Signs speak, horror rises through the floorboards, Hedge-Triffids surround the houses, and children poke sticks at dead possums. There is everywhere a clash between life and death; decay and renewal. Though Goodbye, Cruel explores painful places in a way that cuts deeply, ultimately the work is affirmative, moving back and forth into the particular and outwards into the universal. Smith does an exceptional job of bridging the gap between the absurd, the tragic and the domestic, turning it all into something tender and sublime.
There is something instinctual here, with freedom at the base. Perhaps this is why Cardona features animals in her poetry. They remind us that we too are instinctual and that this part of us can be in motion more often if less constrained by the mind. But we must not move away too quickly from the mind. Imagination lives there. This lesson, too, is in Cardona’s work, as the poet is “gardener of memories” (Ouranoupolis Pantoum 45).
Nuernberger’s unique understanding of her world illustrated in her work is a blend of the realistic and the fantastical in each of her characters and poems. It is Nuernberger’s outside-the-box perspective that is so striking and profound for a reader in The End of Pink.
The story itself is a fascinating one with themes very relevant to modern readers: the impact of colonisation, racism, cruelty and social inequality, as well as love, hunger, and the desire for meaning and self-actualisation. Johnson is a natural storyteller, providing narrative context in between each of the poems. However the real heart of the collection is the poetry, which goes deeper than scholarship would otherwise allow. Johnson puts the reader right into the moment of experience, using language that is both harrowing and wry.
There is a stark, necessary brutality to these poems, and so many wonderful, poignant lines that one is tempted to quote continuously in an effort to impress upon readers the importance of this work. Therefore the best recommendation is to read it whole, in its entirety, to absorb its authentic reflections and stunning phrases and to reap the rewards of personal insight and possibly even enlightenment.
What’s interesting in all of Smallwood’s work is how she manages to put together myriad disparities to create a whole. Thematically, these poems are drawn together by the overarching concept of exploration of the universe, but the poems themselves are as diverse and disparate as poems from different authors.
It’s rare to come across a collection that is suitable for such a broad age range, and yet Blackford, something of a literary jill-of-all-trades, manages it perfectly. Though her poems are lighthearted, often exploring the secret and not so secret world of animals and other aspects of nature, they are anything but facile. Often there is a dark heart, or a rich philosophical exploration of the nature of psychology, history and mythology.
It takes a lot of craftsmanship to have readers get inside the personalities and the culture of the characters in poems based on scholarship and detailed research—a huge task; all of the poems stick to the topic of Kafka and explore aspects of his family and his times.
Margie Shaheed’s Dream Catcher poems are eloquently woven word quilts. Life-filled, sensual, powerful, tender, courageous and unapologetic. Her poems are beautiful, richly crafted testaments written by a woman who knows and understands life in its many nuances.
Edited by Ginny Lowe Connors, this intimate commentary of historical women of common and uncommon nobility by dozens of contemporary, mainly American poets could strike the common fancy of any adult who opens the book. Especially in the political climate too many women face today.