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Letters from the Emily Dickinson Room, by Kelli Russell Agodon, is a collection of charming, intelligent poems that invoke the idea of a modern day Emily addressing the world from the safety of her room. Agodon incorporates anagrams in many of the poems; for example, in “Believing Anagrams,” “funeral” becomes “real fun,” “Emily Dickinson” becomes “inky misled icon” and “poetry” becomes “prey to.” While with some poets this kind of word play can become gimmicky, Agodon masterfully weaves the words into the poem in a natural, organic way. “In the 70s, I Confused Macramé for Macabre” is another poem where language is taken apart and put back together, using the words incorrectly in two different memories, as the speaker “wanted / my mother to remind me / that sometimes we survive.” Continue reading “Letters from the Emily Dickinson Room”

Nine Worthies by Caroline Knox is a book that blends the genres of prose and poetry to tell the story of Nathaniel Smibert (1734-1756) painting the portraits of nine men and women from Boston and Newport in the year of Nathaniel’s death. Continue reading “Nine Worthies”

Cynthia L. Haven has gathered an exquisite collection of thirty-two memoirs, which pay tribute personally through historical and personal accounts of one of the most celebrated poets, Czeslaw Milosz. The bevy of contributors who share encounters with Milosz spin intimate stories oft with intimate ease—spanning from the 1930s until just days before his death in 2004. Haven did an excellent job selecting memoirs from a well-credentialed, diverse group of contributors who represent political, literary, environmental, cultural and spiritual spectrums on many levels. She also weaves in lines form Milosz’s vast works in relation to the time period, stories, and references. Continue reading “An Invisible Rope”

The ninety-two-year old de Barros, recipient of the most prestigious poetry awards in his native Brazil, is author of more than 20 books, though this is the first to appear in English. (Birds for Demolition is a collection of poems from the poet’s oeuvre over the last few decades.) Novey, director of Columbia University’s Center for Literary Translation and author of the poetry collection, The Next Country (2008), explains in her introductory note that de Barros writes of the wetlands and rivers, the “poverty and solitude of rural life,” the part of Brazil where he was raised and which he knows best, not the city, where we often expect (however erroneously) to find most poets. She classifies his writing as “riverbed-poems” and describes the intensity of the experience of translating their unique sense of place. Continue reading “Birds for a Demolition”

I am convinced this will end well,
That it will not be too late,
That it will take place without witnesses. Continue reading “Sweetgrass”

Daniele Pantano is a Swiss poet, translator, critic, editor, and Senior Lecturer in Creative Writing at Edge Hill University in England. Work from this volume was published in numerous journals and anthologies in the U.K., Germany, Italy, Australia, Switzerland, Canada, and the U.S. Continue reading “The Oldest Hands in the World”

Vivisection—such an evocative word—is experimental surgery performed on animals typically for research purposes, considered unethical by many, and harsh and aggressive as the word itself sounds. I am somewhat surprised at this title, wondering at the poet’s choice of a word with such negative connotations for her book, but the title poem (the final in the collection) demonstrates how poetry can take any term and make it one of great power, salvaged by artistic achievement, prowess, and mastery, rendering it positive on some level. Despite difficult and painful images (or, perhaps, because of them), the title poem reminds us that poetry’s unique power resides in its ability to make every human experience unique (yet universal) and exquisite. Continue reading “Vivisect”

The final lines of the book’s opening poem (“Our questions are / our miracles.”) are uncharacteristically positive (even to use the word “positive” here seems an awkward choice, perhaps “affirming” is more apt) for Goldberg. Drawing a poem to an eloquently surprising and surprisingly eloquent and obsessively conclusive conclusion, however, is not. In fact, this is Goldberg’s special talent—perfected over twenty years and throughout her six books—demonstrated with astonishing consistency and brilliance in her new poems, of which a dozen and a half appear in this volume. “It’s not a season if it expects / a conclusion. That’s what I think, / because of you,” she concludes in “Everything is Nervous.” “If you can’t bear to forget don’t / be born,” concludes “Absence.” Continue reading “Reliquary Fever”

Striking, sad, suspenseful, Up From the Blue tells the coming-of-age story of Tillie Harris. Set in her third-grade year, the novel focuses on the home life of Tillie. The father, a colonel in the air force, develops navigation systems for missiles. The older brother, Phil, tries his hardest to be a small soldier: orderly, emotionless, and compliant. Tillie herself is an energetic eight-year-old, full of conflicting emotions and confusing expectations from the adult world. It is her mother, though, who is the star of the book. Red-headed, dreamy-eyed, the mother swings from being loving and tender, the only one who understands Tillie, to vacant and lost, sitting on the couch or lying in bed for days on end. As the mother’s depression deepens and the conflict extends from between the parents to create an ever-widening gulf into which the entire family slides, Tillie risks losing not just her mother but herself. Continue reading “Up From the Blue”

In her collection of short stories entitled Baby and Other Stories, Paula Bomer explores the dark underbelly of marriage and parenthood and fearlessly puts to paper horrific human desires. Anger plays out through violent (and sometimes sexual) acts and, even more dangerously, through toxic passive aggression. There is a stark contrast between what her characters say and what they think, and real communication takes a backseat to resentment and isolation. She raises questions that aren’t easy to answer, as in the title story “Baby”: Continue reading “Baby & Other Stories”

The Sixty-Five Years of Washington by Juan Jose Saer flows like the walk it entails, divided into three sections of seven blocks each, in the Argentinian town of Rosario, taking place around 10 a.m. on October or November 1960 or 1961. On that day Angel Leto decides not to go to work and encounters The Mathematician, just back from his grand tour of Europe. The two men, different in important respects (class, town’s years of residency), nevertheless walk together for most of the distance, the Mathematician regaling his companion with accounts of Noriega Washington’s sixty-fifth birthday, a party to which neither man was invited. Continue reading “The Sixty-Five Years of Washington”

Ellis’s collection of poems, Skin, Inc, is an aggressive book to say the least. It is a statement in itself. A statement that is different and powerful. The language coursing through the veins of this collection is raw, real, and full of earnest emotion. It is calm, yet aggressive. Strong, yet tamed. One poem that really sets the tone for the first portion of the book is “My Meter Is Percussive”: Continue reading “Skin, Inc.”

Present Tense, by Anna Rabinowitz, phases through genres, using poetry as a vehicle to explore politics, gender, culture and human nature. The book opens with a prologue, a single sentence that declares the purpose of the book and the long list of who the book is for: Continue reading “Present Tense”

Can you pour new wine into old bottles? Well, if you are Camille Martin and the bottles are sonnets, the answer is an emphatic, "Yes." By her flexible use of the idea of the sonnet, Camille Martin has written a book that holds a pleasing balance of unity and variation. In the second sonnet, Martin seems to be speaking to the form as the beloved: Continue reading “Sonnets”

Put aside any expectations of swashbuckling that this title might inspire. Pirate Talk or Mermalade has its share of cutlasses, of peg legs, of sailors marooned on desert isles. But it is far from a typical pirate tale. Described as a “novel in voices,” the story is told entirely in dialogue. No quotation marks, no helpful tag lines (i.e. he said, she replied): each page is simply the conversation, with an indentation serving as the indication that the speaker has shifted. At first, I thought the “only dialogue” rule would limit the scope—where would the description be? The thought and reflection?—but within a few pages, it was apparent that Svoboda is a masterful writer and is no more constrained by this selection of form than a poet is constrained by composing a sonnet: the novel delights because of this rule, succeeds because of this confinement. Continue reading “Pirate Talk or Mermalade”

In his new book, The Creative Writer’s Survival Guide: Advice from an Unrepentant Novelist, John McNally gives an honest and highly informative account of his experiences in the writing/publishing industry. As he cautions his readers in the introduction entitled “The Writer’s Wonderland—Or: A Warning,” this book is not an instruction manual on how to write short stories, it’s not a place to seek writing prompts, and the author does not claim to have a formulaic answer to getting published. Rather, he explains: Continue reading “The Creative Writer’s Survival Guide”

The mind is a smelly heap of compost comprising our greatest hopes, delusions and sexual fantasies about robots. We explain its function with analogies to computers or other machines, trying to impose a structure on a ghost. So when our bodies and minds start to fail, we panic. We grope about in the dark for a user's manual, a crossword puzzle or anti-depressant that will put our brains in the order that we suppose it should have. Seth Berg explores this dark space in his first book of poems, Muted Lines from Someone Else's Memory. Continue reading “Muted Lines from Someone Elses Memory”

For fans of Jane Gardam’s Old Filth and The Man in the Wooden Hat, God on the Rocks, a 1978 Booker Prize finalist, will satisfy. As Gardam wrote in the November 20, 2010 Op-Ed article “Richard’s Glove, Kate’s Hand” (which gives an historical perspective to Kate and Prince William’s upcoming wedding), “In my novels I write about the ‘old world,’ my parents’ world, where people wore hats—and gloves.” But “the old world is not so far away from this one.” Therefore, this novel, set along the northern English coast in 1938, between the world wars, is not chronological but jumps back and forth between different characters’ perspectives and pasts. In a book both humorous and tragic, the reader has to read carefully to notice switches in perspective and Gardam’s parceling out of information during the unfolding of fully defined lives. Continue reading “God on the Rocks”

I adore Coach House Books. The book design is smart, inventive, spot on. Poetry is clever, original, risky, inspiring. You want to go back to these books again and see them as if new each time you pick them up. You’re happy to give them to others, to show them off. You return to them as, and I am not exaggerating, a reason to keep going on. And on. A reason to read. A reason to write. A reason to believe in poetry. Even, maybe especially, when they are difficult (emotionally or intellectually or in a reader-ly way). Continue reading “Indexical Elegies”

Emma Rathbone’s debut novel The Patterns of Paper Monsters is about Jacob Higgins, an angry kid incarcerated in a juvenile detention center. But like any great book, this one can’t be reduced to its plot. Its magic lies in the sarcasm that drools from its narrator’s voice and in the beauty of the way that voice strings together language. Listen, as Jacob describes the crime that landed him in the JDC: Continue reading “The Patterns of Paper Monsters”

Please Take Me Off the Guest List is a collaboration between three people: Nick Zinner, of the band Yeah Yeah Yeahs, provides the photographs; Zachary Lipez, of the band Freshkills, provides the essays; and Stacy Wakefield, former design director of Artforum, pulls it all together into a wonderfully designed object. It has already been noted elsewhere how rare it is for the book’s designer to have her name on the cover, but here it is earned. Zinner’s photographs and Wakefield’s design are the true highlights of this collection, which should appeal to anyone interested in book arts. Unfortunately, Lipez’s essays do not measure up to the quality of the photographs and the quality of the design elements. Continue reading “Please Take Me Off the Guest List”

This is the sixth volume in Saturnalia’s Artist/Collaboration Series. I am impressed by and grateful for publisher Henry Israeli’s commitment to making available the collaborative efforts of visual and literary artists. The books are beautifully conceived, designed, and composed, and they occupy a uniquely wonderful place in the world of small press poetry publications. Continue reading “Velleity’s Shade”