Poems full of linguistic delights and keen emotion.
A powerful collection of poetry in which humor is tinged with sadness and grief is leavened with warmth.
In her third book of poetry, Heidish (Destined to Dance, 2012, etc.) experiments with punctuation, spacing, and the physical shape of texts. Most often she writes in free verse as she reflects on her life as writer, poet, and instructor. “The Hour of Blue” appears to convey the awkwardness of a new relationship with its averted eyes and shared silences, but the speaker turns out to be addressing a roster of unknown pupils before the start of a new semester. This clever rendering of the student-teacher dynamic is but one example of the author’s skill and creativity. Similarly, she’s able to evoke an entire life story in just a few words, as in “The Wizard,” which reveals the secret lurking behind the gruff exterior of a gifted repairman whose grey eyes are “paired nail-heads.” Nevertheless, themes of mortality and loss are front and center as Heidish bears witness to the passage of time (“Let me be an old rock-wall in an Irish field”) and bids farewell to various people (her first editor, her oldest friend, a beloved aunt), places (a bookstore, a tearoom, a bakery), and things (her typewriter). Two poems consider the healing effects of live music in medical settings. In “Up Near the Ceiling,” the playing of a harp in a hospice inspires this gorgeously consonant and assonant question about the spirits of the dying: “do they float on a lavender ocean, / foam-flecked and lit from far below?” At the same time, not all poems focus on doom, gloom, and fading light. Heidish addresses more quotidian concerns, such as the impatience of a doctor’s waiting room, the indignities of summer, and the nature of hats. She also writes in the voice of a neglected pet fish and wonders how bears receive her discarded writings as they rifle through the garbage. A poem about a 60th birthday celebration features “all of those tiny candles, / studding a long barge of tiramisu,” and the speaker wryly calls for legislative action limiting the number of candles permitted by law, for the safety of us all.
Poems full of linguistic delights and keen emotion.Pub Date: Jan. 11, 2016
ISBN: 978-0-9905262-4-7
Page Count: 154
Publisher: Dolan & Assoc.
Review Posted Online: March 16, 2016
Kirkus Reviews Issue: May 1, 2016
Review Program: Kirkus Indie
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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