Once & Future by Amy Rose Capetta and Cori McCarthy (Little, Brown, and Co., 2019)
Reviewed by Maayan D’Antonio
Ari Helix is a refugee who has no impulse control. So when she sets off alarms
she shouldn’t have on Heritage, a spaceship that belongs to the
tyrannical Mercer Company, she and her brother Kay escape from the ship and
hide on Old Earth, now a desolate planet. But when Ari pulls Excalibur from a gnarled
tree, she unknowingly sets into motion a new cycle of the King Arthur legend. A
cycle she doesn’t know has anything to do with her.
in the dream house by carmen maria machado (graywolf, 2019)
Reviewed by Rebecca Valley
I know many writers obsessed with houses. Houses contain us; we fill them up with ourselves. We share them with our families, lovers, histories, ghosts. In poetry, stanza is another word for room – this makes each poem a house, a self-contained world of its own.
look how happy i’m making you BY POLLY ROSENWAIKE (DOUBLEDAY, 2019)
Reviewed by Gregorio Tafoya
“1. Lack of Interest in Your Baby”
starts the quietly explosive “Ten Warning Signs of Postpartum Depression”, a thick middle piece to Polly
Rosenwaike’s short story collection, Look
How Happy I’m Making You—best said in a sleep-deprived, low, gravelly tone.
Much like the characters in Polly Rosenwaike’s debut, I feel wholly inadequate and ill prepared for the task at hand. They are entrusted with the nobler task, that of motherhood, and I, a male with no child rearing experience, am attempting to review their explorations. When I get sentimental about fatherhood aspirations, it is always the highlight reel of playing catch in the backyard and teaching the finer points of auto mechanics—a concept I hardly have any grasp on. The scenes in Rosenwaike’s book are far from the highlight reel of any parenthood.
The Memory Police by Yoko Ogawa, trans. by Stephen Snyder (Pantheon 2019)
Reviewed by Rebecca Valley
“’Long ago, before you were born, there were many more things here,’ my mother used to tell me when I was still a child. ‘Transparent things, fragrant things… fluttery ones, bright ones…” (3)
In her essay “Fairy
Tale is Form, Form is Fairy Tale,” author Kate Bernheimer defines
the fairy tale for a contemporary audience – what fairy tales are
made of, what doors they can open.
“With their flatness, abstraction, intuitive logic, and normalized magic, fairy tales hold a key to the door fiercely locked between so-called realism and nonrealism, convention and experimental-ism, psychology and abstraction. A key for those who see these as binaries, that is.”
Ecstatic Émigré: An Ethics of Practice by Claudia Keelan (University of Michigan Press, 2018)
Reviewed by Michelle Mitchell-Foust
To hold a forest dear is easy in Oregon. Where I live, forested land preaches the tenacity of growth, overgrowth, understory. Scented speech, the call and response between plants and plants, and plants and animals, is everywhere, almost terrifying in its abundance. One might say that the forest remains the third terrain of my life, after field and desert. And in its arms I have been fighting the loneliness that comes from a years-long absence of poetry, or rather, my own lines of poetry in conception. Or perhaps I have been listening to an overabundance of words that I can’t place. Regardless, this is not an even exchange–forest for poem-making–but the cursive of branches and the color of eccentric miniature often make the poems of my days. For the time being, searching the characteristics of the smallest visible life is the sublime.
The After Party by Jana Prikryl (Tim Duggan Books, 2016)
Reviewed by Hannah Wyatt
A couple of weekends ago, while wandering through the
statuesque dinosaurs and food trucks of my new city, I picked up a $1 copy of
Jana Prikryl’s The After Party (Tim Duggan Books, 2016) at a tent sale
hosted by Pittsburgh’s Carnegie Library. This being my first read of Prikryl’s
work, I was delighted to find that, within the first few lines of the collection,
I felt I was reading someone who cared about the world I care about.
How to Pull Apart the Earth by Karla Cordero (Not A Cult, 2018)
Reviewed by Leonora Simonovis
Featured in Oprah Magazine under the title “17 of the Best Poetry Books, as Recommended by Acclaimed Writers for National Poetry Month” How to Pull Apart the Earth is described by writer Laura Villareal as a journey into “the collective memory found in [the author’s] personal history, reminding us that we are rooted in the same familial tenderness.” The beautifully written 71 poems speak to the author’s identity as a Chicanx/Latinx woman raised in the border town of Calexico and themes of family, migration, and awareness, as well as identity and belonging, are seamlessly weaved throughout.
The Bride Test by Helen Hoang (Penguin Random House 2019)
Reviewed by Patricia Steckler
I have never encountered a person who is not fully human in 35 years of private practice as a clinical psychologist. Diagnoses, country-of-origin, race, religion, and financial status do not define people. Not at all. Why do we say that a person has cancer or has arthritis and, conversely, say that a person is autistic or is an immigrant as if those labels completely define them?
Assigning labels condemns people
to a marginalized purgatory. Perceived to be less than human, unable to love or
feel pain, they’re relegated to the sidelines of life and deemed to be odd,
bizarre, even dangerous.
The Center Cannot Hold: My Journey Through
Madness by Elyn R. Saks (Hachette Books 2007)
Reviewed by Patricia Steckler
Horrifying delusions and auditory hallucinations
did not deter Elyn Saks from her Oxford University Master’s degree studies. Compassionate
psychiatric care in England squired her through. But, later, as a law student
at Yale University and in a psychotic state, Yale psychiatrists “bound both
legs and both arms to a metal bed with thick leather straps” and forced
medication down her throat. Multiple times. She plummeted into despair.
“A sound comes out of me that I’ve never heard before—half groan, half scream, marginally human, and all terror. Then the sound comes out of me again, forced from somewhere deep in my belly and scraping my throat raw. Moments later, I’m choking and gagging on some kind of bitter liquid that I try to lock my teeth against but cannot. They make me swallow it. They make me.” (4)