poems, the author also offers a thorough and engaging historical summary of the real life of St. Francis, which only adds further context and depth to the tale.
An emotional, captivating Christian story in verse.Pub Date: Feb. 23, 2018
ISBN: 978-0-9905262-1-6
Page Count: 146
Publisher: Dolan & Associates
Review Posted Online: April 19, 2018
Kirkus Reviews Issue: June 1, 2018
Review Program: Kirkus Indie
A poignant collection by a talented poet still in search of one defining voice.
A debut volume of poetry explores love and war.
Divided into four sections, Osaki’s book covers vast emotional territories. Section 1, entitled “Walking Back the Cat,” is a reflection on youthful relationships both familial and romantic. “Dying Arts,” the second part, is an examination of war and its brutal consequences. But sections three and four, named “Tradecraft” and “Best Evidence” respectively, do not appear to group poems by theme. The collection opens with “My Father Holding Squash,” one of Osaki’s strongest poems. It introduces the poet’s preoccupation with ephemera—particularly old photographs and letters. Here he describes a photo that is “several years old” of his father in his garden. Osaki muses that an invisible caption reads: “Look at this, you poetry-writing / jackass. Not everything I raise is useless!” The squash is described as “bearable fruit,” wryly hinting that the poet son is considered somewhat less bearable in his father’s eyes. Again, in the poem “Photograph,” Osaki is at his best, sensuously describing a shot of a young woman and the fleeting nature of that moment spent with her: “I know only that I was with her / in a room years ago, and that the sun filtering / into that room faded instantly upon striking the floor.” Wistful nostalgia gives way to violence in “Dying Arts.” Poems such as “Preserve” present a battleground dystopia: “Upturned graves and craters / to swim in when it rains. / Small children shake skulls / like rattles, while older ones carve rifles / out of bone.” Meanwhile, “Silver Star” considers the act of escorting the coffin of a dead soldier home, and “Gun Song” ruminates on owning a weapon to protect against home invasion. The language is more jagged here but powerfully unsettling nonetheless. The collection boasts a range of promising poetic voices, but they do not speak to one another, a common pitfall found in debuts. “Walking Back the Cat” is outstanding in its refined attention to detail; the sections following it read as though they have been produced by two or more other poets. Nevertheless, this is thoughtful, timely writing that demands further attention.
A poignant collection by a talented poet still in search of one defining voice.Pub Date: Jan. 31, 2018
ISBN: 978-1-984198-32-7
Page Count: 66
Publisher: CreateSpace
Review Posted Online: June 26, 2018
Review Program: Kirkus Indie
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