Tag: poet

‘Auto/Body’ by Vickie Vértiz: Driving Force

by Gus Berg

Posted on by Zack Ravas

The title of Vickie Vértiz’s latest poetry collection, Auto/Body (90 pages; University of Notre Dame Press), suggests the inner workings of cars, but its focus has to do with the harnessing and distribution of power, personally and societally. Sometimes fueled by rage, sometimes by desire, this power serves as the driving force behind this collection. Vértiz is a Mexican American poet who teaches at UC Santa Barbara. She divides her book, which won the Ernest Sandeen Prize in Poetry, into three sections: Alternator, Distributor, and Transmission. The first section sets the tone with its sense of righteous anger. In an […]

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‘An Ordinary Life’ by B.H. Fairchild: The Winding Road of Grief

by Gus Berg

Posted on by Zack Ravas

In his latest poetry collection, An Ordinary Life (67 pages; W. W. Norton), B.H. Fairchild, winner of the National Book Critics Circle Award and the author of the collections The Art of the Lathe (1998) and Early Occult Memory Systems of the Lower Midwest (2002) , doesn’t flinch from the foxholes remembered secondhand in “My Father, Fighting the Fascists in WWII” or from images of a Korean War veteran bagging canned goods without fingers in “Groceries.” Fairchild offers succinct commentary with discrete but vivid imagery, honoring the beauty of small-town scenes with artistry and exactitude, transforming even a Walmart on […]

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Q&A with Rebecca Foust: ‘Only’ & Communicating Across the Centuries

by Meryl Natchez

Posted on by Zack Ravas

I first met Rebecca Foust when we worked together for Marin Poetry Center starting in 2014. Foust is the author of seven poetry collections, including The Unexploded Ordnance Bin, Paradise Drive, All That Gorgeous Pitiless Song, and God, Seed. Her work has received the  2020 Pablo Neruda Award, the 2017 CP Cavafy Award,  and the 2016 James Hearst Poetry Prize, and was runner up for the 2022 Missouri Review Editor’s Prize. In 2017 she was appointed Marin County Poetry Laureate. I have been intrigued by her new book of poems, Only (Four Way Books 2022; 88 pages), a varied, tender, […]

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My California

by Lee Herrick

Posted on by Zack Ravas

Here, an olive votive keeps the sunset lit, the Korean twenty-somethings talk about hyphens, graduate school, and good pot. A group of four at a window table in Carpinteria discuss the quality of wines in Napa Valley versus Lodi. Here, in my California, the streets remember the Chicano poet whose songs still bank off Fresno’s beer-soaked gutters and almond trees in partial blossom. Here, in my California, we fish out long noodles from the pho with such accuracy you’d think we’d done this before. In Fresno, the bullets tire of themselves and begin to pray five times a day. In […]

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‘It Must Be a Misunderstanding’ by Coral Bracho: Adding Color and Depth to One of Life’s Hardships

by Meryl Natchez

Posted on by Zack Ravas

Anyone who has experienced a loved one’s trajectory through Alzheimer’s might wonder how a book of poetry focused on that harrowing experience could be uplifting. But Coral Bracho’s It Must Be a Misunderstanding (New Directions; 135 pages), translated by Forrest Gander, is not only tender and compassionate, but leaves the reader suffused in the mystery of being. The book is dedicated to Bracho’s mother, who died in 2012 from complications of Alzheimer’s. A short book of fragmentary lyrics, it builds through its sections like a concerto, adding color and depth as it goes. The themes of Intuitions, Observations, and various […]

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Q&A with Kathleen Balma: ‘From Your Hostess at the T&A Museum’ and the Urgent Need to Describe

by Danielle Shi

Posted on by Zack Ravas

Kathleen Balma demonstrates a prodigious fluency with language in her intelligent and entertaining first poetry collection, From Your Hostess at the T&A Museum (96 pages; Eyewear Publishing), in which monkeys battle for social cachet, time grounds to a startling weather-bending halt, and voices become vehicles of desire when arriving at the right destination. Cleverly imagining the ordinary into shapes exceptional and witty, Balma uses an affectionate yet sardonic tongue to interrogate images as familiar to us as Abe Lincoln’s cabin to the ruins of Pompeii to the moon landing. For aficionados of art history, visual splendor abounds: Olympia and Aphrodites […]

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‘Fudekara’ by Liliana Ponce: Evolution Through Repetition

by Roz Naimi

Posted on by Zack Ravas

“Why write confessions? Why confess the written?” asks Liliana Ponce in her poetry collection Fudekara (44 pages; Cardboard House Press; translated by Michael Martin Shea). Ponce is a poet and scholar of Japanese literature from Buenos Aires, Argentina, who incorporates her knowledge of Japanese culture into her work: “Fudekara” is a Japanese neologism created from the terms “fude” (brush) and “kara” (from) to mean “from the brush.” Written over the course of a Chinese ideograph calligraphy class the author took in 1993, Fudekara takes as its subject the stroke: the iterative, meditative practice of putting pen to paper. The collection […]

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‘Ante body’ by Marwa Helal: A Window into a Double Life

by Roz Naimi

Posted on by Zack Ravas

The latest collection from Egyptian-born, Brooklyn-based poet Marwa Helal, Ante body (80 pages; Nightboat Books), demonstrates the participatory nature of Helal’s work. The book offers a kaleidoscopic window into the double consciousness of the emigré, her post-migratory grief and dispossession, and the cheeky coping mechanisms that come into play. In her exploration of our post-pandemic political moment, Helal harnesses and discharges an energetic exigency, calling the reader into an honest mindfulness through non-traditional and experimental poetic play. Ante body invites us to trip over language, to recover, and view those stumbles as necessary toward achieving wisdom. Whatever linguistic baggage the […]

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‘Customs’ by Solmaz Sharif: The Complicity of Speech

by Ray Levy Uyeda

Posted on by Zack Ravas

Solmaz Sharif’s second collection of poetry, Customs (104 pages; Graywolf Press), interrogates the English language and its role in shaping America. English was the language used to write the U.S. Constitution, enslave kidnapped West Africans, and free enslaved African Americans; it’s the language used to go to war and used to achieve liberation. Customs inspects language itself as a device for colonization and country-making, which in this land is the same. The collection, split into three sections, begins with a poem called “America.” Eighteen lines composed of 12 sentences, each sentence three words long, the poem appears almost like a […]

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‘Dead Winter’ by Matvei Yankelevich: Winter on the Page

by Chiara Bercu

Posted on by Zack Ravas

Matvei Yankelevich’s latest poetry collection, Dead Winter (40 pages; Fonograf Editions), is a wheeling and melancholic address to winter as a mimetic object. “My task, my cross—to reassemble winter’s/ memory,” Yankelevich states in one the earliest of his twenty-seven poems. He meets this attempt to capture winter on the page by mounting an inquiry into the season as a site of recursion, ungovernability, and wasting. Yankelevich pictures winter as an “abandon” forever short of expression. Within “imagined limits,” winter appears to modulate time in an alternately moldering and propulsive manner: “Of/ course, one can look out a window, one/ can […]

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Worries

by Edward Derby

Posted on by Zack Ravas

Hungers, germs, personal email gone to SPAM, lost postcards that explained everything, what to do about the weeds in the gravel, catalytic converter theft, a blood stain in a library book (page 17), sock holes, black holes, global warming, automatic subscription renewals, bankruptcy, asteroids, air quality, a helicopter circling the neighborhood, eviction, sagging underwear elastic,

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‘Horses Drawn with Blue Chalk’ by Rocío Ágreda Piérola: Language as an Unlimited Spectrum

by Chiara Bercu

Posted on by Zack Ravas

Translated from the Spanish by Jessica Sequeira, Horses Drawn with Blue Chalk (42 pages; Ugly Duckling Presse) is Bolivian poet Rocío Ágreda Piérola’s first English publication, a bilingual presentation of poems from her 2017 chapbook, Detritus, and prose fragments from her working manuscript Quetiapine 400mg. In her introduction, Sequeira aligns the collection with the work of Argentine poets such as Hugo Mujica and Héctor Viel Temperley, situating Horses Drawn with Blue Chalk at the interstice of “carnality, communion and the word.”  The opening excerpts from Ágreda Piérola’s manuscript make a bid for fragmentation as a means of “reconstructing and vanquishing […]

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