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‘The Way of the Wind’ by Francine Witte

Way of the Wind by Francine WitteGuest Post by Arya F. Jenkins

In The Way of the Wind, poet and writer Francine Witte’s sparse but packed novella in flash, loss has a dozen names and belongs as much to the present as the past. After being dumped by her boyfriend of five years, the narrator, Lily, finds herself not only overwhelmed with grief but with the memory of other losses and, as she tries to work through them, takes the reader on a frantic, all-too familiar journey.

The Way of the Wind is divided into short, emotionally-charged chapters that grip from the start. Bitter wit provides respite throughout: “Love is a lot like tennis, you know? The ball is everything. Everything. If you’re not watching it, you might as well be sipping tea.”

As is true in the work of any masterful flash fiction writer, the only thing the reader can count on here is the unexpected. As Witte takes the reader on a bumpy ride full of emotional twists, highs and lows, the angst and dramedy feel familiar; the ache, all too real. Lily tries everything to escape her pain, going over the “ifs,” making excuses for the other, fantasizing to keep from acknowledging that her biggest fear—abandonment—has come to pass. The only way out of grief and loss, the narrator seems to suggest, is by uniting with what there is—other humans who care, and acceptance.

The Way of the Wind by Francine Witt. Ad Hoc Fiction, 2019.

Arya F. Jenkins is a poet and writer whose prose has been recently published in About Place Journal, Across the Margins, Cleaver Magazine, Eunoia Review, Five on the Fifth, Flash Fiction Magazine, Metafore Literary Magazine, and Vol. 1 Sunday Stories Series. Her fiction has received several nominations for the Pushcart Prize. Her latest poetry chapbook, Love & Poison, was published by Prolific Press in November 2019, and her short story collection Blue Songs in an Open Key (Fomite, 2018) is here: www.aryafjenkins.com. 

‘Wilderness of Hope’ by Quinn Grover

Wilderness of Hope - Quinn GroverGuest Post by Carly Schaelling

Quinn Grover takes readers into a landscape of rivers, wildness, and fly fishing in his essay collection Wilderness of Hope: Fly Fishing and Public Lands in the American West. His descriptions of Idaho, Utah, and Oregon rivers make the reader feel as if they can hear the current and smell the water. Central to this essay collection is a discussion about home, and he suggests that certain geographies can make us feel “young and old, safe and unsure . . . closer to those I love, yet perfectly alone.”

Through punchy short essays consisting solely of dialogue and moments of self-deprecating humor, Grover’s collection interrogates the meaning of wildness and the importance of public lands. One of my favorite moments in this collection is an essay called “The Case for Inefficiency.” Grover recounts a fishing trip that gets off to a rocky start—a forgotten sleeping bag, a popped tire. Instead of giving in to feeling inefficient, he asks whether it is possible to measure wasted time. If we walk somewhere instead of drive, but find ourselves outside breathing the air and being more patient because of it, is our time really wasted? To treat public lands well sometimes “requires us to blaspheme the gospel of efficiency.”

You don’t have to know anything about fishing to enjoy this book. You will escape to places you may have never been to and fall in love with them when giving this collection a read.

Wilderness of Hope by Quinn Grover. Bison Books, September 2019.

About the reviewer: Carly Schaelling is a creative writing student at Utah State University.

Why Book Reviewing Isn’t Going Anywhere

Inside-the-Critics-Circle.jpgA researcher explores the future of a changing practice By Scott Nover, The American Scholar.

Now an assistant professor of sociology at McMaster University in Ontario, Chong researches how fiction book reviews come to fruition, trying to solve the puzzle of why some books get reviewed and why so many more are ignored. Her new book, Inside the Critics’ Circle: Book Reviewing in Uncertain Times makes the case for the persistence of old-guard professional criticism even in the Internet age.

…It’s a really good question. No one said they were giving good reviews to really bad books, or bad reviews to really good books. It’s more a matter of degree: how much am I going to gush about a book I loved before I worry about sounding stupid and pull back, or how much am I really going to tear into a book before I worry about potential fallout and pull back. And those aren’t just questions about honesty or authenticity, it’s also about what’s the right professional tone to strike when producing cultural journalism.

‘We Are Meant to Carry Water’ by Carlson, Reed, and Dibella Seluja

We Are Meant to Carry Water

Guest Post by Kimberly Ann Priest

“Are we only bone, skin, and urge?” asks the speaker in The Great Square That Has No Corners. I am beginning to wonder if the answer to that question is affirmative. Yes. As I write this, I am sitting in my living room on a Tuesday afternoon in October, mid-way through another semester teaching, and realizing that, this autumn, I have over-committed myself . . . again.

As projects begin to pile up and my network grows, while responsibilities increase and my own poetry demands that I give it more of my attention, I have to let some things go. After four years reading and writing about new works by various authors and publishers, this will be my last review for NewPages. It’s time, once again, to listen to my body and check my urges. And, how fitting that I should end my review history with a review of a collaborative manuscript by three clearly very talented women who have written an elegant collection of poems on assaulted womanhood—a topic that continually shows up in my own work. Drawing from mythology, Tina Carlson, Stella Reed, and Katherine Dibella Seluja have woven a modern (though not modernized) conversation between Helen, Leda, and Lilith, and they have done so with such precision, such tastefulness, such raw beauty. Continue reading “‘We Are Meant to Carry Water’ by Carlson, Reed, and Dibella Seluja”

‘Night Sky with Exit Wounds’ by Ocean Vuong

Night Sky with Exit Wounds by Ocean VuongGuest Post by Andrew Romriell

Ocean Vuong’s collection of poetry, Night Sky with Exit Wounds, is a masterpiece that illustrates the most vital and sincere hardships of humanity in astonishingly few words. Leaping from free-verse to prose poetry, from stringent format to broken syntax, Vuong fashions here a collection of inclusion.

We open on “Threshold,” a poem where Vuong introduces his themes of body, parenthood, sexuality, and history. He warns us from the very beginning that “the cost of entering a song—was to lose your way back.” Vuong asks us to enter into his words and lose ourselves there. And we do, poem after poem, until we close on Vuong’s book with the penultimate piece, “Someday I’ll Love Ocean Vuong.” In this poem, we read an assumed message from Vuong to Vuong where he tells himself “don’t be afraid,” and to “get up,” and that the most beautiful part of his body “is where it’s headed.” Before this, we’ve read pages of poetry full of pain, fear, and shattering, but here, Vuong embraces himself—and us alongside him.

“Someday I’ll Love Ocean Vuong,” like all the poems in Night Sky with Exit Wounds, rings with pain, wonder, regret, and history. Yet, there is also hope here, and I would say this is the theme of Vuong’s work: hope, inclusion, and change. Vuong takes us through a journey, shatters our expectations, holds our hearts, tells us to get up, and that, like him, we can survive the voyage.

Night Sky with Exit Wounds by Ocean Vuong. Copper Canyon Press, April 2016.

About the reviewer: Andrew Romriell is a creative writing student at Utah State University.

‘Out of Speech’ by Adam Vines

Out of Speech by Adam VinesGuest Post by Adrian Thomson

Adam Vines’s Out of Speech, a poetry collection comprised of ekphrastic poetry based upon famous paintings as well as personal experience, draws on Vines’s travels from southernmost Argentina to the Louvre. Each poem begins by naming the art piece it takes as a subject, then moves toward unpacking their visual elements often through fascinating uses of enjambment.

More than just describing the artwork, Vines peels away surfaces to encounter shavings of shocking humanity lying beneath. In “My View From Here,” a poem responding to Yves Tanguy’s Les Vues, Vines sees an abstract red vista of segmented alien pillars the cancer polyps hidden in a barstool acquaintance he meets by chance outside the gallery. “Holes and Folds,” based on the group portrait The Swing by Jean Honoré Fragonard, finds a narrator focused on the most innocent of the lounging young men in order to question his objectives as a hand slides up a woman’s dress.

Vines’s visual inspection of minutiae leaves his reader questioning the subjects presented in the paintings. Will the awoken businessman in Hopper’s Excursion Into Philosophy leave before his lover stirs? What has made his countenance so dour? What of the open book forgotten on the bed? Is his shoe slipping into, or out of the light? The reader feels unsure even after turning away, and Vines leaves them contemplating in silence.

Out of Speech by Adam Vines. LSU Press, March 2018.

About the reviewer: Adrian Thomson is a creative writing student at Utah State University.

Divine Medicine: A Natural History of Beer

Natural-History-of-Beer.jpgIn the beginning was beer. Well, not quite at the beginning: there was no beer at the Big Bang. Curiously, though, as Rob DeSalle and Ian Tattersall point out in A Natural History of Beer, the main components of beer—ethanol and water—are found in the vast clouds swirling around the center of the Milky Way in sufficient quantity to produce 100 octillion liters of the stuff…

In America, where there was no such tradition, the movement was more heterogenous. It has found its public, though: by now there are 5,000 craft brewers in the United States producing 20,000 brands of beer. It is one of the bright spots in America’s otherwise dismal recent history.

‘Gifts for the Dead’ by Joan Schweighardt

gifts for dead schweighardtSometimes our best is not good enough. We make mistakes. The most painful ones are those that harm a loved one. Stress and grief leave us in agony, and we play our choice repeatedly wondering if we made the right decision. We cannot let ourselves off the hook either merely because we are human.

In Joan Schweighardt’s Gifts for the Dead, Irishman Jack Hopper arrives home barely alive and without his brother. What could he have done differently? Guilt-ridden, he needs time to sort through the events in South America’s jungle. In the meantime, his mother and his brother’s sweetheart, Nora, nurse him back to health. They wait patiently to learn specifics of Bax, Jack’s brother. To make matters worse, Nora eased Jack’s pain and he liked it. He had always secretly cared for her more than he should have. As time passes and Jack heals, and the two grow closer until they take a trip to South America where Nora then learns the truth.

Schweighardt is masterful at historical fiction and Gifts for the Dead is an example of her skill. Not only does she entertain with accounts that examine the perplexities of being human with its heartening moments and struggles, but she also inspires thoughts about the human condition.

How does one justify bad choices simply because they are human? Why can we not be better than that, and what about the good that comes from bad choices as a result? Will Jack Hopper find that good thing?

Gifts for the Dead is a thoughtful and entertaining read, especially for those who enjoy historical adventure mixed with suspense and a little romance. A wild escapade that thoroughly entertains.

 

Review by Christina Francine
Christina Francine is an enthusiastic author of a variety of work for all ages. When not weaving tales, she teaches academic writing at the college level. She’s also a licensed elementary teacher. Picture books: Special Memory and Mr. Inker. Academic: Journal of Literacy Innovation.

Slapstick

Born over thirty years after its final air date, my knowledge of the TV show I Love Lucy begins and ends in the handful of sporadic reruns I watched at my grandmother’s house on rainy days when I was growing up. Seeing her face twisting up as she acknowledged her latest goof-up on grainy black and white footage, hearing her wail “Ricky,” or seeing her shove chocolates into her mouth all readily come to mind when I hear the TV show’s title, and I can now add Slapstick: The Lucy Poems by Taylor Liljegren to my list of what I think about when I think of I Love Lucy.

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Full Worm Moon

How does one write rejection? Specifically, the violence or indifference of a spouse? One makes a decision to be with a particular person, like be with them in everything—they say, yes—but the contents of that pact disintegrate, sometimes going up in flames quickly, and other times burning slowly and carried off, piece-by-piece, with the wind.

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SPRAWL

Danielle Dutton is the author of three books and wrote the texts for Richard Kraft’s Here Comes Kitty: A Comic Opera. Her first novel, SPRAWL was published by Siglio in 2010, but Wave Books re-released this little masterpiece in 2018, and thank goodness, because, subconsciously, I have been searching everywhere for the present-day Georges Perec. I’m not entirely sure how that sounds, but I promise that I mean nothing but praise for Dutton and her characterization of the modern housewife.

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A People’s Guide to Publishing

Joe Biel’s A People’s Guide to Publishing is an inspirational and practical guidebook for anyone interested in starting and sustaining a publishing company. Biel, founder of Microcosm Publishing, a small, Portland, Oregon-based press, understands how to build a publishing company from scratch, and with his conversational style he leads readers through every stage of this process and beyond.

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The Habit of Turning the World Upside Down

Howard Mansfield’s new book, The Habit of Turning the World Upside Down, is a series of essays describing public and private projects that have deprived people of ownership. Entities behind the projects often claim they’re “acting in the public interest,” writes Mansfield. He goes on to say, “I was especially interested in the emotional toll these projects took. [ . . . ] I was witnessing an essential American experience: the world turned upside down. And it all turned on one word: property.”

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America, We Call Your Name

I love anthologies. Where else can you read so many diverse, creative ideas linked to a theme and compiled in one electrifying place? In the introduction to the anthology, America, We Call Your Name: Poems of Resistance and Resilience, Murray Silverstein asks, “With our common culture so fractured, what did poetry have to say?” The answers here are emotional and right on target.

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Rail

Rail is epic. Yes, another barbaric yawp in the American song to the self. Full of food stamps and freight trains, Trader Joe’s dumpster diving, bullet shells in sewer drains, brotherhood, and prescription pills for depression, this collection is Kerouac, Ginsberg, Whitman, Sandburg, and O’Hara for the selfie generation. Continue reading “Rail”

You or a Loved One

Winner of the 2017 Orison Fiction Prize, the debut story collection You or a Loved One by Gabriel Houck is sharp, witty, insightful, and truculent. Exposing the underbelly of a post-Katrina Louisiana full of deadbeats, bayou, and folks just trying to survive, the stories swivel between interlinked-stacked flash fiction, script-like treatments for short films, and interior examinations of beautifully flawed characters. The linking thread is that nothing is spoon-fed. Most conclude with blunt endings that leave room for speculation. With vast un-signaled leaps in narrative time and reader-please-speculate-where-to-connect-the-dots, Houck has created a collection where saying less means more, where the randomness of life can be examined, where layers build to great pay-off. Continue reading “You or a Loved One”

Stories for People Who Watch TV

If you’re looking for a break from the tensions in today’s political climate, pick up a copy of Timmy Waldron’s new book, Stories for People Who Watch TV. He’s compiled nine stories, eight of which have already risen to the top of slush piles to be published in literary magazines. The ninth might also stand a good chance, so let’s start with that one, titled “Ouroboros.”

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Quite Mad

Sarah Fawn Montgomery’s new book, Quite Mad: An American Pharma Memoir, is an in-depth exploration of the ways mental illness is defined and treated, both historically and in the contemporary world. She looks at how our culture simultaneously creates and condemns its maladies, and she offers a glimpse of how the conundrums and contradictions surrounding mental illness can be deconstructed and unraveled.

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Under Water

Under Water is the sequel to J.L Powers’ 2012 novel This Thing Called the Future. Despite the six-year interval between episodes, I hadn’t forgotten Khosi; her little sister Zi; and Little Man, childhood friend and blossoming love interest of Khosi’s. Within the first few pages of the book, I had been brought right back into their lives, immediately following the death of Khosi’s mother and then grandmother. This Thing Called the Future endeared me to the no-nonsense Khosi and the hard choices she was faced with making in her life, as well as the realities of how she knew—or didn’t know—those closest to her. Under Water moves seamlessly from that first piece of South African life into this continuation, which is just as relentlessly hard-edged and heartfelt.

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Don’t Let Them See Me Like This

      Where is it
Considered
      Good fortune
          Not to have been raped
              Capitalism has made ever season
      Cancer season

              – from “How the dead rose from their graves”

Jasmine Gibson’s debut collection, published by Nightboat Books, Don’t Let Them See Me Like This is an incendiary epistle to a failed world.

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Museum of The Americas

of nameless Mexicans desired only as epistles

      anchored in their death;
      the dialect between Self

      as Subject & Self

      as Object separated by panes of clarity
      into softer yellows.
                  –from “The Mexican War Photo Postcard Company”

The National Poetry Series Winner, Museum of The Americas by J. Michael Martinez is culmination of erudite research, family history, and a dismantling of the originations of American racial constructs, especially along the U.S.-Mexican border since The Treaty of Guadalupe Hidalgo (1848) and the present day, where labelling humans “illegal” and “alien” is common government practice.

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The Pendulum

Imagine discovering that the grandparents you adored as a young child were Nazis, and your grandfather was responsible for untold cruelties. That’s exactly what happened to Julie Lindahl, a Brazilian-born American who now lives in Sweden. She spent years traveling abroad seeking the truth about her mother’s German father, whom she called Opa. The Pendulum: A Granddaughter’s Search for her Family’s Forbidden Nazi Past is Lindahl’s memoir of her findings and her search for understanding.

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Letters from Max

For the most part, my copy of Letters from Max is unmarked. No circles around words with lines leading to other circled words. Minimal scrawls in the margins. This is due to the simple fact that I never wanted to stop reading in order to pick up a pen.

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Buddhism for Western Children

This book is tough. Buddhism for Western Children is a novel about a ten-year-old boy and his family, who drive from Halifax, Canada to Maine in order to meet and live with Avadhoot Master King Ivanovich, spiritual guru. It’s not a light, beach read, but a pearl that takes time. I will go ahead and say that it might irritate you a bit. There aren’t many quotation marks—and plenty of people speak throughout the novel—but once that epiphany sparks, the fact that the ten-year-old boy (Daniel) is just as perplexed, if not more, Buddhism for Western Children becomes this unbelievable, almost method-acted attempt to convey sensory overload.

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Please Let Me Help

Is it too early to start experiencing holiday dread? Probably. But that hasn’t stopped me from practicing political arguments in the shower and sulking on the couch while binge-eating. However, I did stumble upon some needed comedic relief the other day in the form of some questionably helpful letters written by Zack Sternwalker.

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To Float in the Space Between

I was nervous going into this book. I imagined a comparison between two poets to be full of abstruse information on cadence and meter, et cetera. To Float in the Space Between is indeed a comparison between the author, Terrance Hayes, and the late “prison poet,” Etheridge Knight; however, at no point in time does Hayes leave the reader out in the storm. He invites us inside, shares a cigarette, and lets us borrow his skin for a couple hundred pages.

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Scoundrels Among Us

Scoundrels Among Us is definitely a man’s book. There aren’t too many female characters, and as much as I want to criticize it for that, I’d be lying if I said that the book never made me laugh. It’s full of terrible, dark humor, sometimes absurd—in the best possible way (think Daniil Kharms, or even Bob Kaufman). There are kids on fire, sitting in class with charred skin, a group of nine brothers that work at a Costco-esque department store, all pretending to be the same person, and a man, who’s dying alone in a forest, and his last wish is to have an extra-large Cajun Deluxe Meat Lovers pizza delivered to his exact, addressless location.

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GeNtry!fication

stage
you are not suppose to be here
yet you are –
some natural contradiction.
your snarl and ravenous appetite—
fiction. an imagined geography.

Black bodies or the scene of the crime

Chaun Webster’s GeNtry!fication defies labels. Chapbook? Full length collection? Manifesto? Academic essay? Diatribe? Graphic novella? Epistles? Jazz improvisation? Or classically structured symphony?

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Coming Out of Nowhere

“I carry my history stitched into my skin.” This line from Linda Schandelmeier’s poem, “Leaving for the University,” perfectly evokes the contents of her second book, Coming out of Nowhere.

But let’s back up a bit. Before university, Schandelmeier grew up in a frame cabin on a 160-acre homestead south of Anchorage around the time that Alaska became a state. In her preface, she characterizes these part-autobiographical, part-historical works as: “These poems sometimes take a circuitous route in order to arrive at a deeper truth.”

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The Shell Game

If you are looking for a book that fits into the genre of “Creative Nonfiction,” especially as an introduction, your best bet is to pick up The Shell Game immediately, edited by writer Kim Adrian. It is an anthology of lyric essays that range from crossword puzzles about becoming a grandmother, to eBay ads for the writer himself (0 bids, Price = $9.95).

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The Flip

According to Jeffrey J. Kripal, the “flip” is “that moment of realization beyond all linear thought, beyond all language, beyond all belief.” The Flip introduces scientists, philosophers, and average-joes that have undergone some sort of “flip,” some “new real” that took them from point A to B—B typically being a state of consciousness, one in which it is blatantly clear that we are nothing more than stardust, and there are powers at work that we may never comprehend.

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MILK

Save your congratulations and your flowers
My baby is sunbathing on the moon
And with the eternal blue light she glows
In her clear house, with shutters
Save your kind regards, and visits
With doughnuts and kisses
Save your little nothings that amount to nothing
Save it save it
Purple green and christened blue
—from “Save Your Flowers”

Why do I love this?! Why do I read this book and just love, love, love it?!

Because we’ve all been there, suspended metaphorically or actually between life and death, damage and grief, birth and birthing, these spaces of WTF? where we desperately want to name the space and experience for the shitty, icky, unnameable thing it really is. That liminal emotional edge where, yeah, this agony might be transformed into something beautiful someday but please don’t name it that!

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Out of the Woods

Out of the Woods: Seeing Nature in the Everyday is a collection of essays by Julia Corbett that examines the false dichotomies between humans and nature, culture and wilderness. To break down these divisions, Corbett, a professor in the Department of Communication and the Environmental Humanities Graduate Program at the University of Utah, looks closely at “everyday nature”—the animals, plants, and objects in and around the cities and suburbs of America.

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Adult Teeth

Domesticity at its finest, or worse. Whatever it is, Jeremy T. Wilson makes sure that the reader has a nice, comfortable spot on the couch of these unhappy homes before bulldozing them. Adult Teeth is a book for any adult who has ever considered cheating on his or her spouse, a what-not-to-do guide for divorcees and potheads that wonder what being an alligator might feel like.

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Samuel Johnson’s Eternal Return

Samuel Johnson’s Eternal Return is the needle and thread that connects life and death, grumpy old man and flâneur. The story revolves around a fellow named Samuel Johnson who dies protecting his son from an armed lunatic. He then enters into the body of the lunatic as a passenger, watching the world like a TV show through the eyes of his own murderer. Eventually, the lunatic dies, and Samuel Johnson bounces from body to body, hoping to one day reunite with his son.

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The Lake Michigan Mermaid

The Lake Michigan Mermaid is a beautiful and haunting collection of poems about a relationship between a young girl and a freshwater mermaid. The poems alternate between the voice of the girl and voice of the mermaid, with Anne-Marie Oomen writing the girl’s poems and Linda Nemec Foster writing the mermaid’s. And woven throughout the book are lovely watercolor illustrations by Meridith Ridl.

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Be Brave

Be Brave: An Unlikely Manual for Erasing Heartbreak is tremendous. I came upon this volume by sheer dumb luck—through a professional discussion board on which I was posting my first ever reply after lurking for years—to J.M. Farkas, who had written her first ever post to the group “looking to connect with teachers teaching Beowulf” who were open to unexpected ways of approaching the text. Yes, please! But, as I learned, Be Brave isn’t just about Beowulf. In fact, it’s hardly about Beowulf per say. It is a complex, layered work, starting with its origin.

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Punishment

On the window sill,
in a plastic ice cream cup
a little plant is growing.

Nancy Miller Gomez’s chapbook on her time spent teaching incarcerated men to write poetry at the Salinas Valley State Prison is short . . . too short.

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The Owl That Carries Us Away

When I think of fiction, I imagine literature that takes me far away from my own reality into other worlds. Anticipating Doug Ramspeck’s first fiction book The Owl That Carries Us Away, I almost envisioned a giant owl taking me to a brand-new world. To my surprise, however, I found myself, or rather lost myself, in worlds similar to my own. The familiar places and situations opened possibilities for me to relate to the characters and sympathize with them, while the carefully crafted language became the link offering connections to the author’s worlds.

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Not Elegy, But Eros

Nausheen Eusuf’s debut collection Not Elegy, But Eros is conversing with giants. Wallace Stevens, Robert Frost, Emily Dickinson, T.S. Eliot, Freud, and a slew of other great names are sitting at the table. In both form and content, Eusuf is serving what these great minds have tackled before.

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Meet Behind Mars

The stories in Meet Behind Mars by Renee Simms touch on womanhood, family, sacrifice, and morals. Some of the tales are twisted with a bit of surrealism, a little Twilight Zone to counterbalance the absolutely real, cramped truth of growing up not only period, but a woman and black.

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Experience in Groups

Let’s start here: Experience in Groups is a book of poetry. Specifically, it’s a book of poetry written by a well-established poet—Geoffrey G. O’Brien—which means that I’m sure that a lot of it went right over my head. But, all I can do is explain the things that I thought I understood, and see where it goes from there. Perhaps everything I say in the next seven hundred words or so is gobbledygook, but then again, there’s a chance that it’s not. Overall, that’s kind of how I felt about Experience in Groups.

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