These three poetry chapbooks address aspects of femininity, though a variety of other themes (sometimes related to femininity, other times by its side) abound in each—love, lust, heroism, art, to name a few.
There are times for sadness and severity and all things bleak, and what do we do then? Luna Miguel might not have solutions but Stomachs reminds us that melancholy is not always destructive.
The chapbook box set New-Generation African Poets, edited by Kwame Dawes and Chris Abani, is the fifth of its kind, an annual project of the African Poetry Book Fund, produced by Akashic Books. The set consists of chapbooks by poets either living in Africa or of African heritage.
One hundred pages, six poems. A hand holding a small ball of foil reaches across the center of the cover, finger stretched, insistent or offering.
The volume has its own points of gravity that, comet-like, it revisits as it moves forward.
This month, I read work concerning religion in one way or another, though the chapbooks here are not dominated by or entrenched in it as a theme. Instead these three writers use religion and spirituality as a lens through which readers can view many aspects of their poetry.
When Occupy Wall Street was at its height, I heard more than once the argument that the movement’s official song should be Dolly Parton’s “9 to 5” (even the Financial Times called it the “ultimate anti-work anthem”). Parton’s lyrics—like “it’s a rich man’s game no matter what they call
Fail Better is expansive, moving across great distances to share with readers wholly intimate moments, but it is not a book that could be called timeless. Two poems in particular, “When I Kiss You, A Casket Opens” and “I’ve Watched Myself Die Twice This Week,” compel readers to reckon
Lately, I keep running across poems in collections and in literary journals that use facts or trivia as part of, and sometimes the heart of, their piece. What place does the language of fact, of historical tidbits and pop culture trivia have within the language of poetry?
For National Poetry Month this year, I read three poetry chapbooks that revolve around memory. Childhood memory, historical memory, the body’s learned memory, how place or sound or smell or language or popular culture evokes memory—the chapbooks here all touch on one or more or many of these themes.