Book Reviews

Reviewed by:
Alana Folsom
Dorothea Lasky's Rome begins with lines not from Ovid or Horace, but with Yeats: “Consume my heart away; sick with desire / and fastened to a dying animal…”; and Lasky’s poems adhere, on a subject level, to this epigraph. But Rome is a book about language and voice more than its subject matter: the carnality of humanity when we’re reduced to raw emotion—especially love and loss... more
Reviewed by:
Alex McElroy
“People talk about the sea being monotonous, as they do about anything they don’t observe closely enough,” says the narrator of Medardo Fraile’s story “The Sea.” Reading the stories collected in Fraile’s Things Look Different in the Light, the Spanish author’s first book translated into English, one would have a hard time accusing Fraile of careless observation. Translated by Margaret... more
Reviewed by:
Ben Jackson
In David Roderick’s second book, The Americans, a complicated national citizenry emerges, stirred by dreams and privileges, violence and regret, utterly insistent on borders, however blurred they may be, and intent on home as a pastoral heartland. The book is split in near-even halves: Section 1—18 poems, 31 pages; Section 2—19 poems, 34 pages. Both sections contain three “Dear Suburb”... more
Reviewed by:
Laura Madeline Wiseman
Kristina Marie Darling’s new book The Sun & The Moon takes up the metaphor of celestial bodies to contemplate the movement of the bodies of two lovers as they move through the space of their lives. To illustrate the astronomical importance of her undertaking, Darling’s Appendix A offers three illustrations of two famous astronomical clocks. These clocks “show the relative location of... more
Reviewed by:
Nick Ripatrazone
“Listen, then.” Our House Was on Fire, the second collection of poems by Laura Van Prooyen, begins with a calm but firm declaration. I can appreciate the sentiment. Our days are outlined in prose, so the experience of poetry requires a revision of pacing and an increase in patience. Van Prooyen is able to maintain this duality of softness and confidence in an impressive manner. Her poems... more

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Reviewed by:
Sara Jaffe
Like music, stories have dynamics. There are the louder and the softer moments, the crescendos and the rests, and the author achieves these expressive elements through a careful mix of tone, language, and plot elements. It’s difficult, in literature, to pull off an abrupt dynamic shift—unlike, say, in rock music, where it can be enough for the Pixies to launch from a whispered verse to a chorus’s... more
Reviewed by:
Jeremy B. Jones
In college—my first extended time away from home—I found myself suddenly caught up in the phrase, “in the mountains.” When I’d try to tell people where I was from, I’d finally offer an explanation: back in the mountains. It was the preposition that struck me. I wasn’t from on a mountain. I didn’t exist upon them or around them, behind or in front. I lived in—... more
Reviewed by:
Sarah Kosch
I picked up Barbara Henning's Thirty Miles to Rosebud because it was summer and a blurb on the back cover compared it to Jack Kerouac's On the Road. Perfect, I thought. Some adventures with the car window down and the feel of hot wind blowing the driver's hair is just what I want to read on a day like this. And I wasn't disappointed. Henning's independent and insightful... more

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Reviewed by:
Kristina Marie Darling
In Carlo Matos's stunning third book of poetry, Big Bad Asterisk, readers will find "science projects," Jeopardy matches, and "the blood of princes." It is Matos's ability to seamlessly weave together vastly different points of view that makes his work so compelling. Presented as an ongoing series of annotated prose pieces, much of the work in this formally inventive collection reads as a conversation between different characters, as... more
Reviewed by:
Sean Patrick Hill
From the outset of Graham Foust’s poetry career, his work has sought to answer the question posed in his first book, Leave the Room to Itself: “What is the poem.” Over the course of three intervening books, Foust has explored the function of language, attempting to map this faintly-Romantic notion of “the poem,” a slippery presence one finds embodied in consciousness. This consciousness—its origins, its signifiers, its longing for... more
Reviewed by:
Carrie Chappell
Certain topics are so heart-wrenching that we find them difficult to express in literal terms. Lauren Berry’s debut collection The Lifting Dress—winner of Penguin’s 2010 National Poetry Series, selected by Terrance Hayes—explores the possibilities of figuration in post-traumatic narrative by opening up a broader palate of symbolism to confront the violence of one of the most monstrous human transgressions: rape.Set in the humid-yawn of... more
Reviewed by:
John James
A significant contribution to the ongoing dialogue on translation, Mary Jo Bang’s new version of Dante’s Inferno will certainly turn a few heads. Not only does Bang abandon the author’s renowned terza rima, she uses allusion and colloquialism to render the epic’s esoteric political backdrop accessible to today’s readers.To most Dantists, this new "translation" may purport sacrilege, but translators of contemporary poetry will... more
Reviewed by:
Nick Ripatrazone
Rose McLarney’s debut collection feels born of the same world as Irene McKinney’s first book, The Girl with the Stone in Her Lap. Both collections mine the grain and coarse chaff of the American pastoral, where “golden apples / glow in sheer skin,” and yet “Their weight breaks branches . . . and you fall in fruit.” McKinney moved from direct representations of her dark pastoral in later collections, yet those poems still contained the... more

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