Peter Meinke was a master of traditional poetic forms long before the current interest in “the new formalism.” His work is, in turn, witty, comic, sane, deeply moving, and always readable. Liquid Paper collects the best of his previously published poems from the late 1960s on with a generous selection of new work.
The result is a book of discursive meditations that will amply reward the reader. Part travelogue, part pilgrimage in which the shrines remain hidden until they are recognized later, Larry Levis’s startling and complex fifth book of poems is about the enslavement to desire for personal freedom, and the awareness of its price.
Wallace’s poems cover the range of human experience: music, religion, sex, art, childhood, adolescence, nuclear war, illness, and death. But it’s in his wit and good humor, against undercurrents of sorrow and grief that best characterize his poetry: part Emily Dickinson, and part Harpo Marx; part Woody Allen, and part Robert Frost.
Celebratory or eligiac, these poems record the author’s “two-headed journey” to root herself – geographically and emotionally – in the world. Becker’s poems are from remote and familiar outposts: the watery evanescence of Venice contrasts with the desert of the American Southwest; we lean with her over the rim of a canyon or stand back to study a Giacometti sculpture. From such settings arise poems on the death of a sibling, the consoling power of painting and sculpture; others celebrate the erotic and the capacity of the female body for pleasure and pain.
What are the forces that cause us to strike out and harm each other? Captivity explores the way in which the individual is held hostage by society; how the forces of racism, sexism, and classism frequently express themselves as violence within the family. The book also explores a deeper captivity, like the Jews in Egypt yearning for the Promised Land, the soul trapped in exile from God.
The variety of subjects in Green Age is characteristic of Alicia Suskin Ostriker’s writing: from the opening poem, “Fifty,” funny, courageous, and defiant, to a set of birthday poems for a grown daughter; from emulations of the Persian mystic Rumi, to the provactive “Meditation in Seven Days,” whose central assumption is that we may find in the Bible traces of a Canaanite goddess whose worship was forbidden with the advent of patriarchal monotheism.
The speaker in Irene McKinney’s poems is most often alone, sitting at the side of a stream, or standing at her own chosen gravesite in the Appalachian mountains, and the meditations spoken out of this essential solitude are powerfully clear, witty, and wide-ranging in content and tone. The center sequence of poems in the Emily Dickinson persona explores and magnifies that great and enigmatic figure. The poems are firmly grounded in concern for the ways in which the elemental powers are at work in the earth and in us: on the surface of our lives, and deeper in the underworld of the coalmines. In McKinney’s poems, the human world is never seen as separate from the natural one.
One of the major voices in Latin American poetry confronts the political realities of contemporary Central America. The poems are richly human documents rooted in Alegria’s knowledge of and love for her subjects.
Night Watch on the Chesapeake is Peter Meinke’s third collection of poetry. The poems traverse a wide landscape of topics from playing baseball, the death of a friend, divorce, and even poetry itself.
The Essential Etheridge Knight is a selection of the best work by one of the country’s most prominent and liveliest poets. It brings together poems from Knight’s previously published books and a section of new poems.
Cold Comfort is a book of poems written out of deep affection and concern for the world in a dangerous time. An urbane stylist, Anderson characteristically focuses on rural and small-town America, where the events of personal history intersect those of the larger world.
With The Imaginary Lover, Alicia Ostriker takes her place among the most striking and original poets whose work is informed by feminist consciousness. Her characterization of the best poetry by women, in the New York Times Book Review, aptly describes this book: “intimate rather than remote, passionate rather than distant, defying divisions between emotion and intellect, private and public, life and art, writer and reader.” To read her poems is to “discover not only more of what it means to be a woman but more of what it means to be human.”
In Evidence is a collection of poems in the voices of allied troops who liberated Nazi concentration camps in Europe in the spring of 1945. Barbara Helfgott Hyett heard poems in the eyewitness testimony of United States soldiers. She has shaped the words of thirty speakers into a songle narrative, a single voice.
